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A full-colour, six-level supplementary series to develop reading and writing skills in the primary classroom.

I find the subject of my books in my dreams, ' said Dumas "pere," 'and my son finds his in reality.' In 1844 Dumas "fils" began an affair with Marie Duplessis, one of the most desirable courtesans in Paris. After Marie died of consumption in 1847 at the age of 23, Dumas turned their liaison into one of the greatest love stories of all time. Armand casts caution to the winds as he pursues his passion for Marguerite, for whom love has become her only hope, her redemption even. But there is a price to pay. If all the world loves a lover, society calls passion to order. Resisting criticisms of sentimentality, of an almost Gothic melodrama in certain scenes, and of a view of women that is hardly modern, "La Dame aux Camelias" still has the power to cast the spell that has fascinated generations of readers. Dumas's marvellously beautiful, intelligent, and vibrant heroine lives on in revivals of the stage version, in film and television adaptations, and in "La Traviata" Verdi's perennial popu lar opera. For Marguerite has long since attained the status of a myth. Dumas's subtle and moving portrait of a woman in love is a timeless antidote to the cynicism of every age. In this translation David Coward has successfully combined a feeling fo r the formal proprieties of Dumas's style with a supple and colloquial liveliness that once again prove this story irresistible.

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This is a new edition with a modified syllabus and extensive new material.

A full-colour, six-level supplementary series to develop reading and writing skills in the primary classroom.

The long-awaited, totally new edition of the Advanced level, providing a real challenge and stimulus for Advanced learners.

he carried Good-nature to that wonderful and uncommon Height, that he never did a single Injury to Man or Woman, by which he himself did not expect to reap some Advantage' The real-life Jonathan Wild, gangland godfather and self-styled 'Thieftaker General', controlled much of the London underworld until he was executed for his crimes in 1725. Even during his lifetime his achievements attracted attention; after his death balladeers sang of his exploits, and satirists made connections between his success and the triumph of corruption in high places. Henry Fielding built on these narratives to produce one of the greatest sustained satires in the English language. Published in 1743, at a time when the modern novel had yet to establish itself as a fixed literary form, Jonathan Wild is at the same time a brilliant black comedy, an incisive political satire, and a profoundly serious exploration of human 'greatness' and 'goodness'.

Lord Clonbrony and his ambitious, worldly wife lead an extravagant social life in London on the proceeds of their estates in Ireland. Their son, Lord Colambre, refusing to marry the heiress arranged for him by his mother, decides instead to investigate, incognito, the management of the family estates in Ireland. Appalled by the corruption, mismanagement, and poverty he discovers, he sets about finding a solution to his father's debts and the family's wilful indifference. Maria Edgeworth's classic novel combines a fast-miving depiction of national manners with a brilliantly witty expose of the pernicious system of absentee landownership.

This is a two-level package for young learners that starts with listening and speaking but can move on to reading and writing as soon as your class is ready.

This is a three-level course with a higher vocabulary load and more reading than most primary courses.

Once upon a time and a very good time it was there was a moocow coming down along the road and this moocow that was coming down along the road met a nicens little boy named baby tuckoo ' So begins one of the most significant literary works of the twe ntieth century, and one of the most innovative. Its originality shocked contemporary readers on its publication in 1916 who found its treating of the minutiae of daily life indecorous, and its central character unappealing. Was it art or was it filth ? The novel charts the intellectual, moral, and sexual development of Stephen Dedalus, from his childhood listening to his father's stories through his schooldays and adolescence to the brink of adulthood and independence, and his awakening as an art ist. Growing up in a Catholic family in Dublin in the final years of the nineteenth century, Stephen's consciousness is forged by Irish history and politics, by Catholicism and culture, language and art. Stephen's story mirrors that of Joyce himself, and the novel is both startlingly realistic and brilliantly crafted. For this edition Jeri Johnson, editor of the acclaimed Ulysses 1922 text, has written an introduction and notes which together provide a comprehensive and illuminating appreciation of Joyce's artistry.

'You expected bread, and you have got a stone; break your teeth on it, and don't shriek...you will have learned the great lesson how to endure without a sob.' Shirley is Charlotte Bronte's only historical novel and her most topical one. Written at a time of social unrest, it is set during the period of the Napoleonic Wars, when economic hardship led to riots in the woollen district of Yorkshire. A mill-owner, Robert Moore, is determined to introduce new machinery despite fierce opposition from his workers; he ignores their suffering, and puts his own life at risk. Robert sees marriage to the wealthy Shirley Keeldar as the solution to his difficulties, but he loves his cousin Caroline. She suffers misery and frustration, and Shirley has her own ideas about the man she will choose to marry. The friendship between the two women, and the contrast between their situations, is at the heart of this compelling novel, which is suffused with Bronte's deep yearning for an earlier time.

Artists like Botticelli, Holbein, Leonardo, DĂĽrer, and Michelangelo and works such as the Last Supper fresco and the monumental marble statue of David, are familiar symbols of the Renaissance. But who were these artists, why did they produce such memorable images, and how would their original beholders have viewed these objects? Was the Renaissance only about great masters and masterpieces, or were women artists and patrons also involved? And what about the "minor" pieces that Renaissance men and women would have encountered in homes, churches and civic spaces? This Very Short Introduction answers such questions by considering both famous and lesser-known artists, patrons, and works of art within the cultural and historical context of Renaissance Europe. The volume provides a broad cultural and historical context for some of the Renaissance's most famous artists and works of art. It also explores forgotten aspects of Renaissance art, such as objects made for the home and women as artists and patrons. Considering Renaissance art produced in both Northern and Southern Europe, rather than focusing on just one region, the book introduces readers to a variety of approaches to the study of Renaissance art, from social history to formal analysis.

'Who is going to marry Eugenie Grandet?' This is the question that fills the minds of the inhabitants of Saumur, the setting for Eugenie Grandet (1833), one of the the earliest and most famous novels in Balzac's Comedie humaine. The Grandet household , oppressed by the exacting miserliness of Grandet himself, is jerked violently out of routine by the sudden arrival of Eugenie's cousin Charles, recently orphaned and penniless. Eugenie's emotional awakening, stimulated by her love for her cousin, b rings her into direct conflict with her father, whose cunning and financial success are matched against her determination to rebel. Eugenie's moving story is set against the backdrop of provincial oppression, the vicissitudes of the wine trade, and t he workings of the financial system in the aftermath of the French Revolution. It is both a poignant portrayal of private life and a vigorous fictional document of its age.

When Machiavelli's brief treatise on Renaissance statecraft and princely power was posthumously published in 1532, it generated a debate that has raged unabated until the present day. Based upon Machiavelli's first-hand experience as an emissary of the Florentine Republic to the courts of Europe, The Prince analyses the usually violent means by which men seize, retain, and lose political power. Machiavelli added a dimension of incisive realism to one of the major philosophical and political issues of his time, especially the relationship between public deeds and private morality. His book provides a remarkably uncompromising picture of the true nature of power, no matter in what era or by whom it is exercised. This fluent new translation is accompanied by an introduction that considers the true purpose of The Prince and dispels some of the myths associated with it. It has the most comprehensive explanatory and critical notes found in any currently available English translation and the most comprehensive bibliography in any edition of the work. It also contains a helpful Glossary of Proper Names, an Index and a map.About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

The job was too good. There had to be a problem - and there was. John Duncan was an honest man, but he needed money. He had children to look after. He was ready to do anything, and his bosses knew it. They gave him the job because he couldn't say no; he couldn't afford to be honest. And the job was like a poison inside him. It changed him and blinded him, so that he couldn't see the real poison - until it was too late.