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'However one defines Man, the same definition applies to us all. This is sufficient proof that there is no essential difference within mankind.' (Laws l.29-30) Cicero's The Republic is an impassioned plea for responsible governement written just before the civil war that ended the Roman Republic in a dialogue following Plato. Drawing on Greek political theory, the work embodies the mature reflections of a Roman ex-consul on the nature of political organization, on justice in society, and on the qualities needed in a statesman. Its sequel, The Laws, expounds the influential doctrine of Natural Law, which applies to all mankind, and sets out an ideal code for a reformed Roman Republic, already half in the realm of utopia. This is the first complete English translation of both works for over sixty years and features a lucid Introduction, a Table of Dates, notes on the Roman constitution, and an Index of Names.

First published in 1748-9, this novel is a mocking parody of the warning moralism as seen in Defoe's novels, as, rather than ending her life in misery, Fanny Hill rises from poverty to a middle-class existence as wife and mother via several stages of prostitution.

..'I value fame almost as much as if I had been born a hero'. (Preface to The Lucky Chance). Aphra Behn (1640-89) achieved both fame and notoriety in her own time, enjoying considerable success for her plays and for her short novel Oroonoko, the story of a noble slave who loves a princess. Acclaimed by Virginia Woolf as the first English woman to earn her living by the pen, Behn's achievements as a writer are now acknowledged less equivocally than in the seventeenth century. As well as Oroonoko, this volume contains five other works of fiction ranging from comedy and high melodrama to tragedy. The Fair Jilt, Memoirs of the Court of the King of Bantam, The History of the Nun, The Adventure of the Black Lady, and The Unfortunate Bride are complemented by a generous selection of her poetyr, ranging from public political verse to lyrics and witty conversation poems. This selection demonstrates Behn's range, as well as her wit, compassion, and interest in the question of identity and self-representation.

Jacobean Tragedy explores the tensions between the disruptive energies of sex and seventeenth century social, cultural and political values with an exceptional frankness, and the plays collected in this volume demonstrate the genre at its most sinister and explicit. The Insatiate Countess (1610), by William Barksted and Lewis Machin from a draft by John Marston, is a study in obsessive nymphomania and the reprisals taken by the male establishment. The Maid's Tragedy (1611) by Francis Beaumont and John Fletcher, reveals dark sexual secrets at the heart of the royal court, and emphasizes the political instability which ensues their discovery. Thomas Middleton's The Maiden's Tragedy (1611) provides an overtly Christian dimension to the conflict between lust and chastity, and John Fletcher's The Tragedy of Valentinian (1614) is a chilling portrayal of rape as the exercise of absolute power. Each play raises difficult questions about conventional moral and social attitudes to sexuality which remain relevant today.

Richly exploited comic situations, effervescent wit, and intricate plots combine to make Sheridan's work among the best of of all English comedy. The School for Scandal (1777) is his masterpiece, a brilliantly crafted comedy of contrasts in which brothers Joseph and Charles Surface contend for Maria, with hilariously differing intentions and results. Also a work of acute comic irony, The Rivals satirizes the romantic posturing of Lydia Languish while her disguised suitor Captain Absolute's resourceful contrivances advance an ever inventive and skilfully wrought plot. Included in this edition are the opera play The Duenna and the rarely printed musical play A Trip to Scarborough, adapted from Vanbrugh's The Relapse. Sheridan's last play, The Critic, is an exuberant parody of the modish tragic drama of the day. Lampooning Sir Fretful Plagiary's absurdly bombastic historical drama during its confused stages of production, its satire never fails to delight. The texts of the plays have been newly edited by the General Editor of the Oxford World's Classics English Drama series. A fine introduction and notes on Sheridan's playhouses and critical inheritance make this an invaluable edition for study and performance alike.

'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.

'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.

'In my own marriage I paid such a terrible price for sex-ignorance that I feel that knowledge gained at such a cost should be placed at the service of humanity.' The book that was to become Married Love" grew from Marie Stopes's conviction that the state of modern middle-class marriage was, like her own, desperate, and that the cause of this desperation was sexual unhappiness. She knew her book would 'probably electrify this country' and it remains one of the best known sex manuals ever written. It combines a lyrical evocation of marital love with a no-nonsense and detailed account of sexual intercourse and sexual pleasure that was a sensation when it was published in 1918. Stopes advocated equality in marriage and the importance of women's sexuality and sexual desire, as well as openly supporting birth control. In this edition of Stopes's ground-breaking work, Ross McKibbin's introduction reveals fascinating insights into Stopes and prevailing attitudes to class, religion, science, and above all, sex."

This is a reissue of the previous World's Classics edition in the new, larger format and with the series name changed to 'Oxford World's Classics'.

