With brilliant eccentricity, Ionesco's 'tragic farce' combines a comic portrait of human folly with a magical experiment in theatrical possibilities.

    More than in any of his other plays, Strindberg explores this theme in depth in The Father.In exploring the emotionally charged battle of the sexes and the clashes between scientific and religious convictions, The Father vividly delineates the essential quality of a man’s relationship with his wife and his daughter. The problem of paternity, trivial at the outset, develops into marital upheaval and a no-holds-barred struggle between man and woman.Widely regarded as one of Strindberg's best literary efforts, The Father remains one of the most gripping psychological dramas of the theater.

    Under the direction of Stephen Greenblatt, General Editor, the editors have reconsidered all aspects of the anthology to make it an even better teaching tool.

    Collected Poems brings together not only all his books--The North Ship, The Less Deceived, The Whitsun Weddings, and High Windows--but also his uncollected poems from 1940 to 1984.This new edition reflects Larkin's own ordering for his poems and is the first collection to present the body of his work with the organization he preferred. Preserving everything he published in his lifetime, the new Collected Poems is an indispensable contribution to the legacy of an icon of twentieth-century poetry.

    What we as her audience take away from this remarkable drama is a keener sense that, while death is real and unavoidable, our lives are ours to cherish or throw away—a lesson that can be both uplifting and redemptive. As the playwright herself puts it, “The play is not about doctors or even about cancer. It’s about kindness, but it shows arrogance. It’s about compassion, but it shows insensitivity.” In Wit, Edson delves into timeless questions with no final answers: How should we live our lives knowing that we will die? Is the way we live our lives and interact with others more important than what we achieve materially, professionally, or intellectually? How does language figure into our lives? Can science and art help us conquer death, or our fear of it? What will seem most important to each of us about life as that life comes to an end?The immediacy of the presentation, and the clarity and elegance of Edson’s writing, make this sophisticated, multilayered play accessible to almost any interested reader. As the play begins, Vivian Bearing, a renowned professor of English who has spent years studying and teaching the intricate, difficult Holy Sonnets of the seventeenth-century poet John Donne, is diagnosed with advanced ovarian cancer. Confident of her ability to stay in control of events, she brings to her illness the same intensely rational and painstakingly methodical approach that has guided her stellar academic career. But as her disease and its excruciatingly painful treatment inexorably progress, she begins to question the single-minded values and standards that have always directed her, finally coming to understand the aspects of life that make it truly worth living.

    During the War of the Seven Against Thebes, Antigone, the daughter of Oedipus, learns that her brothers have killed each other, having been forced onto opposing sides of the battle. When Creon, king of Thebes, grants burial of one but not the "treacherous" other, Antigone defies his order, believing it her duty to bury all of her close kin. Enraged, Creon condemns her to death, and his soldiers wall her up in a tomb. While Creon eventually agrees to Antigone's release, it is too late: She takes her own life, initiating a tragic repetition of events in her family's history.In this outstanding new translation, commissioned by Ireland's renowned Abbey Theatre to commemorate its centenary, Seamus Heaney exposes the darkness and the humanity in Sophocles' masterpiece, and inks it with his own modern and masterly touch.

    Inspired by the Prometheus Bound of Aeschylus, Shelley's play serves as a sort of sequel, matching its Greek predecessor in stature and pure poetic power. It depicts its philanthropist hero's ultimate triumph over the superstition and bigotry of the gods. As Shelley himself stated in his Defence of Poetry, Prometheus Unbound awakens and enlarges the mind.

    A young lieutenant directs rehearsals of the Restoration comedy, The Recruiting Officer. With a cast of convicts, opposition from sadistic officers and a leading lady who is due to be hanged, Australia's first theatrical production is in trouble from the start.

    Dowd starts to introduce his imaginary friend Harvey, a six and a half foot rabbit, to guests at a dinner party, his sister, Veta, has seen as much of his eccentric behavior as she can tolerate. She decides to have him committed to a sanitarium to spare her daughter, Myrtle Mae, and their family, from future embarrassment. Problems arise, however, when Veta herself is mistakenly assumed to be on the fringe of lunacy when she explains to doctors that years of living with Elwood's hallucination have caused her to see Harvey also! The doctors commit Veta instead of Elwood, but when the truth comes out, the search is on for Elwood and his invisible companion. When he shows up at the sanitarium looking for his lost friend Harvey it seems that the mild-mannered Elwood's delusion has had a strange influence on more than one of the doctors. Only at the end does Veta realize that maybe Harvey isn't so bad after all.

