There are seven in all, with subjects ranging from social revolt to insanity, disease and unrequited love. They are considered some of the finest works of German literary Expressionism and have been compared to the stories of Edgar Allan Poe and the prose pieces of Baudelaire.

    Set in and around a large pool of water onstage, Metamorphoses juxtaposes the ancient and the contemporary in both language and image to reflect the variety and persistence of narrative in the face of inevitable change. Nominated for three 2002 Tony Awards, including "Best Play," Metamorphoses earned Zimmerman a Tony for "Best Direction of a Play."

    Writing at a time when Athens was undergoing a crisis in its social attitudes, Aristophanes was undergoing a crisis in its social attitudes, Aristophanes was an eloquent opponent of the demagogue and the sophist, and his comedy reveals a deep sympathy and longing for the return of a peaceful and honest way of life.

    One of the most individual voices of his generation, Armitage revitalizes our sense of the Odyssey as oral poetry, as indeed one of the greatest of tall tales.

    It provoked a vast number of imitations and remained steadily in print through the eighteenth century (with sporadic reprints after that). It still possesses an enormous vigor and vitality.The book owes its long life to an imagination, wit, and humor rich with insights into human nature, yet neither bitter nor namby pamby. Its commentary on the boasting, pedantry, false learning, gambling, gluttony, medical folly, adultery, greed, envy, hatred, pride and other failings that mark humanity are sharp and telling, and, sadly, as relevant today as they were 450 years ago.This translation by Professor Edwin H. Zeydel is the only accurate English translation ever published. (Barclay's version is really a pastiche written in imitation of Brant.) The form Professor Zeydel uses is verse, like the original, and he even retains the original rhyme scheme and meter. The achievement is remarkable, for it captures all the charm and movement of the original German while sacrificing nothing to readability and fluidity.Published now with the 114 original Renaissance woodcuts and with Professor Zeydel's annotations, a biography of Brant, a publishing history, and a survey of the work's influence, this will unquestionably remain the definitive edition of The Ship of Fools in English. The illustrations are part of Dover's Pictorial Archive Series and may be used by commercial artists free of charge.

    His crime: he was the substitute piano player in a student cabaret in which seditious verses were sung. Dallow returns to a life in of loveless sex, police harassment, and brutality, revealing how a corrupt system perverts all human interaction, and how lives are ruined by malicious caprice.

    This classic of Japanese literature invites you to take your choice if you dare.In Ghostly Japan collects twelve ghostly stories from Lafcadio Hearn, deathless images of ghosts and goblins, touches of folklore and superstition, salted with traditions of the nation. While some of these stories contain nightmare imagery worthy of a midnight creature feature, others are not ghostly or ghastly at all. "Bits of Poetry" offers an engaging study on verse, and "Japanese Buddhist Proverbs" explains the meaning of several aphorisms based on Japanese cultural references.Whether you're looking to spot the demons that walk among us, or simply to enjoy the prose of a legendary craftsman, In Ghostly Japan affords countless delights. Stories include:"Fragment" about a young pilgrim who encounters a mountain of skulls"Ingwa-banashi" about a dying wife who bequeaths a rival a sinister legacy"A Passional Karma" about a spectral beauty who returns for her handsome samurai lover

    It is a typical example of a Romantic closet drama. Manfred was adapted musically by Robert Schumann in 1852, in a composition entitled Manfred: Dramatic Poem with music in Three Parts, and later by Pyotr Ilyich Tchaikovsky in his Manfred Symphony, Op. 58, as well as by Carl Reinecke. Friedrich Nietzsche was impressed by the poem's depiction of a super-human being, and wrote some music for it. Byron wrote this "metaphysical drama", as he called it, after his marriage failed in scandal amidst charges of sexual improprieties and an incestuous affair between Byron and his half-sister, Augusta Leigh. Attacked by the press and ostracized by London society, Byron fled England for Switzerland in 1816 and never returned. Because Manfred was written immediately after this and because Manfred regards a main character tortured by his own sense of guilt for an unmentionable offense, some critics consider Manfred to be autobiographical, or even confessional.The unnamed but forbidden nature of Manfred's relationship to Astarte is believed to represent Byron's relationship with his half-sister Augusta. Byron commenced this work in late 1816, only a few months after the famed ghost-story sessions which provided the initial impetus for Mary Shelley's Frankenstein. The supernatural references are made clear throughout the poem. In one scene, for example, (Act III, Scene IV, Interior of the Tower), Manfred recalls traveling through time (or astral projection traveling) to Caesar's palace, "and fill'd up, As 't were anew, the gaps of centuries...".

