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    The vivid translations, which combine elegance and modernity, are remarkable for their lucidity and accuracy, and are equally suitable for reading for pleasure, study, or theatrical performance. The selection of Antigone, Oedipus the King, and Electra not only offers the reader the most influential and famous of Sophocles' works, it also presents in one volume the two plays dominated by a female heroic figure, and the experience of the two great dynasties featured in Greek tragedy--the houses of Oedipus and Agamemnon.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    (doubling possible.) / 5 ints. or unit set. Recently revived on Broadway to great acclaim, this is the rollicking tale of three down and out troupers who decide to head for Hollywood and try their luck with the newly invented talkies. Due to a series of consistent blunders, the most stupid of the three is carried to pinnacles of fame and fortune until he's literally made a god of the industry. It's a fast paced and wild romp and a marvelous spoof of tinsel land.

    Rebellious in spirit, conservative in philosophy, Nashe's brilliant and comic invective earned him a reputation as the 'English Juvenal' who 'carried the deadly stockado in his pen.' In its mingling of the devout and the bawdy, scholarship and slang, its brutality and its constant awareness of the immanence of death, his work epitomizes the ambivalence of the Elizabethans. Above all, Nashe was a great entertainer, 'his stories are told for pleasure in telling, his jokes are cracked for the fun of them, and his whole style speaks of a relish for living.'In addition to The Unfortunate Traveller, this volume contains Pierce Penniless, The Terrors of the Night, Lenten Stuff, and extracts from Christ's Tears over Jerusalem, The Anatomy of Absurdity, and other works.

    

    This unique edition includes his most famous play, Fuente Ovejuna, as well as The Knight from Olmedo and Punishment without Revenge. Presented here in superb translation, these plays embody the very best of Lope's dramatic art.

    Here are such well-known songs and sonnets as "A Valediction: Forbidding Mourning," "The Extasie," and "A Nocturnall Upon S. Lucies Day," along with the love elegies "Jealosie," "His Parting From Her," and "To His Mistris Going to Bed." Presented as well are Donne's satires, epigrams, verse letters, and holy sonnets, along with his most ambitious and important poems, the Anniversaries. In addition, there is a generous sampling of Donne's prose, including many of his private letters; Ignatius His Conclave, a satiric onslaught on the Jesuits; excerpts from Biathanatos, his celebrated defense of suicide; and his most famous sermons, concluding with the final "Death's Duell." "We have only to read [Donne]," wrote Virginia Woolf, "to submit to the sound of that passionate and penetrating voice, and his figure rises again across the waste of the years more erect, more imperious, more inscrutable than any of his time."

    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...".

    With stage performance specifically in mind, Ahl renders Seneca's dramatic force in a modern idiom and style that move easily between formality and colloquialism as the text demands, and he strives to reproduce the richness of the original Latin, to retain the poetic form, images, wordplays, enigmas, paradoxes, and dark humor of Seneca's tragedies.In this powerful and imaginative translation of Medea, Frederick Ahl retains the compelling effects of the monologues, as well as the special feeling and pacing of Seneca's choruses.

    It reprints, on facing pages, the version of "The Prelude" was was completed in 1805, together with the much-revised work published after the poet's death in 1850. In addition the editors include the two-part version of the poem, composed 1798-99. Each of these poems has its distinctive qualities and values; to read them together provides an imcomparable chance to observe a great poet composing and recomposing, through a long life, his major work.

    Prince Nicu II and Princess Victoria's immutable, romantic feelings for one another forces them to engage in extremely risky actions and fabricate various falsehoods. Throughout the play Nicu II and Victoria deceive everyone; including their parents King Nicu I and Queen Isabella. Nicu II is presumptuous in character, therefore, he maintains an excessive confidence within himself that he and his sister's romantic relationship can continue without being discovered, but Victoria fears that they cannot continue their affair emotionally unscathed. Despite Victoria's worries, she continues with the relationship as Nicu II emboldens her more and more.

    Symbolist poets and writers — Stéphane Mallarmé and Maurice Maeterlinck among them — defended the play's literary brilliance. Beyond its notoriety, the drama's haunting poetic imagery, biblical cadences, and febrile atmosphere have earned it a reputation as a masterpiece of the Aesthetic movement of fin de siècle England.Written originally in French in 1892, this sinister tale of a woman scorned and her vengeance was translated into English by Lord Alfred Douglas. The play inspired some of Aubrey Beardsley's finest illustrations, and an abridged version served as the text for Strauss' renowned opera of the same name. This volume reprints the complete text of the first English edition, published in 1894, and also includes "A Note on Salomé" by Robert Ross, Wilde's lifelong friend and literary executor. Students, lovers of literature and drama, and admirers of Oscar Wilde and his remarkable literary gifts will rejoice in this inexpensive edition.

    Here men from all walks of life don the garb of their fantasies and act them out: a man from the gas company wears the robe and mitre of a bishop; another customer becomes a flagellant judge, and still another a victorious general, while a bank clerk defiles the Virgin mary. These costumed diversions take place while outside a revolution rages on which has isolated the brothel from the rest of the rebel-controlled city. In a stunning series of macabre, climactic scenes, Genet presents his caustic view of man and society.

    In a house just outside the village of Ballybeg live the five Mundy sisters, barely making ends meet, their ages ranging from twenty-six up to forty. The two male members of the household are brother Jack, a missionary priest, repatriated from Africa by his superiors after twenty-five years, and the seven-year-old child of the youngest sister. In depicting two days in the life of this menage, Brian Friel evokes not simply the interior landscape of a group of human beings trapped in their domestic situation, but the wider landscape, interior and exterior, Christian and pagan, of which they are nonetheless a part.