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Oxford University Press
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'She was swayed into emotional opinions concerning the strange man before her; new impulses of thought... entered into her with a gnawing thrill.' Hardy's first published work, Desperate Remedies moves the sensation novel into new territory. The anti-hero, Aeneas Manston, as physically alluring as he is evil, even fascinates the innocent Cytherea, though she is in love with another man. When he cannot seduce her, Manston resorts to deception, blackmail, bigamy, murder, and rape. Yet this compelling story also raises the great questions underlying Hardy's major novels, which relate to the injustice of the class system, the treatment of women, probability and causality. This edition shows for the first time that the sensation novel was always Hardy's natural medium. |
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This Very Short Introduction examines and untangles the various strands of antisemitism seen throughout history, from medieval religious conflict to 'new' antisemitism in the 21st century. Steven Beller reveals how the phenomenon grew as a political and ideological movement in the 19th century, how it reached it its dark apogee in the worst genocide in modern history — the Holocaust — and how antisemitism still persists around the world today. |
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This book is the record of a struggle between two temperaments, two consciences and almost two epochs. Father and Son stands as one of English literature's seminal autobiographies. In it Edmund Gosse recounts, with humour and pathos, his childhood as a member of a Victorian Protestant sect and his struggles to forge his own identity despite the loving control of his father. A key document of the crisis of faith and doubt; a penetrating exploration of the impact of evolutionary science; an astute, well-observed, and moving portrait of the tensions of family life: Father and Son remains a classic of twentieth-century literature. As well as an illuminating introduction, this edition also provides a series of fascinating appendices including extracts from Philip Gosse's Omphalos and his harrowing account of his wife's death from breast cancer. |
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The sweetness of her glance — or rather, my evil star already in its ascendant and drawing me to my ruin — did not allow me to hesitate for a moment So begins the story of Manon Lescaut, a tale of passion and betrayal, of delinquency and misalliance, which moves from early eighteenth-century Paris — with its theatres, assemblies, and gaming-houses — via prison and deportation to a tragic denouement in the treeless wastes of Louisiana. It is one of the great love stories, and also one of the most enigmatic: how reliable a witness is Des Grieux, Manon's lover, whose tale he narrates? Is Manon a thief and a whore, the image of love itself, or a thoroughly modern woman? Prevost is careful to leave the ambiguities unresolved, and to lay bare the disorders of passion. This new translation includes the vignette and eight illustrations that were approved by Prevost and first published in the edition of 1753. |
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Daphnis is 15 years old, Chloe 13. The two peasants are drawn to each other and long to make love. But no one has told them what love is, nor do they know how to accomplish the physical act. Longus weaves a fantasy around their predicament in this well-known Greek romance. |
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McTeague (1899) chronicles the demise of a San Francisco couple at the end of the nineteenth century. Inspired by an actual crime that was sensationalized in the San Francisco papers, it tells the story of charlatan dentist McTeague, his wife Trina, and their spiralling descent into moral corruption. Norris is often considered to be the American Zola, and this is one of the most purely naturalistic American novels of the nineteenth century. With its compelling portrayal of human nature at its most basic level, McTeague is a gripping and passionate tale of greed, degeneration and death. It is also one of the first major works of literature to set in California, and it provided the story for Erich von Stroheim's classic of the silent screen, Greed. |
