Siegfried, a great prince of the Netherlands, wins the hand of the beautiful princess Kriemhild of Burgundy, by aiding her brother Gunther in his struggle to seduce a powerful Icelandic Queen. But the two women quarrel, and Siegfried is ultimately destroyed by those he trusts the most. Comparable in scope to the Iliad, this skilfully crafted work combines the fragments of half-forgotten myths to create one of the greatest epic poems - the principal version of the heroic legends used by Richard Wagner, in The Ring.

    Southworth was one of the most popular and prolific writers of the nineteenth century and her Capitola Black, or Black Cap - a cross-dressing, adventure-seeking girl-woman - was so well-loved that the book was serialized three times between 1859 and 1888 and was dramatized in forty different versions. When we first meet sharp and witty Capitola she is living among beggars and street urchins, and dressed as a boy because a boy can get work and be safe, whereas a girl is left to starve for want of "proper" employment. Unknown to her, Capitola has a very rich elderly guardian who finds her at a providential moment and takes her back to his palatial mansion where she finds herself "decomposing above ground for want of having my blood stirred." But not to fear. There are bandits, true-loves, evil men, long-lost mothers, and sweet women friends in Capitola's future - not to mention thunder storms, kidnap attempts, and duels. The pace is fast, the action wonderfully unbelievable. This is escape literature at its nineteenth-century best, with a woman at its center who makes you feel strong, daring, and reckless.

    Here indeed is a monumental Faust, an audacious man boldly wagering with the devil, Mephistopheles, that no magic, sensuality, experience, or knowledge can lead him to a moment he would wish to last forever. Here, in Faust, Part I, the tremendous versatility of Goethe’s genius creates some of the most beautiful passages in literature. Here too we experience Goethe’s characteristic humor, the excitement and eroticism of the witches’ Walpurgis Night, and the moving emotion of Gretchen’s tragic fate.This authoritative edition, which offers Peter Salm’s wonderfully readable translation as well as the original German on facing pages, brings us Faust in a vital, rhythmic American idiom that carefully preserves the grandeur, integrity, and poetic immediacy of Goethe’s words.

    He died mysteriously soon thereafter, his eccentric and beautiful castles his only legacy.When an encoded diary by one of Ludwig’s confidants falls into the hands of rare book dealer Steven Lukas, he soon realizes that the diary may bring him more misery than money. Others want the diary as well—and they will kill to get it. Believing the diary to contain the secret truth behind Ludwig’s death, Steven and the detective Sara Lengfeld go on the run, investigating each of Ludwig’s three famous castles for clues. Just what in the diary could be so explosive that Ludwig's deranged modern-day followers will do whatever it takes to keep it hidden?Combining contemporary mystery and a gripping historical saga, putting computers and smartphones alongside derringers and palace intrigue, The Ludwig Conspiracy is a bold new thriller from the best-selling author of The Hangman’s Daughter series.

    Written shortly after The Scarlet Letter, The House of the Seven Gables re-addresses the theme of human guilt in a style remarkable in both its descriptive virtuosity and its truly modern mix of fantasy and realism.

    From this moment on, their lives become webs of deceit and revelation as they vie to outwit and expose one another.Their rivalry will take them to the peaks of their careers, but with terrible consequences. In the course of pursuing each other's ruin, they will deploy all the deception their magicians' craft can command--the highest misdirection and the darkest science.Blood will be spilled, but it will not be enough. In the end, their legacy will pass on for generations...to descendants who must, for their sanity's sake, untangle the puzzle left to them.

    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.