Thomas Dekker: The Shoemaker's Holiday George Chapman, Ben Jonson, John Marston: Eastward Ho! Ben Jonson: Every Man In His Humour Thomas Middleton and Thomas Dekker: The Roaring Girl Oxford English Drama offers plays from the sixteenth to the early twentieth centuries in selections that make available both rarely printed and canonical works. The texts are freshly edited using modern spelling. Critical introductions, wide-ranging annotation, and informative bibliographies illuminate the plays' cultural contexts and theatrical potential for reader and performer alike. 'The series should reshape the canon in a number of significant areas. A splendid and imaginative project.' Professor Anne Barton, Cambridge University

When Claudio breaks the new laws against vice in Vienna by getting his financee, Julietta, pregnant, a series of ethical issues is brought under scrutiny. His sister's virtue is held to ransom by the deputy rule of the city until justice is done, mercy shown, and order restored. This is among Shakespeare's most vivid dramatic projections of moral duplicity. The introduction discusses the origins of his treatment of the well-known story and examines his sources. The editor also sets the play in its historical context and offers the most comprehensive available account of the text's theatrical life from Restoration adaptations to present-day productions.

In Basil's secret and unconsummated marriage to the linen-draper's sexually precocious daughter, and the shocking betrayal, insanity, and death that follow, Collins reveals the bustling, commercial London of the nineteenth century wreaking its vengeance on a still powerful aristocratic world. Contemporary reviewers vehemently disapproved of this explicit treatment of adultery; and even today the passionate and lurid atmosphere he creates still has the power to disturb the reader.

The Oxford Shakespeare" offers authoritative texts from leading scholars in editions designed to interpret and illuminate the plays for modern readers. The features include: a new, modern-spelling text, collated and edited from all existing printings; extensive introduction gives full attention to the play's bold treatment of racial themes, gender, and social relations; detailed performance history designed to meet the needs of theatre professionals; on-page commentary and notes explain language, word-play, and staging; appendices on music in the play and a full translation of the Italian novella from which the story derives; illustrated with production photographs and related art; full index to introduction and commentary; and durable sewn binding for lasting use. "Not simply a better text but a new conception of Shakespeare. This is a major achievement of twentieth-century scholarship.""

'Victory, don't forget, has come out of my innermost self.' Victory was the last of Conrad's novels to be set in the Malay Archipelago. Sub-titled 'An Island Tale', it tells the story of Axel Heyst who, damaged by his dead father's nihilistic philosophy, has retreated from the world of commerce and colonial exploration to live alone on the island of Samburan. But Heyst's solitary existence ends when he rescues an English girl from her rapacious patron and takes her off to his retreat. She in turn recalls him to love and life, until the world breaks in on them once more with tragic consequences. In this love story Conrad created two of his psychologically most complex and compelling characters in a narrative of great erotic power. This new edition uses the English first edition text and has a new chronology and bibliography.

'For the first time, perhaps, since that land emerged from the waters of geologic ages, a human face was set toward it with love and yearning. It seemed beautiful to her, rich and strong and glorious.' Willa Cather's second novel, O Pioneers! (1913) tells the story of Alexandra Bergson and her determination to save her immigrant family's Nebraska farm. Clear-headed and fiercely independent, Alexandra's passionate faith in the prairie makes her a wealthy landowner. By placing a strong, self-reliant woman at the centre of her tale, Cather gives the quintessentially American novel of the soil a radical cast. Yet, although influenced by the democratic utopianism of Walt Whitman and the serene regionalism of Sarah Orne Jewett, O Pioneers! is more than merely an elegy for the lost glories of America's pioneer past. In its rage for order and efficiency, the novel testifies to the cultural politics of the Progressive Era, the period of massive social and economic transformations that helped to modernize the United States in the years between the Civil War and World War.

'My life had its beginning in the midst of the most miserable, desolate, and discouraging surroundings.' For half a century from its publication in 1901 Up from Slavery was the best known book written by an African American. The life of ex-slave Booker T Washington embodied the legendary rise of the American self-made man, and his autobiography gave prominence for the first time to the voice of a group which had to pull itself up from extreme adversity. Washington attributes his success to his belief in many of the virtues celebrated by Benjamin Franklin: selflessness, industry, pragmatism, and optimism. But from behind the mask of the humble, plainspoken schoolmaster come hints that reveal Washington the ambitious and tough-minded analyst of power who had to balance the demands of blacks with the constraints imposed on him by whites. To read Up from Slavery is to explore the means by which Washington rose to become the most influential and powerful black American of his time. How far he compromised African American rights in order to achieve his aims remains a matter of controversy.