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The structure of Freud's "Oedipus complex" drew from his reading of
Sophocles' Oedipus the King, covered in "Ancient Greece and the
Formation of the Western Mind" (see pages 617–658 in volume A).
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Rabindranath Tagore draws upon the Indian lyrical tradition,
particularly upon those works by Kalidasa and the Bengali
Vaisnava mystic poets, covered in "India's
Classical Age" (see page 1267–1332 in volume B) and "Mystical Poetry of
India" (see page 2390–2396 in volume B) that emphasize the relationship
between human beings and nature in works.
- Luigi Pirandello's concept of the "naked mask"
stands in contrast with the conventional masks of ancient
Greek drama, Japanese No
theater, covered in "The Golden Age of Japanese Culture"
(see pages 2342–2370 in volume
B), or the commedia dell'arte.
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Higuchi Ichiyo's grounding in classical literature links her
Child's Play to Ihara Saikaku's work of the seventeenth century,
covered in "The Rise of Popular Arts in Premodern Japan" (see in pages
588–603 in volume D).
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The ambiguity and complexity in Rainer Maria Rilke's poetry borrows
from Ghalib's ghazals, covered in "Urdu Lyric Poetry in North
India" (see pages 1064–1068 in volume E).
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Premchand's social realism draws heavily from the work of Leo Tolstoy
and Anton Chekhov, covered in "Realism, Naturalism, and Symbolism in
Europe" (see pages 1418–1460 and 1524–1571, respectively in volume E).
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Following the sixteenth-century Florentine Codex, covered in "Native
America and Europe in the New World (see pages 3070–3073 in volume C),
Zuni Ritual Poetry provides one of the largest extant
collections of Native American orations.
- The Egyptian writer Tawfiq al-Hakim draws on works such
as Thousand and One Nights, covered in "The
Rise of Islam and Islamic Literature" (see
pages 1566–1618 in volume B).
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