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'Why should I not publish my diary? I have often seen reminiscences of people I have never even heard of, and I fail to see - because I do not happen to be a 'Somebody' - why my diary should not be interesting.' The Diary of a Nobody (1892) created a cultural icon, an English archetype. Anxious, accident-prone, occasionally waspish, Charles Pooter has come to be seen as the epitome of English suburban life. His diary chronicles encounters with difficult tradesmen, the delights of home improvements, small parties, minor embarrassments, and problems with his troublesome son. The suburban world he inhabits is hilariously and painfully familiar in its small-mindedness and its essential decency. Both celebration and critique, The Diary of a Nobody has often been imitated, but never bettered. This edition features Weedon Grossmith's hilarious illustrations and is complemented by an enjoyable introduction discussing the book's social background and suburban fiction as a genre.

I lay in the garden and red the Browning love letters, and the figure of their dog made me laugh so I couldn't resist making him a Life.' Throughout her career, Woolf invokes the animal world both directly and metaphorically. She started to write a biography of Elizabeth Barrett Browning's spaniel after finishing The Waves, tracing the life of the spaniel from his country origins, his puppyhood spent with the writer Mary Mitford, through his sheltered existence with Elizabeth Barrett in her sick room, and later travels in Florence. But Flush is much more than a playful writer's holiday. As well as offering an exploration of a life of the senses free from the tyranny of words, Flush can be read as an allegorical testimony to the inscrutable, discarded, unrepresentable lives of the Victorian women poets, who were barely discussed or read in the 1930s. From a quite literally low point of view, Woolf explores class and gender in Victorian London, with gently mocking humour. Charming yet also radical, Flush is a work of sensuous imagination, an apparently light text that opens up a range of questions concerning difference which are woven through the whole of Woolf's writing.

Verlaine, possessed by the madnesses of love, brimming over with desires and prayers, the rebel railing against the complacent platitudes of society, of love, of language'. Jean Rousselot Verlaine ranks alongside Baudelaire, Mallarme, and Rimbaud as one of the most outstanding poets of late nineteenth-century France whose work is associated with the early Symbolists, the Decadents, and the Parnassiens. Remarkable not only for his delicacy and exquisitely crafted verse, Verlaine is also the poet of strong emotions and appetites, with an unrivalled gift for the sheer music of poetry, and an inventive approach to its technique. This bilingual edition provides the most comprehensive selection of his poetry yet, offering some 170 poems in lively and fresh translations and providing a lucid introduction which illuminates Verlaine's poetic form within the context of French Impressionism and the poetry of sensation.

The finest translation in and for our time' (Kevin Crossley-Holland) Sir Gawain and The Green Knight, with its intricate plot of enchantment and betrayal is probably the most skilfully told story in the whole of the English Arthurian cycle. Originating from the north-west midlands of England, it is based on two separate and very ancient Celtic motifs of the Beheading and the Exchange of Winnings, brought together by the anonymous 14th century poet. His telling comprehends a great variety of moods and modes - from the stark realism of the hunt-scenes to the delicious and dangerous bedroom encounters between Lady Bercilak and Gawain, from moments of pure lyric beauty when he evokes the English countryside in all its seasons, to authorial asides that are full of irony and puckish humour. This new verse translation uses a modern alliterative pattern which subtly echoes the music of the original at the same time as it strives for fidelity.

the first and greatest of English detective novels' T.S.Eliot A fabulous yellow diamond becomes the dangerous inheritance of Rachel Verinder. Outside her Yorkshire country house watch the Hindu priests who have waited for many years to reclaim their ancient talisman, looted from the holy city of Somnauth. When the Moonstone disappears the case looks simple, but in mid-Victorian England no one is what they seem, and nothing can be taken for granted. Witnesses, suspects, and detectives take up the story in turn. The bemused butler, the love-stricken housemaid, the enigmatic detective Sergeant Cuff, the drug-addicted scientist, each speculate on the mystery as Collins weaves their narratives into a masterpiece of construction and suspense. But The Moonstone is more than just a detective novel or a murder mystery and this new edition features a fascinating introduction by John Sutherland which discusses the themes of Imperialism, Sensationalism and Mesmerism and the way in which they operate in the novel and within its cultural context.