    As she describes her heroine's entry into society, womanhood and, inevitably, love, Burney exposes the vulnerability of female innocence in an image-conscious and often cruel world where social snobbery and sexual aggression are played out in the public arenas of pleasure-gardens, theatre visits, and balls. But Evelina's innocence also makes her a shrewd commentator on the excesses and absurdities of manners and social ambitions—as well as attracting the attention of the eminently eligible Lord Orville. Evelina, comic and shrewd, is at once a guide to fashionable London, a satirical attack on the new consumerism, an investigation of women's position in the late eighteenth century, and a love story. The new introduction and full notes to this edition help make this richness all the more readily available to a modern reader.

    This novel of an enclosed world invaded by public events also embodies in its characters the shifts in England's class structures at the beginning of the twentieth century.

    H. Auden’s Selected Poems adds twenty poems to the hundred in the original edition, broadening its focus to better reflect the enormous wealth of form, rhetoric, tone and content in Auden’s work. Newly included are such favorites as “Funeral Blues” and other works that represent Auden’s lighter, comic side, giving a fuller picture of the range of his genius. Also new are brief notes explaining references that may have become obscure to younger generations of readers and a revised introduction that draws on recent additions to knowledge about Auden.As in the original edition, the new Selected Poems makes available the preferred original versions of some thirty poems that Auden revised later in life, making it the best source for enjoying the many facets of Auden’s art in one volume.

    It is perhaps because of this that the poem is still popular with and of interest to modern readers. Owing to its length and its arguable breadth of focus, the poem might not be thought an elegy or a dirge in the strictest formal sense.The poem is not arranged exactly in the order in which it was written. The prologue, for example, is thought to have been one of the last things written. Critics believe, however, that the poem as a whole is meant to be chronological in terms of the progression of Tennyson's grief. The passage of time is marked by the three descriptions of Christmas at different points in the poem, and the poem ends with a description of the marriage of Tennyson's sister."In Memoriam" is written in four-line ABBA stanzas of iambic tetrameter, and such stanzas are now called In Memoriam Stanzas. Though not metrically unusual, given the length of the work, the meter creates a tonal effect which often divides readers - is it the natural sound of mourning and grief, or merely monotonous? The poem is divided into 133 cantos (including the prologue and epilogue), and in contrast to its constant and regulated metrical form, encompasses many different subjects: profound spiritual experiences, nostalgic reminiscence, philosophical speculation, Romantic fantasizing and even occasional verse. The death of Hallam, and Tennyson's attempts to cope with this, remain the strand that ties all these together.Excerpt: Strong Son of God, immortal Love,Whom we, that have not seen thy face,By faith, and faith alone, embrace,Believing where we cannot prove ;Thine are these orbs of light and shade ;Thou madest Life in man and brute ;[...]

    His images are beautiful and exact, but until now no translator had ever been able to make his characters speak unaffectedly on the American stage. Michael Dewell of the National Repertory Theatre and Carmen Zapata of the Bilingual Foundation of the Arts have created these versions expressly for the stage. The result, both performable and readable, has been thoroughly revised for this edition, which is introduced by Christopher Maurer, general editor of the Complete Poetical Works of García Lorca.

    Inspired by Frank Wedekind’s controversial 1891 play about teenage sexuality and society’s efforts to control it, the piece seamlessly merges past and present, underscoring the timelessness of adolescent angst and the universality of human passion.Steven Sater’s plays include the long-running Carbondale Dreams, Perfect for You, Doll (Rosenthal Prize/Cincinnati Playhouse), Umbrage (Steppenwolf New Play Prize), and a reconceived version of Shakespeare’s Tempest, which played in London.Duncan Sheik is a singer/songwriter who also collaborated with Sater on the musical The Nightingale. He has composed original music for The Gold Rooms of Nero and for The Public Theater’s Twelfth Night in Central Park.