Horace Gregory, in this modern translation, turns his poetic gifts toward a deft reconstruction of Ovid's ancient themes, using contemporary idiom to bring today's reader all the ageless drama and psychological truths vividly intact. --From the book jacket

    Its sequel, Dear Enemy (1915), also told in letters, follows the progress of Judy's former orphanage now run by her friend Sallie McBride, who struggles to give her young charges hope and a new life. Full of irrepressible female characters that both recall Alcott's Jo March and anticipate the popular heroines of contemporary literature, Webster's novels are witty, heartfelt, and delightfully modern.

    It was performed at the Lenaia, one of the Festivals of Dionysus in Athens, in 405 BC, receiving first place.

    John Herington, one of the world's foremost Aeschylean scholars, will come as a revelation. Scully and Herington accentuate the play's true power, drama, and relevance to modern times. Aeschylus originally wrote Prometheus Bound as part of a tragic trilogy, and this translation is unique in including the extant fragments of the companion plays.

    As Aeneas journeys closer to his goal, he must first prove his worth and attain the maturity necessary for such an illustrious task. He battles raging storms in the Mediterranean, encounters the fearsome Cyclopes, falls in love with Dido, Queen of Carthage, travels into the Underworld and wages war in Italy.

    Out of this skirmish arose a stirring tale of war, which was recorded in the oldest extant epic poem in French. The Song of Roland, written by an unknown poet, tells of Charlemagne’s warrior nephew, Lord of the Breton Marches, who valiantly leads his men into battle against the Saracens, but dies in the massacre, defiant to the end. In majestic verses, the battle becomes a symbolic struggle between Christianity and Islam, while Roland’s last stand is the ultimate expression of honour and feudal values of twelfth-century France.

    The novel tells the story of Ponyboy Curtis and his struggles with right and wrong in a society in which he believes that he is an outsider. According to Ponyboy, there are two kinds of people in the world: greasers and socs. A soc (short for "social") has money, can get away with just about anything, and has an attitude longer than a limousine. A greaser, on the other hand, always lives on the outside and needs to watch his back. Ponyboy is a greaser, and he's always been proud of it, even willing to rumble against a gang of socs for the sake of his fellow greasers--until one terrible night when his friend Johnny kills a soc. The murder gets under Ponyboy's skin, causing his bifurcated world to crumble and teaching him that pain feels the same whether a soc or a greaser.Librarian note: This record is for one of the three editions published with different covers and with ISBN 0-140-38572-X / 978-0-14-038572-4. The records are for the 1988 cover (this record), the 1995 cover, and the 2008 cover which is also the current in-print cover.

    At its heart are the heroic deeds of Sigurd the dragon slayer who acquires magical knowledge from one of Odin's Valkyries. Yet it is also set in a very human world, incorporating strands from the oral narratives of the fourth and fifth centuries, when Attila the Hun and other warriors fought on the northern frontiers of the Roman Empire. One of the great books of world literature, the saga is an unforgettable tale of princely jealousy, unrequited love, greed and vengeance. With its cursed treasure of the Rhine, sword reforged and magic ring of power, it was a major influence for writers including William Morris and J. R. R. Tolkien and for Wagner's Ring cycle.

    Taking examples from the plays of Aeschylus, Sophocles and Euripides, The Poetics introduces into literary criticism such central concepts as mimesis (‘imitation’), hamartia (‘error’), and katharsis (‘purification’). Aristotle explains how the most effective tragedies rely on complication and resolution, recognition and reversals, centring on characters of heroic stature, idealized yet true to life. One of the most powerful, perceptive and influential works of criticism in Western literary history, the Poetics has informed serious thinking about drama ever since.Malcolm Heath’s lucid English translation makes the Poetics fully accessible to the modern reader. It is accompanied by an extended introduction, which discusses the key concepts in detail and includes suggestions for further reading.

    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...".

    This retelling brings to life King Arthur and the adventures of his Knights, from the quest for the Holy Grail to the final tragedy of the Last Battle.

    (1886-1961) is what can best be described as a 'find', a posthumous treasure. In writing this book, H.D. returned to a year in her life that was 'peculiarly blighted.' She was in her early twenties--'a disappointment to her father, an odd duckling to her mother, an importunate, overgrown, unincarnated entity that had no place... Waves to fight against, to fight against alone... 'I am Hermione Gart, a failure'--she cried in her dementia, 'I am Her, Her, Her.' She had failed at Bryn Mawr, she felt hemmed in by her family, she did not yet know what she was going to do with her life.

    The play differs from other farces at the time by employing dynamic characters like Alceste and Célimène as opposed to the traditionally flat characters used by most satirists to criticize problems in society. It also differs from most of Molière's other works by focusing more on character development and nuances than on plot progression. The play, though not a commercial success in its time, survives as Molière's best-known work today. Much of its universal appeal is due to common undercurrents of misanthropy across cultural borders.

    This modern section has been overhauled to reflect the diversity of American writing since 1945. A section on 19th-century women's writing is included.

    One should not be surprised, I suppose, that it has remained vital, and immediate, for that is the nature of story. And this is particularly true of the oral tradition, which exists in a dimension of timelessness. I was first told these stories by my father when I was a child. I do not know how long they had existed before I heard them. They seem to proceed from a place of origin as old as the earth."The stories in The Way to Rainy Mountain are told in three voices. The first voice is the voice of my father, the ancestral voice, and the voice of the Kiowa oral tradition. The second is the voice of historical commentary. And the third is that of personal reminiscence, my own voice. There is a turning and returning of myth, history, and memoir throughout, a narrative wheel that is as sacred as language itself." —From the new Preface