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Don Carlos and Mary Stuart, two of German literature's greatest dramas, deal with the timeless issues of power, freedom, and justice. Dating from 1787 and 1800 respectively, one play was written before the French Revolution, the other in its aftermath. Both dramatize periods of crisis in sixteenth-century Europe, and in doing so reflect Schiller's passionate engagement with the great themes of his own age — justice, power, freedom of conscience, legitimacy of government. A youthful work, Don Carlos shows the victory of the forces of reaction over the representatives of a new age. Mary Stuart shows the struggle of the Scottish queen in her last days of her life, not only for her freedom, but also for peace with her conscience, and that of her English rival, Elizabeth I, with the challenge of ruling justly. A vivid imaginative experience when read, these plays, with their starkly contrasting characters and thrilling confrontations, also demonstrate Schiller's brilliant stagecraft. These new translations into blank verse are accurate, elegant, and playable. The introduction, notes, and chronology set the plays in their cultural and intellectual background, while a family tree explains the historical relationship bewteen Don Carlos and Mary Stuart. |
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The daughter of a Swedish minister, growing up in Colorado, Thea Kronborg's adolescent ability on the piano is encouraged by her eccentric German music teacher, Professor Wuncsch and by the kindly but unhappily married Dr Howard Archie. Set apart from the townspeople by her talents, Thea's friends are far from conventional. At 17 she leaves them and her mother's influence to go to Chicago where she studies with the pianist Andor Harsanyi. Overhearing her singing in a church he is the mentor who discovers the potential of her singing voice and sends her to study with the chill and selfish Madison Bowers, whom she dislikes. Her story moves to Arizona when she and a wealthy young brewer, Fred Ottenburg fall in love. A tension between her relationship with him and the driving artistic impulse that has always ruled her develops and becomes the novel's compelling central theme. Cather's lyrical, atmospheric and moving novel is a thinly veiled autobiography of a female artist in America at the turn of the century. A mature work filled with memorable characters all of whom influence Thea in different ways, The Song of the Lark deserves to be read alongside O Pioneers! and My Antonia and fully justifies Cather's status as one of America's greatest twentieth-century writers. |
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For the first time, perhaps, since that land emerged from the waters of geologic ages, a human face was set toward it with love and yearning. It seemed beautiful to her, rich and strong and glorious. Willa Cather's second novel, O Pioneers! (1913) tells the story of Alexandra Bergson and her determination to save her immigrant family's Nebraska farm. Clear-headed and fiercely independent, Alexandra's passionate faith in the prairie makes her a wealthy landowner. By placing a strong, self-reliant woman at the centre of her tale, Cather gives the quintessentially American novel of the soil a radical cast. Yet, although influenced by the democratic utopianism of Walt Whitman and the serene regionalism of Sarah Orne Jewett, O Pioneers! is more than merely an elegy for the lost glories of America's pioneer past. In its rage for order and efficiency, the novel testifies to the cultural politics of the Progressive Era, the period of massive social and economic transformations that helped to modernize the United States in the years between the Civil War and World War. |
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I was born in Tuckahoe I have no accurate knowledge of my age, never having seen any authentic record containing it. By far the larger part of the slaves know as little of their ages as horses know of theirs, and it is the wish of most masters within my knowledge to keep their slaves thus ignorant. Thus begins the autobiography of Frederick Douglass (1818-1895) who was born into slavery in Maryland and after his escape to Massachusetts in 1838 became an ardent abolitionist and campaigner for women's rights. His Narrative, which became an instant bestseller on publication in 1845, describes his life as a slave, the cruelty he suffered at the hands of his masters, his struggle to educate himself and his fight for freedom. Passionately written, often using striking biblical imagery, the Narrative came to assume epic proportions as a founding anti-slavery text in which Douglass carefully crafted both his life story and his persona. This new edition examines Douglass, the man and the myth, his complex relationship with women and the enduring power of his book. It includes extracts from Douglass's primary sources and examples of his writing on women's rights. |
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The contact with... primitive nature and primitive man brings sudden and profound trouble into the heart. (Joseph Conrad) Flowers look loveliest in their native soil... plucked, they fade, And lose the colours Nature on them laid. (Toru Dutt) This is the first anthology to gather together British imperial writing alongside native and settler literature in English, interweaving short stories, poems, essays, travel writing, and memoirs from the phase of British expansionist imperialism known as high empire. A rich and starling diversity of responses to the colonial experience emerges: voices of imperial; adventurers, administrators, memsahibs, propagandists and poets intermingle with West Indian and South African nationalists, Indian mystics, Creole balladeers, women activists and native interpreters. Drawn from India, Africa, the West Indies, Australia, New Zealand, Canada, Ireland, and Britain, this wide-ranging selection reveals the vivid contrasts and subtle shifts in responses to colonial experience, and embraces some of empire's key symbols and emblematic moments. Comprehensive notes and full biographies ensure that this is one of the most compelling, readable and academically valuable source books on the period. |
