The novel's vision of Soviet life in the 1930s is so ferociously accurate that it could not be published during its author's lifetime and appeared only in a censored edition in the 1960s. Its truths are so enduring that its language has become part of the common Russian speech.One hot spring, the devil arrives in Moscow, accompanied by a retinue that includes a beautiful naked witch and an immense talking black cat with a fondness for chess and vodka. The visitors quickly wreak havoc in a city that refuses to believe in either God or Satan. But they also bring peace to two unhappy Muscovites: one is the Master, a writer pilloried for daring to write a novel about Christ and Pontius Pilate; the other is Margarita, who loves the Master so deeply that she is willing literally to go to hell for him. What ensues is a novel of inexhaustible energy, humor, and philosophical depth, a work whose nuances emerge for the first time in Diana Burgin's and Katherine Tiernan O'Connor's splendid English version.

    A novel that chronicles the lives of two women who could not be more different: Becky Sharp, an orphan whose only resources are her vast ambitions, her native wit, and her loose morals; and her schoolmate Amelia Sedley, a typically naive Victorian heroine, the pampered daughter of a wealthy family.

    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

    The devil will do all he asks on Earth and seeks to grant him a moment in life so glorious that he will wish it to last forever. But if Faust does bid the moment stay, he falls to Mephisto and must serve him after death. In this first part of Goethe’s great work, the embittered thinker and Mephistopheles enter into their agreement, and soon Faust is living a rejuvenated life and winning the love of the beautiful Gretchen. But in this compelling tragedy of arrogance, unfulfilled desire, and self-delusion, Faust heads inexorably toward an infernal destruction.The best translation of Faust available, this volume provides the original German text and its English counterpart on facing pages. Walter Kaufmann's translation conveys the poetic beauty and rhythm as well as the complex depth of Goethe's language. Includes Part One and selections from Part Two.

    "You love the boy body and soul, plainly, directly, as he loves you, and no other word expresses it ..."Lucy has her rigid, middle-class life mapped out for her, until she visits Florence with her uptight cousin Charlotte, and finds her neatly ordered existence thrown off balance. Her eyes are opened by the unconventional characters she meets at the Pension Bertolini: flamboyant romantic novelist Eleanor Lavish, the Cockney Signora, curious Mr Emerson and, most of all, his passionate son George.Lucy finds herself torn between the intensity of life in Italy and the repressed morals of Edwardian England, personified in her terminally dull fiancé Cecil Vyse. Will she ever learn to follow her own heart?

    Capturing a single day in the life of Dubliner Leopold Bloom, his friends Buck Mulligan and Stephen Dedalus, his wife Molly, and a scintillating cast of supporting characters, Joyce pushes Celtic lyricism and vulgarity to splendid extremes. Captivating experimental techniques range from interior monologues to exuberant wordplay and earthy humor. A major achievement in 20th century literature.

    The poem was inspired by Germanic and Anglo-Saxon oral tradition recounting the exploits of Beowulf, the hero who gave his name to the poem. Here, it's transcribed as a verse epic, onto which are grafted Christian additions.

    Benedictines in a wealthy Italian abbey are suspected of heresy, and Brother William of Baskerville arrives to investigate. When his delicate mission is suddenly overshadowed by seven bizarre deaths, Brother William turns detective. His tools are the logic of Aristotle, the theology of Aquinas, the empirical insights of Roger Bacon—all sharpened to a glistening edge by wry humor and a ferocious curiosity. He collects evidence, deciphers secret symbols and coded manuscripts, and digs into the eerie labyrinth of the abbey, where “the most interesting things happen at night.”

    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.

    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.

    Also included are a discussion of Stoker's working notes for the novel and "Dracula's Guest," the original opening chapter to Dracula. Reviews and Reactions reprints five early reviews of the novel. "Dramatic and Film Variations" focuses on theater and film adaptations of Dracula, two indications of the novel's unwavering appeal. David J. Skal, Gregory A. Waller, and Nina Auerbach offer their varied perspectives. Checklists of both dramatic and film adaptations are included.Criticism collects seven theoretical interpretations of Dracula by Phyllis A. Roth, Carol A. Senf, Franco Moretti, Christopher Craft, Bram Dijkstra, Stephen D. Arata, and Talia Schaffer.A Chronology and a Selected Bibliography are included.

    He sets this story in the romantic world of the Mediterranean, moving the action from Venice to the island of Cyprus and giving it an even more exotic coloring with stories of Othello's African past. Shakespeare builds so many differences into his hero and heroine—differences of race, of age, of cultural background—that one should not, perhaps, be surprised that the marriage ends disastrously. But most people who see or read the play feel that the love that the play presents between Othello and Desdemona is so strong that it would have overcome all these differences were it not for the words and actions of Othello's standard-bearer, Iago, who hates Othello and sets out to destroy him by destroying his love for Desdemona. As Othello succumbs to Iago's insinuations that Desdemona is unfaithful, fascination—which dominates the early acts of the play—turns to horror, especially for the audience. We are confronted by spectacles of a generous and trusting Othello in the grip of Iago's schemes; of an innocent Desdemona, who has given herself up entirely to her love for Othello only to be subjected to his horrifying verbal and physical assaults, the outcome of Othello's mistaken convictions about her faithlessness.

    A brilliant young psychiatrist at the time of his marriage, Dick is both husband and doctor to Nicole, whose wealth goads him into a lifestyle not his own, and whose growing strength highlights Dick's harrowing demise. A profound study of the romantic concept of character, Tender Is the Night is lyrical, expansive, and hauntingly evocative.

    The scarlet letter A (for adultery) she has to wear on her clothes, along with her public shaming, is her punishment for her sin and her secrecy. She struggles to create a new life of repentance and dignity. Throughout the book, Hawthorne explores themes of legalism, sin, and guilt.

    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.