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Oxford University Press
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Zola's masterpiece of working life, Germinal (1885), exposes the inhuman conditions of miners in northern France in the 1860s. By Zola's death in 1902 it had come to symbolise the call for freedom from oppression so forcefully that the crowd which gathered at his State funeral chanted Germinal! Germinal! The central figure, Etienne Lantier, is an outsider who enters the community and eventually leads his fellow-miners in a strike protesting against pay-cuts — a strike which becomes a losing battle against starvation, repression, and sabotage. Yet despite all the violence and disillusion which rock the mining community to its foundations, Lantier retains his belief in the ultimate germination of a new society, leading to a better world. Germinal is a dramatic novel of working life and everyday relationships, but it is also a complex novel of ideas, given fresh vigour and power in this new translation. |
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«Based on Hawthorne's own experience of a Utopian socialist community outside Boston, «The Blithedale Romance» tells of the attempts of a like-minded group to begin reforming a dissipated America. However, rather than dropping bad habits and changing the world, Coverdale the prurient bachelor, Hollingsworth the furious philanthropist, Zenobia the voluptuous feminist, and Priscilla the vulnerable seamstress soon find themselves pursuing egotistical paths which must lead ultimately to tragedy. Evoking a bright rural idyll which fails to survive the ravages of lust and power, Hawthorne cynically undermines the fatuities of nineteenth-century American idealism.» |
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The Condition of the Working Class in England is the best known work of Engels, and still in many ways the best study of the working class in Victorian England. What Cobbett had done for agricultural poverty in his Rural Rides, Engels did — and more — in this work on the plight of industrial workers in England in the 1840s. |
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This is a reissue of the previous World's Classics edition in the new larger format, and with the series name changed to Oxford World's Classics. |
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The Greek lyric, elegiac, and iambic poets of the two centuries from 650 to 450 BC — Archilochus and Alcman, Sappho and Mimnermus, Anacreon, Simonides, and the rest — produced some of the finest poetry of antiquity, perfect in form, spontaneous in expression, reflecting all the joys and anxieties of their personal lives and of the societies in which they lived. This new poetic translation by a leading expert captures the nuances of meaning and the whole spirit of this poetry as never before. It is not merely a selection but covers all the surviving poems and intelligible fragments, apart from the works of Pindar and Bacchylides, and includes a number of pieces not previously translated. The Introduction gives a brief account of the poets, and explanatory Notes on the texts will be found at the end. |
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I sing of knights and ladies, of love and arms, of courtly chivalry, of courageous deeds. So begins Ariosto's Orlando Furioso (1532), the culmination of the chivalric legends of Charlemagne and the Saracen invasion of France. It is a brilliantly witty parody of the medieval romances, and a fitting monument to the court society of the Italian Renaissance which gave them birth. This unabridged prose translation faithfully captures the narrative entire and is a kaleidoscope of scenes and emotions of fact and fantasy. |
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This new translation is an accurate and stylish rendering of Zola's original, which was first published in 1880. |
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Aurora Leigh is an example of the mid-19th-century poem of contemporary life. This verse-novel is a detailed representation of the early Victorian age. The social panorama extends from the slums of London, through the literary world, to the upper classes and a number of satiric portraits: an aunt with rigidly conventional notions of female education; Romney Leigh, the Christian socialist; Lord Howe, the amateur radical; Sir Blaise Delorme, the ostentatious Roman Catholic; and the unscrupulous society beauty Lady Waldemar. However, the dominant presence in the work is the narrator, Aurora Leigh herself. From early years in Italy and adolescence in the West Country to the vocational choices, creative struggles, and emotional entanglements of her first decade of adult life, Aurora Leigh develops her ideas on art, love, God, the Woman Question, and society. |
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This is a reissue of the previous World's Classics edition in the new, larger format and with the series name changed to Oxford World's Classics. |
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Three Tales offers an excellent introduction to the work of one of the world's greatest novelists. A Simple Heart is set in the Normandy of Flaubert's childhood, while Saint Julian and Herodias draw on medieval myth and the biblical story of John the Baptist for their inspiration. Each of the tales invites comparison with one or other of Flaubert's novels, but they also reveal a fresh and distinctive side to the writers's genius. |
