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Agamemnon *Libation Bearers *Eumenides Aeschylus' Oresteia is the only trilogy to survive from Greek tragedy, and the religious and moral ideas it enacts afterwards influenced a great dramatic genre, as well as giving its three plays their lasting significance. In this family history, Fate and the gods decree that each generation will repeat the crimes and endure the suffering of their forebears. When Agamemnon is murdered by his wife, Clytemnestra, their son Orestes must avenge his father's death. Only Orestes' appeal to the goddess Athena saves him from his mother's Furies, breaking the bloody chain; together gods and humans inaugurate a way of just conduct that will ensure stable families and a strong community. The Oresteia is majestic as theatre and as literature, and this new translation seeks to preserve both these qualities. The introduction and notes emphasize the interconnection of scenes, ideas, and language that distinguishes this unique work.

I long to study the purely national, natural character of an Irishwoman' When Horatio, the son of an English lord, is banished to his father's Irish estate as punishment for gambling debts and dissipated living, he adopts the persona of knight errant and goes off in search of adventure. On the wild west coast of Connaught he finds remnants of a romantic Gaelic past a dilapidated castle, a Catholic priest, a deposed king and the king's lovely and learned daughter, Glorvina. In this setting and among these characters Horatio learns the history, culture and language of a country he had once scorned, but he must do so in disguise for his own English ancestors are responsible for the ruin of the Gaelic family he comes to love. Written after the Act of Union, The Wild Irish Girl (1806) is a passionately nationalistic novel and a founding text in the discourse of Irish nationalism. The novel proved so controversial in Ireland that Sydney Owenson, later Lady Morgan, was put under surveillance by Dublin Castle.

Now listen with good will, as I go straight to my subject matter, in which you may hear the double sorrows of Troilus in his love for Criseyde, and how she forsook him before she died' Like Romeo and Juliet, or Tristan and Iseult, the names of Troilus and Criseyde will always be united: a pair of lovers whose names are inseparable from passion and tragedy. Troilus and Criseyde is Chaucer's masterpiece and was prized for centuries as his supreme achievement. The story of how Troilus and Criseyde discover love and how she abandons him for Diomede after her departure from Troy is dramatically presented in all its comedy and tragic pathos. With its deep humanity and penetrating insight, Troilus and Criseyde is now recognized as one of the finest narrative poems in the English language. This is a new translation into contemporary English of Chaucer's greatest single poem which can be read alongside the Middle English original, or as an accurate and readable version in its own right.

Yes, what is Dionysian? - This book provides an answer - "a man who knows" speaks in it, the initiate and disciple of his god.' The Birth of Tragedy (1872) is a book about the origins of Greek tragedy and its relevance to the German culture of its time. For Nietzsche, Greek tragedy is the expression of a culture which has achieved a delicate but powerful balance between Dionysian insight into the chaos and suffering which underlies all existence and the discipline and clarity of rational Apollonian form. In order to promote a return to these values, Nietzsche undertakes a critique of the complacent rationalism of late nineteenth-century German culture and makes an impassioned plea for the regenerative potential of the music of Wagner. In its wide-ranging discussion of the nature of art, science and religion, Nietzsche's argument raises important questions about the problematic nature of cultural origins which are still of concern today.

She had believed that my wild poet's passion for her would make me her slave; and that, being her slave, I should execute her will in all things.' The Lifted Veil was first published in Blackwood's Magazine in 1859. A dark fantasy woven from contemporary scientific interest in the physiology of the brain, mesmerism, phrenology and experiments in revification it is Eliot's anatomy of her own moral philsophy - the ideal of imaginative sympathy or the ability to see into others' minds and emotions. Narrated by an egoccentric, morbid young clairvoyant man whose fascination for Bertha Grant lies partly in her obliquity, the story also explores fiction's ability to offer insight into the self, as well as being a remarkable portrait of a misdeveloped artist whose visionary powers merely blight his life. The Lifted Veil is now one of the most widely read and critically discussed of Eliot's works. Published as a companion piece to The Lifted Veil, Brother Jacob is by contrast Eliot's literary homage to Thackeray, a satirical modern fable that draws telling parallels between eating and reading. Yet both stories reveal Eliot's deep engagement with the question of whether there are 'necessary truths' independent of our perception of them and the boundaries of art and the self. Helen Small's introduction casts new light on works which fully deserve to be read alongside Eliot's novels.

