Revised reissue.

    Society believes the worst of Justin, who is clearly proud of his sobriquet, 'Satanas'. In a dark Parisian back alley, he is accosted by Leon, a young person dressed in ragged boy's clothing running away from a brutal rustic guardian. The Duke buys Leon, a redheaded urchin with strangely familiar looks, who is in fact Leonie, and she serves him with deep devotion. The Duke suspected the truth about his page--she was really none other than the wicked Comte de Saint Vire's legitimate daughter, deprived of her heritage by the comte's dastardly desire for a male heir.Among the splendours of Versailles and the dignified mansions of England, Justin begins to unfold his sinister plans, and Leonie shoulds play a fine part in Duke's long-over-due schemes to avenge himslef on the Comte de St Vire. The duke's plan was simple: parade delicately handsome Leonie in front of his enemy and transforming her into the toast of the town, before his innocent ward reclaim her birthright, destroying her true father in the process. But the duke hadn't expected Leonie's breathtaking transformation or the tender emotions she awoke--and he'd already set his dangerous scheme in motion....While, titian-haired Leonie, ward of the dashing Duke of Avon, has all Paris at her feet. Yet her true origins remained shrouded in mystery. And neither the glittering soirees nor the young aristocrats who so ardently courted her could still the question that plagued her young heart. Just one man held the secret, the one she feared most in the world--the iron-willed Comte de Saint-Vire, deadly enemy of the Duke. He would give her the answer--for a price. But could she betray the man she secretly, helplessly loved? And could this proud young beauty hear to face the truth when it came?

    Under the direction of Stephen Greenblatt, General Editor, the editors have reconsidered all aspects of the anthology to make it an even better teaching tool.

    The system worked this way: When a man committed a crime important enough to interest the king, notice was given that the fate of the accused person would be decided, on a given date, in the arena of the amphitheater. When the date arrived and everyone had assembled in the galleries, the king gave a signal, a door beneath him opened, and the accused stepped out into the arena. Two doors, exactly alike and side by side, faced the accused, and it was his duty to open one of them. He could open either door he pleased. If he opened the one, a hungry tiger would spring upon him and tear him to pieces. But, if he opened the other door, a beautiful lady came out and the accused was immediately married to her, as a reward for his innocence.The king had a beautiful daughter, with whom a young man of common blood fell in love. The king's daughter was also in love with the young man. The love affair went on for some time before the king discovered its existence. Immediately, the king had the youth placed into prison and set a day for the trial in the arena. The appointed day arrived, and the galleries of the arena were filled. The signal was given, a door beneath the royal party opened, and the lover of the princess walked into the arena. The princess, through the use of her position and money, had learned behind which door stood the lady and behind which waited the tiger. The youth expected her to have learned this information, and he looked toward her for a signal. Her signal was toward the right, and the youth went to the door on the right and opened it. The story leaves it up to the reader to decide which came out of the door--the lady or the tiger. Which did the princess decide? Was it to let her lover to live and love another woman, or did she decide that if she couldn't have him no one would?

    Presents an introduction to Shakespeare's greatest plays including Hamlet Othello, As You Like It, The Taming of the Shrew, The Tempest and Pericles.

    Let us go then, you and I, When the evening is spread out against the sky Like a patient etherized upon a table; Let us go, through certain half-deserted streets, The muttering retreats Of restless nights in one-night cheap hotels.

    Malory interprets existing French and English stories about these figures and adds original material (e.g., the Gareth story). Le Morte d'Arthur was first published in 1485 by William Caxton, and is today one of the best-known works of Arthurian literature in English. Many modern Arthurian writers have used Malory as their principal source, including T. H. White in his popular The Once and Future King and Tennyson in The Idylls of the King.

    It is and based on Elizabeth's own experiences.Excerpt from Aurora Leigh: A Poem in Nine Books Aurora Leigh. First Book. Of writing many books there is no end;And I, who have written much in prose and verseFor others' uses, will write now for mine, -Will write my story for my better self, As when you paint your portrait for a friend, Who keeps it in a drawer, and looks at itLong after he has ceased to love you, justTo hold together what he was and is. I, writing thus, am still what men call youngI have not so far left the coasts of lifeTo travel inland, that I cannot hearThat murmur of the outer InfiniteWhich unweaned babies smile at in their sleepWhen wondered at for smiling; not so far, But still I catch my mother at her postBeside the nursery-door, with finger up, "Hush, hush, here's too much noise!" while her sweet eyesLeap forward, taking part against her wordIn the child's riot. Still I sit, and feelMy father's slow hand, when she has left us both, Stroke out my childish curls across his knee, And hear Assunta's daily jest (she knewHe liked it better than a better jest)Inquire how many golden scudi wentTo make such ringlets. O my father's hand, Stroke heavily, heavily, the poor hair down, Draw, press the child's head closer to thy knee!I'm still too young, too young, to sit alone.

    Lawrence's frank portrayal of an extramarital affair and the explicit sexual explorations of its central characters caused this controversial book, now considered a masterpiece, to be banned as pornography until 1960.

    John Galsworthy, a Nobel Prize-winning author, chronicles the ebbing social power of the commercial upper-middle-class Forsyte family through three generations, beginning in Victorian London during the 1880s and ending in the early 1920s.

    Hartley's finest novel, encounters a world of unimagined luxury. But when his friend's beautiful older sister enlists him as the unwitting messenger in her illicit love affair, the aftershocks will be felt for years. The inspiration for the brilliant Joseph Losey/Harold Pinter film starring Julie Christie and Alan Bates, The Go-Between is a masterpiece—a richly layered, spellbinding story about past and present, naiveté and knowledge, and the mysteries of the human heart. This volume includes, for the first time ever in North America, Hartley's own introduction to the novel.

    Capt. Delano boards the San Dominick, providing needed supplies, and tries to learn from her aloof and disturbed captain, Benito Cereno, the story of how this ship came to be where she is. Dealing with racism, the slave trade, madness, the tension between representation and reality, and featuring at least one unreliable narrator, Melville's novella has both captivated and frustrated critics for decades.

    But her sudden popularity left her quite unspoiled. A singular modesty, a childlike simplicity, a deep and beauti ful religious faith, were the qualities that endeared her to her friends and that are still evidenced by what was written of her at her death, which occurred in Dorchester October 1, 1866. As her pastor, Rev. Nathaniel Hall, declared in his memorial discourse, She received her success with a simple gladness, less that she was famous than that she might be useful; less that she had gained the public's applause than that she had touched, to issues human and philanthropic, the public's heart, and caused her poor 'lamplighter' to be the means of illumining other and direr darkness than that of night.

    In it Malamud, usually appreciated for his unerring portrayals of postwar Jewish life, took on very different material—the story of a superbly gifted "natural" at play in the fields of the old daylight baseball era—and invested it with the hardscrabble poetry, at once grand and altogether believable, that runs through all his best work. Four decades later, Alfred Kazin's comment still holds true: "Malamud has done something which—now that he has done it!—looks as if we have been waiting for it all our lives. He has really raised the whole passion and craziness and fanaticism of baseball as a popular spectacle to its ordained place in mythology."

    An inspector calls to interrogate the family, and during the course of his questioning, all members of the group are implicated lightly or deeply in the girl's undoing. The family, closely knit and friendly at the beginning of the evening, is shown up as selfish, self-centered or cowardly, its good humor turning to acid, and good fellowship to dislike, before the evening is over. The surprising revelation, however, is in the inspector...