An entirely new introduction sets the tragedy in the context of pre-Civil War England and gives a revealing view of its imagery and dramatic action.From its well-documented early performances to the two productions seen in the West End of London in the 1995-96 season, a stage history gives an account of the play in performance. Students, actors, directors and theatre-goers will all find here a reappraisal of Webster's artistry in the greatest age of English theatre, which highlights why it has lived on stage with renewed force in the last decades of the twentieth century.

    This richly varied collection of observation, fancy and fiction shows the London he knew so intimately at its best and worst - its streets, theatres, inns, pawnshops, law courts, prisons, omnibuses and the river Thames - in honest and visionary descriptions of everyday life and people. Through pen portraits that often anticipate characters from his great novels, we see the condemned man in his prison cell, garrulous matrons, vulgar young clerks and Scrooge-like bachelors, while Dickens's powers for social critique are never far from the surface, in unflinching depictions of the vast metropolis's forgotten citizens, from child workers to prostitutes. A startling mixture of humour and pathos, these Sketches reveal London as wonderful terrain for an extraordinary young writer.Sketches is a remarkable achievement, and looks towards Dickens's giant novels in its profusion of characters, its glimpses of surreal modernity and its limitless fund of pathos and comic invention.

    But as he digs deeper into Falkland's past and finally unearths the guilty truth, the results of his curiosity prove calamitous when - even though Caleb has loyally sworn never to disclose what he has discovered - the Squire enacts a cruel revenge. A tale of gripping suspense and psychological power, William Godwin's novel creates a searing depiction of the intolerable persecution meted out to a good man in pursuit of justice and equality. Written to expose the political oppression and corrupt hierarchies its author saw in the world around him, Caleb Williams (1794) makes a radical call to end the tyrannical misuses of power.