'every heart imagines itself the first to thrill to a myriad sensations which once stirred the hearts of the earliest creatures and which will again stir the hearts of the last men and women to walk the earth' What is a life? How shall a storyteller conceive a life? What if art means pattern and life has none? How, then, can any story be true to life? These are some of the questions which inform the first of Maupassant's six novels, A Life (Une Vie) (1883) in which he sought to parody and expose the folly of romantic illusion. An unflinching presentation of a woman's life of failure and disappointments, where fulfilment and happiness might have been expected, A Life recounts Jeanne de Lamare's gradual lapse into a state of disillusion. With its intricate network of parallels and oppositions, A Life reflects the influence of Flaubert in its attention to form and its coherent structure. It also expresses Maupassant's characteristic naturalistic vision in which the satire of bourgeois manners, the representation of the aristocracy in pathological decline, the undermining of human individuality and ideals, and the study of deterioration and disintegration, all play a role. But above all Maupassant brings to his first novel the short story writer's genius for a focused tension between stasis and change, and A Life is one of his most compelling portraits of dispossession and powerlessness.

'Isabel Gilbert was not a woman of the world. She had read novels while other people perused the Sunday papers...she believed in a phantasmal world created out of the pages of poets and romancers.' The Doctor's Wife is Mary Elizabeth Braddon's rewriting of Flaubert's Madame Bovary in which she explores her heroine's sense of entrapment and alienation in middle-class provincial life married to a good natured but bovine husband who seems incapable of understanding his wife's imaginative life and feelings. A woman with a secret, adultery, death and the spectacle of female recrimination and suffering are the elements which combine to make The Doctor's Wife a classic women's sensation novel. Yet, The Doctor's Wife is also a self-consciously literary novel, in which Braddon attempts to transcend the sensation genre. This is the only edition of a fascinating and engrossing work, and reproduces uncut the first three-volume edition of 1864.

B'..melodrama is perennial and the craving for it is perennial and must be satisfied' T. S. Eliot ('Wilkie Collins and Dickens') Collins's ability to construct a gripping situation and to create an atmosphere of mystery and menace is fully evident in the three novellas reprinted here. All proceed through a series of dramatic scenes to a climax that in one case at least is literally explosive. The fast-paced Miss or Mrs? (1871) opens on a yacht, features a remarkably unconventional heroine, and entails murder attempts, blackmail, clandestine marriage and commercial fraud. Dramatic and psychologically absorbing, the action of The Haunted Hotel (1878) takes place in an ancient Venetian palazzo converted into a modern hotel that houses a grisly secreI. Lastly, set in a beautiful water-mill, The Guilty River (1886) depicts a group of alienated characters, whose relationships threaten to erupt in violence and murder. Varied in setting and tone, these stories demonstrate Collins's plot-making skill at its most succinct and intricate. *Introduction * Textual Note * Bibliography * Chronology * * Explanatory Notes *Appendix: Collins's prefaces.

'there are half a million more women than men in this unhappy country of ours ...So many odd women - no making a pair with them.' The idea of the superfluity of unmarried women was one the 'New Woman' novels of the 1890s sought to challenge. But in The Odd Women (1893) Gissing satirizes the prevailing literary image of the 'New Woman' and makes the point that unmarried women were generally viewed less as noble and romantic figures than as 'odd' and marginal in relation to the ideal of womanhood itself. Set in grimy, fog-ridden London, these 'odd' women range from the idealistic, financially self-sufficient Mary Barfoot and Rhoda Nunn, who run a school to train young women in office skills for work, to the Madden sisters struggling to subsist in low-paid jobs and experiencing little comfort or pleasure in their lives. Yet it is for the youngest Madden sister's marriage that the novel reserves its most sinister critique. With superb detachment Gissing captures contemporary society's ambivalence towards its own period of transition. The Odd Women is a novel engaged with all the major sexual and social issues of the late-nineteenth century. Judged by contemporary reviewers as equal to Zola and Ibsen, Gissing was seen to have produced an 'intensely modern' work and it is perhaps for this reason that the issues it raises remain the subject of contemporary debate. *Introduction *Textual Note *Bibliography *Chronology *Explanatory Notes *Map.

The Red Badge of Courage (1895) is a vivid psychological account of a young man's experience of fighting in the American Civil War, based on Crane's reading of popular descriptions of battle. The intensity of its narrative and its naturalistic power earned Crane instant success, and led to his spending most of his brief remaining life war reporting. The other stories collected in this volume draw on this experience; 'The Open Boat' (1898) was inspired by his fifty hour struggle with waves after his ship was sunk during an expedition to Cuba; 'The Monster' (1899) is a bitterly ironic commentary on the ostracization of a doctor for harbouring the servant who was disfigured and lost his sanity rescuing his son. As a rare example of Crane working in a vein of American Gothic, it is particularly striking for its treatment of race and social injustice. 'The Blue Hotel' traces the events that lead to a murder at a bar in a small Nebraska town. This edition is the most generously annotated edition of Crane's work, exploring it from a fresh critical perspective and focusing on his place as an experimental writer, his modernist legacy and his social as well as literary revisionism.

