By Dennis Wheatley
23 Jun 1941 - 12 Dec 1941
Come Into My Parlour is the 5th of 7 volumes incorporating all of the central occasions which happened among September, 1939, and will 1945, masking the actions of Gregory Sallust, some of the most recognized mystery brokers ever created in fiction in regards to the moment international War.
Much of the motion of the tale happens contained in the Soviet Union, starting with Russia getting into the conflict opposed to Nazi Germany. There to counter Gregory's plans is his arch-enemy, Gruppenführer Grabber, as fearful as ever to settle the long-standing rating which has existed among them, and as plot and counter-plot hold the tale to a Swiss lakeside villa, the ultimate scenes are performed out in a sinister fort positioned deep within the center of a German forest.
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Extra resources for Come into my Parlour (Gregory Sallust, Book 6)
2–7 West (2003a); cf. Pratt (1993: 24–30), with Grifﬁth (1990: 196–200) on rival accounts of myths more generally. , cf. Ch. 2, 63–7, with n. 60 there for Hellenistic variations on this theme. 35 Cf. the god-like life of feasting (with, implicitly, song) in the Golden Age, free from all misery and suffering, at Hes. Op. 111–15. 36 They are themselves totally carefree in spirit (61, in contrast to the human state at 55 and 98–103) and give intense pleasure even to the mind of Zeus himself (37, 51).
But this transﬁgurative, ecstatic dimension is closely combined with a cognitively grounded intersubjectivity according to which the sublime allows great thoughts and intense emotions to be communicated between minds and to reverberate with a fresh charge of creativity at every stage. Thus, what on one level is a ‘loss of (normal) self’ in the moment of contact with the sublime can also be seen as an activation of the mind’s deepest capacities. In the course of developing this account of On the Sublime I examine a series of key ideas and passages in the work, arguing that the Longinian sublime always involves a ‘surplus of meaning’ which permits the experience of it to be not only repeated but extended by cumulative contemplation.
From this angle, then, Frogs is a poetic celebration of the inability of a lover of poetry to understand his own passions. We do not need to turn Aristophanes into a literary theorist, nor to resolve his play’s dazzling antinomies into a neat and tidy message, in order to see Frogs as achieving its own shrewd insights into problems of Greek poetics. If adept interpretation of Frogs requires appreciation of the work’s lack of a controlling authorial voice, the same holds good, with obvious differences of tone and nuance, for the various treatments of poetry found in Plato’s dialogues.
Come into my Parlour (Gregory Sallust, Book 6) by Dennis Wheatley