    Technically skillful and spiritually haunting, Poe's body of work poems, tales, a novel, and essays—awakens readers to the darker side of humanity. This Norton Critical Edition includes Poe's most important writing, introduced, annotated, and edited by leading Poe scholar G. R. Thompson."Backgrounds and Contexts" includes fifty-seven judiciously chosen documents that illuminate Poe's short but prolific career, among them Poe's reviews, prefaces, and related correspondence as well as thematic pieces dealing with Transcendentalism and alternative Romanticism, psychological science, sensation fiction, and slavery and the South.Fourteen critical essays address the major themes and genres of Poe's work. Among the contributors are Richard Wilbur, Grace Farrell, Barton Levi St. Armand, J. Gerald Kennedy, and John T. Irwin. A Selected Bibliography and an Index to Works and First Lines of Poems are also included.--back coverTable of ContentsAcknowledgments Edgar A. Poe—An American Life (1809-1849) A Note on Texts and Annotations The Texts of The Selected Writings of Edgar Allan Poe POEMS Introduction Tamerlane Dreams Spirits of the Dead Evening Star Imitation Stanzas: In Youth A Dream The Happiest Day The Lake Sonnet—To Science Al Aaraaf Introduction Fairyland [1] Fairyland [2] Alone To Helen [Stanard] Israfel The Sleeper The Valley of Unrest The City in the Sea The Coliseum Sonnet—Silence Dream-Land The Raven Ulalume—A Ballad The Bells To Helen [Whitman] A Dream Within a Dream For Annie Eldorado Annabel Lee TALES AND SKETCHES Introduction Metzengerstein Loss of Breath [A Decided Loss] MS. Found in a Bottle The Assignation [The Visionary] Lionizing [Some Passages in the Life of a Lion] Shadow Silence Berenice King Pest Ligeia How to Write a Blackwood Article A Predicament [The Scythe of Time] The Man That Was Used Up The Fall of the House of Usher William Wilson The Man in the Crowd The Murders in the Rue Morgue A Descent into the Maelström The Colloquy of Monos and Una Never Bet the Devil Your Head The Oval Portrait [Life in Death] The Masque of the Red Death The Pit and the Pendulum The Tell-Tale Heart The Gold-Bug The Black Cat The Premature Burial The Purloined Letter Some Words with a Mummy The Power of Words The Imp of the Perverse The Facts of the Case of M. Valdemar The Cask of Amontillado Hop-Frog The Narrative of Arthur Gordon Pym Selections from Eureka Backgrounds and Contexts Edgar Allan Poe—Preface to Tamerlane and Other Poems Edgar Allan Poe—To B__________ (July 1836) Edgar Allan Poe—To Joseph T. and Edwin Buckingham (May 4, 1833) Edgar Allan Poe—Preface to Tales of the Folio Club Edgar Allan Poe—To T. W. Hite (April 30, 1835) Edgar Allan Poe—Review of Theodore Fay, Norman Leslie Edgar Allan Poe—Review of Morris Mattson, Paul Ulric J. P. Kennedy—To Edgar Allan Poe (February 9. 1836) Edgar Allan Poe—To J. P. Kennedy (February 11, 1836) J. K. Paulding—To T. W. White (March 3, 1836) Edgar Allan Poe—Review of Drake & Halleck (April 1836) Edgar Allan Poe—To Harrison Hall (September 2, 1836) Edgar Allan Poe—Review of Robert M. Bird, Sheppard Lee (September 1836) Edgar Allan Poe—Review of Baron de la Motte Fouqué, Undine (September 1839) Edgar Allan Poe—To Philip P. Cooke (September 21, 1839) Edgar Allan Poe—Review of Thomas Moore, Alciphron Edgar Allan Poe—Preface to Tales of the Groesque and Arabesque Edgar Allan Poe—Prospectus for Penn Magazine Edgar Allan Poe—To William E. Burton (June 1, 1840) Edgar Allan Poe—Review of Edward Lytton Bulwer, Night and Morning Edgar Allan Poe—Review of Lambert A. Wilmer, Quacks of Helicon Edgar Allan Poe—Excordium to Critical Notices Edgar Allan Poe—Review of Henry Wadsworth Longfellow, Ballads and Other Poems Edgar Allan Poe—Two Reviews of Nathaniel Hawthorne, Twice-Told Tales Edgar Allan Poe—To J. E. Snodgrass (June 4, 1842) Edgar Allan Poe—To James Russell Lowell (July 2, 1844) Edgar Allan Poe—Preface to the Marginalia series James Russell Lowell—Our Contributors . . . Edgar Allan Poe Anonymous [Edgar Allan Poe]—Review of Henry Wadsworth Longfellow Edgar Allan Poe—Review of Thomas Hood, Prose and Verse Unsigned Review—Tales of Edgar Allan Poe Edgar Allan Poe—Preface to The Raven and Other Poems Edgar Allan Poe—The Philosophy of Composition Edgar Allan Poe—To P. P. Cooke (August 9, 1846) Edgar Allan Poe—Review of Nathaniel Hawthorne, Twice-Told Tales and Mosses from an Old Manse Edgar Allan Poe—The Poetic Principle Edgar Allan Poe—A Reviewer Reviewed George Graham—The Later Edgar Poe Charles Baudelaire—Edgar Allan Poe: His Life and Works Walt Whitman—[Edgar Poe's Significance] TRANSCENDENTALISM AND ALTERNATIVE ROMANTICISM Introduction Frederic Henry Hedge—On Immanuel Kant and German Transcendentalism Friedrich Schlegel—Fragments from Lyceum, Athenaeum, and Dialogue of Poesie August Wilhelm Schlegel—The Tragic; The Comic Jean Paul Friedrich Richter—Humoristic Subjectivity SCIENCES OF THE MIND Introduction Lavater, Gall, and Spurzheim—From Physiognomical System of Dr. Gall and Spurzheim Orson S. Fowler—From Fowler's Practical Phrenology Thomas C. Upham—From Outlines of Imperfection and Disordered Action POPULAR FICTION: BLACKWOOD'S AND THE SENSATION TALE Introduction Anonymous—Extracts from Gosschen's Diary Anonymous—The Buried Alive William Maginn—The Man in the Bell THE SOUTH AND SLAVERY Introduction James E. Heath—Southern Literature Anonymous—Slavery Edgar Allan Poe—To Beverley Tucker (May 2, 1836) J. V. Ridgely—The Authorship of the Paulding-Drayton Review Edgar Allan Poe—To J. E. Snodgrass (June 17, 1840) Criticism Introduction Floyd Stovall—[Poetry, Imagination, and Cosmos: Poe's Debt to Coleridge] Robert C. McLean—[Poetic Theory and Affective Poetry: Poe and George Tucker] Richard Wilbur—The House of Poe James W. Gargano—The Question of Poe's Narrators Joseph J. Moldenhauer—Murder as a Fine Art: Basic Connections between Poe's Aesthetics, Psychology, and Moral Vision Paul John Eakin—Poe's Sense of an Ending Grace Farrell—The Quest of Arthur Gordon Pym Liahna Klenman Babener—The Shadow's Shadow: The Motif of the Double in Edgar Allan Poe's "The Purloined Letter" Barton Levi St. Armand—The "Mysteries" of Edgar Poe: The Quest for a Monomyth in Gothic Literature Joseph N. Riddel—The "Crypt" of Edgar Allan Poe J. Gerald Kennedy—Phantasms of Death in Poe's Fiction John Carlos Rowe—Poe, Antebellum Slavery, and Modern Criticism Terence Whalen—Average Racism: Poe, Slavery, and the Wages of Literary Nationalism John T. Irwin—Detective Fiction as High Art: Lacan, Derrida, and Johnson on "The Purloined Letter" Selected Bibliography