The Father; A Dream Play; Miss Julie; The Ghost Sonata; The Dance of Death 'Ibsen can sit serenely in his Doll's House,' Sean O'Casey remarked, 'while Strindberg is battling with his heaven and his hell.' Strindberg was one of the most extreme, and ultimately the most influential theatrical innovators of the late nineteenth century. The five plays translated here are those on which Strindberg's international reputation as a dramatist principally rests and this edition embraces his crucial transition from Naturalism to Modernism, from his two finest achievements as a psychological realist, The Father and Miss Julie, to the three plays in which he redefined the possibilities of European drama following his return to the theatre in 1898. Michael Robinson's highly performable translations are based on the authoritative texts of the new edition of Strindberg's collected works in Sweden and include the Preface to Miss Julie, Strindberg's manifesto of theatrical naturalism. Introduction Textual Note Bibliography Chronology Explanatory Notes

Of man's first disobedience, and the fruit Of that forbidden tree, whose mortal taste Brought death into the world...Sing heavenly muse' From almost the moment of its first publication in 1667, Paradise Lost was considered a classic. It is difficult now to appreciate both how audacious an undertaking it represents, and how astonishing its immediate and continued success was. Over the course of twelve books Milton wrote an epic poem that would 'justify the ways of God to men', a mission that required a complex drama whose source is both historical and deeply personal. The struggle for ascendancy between God and Satan is played out across hell, heaven, and earth but the consequences of the Fall are all too humanly tragic - pride, ambition, and aspiration the motivating forces. In this new edition derived from their acclaimed Oxford Authors text, Stephen Orgel and Jonathan Goldberg discuss the complexity of Milton's poem in a new introduction, and on-page notes explain its language and allusions.

Beowulf is the longest and finest literary work to have come down to us from Anglo-Saxon times, and one of the world's greatest epic poems. Set in the half-legendary, half historical Scandinavian past, it tells the story of the hero Beowulf, who comes to the aid of the Danish king Hrothgar by killing first the terrifying, demonic monster Grendel, and then Grendel's infuriated and vengeful mother. A lifetime later, Beowulf's own kingdom, Geatland, is threatened by a fiery dragon; Beowulf heroically takes on this challenge, but himself dies killing the dragon. The poem celebrates the virtues of the heroic life, but Hrothgar and Beowulf are beacons of wisdom and courage in a dark world of feuds, violence and uncertainty, and Beowulf's selfless heroism is set against a background of ruthless power struggles, fratricide and tyranny. This acclaimed translation is complemented by a critical introduction and substantial editorial apparatus. 'The poem has at last found its translator ...supremely well done' Charles Causley.

'You you a nun; you with your beauty defaced and your nature wasted you behind locks and bars! Never, never, if I can prevent it!' A wealthy American man of business descends on Europe in search of a wife to make his fortune complete. In Paris Christopher Newman is introduced to Claire de Cintre, daughter of the ancient House of Bellegarde, and to Valentin, her charming young brother. His bid for Claire's hand receives an icy welcome from the heads of the family, an elder brother and their formidable mother, the old Marquise. Can they stomach his manners for the sake of his dollars? Out of this classic collision between the old world and the new, James weaves a fable of thwarted desire that shifts between comedy, tragedy, romance and melodrama a fable which in the later version printed here takes on some of the subtleties associated with this greatest novels.

With searching eyes he studied the beautiful purple, barren waste of sage. Here was the unknown and the perilous.' The novel that set the pattern for the modern Western, Riders of the Purple Sage was first published in 1912, immediately selling over a million copies. In the remote border country of South Utah, a man is about to be whipped by the Mormons in order to pressure Jane Withersteen into marrying against her will. The punishment is halted by the arrival of the hero, Lassiter, a gunman in black leather, who routs the persecutors and then gradually recounts his own history of an endless search for a woman abducted long ago by the Mormons. Secrecy, seduction, captivity, and escape: out of these elements Zane Grey built his acclaimed story of the American West.

'Sybilla considered beauty as all in all. And this child - her child and Angus's, would be a deformity on the face of the earth, a shame to its parents, a dishonour to its race.' First published in 1850, Olive traces its eponymous heroine's progress from her ill-starred birth to maturity as a painter and wife. The crippled child of parents who are disgusted by her physical 'imperfection', a curvature of the spine, Olive struggles to take her place in the world as artist and woman. Published three years after Jane Eyre, Olive's swift fictional response to Charlotte Bronte's novel raises questions of family, race and nation. This edition also includes 'The Half-Caste', a story that confronts questions of miscegenation and racial prejudice in Victorian Britain.