With Mirabell? You call my blood into my face with mentioning that traitor. She durst not have the confidence. I sent her to negotiate an affair, in which if I'm detected I'm undone. If that wheedling villain has wrought upon Foible to detect me, I'm ruined. O my dear friend, I'm a wretch of wretches if I'm detected.

    Pheobe Throssel and Valentine Brown are a young couple separated by the Neopoleonic wars for ten years, only to find themselves the unfortunate victims of time and age upon their reunion. This story of lost love, spinsters, secret disguises, and the complexities of human emotion will enchant readers today as much as it did the audiences of New York and London over a century ago.

    The classic play about Sir Thomas More, the Lord chancellor who refused to compromise and was executed by Henry VIII.

    NO EXIT is an unforgettable portrayal of hell. THE FLIES is a modern reworking of the Electra-Orestes story. DIRTY HANDS is about a young intellectual torn between theory and praxis. THE RESPECTFUL PROSTITUTE is an attack on American racism.

    Maria was young and innocent and had never known love—until Tony. And he, who had been seeking something beyond the savagery of the streets, discovered it with her. But Maria’s brother was leader of the Sharks and Tony had once led the rival Jets. Now both gangs were claiming the same turf. Tony promised Maria that he would stay out of it. Would he be able to keep his word? Or would their newfound love be destroyed by sudden death?

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    In A Streetcar Named Desire fading southern belle Blanche Dubois finds her romantic illusions brutally shattered; The Glass Menagerie portrays an introverted girl trapped in a fantasy world; and Sweet Bird of Youth shows how we are unable to escape ‘the enemy, time’.

    But this play-within-a-play is not historical drama. Its thought is as modern as today's police states and The Bomb; its theatrical impact has everywhere been called a major innovation. It is total theatre: philosophically problematic, visually terrifying. It engages the eye, the ear, and the mind with every imaginable dramatic device, technique, and stage picture, even including song and dance. All the forces and elements possible to the stage are fused in one overwhelming experience. This is theatre such as has rarely been seen before. The play is basically concerned with the problem of revolution. Are the same things true for the masses and for their leaders? And where, in modern times, lie the borderlines of sanity?

    Although from a middle-class Protestant background, Synge's writings are mainly concerned with the world of the Roman Catholic peasants of rural Ireland. He is best known for his play The Playboy of the Western World, which caused riots in Dublin. His experiences on the Aran islands were to form the basis for many of his plays, including Riders to the Sea. Set in a cottage on Inishmaan, it is about a man whose body was washed up on the far away coast of Donegal, and who, by reason of certain peculiarities of dress, was suspected to be from the island.

    He browbeats his flatmate, terrorizes his wife, and is not above sleeping with her best friend-who loathes Jimmy almost as much as he loathes himself. Yet this working-class Hamlet, the original Angry Young Man, is one of the most mesmerizing characters ever to burst onto a stage, a malevolently vital, volcanically articulate internal exile in the dreary, dreaming Siberia of postwar England.First produced in 1956, Look Back in Anger launched a revolution in the English theater. Savagely, sadly, and always impolitely, it compels readers and audiences to acknowledge the hidden currents of rottenness and rage in what used to be called "the good life."

    At first the Sycamore family seems mad, but it is not long before we realize that if they are mad, the rest of the world is really verklempt.

    It remains one of the world's most widely produced plays. The plot follows a love affair between two people, Doris and George, married to others, who rendezvous once a year. Twenty-five years of manners and morals are hilariously and touchingly played out by the lovers. "Delicious wit, compassion, a sense of humor and a feel for nostalgia."-The New York Times "Genuinely funny and genuinely romantic."-The New York Post

    E. Housman is being ferried across the river Styx, glad to be dead at last. The river that flows through Tom Stoppard's The Invention of Love connects Hades with the Oxford of Housman's youth: High Victorian morality is under siege from the Aesthetic movement, and an Irish student named Wilde is preparing to burst onto the London scene. On his journey the elder Housman confronts the younger version of himself and his memories of the man he loved his entire life, Moses Jackson -- the handsome athlete who could not return his feelings.

    Through her vivacious and spirited heroines and their circle, she paints vivid portraits of English middle-class life as the eighteenth century came to a close. Each of the novels is a love story and a story about marriage — marriage for love, for financial security, for social status. But they are not mere romances; ironic, comic and wise, they are masterly studies of the society Jane Austen observed. The seven novels in this volume contain some of the most brilliant, dazzling prose in the English language.--back coverEmma / Lady Susan / Mansfield Park / Northanger Abbey / Persuasion / Pride and Prejudice / Sense and Sensibility

    "Endgame, " originally written in French and translated into English by Beckett himself, is considered by many critics to be his greatest single work. A pinnacle of Beckett's characteristic raw minimalism, it is a pure and devastating distillation of the human essence in the face of approaching death.