The story of the Holy Grail has gripped the imaginations of millions since it first appeared in medieval romances, among them Wolfram von Eschenbach's Middle High German Parzival (c. 1210). Strangely, the Grail is identified in Parzival not as a cup or dish, but as a stone. This oddity is usually interpreted merely as further evidence of the difficulty of discerning the true sources of the Grail legend. G. Ronald Murphy seeks to illuminate this mystery and to enable a far better appreciation of Wolfram's insight into the nature of the Grail and its relationship to the Crusades. Wolfram's sacred stone was in fact a consecrated altar, precious by virtue of the sacrament but also, Murphy argues, by virtue of the material from which it was made: a precious green stone associated with the rivers of Paradise. Parzival, Murphy believes, was intended as an argument against continued efforts by Latin Christians to recover the Sepulchre by force. In Wolfram's story, warring Christians and Muslims are brought together in peace by the power of the Grail - a stone Murphy believes still exists.An entirely original reading of Wolfram's famous text, this engrossing and accessible book appeals not only to scholars and students of medieval literature but to anyone who is drawn to the lasting mystery of the Holy Grail.

At the heart of the mythology of the Anglo-Scandinavian-Germanic North is the evergreen Yggdrasil, the tree of life believed to hold up the skies and unite and separate three worlds: Asgard, high in the tree, where the gods dwelled in their great halls; Middlegard, where human beings lived; and the dark underground world of Hel, home to the monstrous goddess of death. With the advent of Christianity in the North around the year 1000, Yggdrasil was recast as the cross on which Christ sacrificed himself. G. Ronald Murphy offers an insightful examination of the lasting significance of Yggdrasil in northern Europe, showing that the tree's image persisted not simply through its absorption into descriptions of Christ's crucifix, but through recognition by the newly converted Christians of the truth of their new religion in the images and narratives of their older faith.
Rather than dwelling on theological and cultural differences between Christianity and older Anglo-Scandinavian beliefs, Murphy makes an argument internal to the culture, showing how the new dispensation was a realization of the old. He shows how architectural and literary works, including the Jelling stone in Denmark, the stave churches in Norway, The Dream of the Rood, the runes of the futhark, the round churches on Bornholm, the Viking crosses at Middleton in Yorkshire and even the Christmas tree, are all indebted to the cultural interweaving of cross and tree in the North. Tree ofSalvation demonstrates that both Christian and older Northern symbols can be read as a single story of salvation.

The fairy tales collected by the brothers Grimm are among the best known and most widely-read stories in western literature. In recent years commentators such as Bruno Bettelheim have, usually from a psychological perspective, pondered the underlying meaning of the stories, why children are so enthralled by them, and what effect they have on the developing child. In this book, Ronald Murphy takes five of the best-known tales ("Hansel and Gretel," "Little Red Riding Hood," "Cinderella," "Snow White," and "Sleeping Beauty") and shows that the Grimms saw them as Christian fables. Murphy examines the arguments of previous interpreters of the tales, and demonstrates how they missed the Grimms' intention. His own readings of the five so-called "magical" tales reveal them as the beautiful and inspiring "documents of faith" that the Grimms meant them to be. Offering an entirely new perspective on these often-analysed tales, Murphy's book will appeal to those concerned with the moral and religious education of children, to students and scholars of folk literature and children's literature, and to the many general readers who are captivated by fairy tales and their meanings.

The fairy tales collected by the brothers Grimm are among the best known and most widely-read stories in western literature. In recent years commentators such as Bruno Bettelheim have, usually from a psychological perspective, pondered the underlying meaning of the stories, why children are so enthralled by them, and what effect they have on the developing child. In this book, Ronald Murphy takes five of the best-known tales ("Hansel and Gretel", "Little Red Riding Hood", "Cinderella", "Snow White", and "Sleeping Beauty") and shows that the Grimms saw them as Christian fables. Murphy examines the arguments of previous interpreters of the tales, and demonstrates how they missed the Grimms' intention. His own readings of the five so-called "magical" tales reveal them as the beautiful and inspiring "documents of faith" that the Grimms meant them to be. Offering an entirely new perspective on these often-analyzed tales, Murphy's book will appeal to those concerned with the moral and religious education of children, to students and scholars of folk literature and children's literature, and to the many general readers who are captivated by fairy tales and their meanings.

The story of the Grail, usually identified as some kind of mystical vessel, has gripped the imaginations of millions since it first appeared in several medieval romances. Of these, Wolfram von Eschenbach's Middle High German Parzival (c. 1210) is generally recognized as the most complex and beautiful. Strangely, in Parzival, the Grail is identified as a stone rather than a cup or dish. This oddity is usually seen as just another mystery, further evidence of the difficulty of discerning the true sources of the Grail legend.
In this groundbreaking study, G. Ronald Murphy seeks to illuminate this mystery and to enable a far better appreciation of Wolfram's insight into the nature of the Grail and its relationship to the Crusades. The Grail, container of the sacred body and blood of Christ, Wolfram was saying, was where God said it would be: on the altar at the consecration of the Mass. Wolfram's "sacred stone" was none other than a consecrated altar, precious by virtue of the sacrament but also, Murphy argues, by virtue of the material from which it was made: a green gem, one of the precious stones associated with the rivers of Paradise. Murphy explores what it signifies for the Grail to be a translucent gemstone and an altar made portable only by a woman. Wolfram's stone is a sacramental reference to the stone the Crusaders fought to obtain - the Holy Sepulchre. Parzival, Murphy believes, was intended as an argument against continued efforts by Latin Christians to recover the Holy Sepulcher in Jerusalem by force of arms. In Wolfram's story, warring Christian and Muslim brothers are brought together in peace by the power of Wolfram's Holy Grail--a stone Murphy believes stillexists.
Murphy's investigation of the spiritual nature and meaning of the Grail is thus accompanied by his quest for and wondrous discovery of the actual altar stone that inspired Wolfram's work. Offering an entirely original reading of Wolfram's famous text, this engrossing and accessible book appeals not only to scholars and students of medieval literature but to anyone who is drawn to the lasting mystery of the Holy Grail.

This is an honest look at his growing scepticism within his previously unquestioned religious community. The book represents Mr Murphy's first work in a series that will attempt to discuss the stark realities of taboo subjects from the unbiased perspective of the everyday reader. In his initial book he provides a clear account of why he adopted, questioned, and ultimately rejected religious faith. No matter what your faith, his plainly spoken and readable narrative addresses the unspoken thoughts that linger in us all, as we seek to answer the age old question Is there a God?

This study identifies the underlying patterns of persistent biblical allusion in the work of renowned playwright Bertolt Brecht. Rather than reducing Brecht's use of the Bible to the purely satirical, the author interprets the full dramatic function of Brecht's complex use of scripture. Using examples from plays written throughout the span of Brecht's career, Murphy shows how Brecht invokes the stories of Old Testament figures such as Job and Isaiah as well as the crucifixion accounts of the New Testament in order to build sympathetic characters and explore his more political themes.