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This pioneering work was a cause celebre when it appeared in London, transforming the shape and course of the late Victorian novel. Lynall, Schreiner's articulate young feminist, marks the entry of the controversial New Woman into nineteenth-century fiction. From the haunting plains of South Africa's high Karoo, Schreiner boldly addresses her society's greatest fears: the loss of faith, the dissolution of marriage, and women's social and political independence. |
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This important new edition of one of Shakespeare's more neglected plays offers a wide-ranging critical introduction, concentrating on its relevance to Elizabethan political issues and on the role played in it by women, the family, and the law. There is a comprehensive stage history, and full and helpful annotation pays special attention to the play's language and staging. |
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What Maisie Knew (1897) represents one of James's finest reflections on the rites of passage from wonder to knowledge, and the question of their finality. The child of violently divorced parents, Maisie Farange opens her eyes on a distinctly modern world. Mothers and fathers keep changing their partners and names, while she herself becomes the pretext for all sorts of adult sexual intrigue. In this classic tale of the death of childhood, there is a savage comedy that owes much to Dickens. But for his portrayal of the child's capacity for intelligent wonder, James summons all the subtlety he devotes elsewhere to his most celebrated adult protagonists. Neglected and exploited by everyone around her, Maisie inspires James to dwell with extraordinary acuteness on the things that may pass between adult and child. In addition to a new introduction, this edition of the novel offers particularly detailed notes, bibliography, and a list of variant readings. |
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William Thackeray called it the most laughable story that has ever been written since the goodly art of novel-writing began. As a group of travellers visit places in England and Scotland, they provide through satire and wit a vivid and detailed picture of the contemporary social and political scene. |
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Set against the background of a society driven by greed and ambition, this is the tragic story of a father financially and personally ruined by his obsessive love for his two daughters. Balzac presents a portrait of both affluence and squalor in post-Napoleonic Paris. |
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Set in early eighteenth-century Scotland, the novel recounts the corruption of a boy of strict Calvinist parentage by a mysterious stranger under whose influence he commits a series of murders. The stranger assures the boy that no sin can affect the salvation of an elect person. The reader, while recognizing the stranger as Satan, is prevented by the subtlety of the novel's structure from finally deciding whether, for all his vividness and wit, he is more than a figment of the boy's imagination. This edition reprints the text of the unexpurgated first edition of 1824, later 'corrected' in an attempt to placate the Calvinists. |
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Peter Sabor presents both the first critical edition and the first accurate, wholly unexpurgated text of the most famous erotic novel in English, better known as Fanny Hill. |
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Thomas Middleton (1580-1627) was a writer of great versatility, and his career as a London dramatist spans the most productive, innovative, and exciting period of theatrical activity in the history of English drama. Best known for his tragedies, he also wrote many successful comedies of city life. This volume brings together the greatest among them: A Mad World, My Masters, Michaelmas Term, A Trick to Catch the Old One, and No Wit, No Help Like a Woman's. The first three plays, written between 1604 and 1606, are witty and rambunctious satires on the predatory life of the aspiring London citizen. Sex and money are the characters' obsessions; their caustic exposure Middleton's. In the later play, No Wit (1612), satire shades into romance, prose into verse. Together the four plays reveal the range and exuberance of Middleton's writing for the comic stage. Under the General Editorship of Michael Cordner of the University of York, the plays have been newly edited and are presented with modernized spelling and punctuation. In addition, there is a scholarly introduction and detailed annotation. |
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Readers of Victorian fiction must often have tripped up on seeming anomalies, enigmas, and mysteries in their favourite novels. Does Becky kill Jos at the end of Vanity Fair? Why does no one notice that Hetty is pregnant in Adam Bede? How, exactly, does Victor Frankenstein make his monster? Why does Dracula come to England rather than himself an invisible suit? Why does Sherlock Holmes, of all people, get the name of his client wrong? In Is Heathcliff a Murderer? (well, is he?) John Sutherland investigates 34 conundrums of nineteenth-century fiction. Applying these 'real world' questions to fiction is not in any sense intended to catch out the novelists who are invariably cleverer than their most detectively-inclined readers. Typically, one finds a reason for the seeming anomaly. Not blunders, that is, but unexpected felicities and ingenious justifications. In Is Heathcliff a Murderer? John Sutherland, recently described by Tony Tanner as a sort of Sherlock Holmes of literature, pays homage to the most rewarding of critical activities, close reading and the pleasures of good-natured pedantry. |
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