    Reading these stories entails abandoning the terms of one's own comfort. The author's relentless vision demands that readers allows themselves to be hypnotised, taken over by her repetitive cadences and burning images of grief and loss. And yet, in the beauty of her images there is a tremendous affirmation of the world.

    In Norse Mythology, Gaiman stays true to the myths in envisioning the major Norse pantheon: Odin, the highest of the high, wise, daring, and cunning; Thor, Odin’s son, incredibly strong yet not the wisest of gods; and Loki—son of a giant—blood brother to Odin and a trickster and unsurpassable manipulator.Gaiman fashions these primeval stories into a novelistic arc that begins with the genesis of the legendary nine worlds and delves into the exploits of deities, dwarfs, and giants. Through Gaiman’s deft and witty prose, these gods emerge with their fiercely competitive natures, their susceptibility to being duped and to duping others, and their tendency to let passion ignite their actions, making these long-ago myths breathe pungent life again.

    The Light That Shines in the Darkness -- the last of Tolstoy's plays, was left unfinished. In Russia it is prohibited on account of its allusions to the refusal of military service. Yet it is in some ways the most interesting of Tolstoy's posthumous works. It is obviously not strictly autobiographical, for Tolstoy was not assassinated as the hero of the piece is, nor was his daughter engaged to be married to a young prince who refused military service. But like some of his other writings, the play is semi-autobiographical. In it, not only has Tolstoy utilised personal experiences, but more than that, he answers the question so often asked: Why, holding his views, did he not free himself from property before he grew old?

    Born under a rare alignment of the stars, Johann Georg Gerlach, “the lucky one” to his mother—is fated for greatness. But Johann’s studies and wonder at the sky have made him suspect. Especially in wake of the child disappearances that have left the God-fearing locals trembling and his one true love trapped in terrified catatonia. Her only words: “I have seen the devil…”Banished from Knittlingen as cursed, Johann crosses paths with Tonio del Moravia. The traveling fortune-teller and master of the arcane arts recognizes something extraordinary in the wanderer. Taking Johann under his wing, Tonio promises a new world of knowledge and sensations. But with it comes a sinister web of deception and a chilling prophecy.The stars are set to align again. Now Johann must draw on the skills of his apprenticeship to solve the dark mystery that grips his village in fear and the deepening mystery of his own destiny.

    Horror and bloodshed mingle with a soft, imaginative romanticism making an instant classic. --Salisbury Times, Britain

    “The Dillons magnificently capture the drama with powerful full-page illustrations that resemble stage sets. . . . Ideal for reading aloud during an Egyptian unit, in music classes, to children attending the opera, or for the pure aesthetic experience.”--Booklist

    Leo would spend the next five years in a coke processing plant, shoveling coal, lugging bricks, mixing mortar, and battling the relentless calculus of hunger that governed the labor colony: one shovel load of coal is worth one gram of bread.In her new novel, Nobel laureate Herta Müller calls upon her unique combination of poetic intensity and dispassionate precision to conjure the distorted world of the labor camp in all its physical and moral absurdity. She has given Leo the language to express the inexpressible, as hunger sharpens his senses into an acuity that is both hallucinatory and profound. In scene after disorienting scene, the most ordinary objects accrue tender poignancy as they acquire new purpose—a gramophone box serves as a suitcase, a handkerchief becomes a talisman, an enormous piece of casing pipe functions as a lovers' trysting place. The heart is reduced to a pump, the breath mechanized to the rhythm of a swinging shovel, and coal, sand, and snow have a will of their own. Hunger becomes an insatiable angel who haunts the camp day and night, but also a bare-knuckled sparring partner, delivering blows that keep Leo feeling the rawest connection to life.Müller has distilled Leo's struggle into words of breathtaking intensity that take us on a journey far beyond the Gulag and into the depths of one man's soul.