The suspension of disbelief happens easily, as the reader is led through twisted family trees and plot lines. The quincunx of the title is a heraldic figure of five parts that appears at crucial points within the text (the number five recurs throughout the novel, which itself is divided into five parts, one for each of the family galaxies whose orbits the narrator is pulled into). Quintuple the length of the ordinary novel, this extraordinary tour de force also has five times the ordinary allotment of adventure, action and aplomb.

    In his work he brought to life the personalities of a diverse range of characters, and introduced a new immediacy, colloquial energy and psychological complexity to the poetry of his day. This selection brings together verse ranging from early dramatic monologues such as the chilling 'My Last Duchess' and the ribald 'Fra Lippo Lippi', which show his gift for inhabiting the mind of another, to the popular children's poem 'The Pied Piper of Hamelin' and many lesser known works. All display his innovative techniques of diction, rhythm and symbol, which transformed Victorian poetry and influenced major poets of the twentieth century such as Ezra Pound, T. S. Eliot and Robert Frost.

    Two photo inserts.

    With its message of simple remembrance without regrets, and its reassurance that it is better to 'forget and smile' than to 'remember and be sad', it brings help and comfort at a time when feelings of guilt and even bitterness can cloud the thoughts of the person left behind.The delicate pen and ink drawings by Sam Denley perfectly highlight the reflective nature of this masterpiece of sonnet writing.

    Inspired by the charming scrapbooks kept by Victorian ladies and their children, A VICTORIAN SCRAPBOOK is a resplendent celebration of Victoriana. The text includes excerpts from the age's poets, chroniclers, and eccentrics. Scattered throughout are scores of richly colored period illustrations. Selection of the Literary Guild and the Better Homes & Gardens Family Book Service. 91,000 copies in print.

    As the architectural historian Calder Loth states in his prefatory note, "Gleason's elegant photographs provide a seductive image of life in 'Old Virginia.' He presents one inviting house after another, complete with handsome interiors, and spacious grounds dotted with boxwoods and venerable trees."Unlike those in the Deep South, most of Virginia's plantation homes were built before the antebellum period and mainly reflect colonial, English Georgian, and Jeffersonian styles of architecture. Gleason has photographed the homes in all seasons, framing some in the pink blossoms of springtime dogwoods, showing others surrounded by the golden hues of autumn, and presenting still others blanketed in January snows. Many of the photographs provide aerial perspectives that encompass not only the homes themselves but outbuildings and dependencies, great lawns and terraced gardens.The book begins with homes in the Tidewater region, where Bacon's Castle, built in 1665 on the south bank of the James River, still stands. It is the oldest surviving house not only in Virginia but in all of English-settled North America. Other houses from the Tidewater region include Westover, considered one of the most beautiful Georgian residences in the United States; Brandon, at one time the home of Benjamin Harrison; Appomattox Manor, where Ulysses S. Grant headquartered for a period during the Civil War; and Carter's Grove, near Williamsburg. In northern Virginia and the Shenandoah valley are Gunston Hall, near Alexandria; Woodlawn, in Fairfax County; Washington's Mount Vernon; and Melrose, a castellated manor inspired by the romantic literature of Sir Walter Scott. In the Piedmont, Gleason photographed such houses as Ash Lawn, the home of James Monroe; Edgemont, an exquisitely proportioned house showing Thomas Jefferson's influence; and Estouteville, whose great center hall opens onto identical Tuscan porticos framing magnificent views of the Virginia countryside. Gleason's photographs of a mist-shrouded Monticello are among the most beautiful in the book.In all, Gleason has photographed more than eighty of Virginia's finest plantation homes. Extensive captions provide concise histories of each house, including its original builder and subsequent owners, and its occupants, either friendly or hostile, during the Revolutionary or Civil wars.

    Responding to the lure of these great couture houses, many clients patronized two or even all three, lavishing money on clothes and expecting lavish clothes in return. The House of Worth was the workshop of a family obsessed with the uses of incredibly rich French silks. The fabrics chosen for Worth's gowns and wraps were the most luxurious -- the sort that glimmer under gaslight. Designs from the House of Doucet reflect that family's long association with linens and laces, coupled with Jacques Doucet's own taste for eighteenth-century fashion., Emile Pingat's creations represent the very epitome of haute couture -- exquisit design and flawless execution -- and, like those of Worth, show an adeptness at taking an historical prototype and making it over in keeping with the styles of his own time. Here is an enchanting survey of fin de siecle couture, with 52 color reproductions of the most sumptuous gowns. It accompanies a major exhibition at The Brooklyn Museum, drawn from the Museum's own extensive costume collection and from museums around the world. Elizabeth Ann Coleman brilliantly discusses and compares the designs, fabrics, and clients of Worth, Doucet and Pingat, setting the work of the three couture houses in a larger social and cultural context and illuminating the complex role that fashion has always played in society. With 228 illustrations, 52 in color

    Daniel Karlin's selection, based on a fresh examination of the original manuscripts, provides new insight into the clandestine correspondence which led to their elopement in 1846. These complex and subtle letters, in which they explored each others needs and desires, passions and anxieties, tell the story of how they waited many years to finally elope, overcoming certain obstacles such as the neurotic presence of Elizabeth Barrett's father, and the intense demands they made on one another.

    It retains all the relevant notes and headnotes from the complete edition and incorporates material from the Trinity MSS, never published until included in the complete edition.

    

    This book - originally published in conjunction with the Freud Museum in London and a touring exhibition of the finest pieces in the collection - examines what the works meant to Freud and the connections he made between art, antiquities, archaeology and psychoanalysis. The illustrations include colour plates of almost 90 antiquities, as well as documentary pictures of Freud's life and home.

    

    And, according to Jane Nardin, they were responsible for the dramatic shift in his treatment of women in his novels.This is the first book in Sandra Gilbert’s Ad Feminam series to examine a male author. Nardin initially analyzes the novels Trollope wrote from 1855 to 1861, in which male concerns are central to the plot and women are angelic heroines, submissive and self-sacrificing. Even the titles of his novels written during this period are totally male oriented. The Three Clerks, Doctor Thorne, and The Bertrams all refer to men. Shortly after meeting Kate Field, Trollope wrote Orley Farm, which refers to the estate an angry woman steals from her husband and which marks a change in the attitudes toward women evident in his novels.His next four books, The Small House at Allington, Rachel Ray, Can You Forgive Her?, and Miss Mackenzie, prove that women’s concerns had become central in his writing. Nardin examines specific novels written from 1861 to 1865 in which Trollope, with increasing vigor, subverts the conventional notions of gender that his earlier novels had endorsed.Nardin argues that his novels written after 1865 and often recognized as feminist are not really departures but merely refinements of attitudes Trollope exhibited in earlier works.

    Asserting that intonation, accent, tempo, and pitch of utterance can be inferredfrom a written text but are not clearly demonstrated, Griffiths provides original readings of the poets' work. He also examines the major preoccupations of the period--immortality, morbidity, marriage, social divisions, and religious conversions--to offer a new analysis of Victorian Poetry.