'I beg as soon as you get Fielding's Joseph Andrews, I fear in Ridicule of your Pamela and of Virtue in the Notion of Don Quixote's Manner, you would send it to me by the very first Coach.' (George Cheyne in a letter to Samuel Richardson, February 1742) Both Joseph Andrews (1742) and Shamela (1741) were prompted by the success of Richardson's Pamela (1740), of which Shamela is a splendidly bawdy parody. But in Shamela Fielding also demonstrates his concern for the corruption of contemporary society, politics, religion, morality, and taste. The same themes - together with a presentation of love as charity, as friendship, and in its sexual taste - are present in Joseph Andrews, Fielding's first novel. It is a work of considerable literary sophistication and satirical verve, but its appeal lies also in its spirit of comic affirmation, epitomized in the celebrated character of Parson Adams. This revised and expanded edition follows the text of Joseph Andrews established by Martin C. Battestin for the definitive Wesleyan Edition of Fielding's works. The text of Shamela is based on the first edition, and two substantial appendices reprint the preliminary matter from Conyers Middleton's Life of Cicero and the second edition of Richardson's Pamela (both closely parodied in Shamela). A new introduction by Thomas Keymer situates Fielding's works in their critical and historical contexts.

'You shall see nothing, hear nothing, think of nothing but Svengali, Svengali, Svengali!' First published in 1894, the story of the diva Trilby O'Ferrall and her mesmeric mentor, Svengali, has entered the mythology of the time alongside Dracula and Sherlock Holmes. Immensely popular for a number of years, the novel led to a hit play, a series of popular films, and the trilby hat. The setting of the story reflects the author's bohemian years as an art student in Paris; indeed James McNeill Whistler was to recognize himself in one of the early serialized instalments. George Du Maurier was a celebrated caricaturist for Punch magazine and his drawings for the novel form part of its appeal - this edition includes his most significant illustrations.

I called myself Pip, and came to be called Pip.' Great Expectations charts the progress of Pip from childhood through often painful experiences to adulthood, as he moves from the Kent marshes to busy, commercial London, encoutering a variety of extraordinary characters ranging from Magwitch, the excaped convict, to Miss Havisham, locked up with her unhappy past and living with her ward, the arrogant, beautiful Estella. In this compelling story, Dickens shows the dangers of being driven by desire for wealth and social status. Pip must establish his own sense of self against the plans which others seem to have for him, and thus discover a firm set of values and priorities. Whether such values will allow one to prosper in the complex world of early Victorian England is, however, the major question posed by Great Expectations, one of Dicken's most fascinating, and disturbing, novels. This edition use the text of the Clarendon edition, with a new Introduction and Explanatory Notes. The Appendices give the original, discarded ending, Dicken's brief working notes, and the serial instalments and chapter divisions in different editions.

This new addition to the Longman Critical Readers Series provides an overview of the various ways in which modern critical theory has influenced Chaucer Studies over the last fifteen years. There is still a sense in the academic world, and in the wider literary community, that Medieval Studies are generally impervious to many of the questions that modern theory asks, and that it concerns itself only with traditional philological and historical issues. On the contrary, this book shows how Chaucer, specifically the Canterbury Tales, has been radically and excitingly 'opened up' by feminist, Lacanian, Bakhtinian, deconstructive, semiotic and anthropological theories to name but a few. The book provides an introduction to these new developments by anthologising some of the most important work in the field, including excerpts from book-length works, as well as articles from leading and innovative journals. The introduction to the volume examines in some detail the relation between the individual strengths of each of the above approaches and the ways in which a 'postmodernist' Chaucer is seen as reflecting them all. This convenient single volume collection of key critical analyses of Chaucer, which includes work from some journals and studies that are not always easily available, will be indispensable to students of Medieval Studies, Medieval Literature and Chaucer, as well as to general readers who seek to widen their understanding of the forces behind Chaucer's writing.

