The era was one of unprecedented authoritarianism: England, it seemed, had become a police state, fearful of threats from abroad and plotters at home. This age of terror was also the era of the greatest creative genius the world has ever known: William Shakespeare. How, then, could such a remarkable man born into such violently volatile times apparently make no comment about the state of England in his work? He did. But it was hidden. Revealing Shakespeare's sophisticated version of a forgotten code developed by 16th-century dissidents, Clare Asquith shows how he was both a genius for all time and utterly a creature of his own era: a writer who was supported by dissident Catholic aristocrats, who agonized about the fate of England's spiritual and political life and who used the stage to attack and expose a regime which he believed had seized illegal control of the country he loved.Shakespeare's plays offer an acute insight into the politics and personalities of his era. And Clare Asquith's decoding of them offers answers to several mysteries surrounding Shakespeare's own life, including most notably why he stopped writing while still at the height of his powers. An utterly compelling combination of literary detection and political revelation, Shadowplay is the definitive expose of how Shakespeare lived through and understood the agonies of his time, and what he had to say about them.

    His great Canto XIII is about Kung (Confucius), Cantos LII-LXI deal with Chinese history, and in the later Cantos key motifs are often given in Chinese quotations with the characters set into the English text. His introduction to Chinese and Japanese literature was chiefly through Ernest Fenollosa whose translations and notes were given him by the scholar's widow in London about 1913. From these notebooks came, in time, the superb poems entitled Cathay and Pound's edition of Fenollosa's Chinese Written Character as a Medium for Poetry. But it was Confucius’ ethical and political teachings which most influenced Pound. And now, for the first time, his versions, with commentary, of three basic texts that he translated have been assembled in one volume: The Great Digest (Ta Hsio), first published in 1928; The Unwobbling Pivot (Chung Yung), 1947; and The Analects (Lun-yü), 1950. For the first two, the Chinese characters from the ancient "Stone Classics” are printed en face in our edition, with a note by Achilles Fang. Pound never wanted to be a literal translator. What he could do, as no other could, is to identify the essence, pick out "what matters now," and phrase it so pungently, so beautifully, that it will stick in the head and "make it new."

    The aim of the series is to give readers accessible and informative introductions to some of the most popular, most acclaimed and most influential novels of recent years - from ‘The Remains of the Day' to ‘White Teeth'. A team of contemporary fiction scholars from both sides of the Atlantic has been assembled to provide a thorough and readable analysis of each of the novels in question.

    This world of total human experience is the world that is (or at least ought to be) reflected and molded by the arts, above all by the art of literature. "What is the function of literature," Mr. Huxley asks, "what its psychology, what the nature of literary language? And how do its function, psychology and language differ from those of science? What in the past has been the relationship between literature and science? What is it now? What might it be in the future? And what would it be profitable, artistically speaking, for a twentieth-century man of letters to do about twentieth-century science?"Ours is the Age of Science; but from a study of the best contemporary literature one would find it difficult to infer this most obvious of facts. Contemporary poetry, drama and fiction contain remarkably few references to contemporary science—few references even to the metaphysical and ethical problems which contemporary science has raised. That this state of affairs should somehow be remedied is the theme of every recent discussion of "the Two Cultures." unfortunately most of these discussions have been carried on in abstract terms and with almost no citations of case histories, no references to the concrete problems of literary and scientific writing, no illustrative examples. Mr. Huxley has approached the subject in a different way. He deals with specific questions in the fields of immediate experience, of conceptualization, of philosophical interpretation and of verbal expression; and he illustrates these wide-ranging themes with copious quotations, drawn from a great variety of sources. He analyzes the nature of literary language and contrasts its many-meaninged richness with the simplified and jargonized language of science. He shows how the poets of earlier centuries made use of the scientific knowledge available to them. He gives examples of the ways in which modern science has modified and added to the traditional raw materials of literature. And he concludes with a speculative discussion of the ways in which future men of letters may work up the raw materials of brand new fact and revolutionary hypothesis provided by science, transfiguring them into a new kind of literature, capable of expression and at the same time coordinating and giving significance to the totality of an ever-widening human experience.

