First published in 1993, this acclaimed translation, which follows the verse form of the original exactly, filled that niche. It reads smoothly and idiomatically, yet is the result of prolonged thought and deep back- ground knowledge.The translation is accompanied by Stewart Spencer’s introductory essay on the libretto and a series of specially commissioned texts by Barry Millington, Roger Hollinrake, Elizabeth Magee, and Warren Darcy that discuss the cycle’s musical structure, philosophical implications, medieval sources, and Wagner’s own changing attitude to its meaning. With a glossary of names, a review of audio and video recordings, and a select bibliography, this book is an essential complement to Wagner’s great epic.

    The resulting novel, The Artificial Silk Girl, became an acclaimed bestseller and a masterwork of German literature, in the tradition of Christopher Isherwood's 'Berlin Stories' and Bertolt Brecht's 'Three Penny Opera'. Like Isherwood and Brecht, Keun revealed the dark underside of Berlin's "golden twenties" with empathy and honesty. Unfortunately, a Nazi censorship board banned Keun's work in 1933, and destroyed all existing copies of The Artificial Silk Girl. Only one English translation was ever published, in Great Britain, before the book disappeared in the chaos of the ensuing war. Today, more than seven decades later, the story of this quintessential "material girl" remains as relevant as ever, as an accessible new translation brings this lost classic to light once more. Other Press is pleased to announce the republication of The Artificial Silk Girl, elegantly translated by noted Germanist Kathie von Ankum, and featuring a new introduction by Harvard professor Maria Tatar.

    In this story of a water-spirit who married a mortal and gained a human soul there is a delicate fineness of craftsmanship which makes it notable in any department of literature and an easy naturalness which places it close to the genuine folk-myth." -- H.P. Lovecraft, "Supernatural Horror In Literature"

    Innocuous remarks suddenly turn damning. Socratic dialogue gives way to heated assault. And the relationship between a somewhat fatuous teacher and his seemingly hapless pupil turns into a fiendishly accurate X ray of the mechanisms of power, censorship and abuse.

    Two years later it was revived by Nemirovich-Danchenko at the newly-founded Moscow Art Theatre with Stanslasky as Trigorin and was an immediate success. Checkhov's description of the play was characteristically self-mocking: "A comedy - 3F, 6M, four acts, rural scenery (a view over a lake); much talk of literature, little action, five bushels of love".Michael Frayn's translation was commissioned by the Oxford Playhouse Company.

    Dating from 1787 and 1800 respectively, one play was written before the French Revolution, the other in its aftermath. Both dramatize periods of crisis in 16th-century Europe, and in doing so reflect Schiller's passionate engagement with the great themes of his own age - justice, power, freedom of conscience, legitimacy of government.

    Escaping into her research, Constance decodes the Gustav Manuscript, and discovers a pair of comedies that she believes are the source for Shakespeare's Othello and Romeo and Juliet. Transported into the world of her theory, she comes face-to-face with Desdemona and Juliet and discovers that, far from shrinking violets, they are hellions full of surprises. What follows is a riotous retelling of theatrical legend that brings Constance out of her gloom and straight into a new and confident self.

    Jo's greatest fear is that her illegitimate baby might be mentally deficient like her own father. To soothe, clean and cook for her is Geof, an effeminate art student, with whom she makes a temporary home. Bruised by insensitivity and rejection, the boy and girl find a very real comfort in each other.

    No one is more excited than Cripple Billy, an unloved boy whose chief occupation has been grazing at cows and yearning for a girl who wants no part of him. For Billy is determined to cross the sea and audition for the Yank. And as news of his audacity ripples through his rumor-starved community, The Cripple of Inishmaan becomes a merciless portrayal of a world so comically cramped and mean-spirited that hope is an affront to its order.

    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.

    Here are Icarus flying too close to the sun, mighty Hercules, Achilles and that darn heel, the Trojans and their wooden horse, brave Perseus and beautiful Andromeda, wandering Odysseus and steadfast Penelope. Their stories and the stories of the powerful gods and goddesses who punish and reward, who fall in love with and are enraged by the humans they have created, are set forth simply but movingly, in language that retains the power and drama of the original works by Aeschylus, Sophocles, Euripides, and Homer. In Gustav Schwab’s masterful retelling, they are made accessible to readers of all ages.Part of the Pantheon Fairy Tale and Folklore Library

    Nietzsche outlined a distinction between its two central forces: the Apolline, representing beauty and order, and the Dionysiac, a primal or ecstatic reaction to the sublime. He believed the combination of these states produced the highest forms of music and tragic drama, which not only reveal the truth about suffering in life, but also provide a consolation for it. Impassioned and exhilarating in its conviction, The Birth of Tragedy has become a key text in European culture and in literary criticism.

    Often referred to as a "comedy of manners", "The School for Scandal" is one Sheridan's most performed plays and a classic of English comedic drama.

    As he travels towards Rome he wrestles with the enigma of his own identity while pursued by his murderous doppelganger. The monk's only hope for salvation lies with the beautiful Aurelie; but in order to escape the curse which lies over his family, he must evade the sinister powers of the living and the dead. In this lively and disturbing gothic tale, Hoffmann combines elements of the fantastic and the sublime to analyse the seductive ambiguities of art and the deeply divided nature of the human imagination.

    Yes, I am well.... It would be better if I were ill, it's worse as it is. A dream keeps creeping into my mind, and I cannot get away from it. I try to think--I can't collect my thoughts, I try to pray--but I can't get free by prayer. My lips murmur the words but my heart is far away; as though the evil one were whispering in my ear, and always of such wicked things. And such thoughts rise up within me, that I'm ashamed of myself. What is wrong with me? There's some trouble, something before me! At night I do not sleep, Varia, a sort of murmur haunts me; someone seems speaking so tenderly to me, as it were cooing to me like a dove.