There he learns of a great hoard of treasure hidden on the Isle of Monte Cristo and he becomes determined not only to escape, but also to unearth the treasure and use it to plot the destruction of the three men responsible for his incarceration. Dumas’ epic tale of suffering and retribution, inspired by a real-life case of wrongful imprisonment, was a huge popular success when it was first serialized in the 1840s.Robin Buss’s lively English translation is complete and unabridged, and remains faithful to the style of Dumas’s original. This edition includes an introduction, explanatory notes and suggestions for further reading.

    Dumas transforms minor historical figures into larger- than-life characters: the Comte d’Artagnan, an impetuous young man in pursuit of glory; the beguilingly evil seductress “Milady”; the powerful and devious Cardinal Richelieu; the weak King Louis XIII and his unhappy queen—and, of course, the three musketeers themselves, Athos, Porthos, and Aramis, whose motto “all for one, one for all” has come to epitomize devoted friendship. With a plot that delivers stolen diamonds, masked balls, purloined letters, and, of course, great bouts of swordplay, The Three Musketeers is eternally entertaining.

    Her father, a famous musician, dies, and she is raised in the Paris Opera House with his dying promise of a protective angel of music to guide her. After a time at the opera house, she begins hearing a voice, who eventually teaches her how to sing beautifully. All goes well until Christine's childhood friend Raoul comes to visit his parents, who are patrons of the opera, and he sees Christine when she begins successfully singing on the stage. The voice, who is the deformed, murderous 'ghost' of the opera house named Erik, however, grows violent in his terrible jealousy, until Christine suddenly disappears. The phantom is in love, but it can only spell disaster.Leroux's work, with characters ranging from the spoiled prima donna Carlotta to the mysterious Persian from Erik's past, has been immortalized by memorable adaptations. Despite this, it remains a remarkable piece of Gothic horror literature in and of itself, deeper and darker than any version that follows.

    In it Tolstoy uses his intense imaginative insight to create some of the most memorable characters in all of literature. Anna is a sophisticated woman who abandons her empty existence as the wife of Karenin and turns to Count Vronsky to fulfil her passionate nature - with tragic consequences. Levin is a reflection of Tolstoy himself, often expressing the author's own views and convictions.Throughout, Tolstoy points no moral, merely inviting us not to judge but to watch. As Rosemary Edmonds comments, 'He leaves the shifting patterns of the kaleidoscope to bring home the meaning of the brooding words following the title, 'Vengeance is mine, and I will repay.

    The character lives beyond her means in order to escape the banalities and emptiness of provincial life. When the novel was first serialized in La Revue de Paris between 1 October 1856 and 15 December 1856, public prosecutors attacked the novel for obscenity. The resulting trial in January 1857 made the story notorious. After Flaubert's acquittal on 7 February 1857, Madame Bovary became a bestseller in April 1857 when it was published in two volumes. A seminal work of literary realism, the novel is now considered Flaubert's masterpiece, and one of the most influential literary works in history.

    The most famous and perhaps the most popular of his works, it compresses an event of immense complexity to the scale of a family history, with a cast of characters that includes a bloodthirsty ogress and an antihero as believably flawed as any in modern fiction. Though the least typical of the author’s novels, A Tale of Two Cities still underscores many of his enduring themes—imprisonment, injustice, social anarchy, resurrection, and the renunciation that fosters renewal.

    For the Fourth Edition, the editor has collated the 1847 text with several modern editions and has corrected a number of variants, including accidentals. The text is accompanied by entirely new explanatory annotations.New to the fourth Edition are twelve of Emily Bronte's letters regarding the publication of the 1847 edition of Wuthering Heights as well as the evolution of the 1850 edition, prose and poetry selections by the author, four reviews of the novel, and poetry selections by the author, four reviews of the novel, and Edward Chitham's insightful and informative chronology of the creative process behind the beloved work.Five major critical interpretations of Wuthering Heights are included, three of them new to the Fourth Edition. A Stuart Daley considers the importance of chronology in the novel. J. Hillis Miller examines Wuthering Heights's problems of genre and critical reputation. Sandra M. Gilbert assesses the role of Victorian Christianity plays in the novel, while Martha Nussbaum traces the novel's romanticism. Finally, Lin Haire-Sargeant scrutinizes the role of Heathcliff in film adaptations of Wuthering Heights. A Chronology and updated Selected Bibliography are also included.

    Reluctantly agreeing to marry Mrs Haze just to be close to Lolita, Humbert suffers greatly in the pursuit of romance; but when Lo herself starts looking for attention elsewhere, he will carry her off on a desperate cross-country misadventure, all in the name of Love. Hilarious, flamboyant, heart-breaking and full of ingenious word play, Lolita is an immaculate, unforgettable masterpiece of obsession, delusion and lust.

    Her courage is tested once again when she arrives at Thornfield Hall, where she has been hired by the brooding, proud Edward Rochester to care for his ward Adèle. Jane finds herself drawn to his troubled yet kind spirit. She falls in love. Hard. But there is a terrifying secret inside the gloomy, forbidding Thornfield Hall. Is Rochester hiding from Jane? Will Jane be left heartbroken and exiled once again?

    Initially repulsed by the ugliness of her new surroundings in the industrial town of Milton, Margaret becomes aware of the poverty and suffering of the local mill workers and develops a passionate sense of social justice. This is intensified by her tempestuous relationship with the mill-owner and self-made man, John Thornton, as their fierce opposition over his treatment of his employees masks a deeper attraction.In North and South, Elizabeth Gaskell skillfully fuses individual feeling with social concern, and in Margaret Hale creates one of the most original heroines of Victorian literature.

    Jane Austen called this brilliant work "her own darling child" and its vivacious heroine, Elizabeth Bennet, "as delightful a creature as ever appeared in print." The romantic clash between the opinionated Elizabeth and her proud beau, Mr. Darcy, is a splendid performance of civilized sparring. And Jane Austen's radiant wit sparkles as her characters dance a delicate quadrille of flirtation and intrigue, making this book the most superb comedy of manners of Regency England.

    He imagines himself to be a great man, a Napoleon: acting for a higher purpose beyond conventional moral law. But as he embarks on a dangerous game of cat and mouse with a suspicious police investigator, Raskolnikov is pursued by the growing voice of his conscience and finds the noose of his own guilt tightening around his neck. Only Sonya, a downtrodden sex worker, can offer the chance of redemption.

    The subject of major film and stage adaptations, the novel's prime movers, the Vicomte de Valmont and the Marquise de Merteuil, form an unholy alliance and turn seduction into a game - a game which they must win. This new translation gives Laclos a modern voice, and readers will be able a judge whether the novel is as "diabolical" and "infamous" as its critics have claimed, or whether it has much to tell us about the kind of world we ourselves live in. David Coward's introduction explodes myths about Laclos's own life and puts the book in its literary and cultural context.

    The tale of Dorian Gray’s moral disintegration caused a scandal when it first appeared in 1890, but though Wilde was attacked for the novel’s corrupting influence, he responded that there is, in fact, “a terrible moral in Dorian Gray.” Just a few years later, the book and the aesthetic/moral dilemma it presented became issues in the trials occasioned by Wilde’s homosexual liaisons, which resulted in his imprisonment. Of Dorian Gray’s relationship to autobiography, Wilde noted in a letter, “Basil Hallward is what I think I am: Lord Henry what the world thinks me: Dorian what I would like to be—in other ages, perhaps.

    A very different man, Angel Clare, seems to offer her love and salvation, but Tess must choose whether to reveal her past or remain silent in the hope of a peaceful future.