Some context: Mickey Charles Mantle (October 20, 1931 - August 13, 1995), nicknamed The Commerce Comet and The Mick, was an American professional baseball player. Mantle played his entire Major League Baseball (MLB) career with the New York Yankees as a center fielder and first baseman, from 1951 through 1968. Mantle was one of the best players and sluggers, and is regarded by many as the greatest switch hitter in baseball history. Mantle was inducted into the National Baseball Hall of Fame in 1974 and was elected to the Major League Baseball All-Century Team in 1999.
Mantle was born on October 20, 1931 in Spavinaw, Oklahoma, the son of Lovell (nee Richardson) Mantle (1904-1995) and lead miner Elvin Charles "Mutt" Mantle (1912-1952). He was of at least partial English ancestry; his great-grandfather, George Mantle, left Brierley Hill, in England's Black Country, in 1848.  Mutt named his son in honor of Mickey Cochrane, a Hall of Fame catcher. Later in his life, Mantle expressed relief that his father had not known Cochrane's true first name, as he would have hated to be named Gordon. Mantle spoke warmly of his father, and said he was the bravest man he ever knew. "No boy ever loved his father more", he said. Mantle batted left-handed against his father when he practiced pitching to him right-handed and he batted right-handed against his grandfather, Charles Mantle, when he practiced throwing to him left-handed. His grandfather died at the age of 60 in 1944, and his father died of Hodgkin's disease at the age of 40 on May 7, 1952.  When Mantle was four years old, his family moved to the nearby town of Commerce, Oklahoma, where his father worked in lead and zinc mines. As a teenager, Mantle rooted for the St. Louis Cardinals. Mantle was an all-around athlete at Commerce High School, playing basketball as well as football (a halfback, he was offered a football scholarship by the University of Oklahoma) in addition to his first love, baseball. His football playing nearly ended his athletic career. Kicked in the left shin during a practice game during his sophomore year, Mantle developed osteomyelitis in his left ankle, a crippling disease that was incurable just a few years earlier. Mantle's parents drove him at midnight to Oklahoma City, Oklahoma, where he was treated at the Children's Hospital with the newly available penicillin, which reduced the infection and saved his leg from requiring amputation.
When did he decide to stop playing football?
A: he was treated at the Children's Hospital with the newly available penicillin, which reduced the infection and saved his leg from requiring amputation.

Some context: Herman Northrop Frye  (July 14, 1912 - January 23, 1991) was a Canadian literary critic and literary theorist, considered one of the most influential of the 20th century. Frye gained international fame with his first book, Fearful Symmetry (1947), which led to the reinterpretation of the poetry of William Blake. His lasting reputation rests principally on the theory of literary criticism that he developed in Anatomy of Criticism (1957), one of the most important works of literary theory published in the twentieth century. The American critic Harold Bloom commented at the time of its publication that Anatomy established Frye as "the foremost living student of Western literature."
Once asked whether his critical theory was Romantic, Frye responded, "Oh, it's entirely Romantic, yes" (Stingle 1). It is Romantic in the same sense that Frye attributed Romanticism to Blake: that is, "in the expanded sense of giving a primary place to imagination and individual feeling" (Stingle 2). As artifacts of the imagination, literary works, including "the pre-literary categories of ritual, myth, and folk-tale" (Archetypes 1450) form, in Frye's vision, a potentially unified imaginative experience. He reminds us that literature is the "central and most important extension" of mythology: ". . . every human society possesses a mythology which is inherited, transmitted and diversified by literature" (Words with Power xiii). Mythology and literature thus inhabit and function within the same imaginative world, one that is "governed by conventions, by its own modes, symbols, myths and genres" (Hart 23). Integrity for criticism requires that it too operates within the sphere of the imagination, and not seek an organizing principle in ideology. To do so, claims Frye,  . . . leaves out the central structural principles that literature derives from myth, the principles that give literature its communicating power across the centuries through all ideological changes. Such structural principles are certainly conditioned by social and historical factors and do not transcend them, but they retain a continuity of form that points to an identity of the literary organism distinct from all its adaptations to its social environment (Words with Power xiii).  Myth therefore provides structure to literature simply because literature as a whole is "displaced mythology" (Bates 21). Hart makes the point well when he states that "For Frye, the story, and not the argument, is at the centre of literature and society. The base of society is mythical and narrative and not ideological and dialectical" (19). This idea, which is central in Frye's criticism, was first suggested to him by Giambattista Vico.
did he have any other works?
A:
(Words with Power xiii