    Every book in the Mandarin Companion series is carefully written to use characters, words, and grammar that a learner is likely to know. Level 2 is intended for Chinese learners at a low intermediate level. Most learners who have been able to comfortably read Mandarin Companion Level 1 should be able to read this book. This series is designed to combine simplicity of characters with an easy-to-understand storyline that helps learners grow their vocabulary and language comprehension abilities. The more they read, the better they will become at reading and grasping the Chinese language. Great Expectations is hailed as Charles Dickens' masterpiece. A gripping tale of love and loss, aspiration and moral redemption, the story follows the young orphan Xiaomao (Pip) from poverty to a life of unexpected opportunity and wealth. In Part 1, Xiaomao (Pip) is raised by his short-tempered older sister and her husband who run a small repair shop in the outskirts of Shanghai. Xiaomao dreams of leaving his life of poverty behind after becoming playmates with the beautiful Bingbing (Estella), daughter of the eccentric Bai Xiaojie (Ms. Havisham). His prospects for the future are bleak, until one day a mysterious benefactor gives Xiaomao the opportunity of a lifetime.

    A long-standing favorite of English speaking tourists and visitors, Chinglish is now quickly becoming a culture relic: in preparation for the 2008 Olympic Games in Beijing, the Chinese government was determined to wipe out incorrect English usage.

    With newly expanded material, personal documents, social records, laws, and documents that historians mistakenly ignore, the sixth edition is even more useful than its classic predecessor. A complete and thorough introduction to Chinese history and culture.

    Soseki Natsume is widely considered the foremost novelist of the Meiji period in Japan.

    Now David Young, author of Black Lab, and well known as a translator of Chinese poets, gives us a sparkling new translation of Du Fu’s verse, arranged to give us a tour of the life, each “chapter” of poems preceded by an introductory paragraph that situates us in place, time, and circumstance. What emerges is a portrait of a modest yet great artist, an ordinary man moving and adjusting as he must in troubled times, while creating a startling, timeless body of work.Du Fu wrote poems that engaged his contemporaries and widened the path of the lyric poet. As his society—one of the world’s great civilizations—slipped from a golden age into chaos, he wrote of the uncertain course of empire, the misfortunes and pleasures of his own family, the hard lives of ordinary people, the changing seasons, and the lives of creatures who shared his environment. As the poet chases chickens around the yard, observes tear streaks on his wife’s cheek, or receives a gift of some shallots from a neighbor, Young’s rendering brings Du Fu’s voice naturally and elegantly to life.I sing what comes to mein ways both old and modernmy only audience right now—nearby bushes and treeselegant houses standin an elegant row, too manyif my heart turns to ashesthen that’s all right with me . . .from “Meandering River”

    R. R. Tolkien’s magnum opus, The Lord of the Rings has been beloved for generations, selling millions of copies and selling millions more tickets through its award-winning film adaptations. The immense cultural impact of this epic is undeniable, but the deeper meaning of the story often goes unnoticed. Here, Joseph Pearce, author of Bilbo’s Journey uncovers the rich—and distinctly Christian—meaning just beneath the surface of The Lord of the Rings. Make the journey with Frodo as he makes his perilous trek from the Shire to Mordor, while Pearce expertly reveals the deeper, spiritual significance. Did you know that the events of The Lord of the Rings are deeply intertwined with the Christian calendar? Or what the Ring, with its awesome and terrible power represents? How do the figures of good and evil in the story reflect those forces in our own lives? Find the answers to these questions and much more in Frodo’s Journey.

    The lifetime work of Professor Alexander Schmidt of Königsberg, this book has long been the indispensable companion for every person seriously interested in Shakespeare, Renaissance poetry and prose of any sort, or English literature. It is really two important books in one.Schmidt’s set contains every single word that Shakespeare used, not simply words that have changed their meaning since the seventeenth century, but every word in all the accepted plays and the poems. Covering both quartos and folios, it carefully distinguishes between shades of meaning for each word and provides exact definitions, plus governing phrases and locations, down to the numbered line of the Cambridge edition of Shakespeare. There is no other word dictionary comparable to this work.Even more useful to the general reader, however, is the incredible wealth of exact quotations. Arranged under the words of the quotation itself (hence no need to consult confusing subject classifications) are more than 50,000 exact quotations. Each is precisely located, so that you can easily refer back to the plays or poems themselves, if you wish context.Other features helpful to the scholar are appendixes on basic grammatical observations, a glossary of provincialisms, a list of words and sentences taken from foreign languages, a list of words that form the latter part of word-combinations. This third edition features a supplement with new findings.