    Yeats laid the foundations for an Irish literary revival, drawing inspiration from his country's folklore, the occult, and Celtic philosophy. A writer of both poems and plays, he helped found Dublin's famed Abbey Theatre. The poems here provide an example of his life's work and artistry, beginning with verses such as "The Stolen Child" from his debut collection "Crossways "(written when he was 24) through "Why Should Not Old Men Be Mad?" from "On the Boiler," published a year prior to his death.

    An inspector calls to interrogate the family, and during the course of his questioning, all members of the group are implicated lightly or deeply in the girl's undoing. The family, closely knit and friendly at the beginning of the evening, is shown up as selfish, self-centered or cowardly, its good humor turning to acid, and good fellowship to dislike, before the evening is over. The surprising revelation, however, is in the inspector...

    It includes Emily's verse from Poems by Currer, Ellis and Acton Bell, as well as 200 works collected from various manuscript sources after her death in 1848.

    Instead she finally marries Somerset, but her castle home is burned to the ground, and she remains a Laodicean to the end.

    His mason anxiously advises against it, for the old cathedral was built without foundations. Nevertheless, the spire rises octagon upon octagon, pinnacle by pinnacle, until the stone pillars shriek and the ground beneath it swims. Its shadow falls ever darker on the world below, and on Dean Jocelin in particular.From the author of Lord of the Flies, The Spire is a dark and powerful portrait of one man's will, and the folly that he creates.

    Johnson had in his friend Boswell the ideal biographer.Notoriously and self-confessedly intemperate, Boswell shared with Johnson a huge appetite for life and threw equal energy into recording its every aspect in minute but telling detail. This irrepressible Scotsman was 'always studying human nature and making experiments', and the marvelously vivacious Journals he wrote daily furnished him with first-rate material when he came to write his biography.The result is a masterpiece that brims over with wit, anecdote and originality. Hailed by Macaulay as the best biography ever written and by Carlyle as a book 'beyond any other product of the eighteenth century', The Life of Samuel Johnson today continues to enjoy its status as a classic of the language.This shortened version is based on the 1799 edition, the last in which the author had a hand.

    It abounds with classical allusions, the fervor of a religious revival, and poetic inspiration and aspirations.

    Set in the seventeenth century, it tells the story of a country and a family riven by war, and features one of fiction's most original heroines.Honor Harris is only eighteen when she first meets Richard Grenvile, proud, reckless - and utterly captivating. But following a riding accident, Honor must reconcile herself to a life alone. As Richard rises through the ranks of the army, marries and makes enemies, Honor remains true to himAs the English Civil war is waged across the country, Richard rises through the ranks of the army, marries and makes enemies, and Honor remains true to him, and finally discovers the secret of Menabilly.Decades later, an undaunted Sir Richard, now a general serving King Charles I, finds her. Finally they can share their passion in the ruins of her family's great estate on the storm-tossed Cornish coast-one last time before being torn apart, never to embrace again.

    Through a psychiatrist's analysis of the events, Shaffer creates a chilling portrait of how materialism and convenience have killed our capacity for worship and passion and, consequently, our capacity for pain. Rarely has a playwrite created an atmosphere and situation that so harshly pinpoint the spiritual and mental decay of modern man.

    The Knight, the Miller, the Friar, the Squire, the Prioress, the Wife of Bath, and others who make up the cast of characters -- including Chaucer himself -- are real people, with human emotions and weaknesses. When it is remembered that Chaucer wrote in English at a time when Latin was the standard literary language across western Europe, the magnitude of his achievement is even more remarkable. But Chaucer's genius needs no historical introduction; it bursts forth from every page of The Canterbury Tales.If we trust the General Prologue, Chaucer intended that each pilgrim should tell two tales on the way to Canterbury and two tales on the way back. He never finished his enormous project and even the completed tales were not finally revised. Scholars are uncertain about the order of the tales. As the printing press had yet to be invented when Chaucer wrote his works, The Canterbury Tales has been passed down in several handwritten manuscripts.

    At Gip's urging, the two go in — and things grow more and more curious by the minute. Counters, store fixtures, and mirrors seem to move around the room, and the shopkeeper is most mysterious of all. Gip is thrilled by all he sees, and his father is at first amused, but when things become stranger and sinister father is no longer sure where reality ends and illusion begins. Fantastical illustrations underscore the macabre atmosphere of the tale, make this a perfect book read aloud together again and again.