Coketown is dominated by the figure of Mr. Thomas Gradgrind, school headmaster and model of Utilitarian success. Feeding both his pupils and family with facts, he bans fancy and wonder from any young minds. As a consequence his obedient daughter Louisa marries the loveless businessman and 'bully of humanity' Mr. Bounderby, and his son Tom rebels to become embroiled in gambling and robbery. And, as their fortunes cross with those of free-spirited circus girl Sissy Jupe and victimized weaver Stephen Blackpool, Gradgrind is eventually forced to recognize the value of the human heart in an age of materialism and machinery.

With complete and authoritative notes by the translator, this intensely personal narrative tells of St. Augustine's rise from a humble Algerian farm to the edge of the corridors of power at the imperial court in Milan. The lucid, modern language of this new translation makes this classic of Western literature accessible to today's audience.

Begin at the beginning, and go on till you come to the end: then stop.'. So many readers were to take the advice of the King of Hearts that by the end of the nineteenth century the double Alice (1865 and 1872) had acquired a pre-eminent and unassailable position in children's literature. Lewis Carroll's use of logic, by which the ordinary is translated into the extraordinary in an entirely plausible way, is delightfully combined with an exceptional knowledge and understanding of the mind of the child. Satire, allusion, and symbolism weave deeper and mysterious meanings, lending a measure of immortality to Carroll's remarkable fantasy.

Condemned by Victorian critics as immoral, but regarded today as a novel of outstanding social insight, No Name shows William Wilkie Collins at the height of his literary powers. It is the story of two sisters, Magdalen and Norah, who discover after the deaths of their dearly beloved parents that their parents were not married at the time of their births. Disinherited and ousted from their estate, they must fend for themselves and either resign themselves to their fate or determine to recover their wealth by whatever means.

As the the bicentennary of the French Revolution draws near, Dickens' historical novel serves as a timely reminder of nineteenth-century reactions to that great upheaval. Set between 1757 and 1793, A Tale of Two Cities views the causes and effects of the Revolution from an essentially private point of view, showing how private experience relates to public history. Dickens' characters are fictional, and their political activity is minimal, yet all are drawn towards the Paris of the Terror, and all become caught up in its web of human suffering and human sacrifice. This edition includes extensive explanatory notes giving crucial background information about the Revolution and Dickens' sources. 'the best story I have written' Charles Dickens.

Turgenev's masterpiece about the conflict between generations is as fresh, outspoken, and exciting today as it was in when it was first published in 1862. The controversial portrait of Bazarov, the energetic, cynical, and self-assured 'nihilist' who repudiates the romanticism of his elders, shook Russian society. Indeed the image of humanity liberated by science from age-old conformities and prejudices is one that can threaten establishments of any political or religious persuasion, and is especially potent in the modern era. This new translation, specially commissioned for the World's Classics, is the first to draw on Turgenev's working manuscript, which only came to light in 1988.

The Politics is one of the most influential texts in the history of political thought, and it raises issues which still confront anyone who wants to think seriously about the ways in which human societies are organized and governed. The work of one of the world's greatest philosophers, it draws on Aristotle's own great knowledge of the political and constitutional affairs of the Greek cities. By examining the way societies are run - from households to city states - Aristotle establishes how successful constitutions can best be initiated and upheld. For this edition Sir Ernest Barker's fine translation, which has been widely used for nearly half a century, has been extensively revised to meet the needs of the modern reader. The accessible introduction and clear notes by R F Stalley examine the historical and philosophical background of the work and discuss its significance for modern political thought.