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The Red Badge of Courage (1895) is a vivid psychological account of a young man's experience of fighting in the American Civil War, based on Crane's reading of popular descriptions of battle. The intensity of its narrative and its naturalistic power earned Crane instant success, and led to his spending most of his brief remaining life war reporting. The other stories collected in this volume draw on this experience; 'The Open Boat' (1898) was inspired by his fifty hour struggle with waves after his ship was sunk during an expedition to Cuba; 'The Monster' (1899) is a bitterly ironic commentary on the ostracization of a doctor for harbouring the servant who was disfigured and lost his sanity rescuing his son. As a rare example of Crane working in a vein of American Gothic, it is particularly striking for its treatment of race and social injustice. 'The Blue Hotel' traces the events that lead to a murder at a bar in a small Nebraska town. This edition is the most generously annotated edition of Crane's work, exploring it from a fresh critical perspective and focusing on his place as an experimental writer, his modernist legacy and his social as well as literary revisionism. |
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Strindberg was one of the most extreme and most influential theatrical innovators of the late 19th century. The five plays translated here are those on which Strindberg`s international reputation as a dramatist principally rests and this edition embraces his transition from Naturalism to Modernism. |
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This edition contains five comedies on the theme of marital disharmony by the Restoration playwright John Vanbrugh (1664-1726). In addition to The Relapse it includes The Provoked Wife, The Confederacy, A Journey to London, and The Country House. It has modernized texts, a critical introduction and wide-ranging annotation. |
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How strange and irrational, thought Adeline, are the prejudices of society! Because an idle ceremony has not been muttered over me at the altar, I am liable to be thought a woman of vicious inclinations, and to be exposed to the most daring insults. Encouraged by her mother to pursue an interest in radical social ideas, Adeline Mowbray innocently puts her theories of idealized love into practice. Her attempt to live with the philosopher Frederic Glenmurray outside marriage is condemned by both her mother and society. Adeline and Glenmurray's relationship becomes the focal point for Opie's satire on society's attitudes to education, women, marriage, masculine and feminine codes of honour, filial loyalty and the struggle to justify individual choice. Personal as well as political, Adeline Mowbray (1804) is loosely based on the relationship between Opie's friends, Mary Wollstonecraft and William Godwin. Written in a period of conservative reaction in Britain and recalling the earlier radical era of the 1790s the novel offers a gripping exploration of the world as it is and the world as it ought to be. |
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The finest translation in and for our time (Kevin Crossley-Holland) Sir Gawain and The Green Knight, with its intricate plot of enchantment and betrayal is probably the most skilfully told story in the whole of the English Arthurian cycle. Originating from the north-west midlands of England, it is based on two separate and very ancient Celtic motifs of the Beheading and the Exchange of Winnings, brought together by the anonymous 14th century poet. His telling comprehends a great variety of moods and modes — from the stark realism of the hunt-scenes to the delicious and dangerous bedroom encounters between Lady Bercilak and Gawain, from moments of pure lyric beauty when he evokes the English countryside in all its seasons, to authorial asides that are full of irony and puckish humour. This new verse translation uses a modern alliterative pattern which subtly echoes the music of the original at the same time as it strives for fidelity. |