    She has created a world so thoroughly enchanting that eight hundred pages leave readers longing for more.English magicians were once the wonder of the known world, with fairy servants at their beck and call; they could command winds, mountains, and woods. But by the early 1800s they have long since lost the ability to perform magic. They can only write long, dull papers about it, while fairy servants are nothing but a fading memory.But at Hurtfew Abbey in Yorkshire, the rich, reclusive Mr Norrell has assembled a wonderful library of lost and forgotten books from England's magical past and regained some of the powers of England's magicians. He goes to London and raises a beautiful young woman from the dead. Soon he is lending his help to the government in the war against Napoleon Bonaparte, creating ghostly fleets of rain-ships to confuse and alarm the French.All goes well until a rival magician appears. Jonathan Strange is handsome, charming, and talkative-the very opposite of Mr Norrell. Strange thinks nothing of enduring the rigors of campaigning with Wellington's army and doing magic on battlefields. Astonished to find another practicing magician, Mr Norrell accepts Strange as a pupil. But it soon becomes clear that their ideas of what English magic ought to be are very different. For Mr Norrell, their power is something to be cautiously controlled, while Jonathan Strange will always be attracted to the wildest, most perilous forms of magic. He becomes fascinated by the ancient, shadowy figure of the Raven King, a child taken by fairies who became king of both England and Faerie, and the most legendary magician of all. Eventually Strange's heedless pursuit of long-forgotten magic threatens to destroy not only his partnership with Norrell, but everything that he holds dear.

    During his stay he agrees to serve as a guinea pig for a new drug that Magnus has discovered in his scientific research. When Dick samples Magnus's potion, he finds himself doing the impossible: traveling through time while staying in place, thrown all the way back into Medieval Cornwall. The concoction wear off after several hours, but its effects are intoxicating and Dick cannot resist his newfound powers. As his journeys increase, Dick begins to resent the days he must spend in the modern world, longing ever more fervently to get back into his world of centuries before, and the home of the beautiful Lady Isolda...

    Severin finds his ideal of voluptuous cruelty in the merciless Wanda von Dunajew. This is a passionate and powerful portrayal of one man's struggle to enlighten and instruct himself and others in the realm of desire. Published in 1870, the novel gained notoriety and a degree of immortality for its author when the word "masochism"—derived from his name—entered the vocabulary of psychiatry. This remains a classic literary statement on sexual submission and control.

    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.

    This jewel-like novella by the writer that Thomas Mann praised as "one of the most extraordinary, the most enigmatic, the most secretly daring and the most strangely gripping narrators in world literature" is among the most unusual, moving, and memorable of Christmas stories. Two children—Conrad and his little sister, Sanna—set out from their village high up in the Alps to visit their grandparents in the neighboring valley. It is the day before Christmas but the weather is mild, though of course night falls early in December and the children are warned not to linger. The grandparents welcome the children with presents and pack them off with kisses. Then snow begins to fall, ever more thickly and steadily. Undaunted, the children press on, only to take a wrong turn. The snow rises higher and higher, time passes: it is deep night when the sky clears and Conrad and Sanna discover themselves out on a glacier, terrifying and beautiful, the heart of the void.

    With this volume, the holy trinity of fairy tales - the Brothers Grimm, Charles Perrault, and Hans Christian Andersen - becomes a quartet. In the 1850s, Franz Xaver von Schönwerth traversed the forests, lowlands, and mountains of northern Bavaria to record fairy tales, gaining the admiration of even the Brothers Grimm. Most of Schönwerth's work was lost - until a few years ago, when thirty boxes of manu­scripts were uncovered in a German municipal archive.Now, for the first time, Schönwerth's lost fairy tales are available in English. Violent, dark, and full of action, and upending the relationship between damsels in distress and their dragon-slaying heroes, these more than seventy stories bring us closer than ever to the unadorned oral tradition in which fairy tales are rooted, revolutionizing our understanding of a hallowed genre.

    As a boy, he lives to decipher the odors of Paris, and apprentices himself to a prominent perfumer who teaches him the ancient art of mixing precious oils and herbs. But Grenouille's genius is such that he is not satisfied to stop there, and he becomes obsessed with capturing the smells of objects such as brass doorknobs and fresh-cut wood. Then one day he catches a hint of a scent that will drive him on an ever-more-terrifying quest to create the "ultimate perfume"—the scent of a beautiful young virgin. Told with dazzling narrative brilliance, Perfume is a hauntingly powerful tale of murder and sensual depravity.

    This edition also includes a new introduction and suggestions for further reading by author and Shelley expert Charlotte Gordon, literary excerpts and reviews selected by Gordon and a chronology and essay by preeminent Shelley scholar Charles E. Robinson.