    Beloved translator Peter Beilenson’s goal was twofold: to craft a book of haiku accessible to anyone, and to render his best guess at what the poets would have written in English. His translations preserve the sublime spirit of each verse, conjuring vivid visual and emotional impressions in spare words.Haiku icon Basho is represented amply here, as are imagery-virtuoso Buson and wry, warm, painfully human Issa. The verses of Shiki, Joso, Kyorai, Kikaku, Chora, Gyodai, Kakei, Izen, and others also appear, all illuminated by lovely woodblock prints. Ranging from exquisite (In the sea surf edge/Mingling with the bright small shells…/Bush-clover petals –Basho) to bittersweet (Dead my fine hopes/And dry my dreaming, but still…/Iris, blue each spring –Shushiki) to silly (Dim the grey cow comes/Mooing, mooing, and mooing/Out of the morning mist –Issa), this collection will stir your senses and your heart.

    Chanted daily by many Zen practitioners, it is also studied extensively in the Tibetan tradition, and it has been regarded with interest more recently in the West in various fields of study—from philosophy to quantum physics. In just a few lines, it expresses the truth of impermanence and the release of suffering that results from the understanding of that truth with a breathtaking economy of language. Kazuaki Tanahashi’s guide to the Heart Sutra is the result of a life spent working with it and living it. He outlines the history and meaning of the text and then analyzes it line by line in its various forms (Sanskrit, Chinese, Japanese, Korean, Tibetan, Mongolian, and various key English translations), providing a deeper understanding of the history and etymology of the elusive words than is generally available to the nonspecialist—yet with a clear emphasis on the relevance of the text to practice. This book includes a fresh and meticulous new translation of the text by the author and Roshi Joan Halifax.

    Thirty years later, a resident of the United States, he won the National Book Award for his novel Waiting, completing a trajectory that has established him as one of the most admired exemplars of world literature. Ha Jin’s journey raises rich and fascinating questions about language, migration, and the place of literature in a rapidly globalizing world—questions that take center stage in The Writer as Migrant, his first work of nonfiction. Consisting of three interconnected essays, this book sets Ha Jin’s own work and life alongside those of other literary exiles, creating a conversation across cultures and between eras. He employs the cases of Alexander Solzhenitsyn and Chinese novelist Lin Yutang to illustrate the obligation a writer feels to the land of his birth, while Joseph Conrad and Vladimir Nabokov—who, like Ha Jin, adopted English for their writing—are enlisted to explore a migrant author’s conscious choice of a literary language. A final essay draws on V. S. Naipaul and Milan Kundera to consider the ways in which our era of perpetual change forces a migrant writer to reconceptualize the very idea of home. Throughout, Jin brings other celebrated writers into the conversation as well, including W. G. Sebald, C. P. Cavafy, and Salman Rushdie—refracting and refining the very idea of a literature of migration. Simultaneously a reflection on a crucial theme and a fascinating glimpse at the writers who compose Ha Jin’s mental library, The Writer as Migrant is a work of passionately engaged criticism, one rooted in departures but feeling like a new arrival.

    The two works translated in this book, Mumonkan (The Gateless Gate ) and Hekiganroku (The Blue Cliff Record), both compiled during the Song dynasty in China, are the best known and most frequently studied koan collections, and are classics of Zen literature. They are still used today in a variety of practice lineages, from traditional zendos to modern Zen centers. In a completely new translation, together with original commentaries, the well-known Zen teacher Katsuki Sekida brings to these works the same fresh and pragmatic approach that made his Zen Training so successful. The insights of a lifetime of Zen practice and his familiarity with both Eastern and Western ways of thinking make him an ideal interpreter of these texts.