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Lope de Vega (1562-1635), widely regarded as the architect of the drama of the Spanish Golden Age, was known by his contemporaries as the 'monster of Nature' on account of his creativity as a playwright. Claiming to have written more than a thousand plays, he created plots and characters notable for their energy, inventiveness and dramatic power, and which, in contrast to French classical drama, combine the serious and the comic in their desire to imitate life. Fuente Ovejuna, based on Spanish history, and revealing how tyranny leads to rebelliion, is perhaps his best-known play. The Knight from Olmedo is a moving dramatization of impetuous and youthful passion which ends in death. Punishment without Revenge, Lope's most powerful tragedy, centres on the illicit relationship of a young wife with her stepson and the revenge of a dishonoured husband. These three plays, grouped here in translations which are faithful to the original Spanish, vivid and intended for performance, embody the very best of Lope's dramatic art. |
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In a famous passage in A Room of One's Own, Virginia Woolf asked why women did not write poetry in the Elizabethan age. She went on to speculate about an imaginary Judith Shakespeare who might have been destined for a career as illustrious as that of her brother William, except that she had none of his chances. The truth is that many women wrote during the sixteenth and seventeenth centuries and this collection will serve to introduce modern readers to the full variety of women's writing in this period from poems, prose and fiction to prophecies, letters, tracts and philosophy. The collection begins with the poetry of Isabella Whitney, who worked in a gentlewoman's household in London in the late 1560s, and ends with Aphra Behn who was employed as a spy in Amsterdam by Charles II. Here are examples of the work of twelve women writers, allowing the reader to sample the diverse and lively output of all classes and opinions, from artistcrats such as Mary Wroth, Anne Clifford and Margaret Cavendish to women of obscure background caught up in the religious ferment of the mid seventeenth century like Hester Biddle, Pricscilla Cotton and Mary Cole. The collection includes three plays, and a generous selection of poetry, letters, diary, prose fiction, religious polemic, prohecy and scienticficic speculation, offering the reader the possibilility of tracing patterns through the works collected and some sense of historical shifts and changes. All the extracts are edited afresh from original sources and the anthology includes comprehensive notes, both explanatory and textual. |
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I beg as soon as you get Fielding's Joseph Andrews, I fear in Ridicule of your Pamela and of Virtue in the Notion of Don Quixote's Manner, you would send it to me by the very first Coach. (George Cheyne in a letter to Samuel Richardson, February 1742) Both Joseph Andrews (1742) and Shamela (1741) were prompted by the success of Richardson's Pamela (1740), of which Shamela is a splendidly bawdy parody. But in Shamela Fielding also demonstrates his concern for the corruption of contemporary society, politics, religion, morality, and taste. The same themes — together with a presentation of love as charity, as friendship, and in its sexual taste — are present in Joseph Andrews, Fielding's first novel. It is a work of considerable literary sophistication and satirical verve, but its appeal lies also in its spirit of comic affirmation, epitomized in the celebrated character of Parson Adams. This revised and expanded edition follows the text of Joseph Andrews established by Martin C. Battestin for the definitive Wesleyan Edition of Fielding's works. The text of Shamela is based on the first edition, and two substantial appendices reprint the preliminary matter from Conyers Middleton's Life of Cicero and the second edition of Richardson's Pamela (both closely parodied in Shamela). A new introduction by Thomas Keymer situates Fielding's works in their critical and historical contexts. |
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Barchester Towers, Trollope's most popular novel, is the second of the six Chronicles of Barsetshire. The Chronicles follow the intrigues of ambition and love in the cathedral town of Barchester. Trollope was of course interested in the Church, that pillar of Victorian society — in its susceptibility to corruption, hypocrisy, and blinkered conservatism — but the Barsetshire novels are no more 'ecclesiastical' than his Palliser novels are political. It is the behaviour of the individuals within a power structure that interests him. In this novel Trollope continues the story of Mr Harding and his daughter Eleanor, adding to his cast of characters that oily symbol of progress Mr Slope, the hen-pecked Dr Proudie, and the amiable and breezy Stanhope family. The central questions of this moral comedy — Who will be warden? Who will be dean? Who will marry Eleanor? — are skilfully handled with that subtlety of ironic observation that has won Trollope such a wide and appreciative readership. |
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