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Aristophanes is the only surviving representative of Greek Old Comedy, the exuberant, satirical form of festival drama which flourished during the heyday of classical Athenian culture in the fifth century BC. His plays are characterized by extraordinary combinations of fantasy and satire, sophistication and vulgarity, formality and freedom. Birds is an escapist fantasy in which two dissatisfied Athenians, in defiance of men and gods, bring about a city of birds, the eponymous Cloudcuckooland. In Lysistrata the heroine of the play organizes a sex-strike and the wives of Athens occupy the Akropolis in an attempt to restore peace to the city. The main source of comedy in the Assembly-Women is a similar usurpation of male power as the women attempt to reform Athenian society along utopian-communist lines. Finally, Wealth is Aristophanes' last surviving comedy, in which Ploutos, the god of wealth is cured of his blindness and the remarkable social consequences of his new discrimination are exemplified. This is the first complete verse translation of Aristophanes' comedies to appear for more than twenty-five years and makes freshly available one of the most remarkable comic playwrights in the entire Western tradition, complete with an illuminating introduction including play by play analysis and detailed notes.

The definitive English version of the stories of King Arthur, Le Morte Darthur was completed in 1469-70 by Sir Thomas Malory, `knight-prisoner'. In a resonant prose style, Malory charts the tragic disintegration of the fellowship of the Round Table, destroyed from within by warring factions. Recounting the life of King Arthur, the knightly exploits of Sir Lancelot du Lake, Sir Tristram, Sir Gawain, and the quest for the Holy Grail, Le Morte Darthur depicts the contradictions that underscore the Fellowship's chivalric ideals. A pervading tension cumulates in the revelation of Lancelot and Guenivere's illicit passion, and in Arthur's powerlessness to prevent a related outbreak of violence and revenge. This generously annotated edition is based on the authoritative Winchester manuscript and represents what Malory wrote more closely than the first version printed by William Caxton. Intelligently abridged from the original to make a single substantial volume, the translation is supplemented by a fine Introduction, a Glossary, and extensive Notes.

`the most tragic of the poets' Aristotle Euripides was one of the most popular and controversial of all Greek tragedians, and his plays are marked by an independence of thought, ingenious dramatic devices, and a subtle variety of register and mood. He is also remarkable for the prominence he gave to female characters, whether heroines of virtue or vice. In the ethically shocking Medea, the first known child-killing mother in Greek myth to perform the deed in cold blood manipulates her world in order to wreak vengeance on her treacherous husband. Hippolytus sees Phaedra's confession of her passion for her stepson herald disaster, while Electra's heroine helps her brother murder their mother in an act that mingles justice and sin. Lastly, lighter in tone, the satyr drama, Helen, is an exploration of the impossibility of certitude as brilliantly paradoxical as the three famous tragedies. This new translation does full justice to Euripides's range of tone and gift for narrative. A lucid introduction provides substantial analysis of each play, complete with vital explanations of the traditions and background to Euripides's world.

Lycurgus, Pericles, Solon, Nicias, Themistocles, Alcibiades, Cimon, Agesilaus, Alexander `I treat the narrative of the Lives as a kind of mirror...The experience is like nothing so much as spending time in their company and living with them: I receive and welcome each of them in turn as my guest.' In the nine lives of this collection Plutarch introduces the reader to the major figures and periods of classical Greece. He portrays virtues to be emulated and vices to be avoided, but his purpose is also implicitly to educate and warn those in his own day who wielded power. In prose that is rich, elegant and sprinkled with learned references, he explores with an extraordinary degree of insight the interplay of character and political action. While drawing chiefly on historical sources, he brings to biography a natural story-teller's ear for a good anecdote. Throughout the ages Plutarch's Lives have been valued for their historical value and their charm. This new translation will introduce new generations to his urbane erudition. The most comprehensive selection available, it is accompanied by a lucid introduction, explanatory notes, bibliographies, maps and indexes.

Marcus Cato Sulla Aemilius Paullus Pompey The Gracchi Marius Julius Caesar Anthony 'I treat the narrative of the Lives as a kind of mirror...The experience is like nothing so much as spending time in their company and living with them: I receive and welcome each of them in turn as my guest.' In the eight lives of this collection Plutarch introduces the reader to the major figures and periods of classical Rome. He portrays virtues to be emulated and vices to be avoided, but his purpose is also implicitly to educate and warn those in his own day who wielded power. In prose that is rich, elegant and sprinkled with learned references, he explores with an extraordinary degree of insight the interplay of character and political action. While drawing chiefly on historical sources, he brings to biography a natural story-teller's ear for a good anecdote. Throughout the ages Plutarch's Lives have been valued for their historical value and their charm. This new translation will introduce new generations to his urbane erudition. The most comprehensive selection available, it is accompanied by a lucid introduction, explanatory notes, bibliographies, maps and indexes.

`Look at her, she is the image of our beautiful Italy.' Corinne, or Italy (1807) is both the story of a love affair between Oswald, Lord Nelvil and a beautiful poetess, and an homage to the landscape, literature and art of Italy. On arriving in Italy, Oswald immediately falls under Corinne's magical spell as she is crowned a national genius at the Captitol. Yet, on returning to England, he succumbs to convention and honours his late father's wish by marrying the dutiful English girl, Lucile, despite having learned that Corinne is Lucile's Italian half-sister. Corinne dies of a broken heart and Lord Nelvil is left with a seared conscience. Staël weaves discreet French Revolutionary political allusion and allegory into her romance, and its publication saw her order of exile renewed by Napoleon. Indeed, the novel stands as the birth of modern nationalism, and introduces to French usage the word `nationalitié'. It is also one of the first works to put a woman's creativity centre stage. Sylvia Raphael's new translation preserves the natural character of the French original and the edition is complemented by notes and and introduction which serve to set an extraordinary work of European Romanticism in its historical and political contexts.

`My present intention is to clear myself of any suspicion of partiality by presenting the views of the generality of philosophers concerning the nature of the gods.' Cicero's philosophical works are now exciting renewed interest, in part because he provides vital evidence of the views of the (largely lost) Greek philosophers of the Hellenistic age, and partly because of the light he casts on the intellectual life of first century Rome. The Nature of the Gods is a text of central significance, presenting a detailed account of the theologies of the Epicureans and of the Stoics, together with the critical objections to these doctrines raised by the Academic school. When these Greek theories of deity are translated into the Roman context, a fascinating clash of ideologies results. This fine translation by P. G. Walsh includes a summary of the Text, and an Index and Glossary of Names.

`Her present life appeared like the dream of a distempered imagination, or like one of those frightful fictions, in which the wild genius of the poets sometimes delighted. Rreflections brought only regret, and anticipation terror.' Such is the state of mind in which Emily St. Aubuert - the orphaned heroine of Ann Radcliffe's 1794 gothic Classic, The Mysteries of Udolpho - finds herself after Count Montoni, her evil guardian, imprisions her in his gloomy medieval fortress in the Appenines. Terror is the order of the day inside the walls of Udolpho, as Emily struggles against Montoni's rapacious schemes and the threat of her own psychological disintegration. A best-seller in its day and a potent influence on Walpole, Poe, and other writers of eighteenth and nineteenth-century Gothic horror, The Mysteries of Udolpho remains one of the most important works in the history of European fiction. As the same time, with its dream-like plot and hallucinatory rendering of its characters' psychological states, it often seems strangely modern: `permanently avant-garde' in Terry Castle's words, and a profound and fascinating challenge to contemporary readers.

`For I do not seek to understand so that I may believe; but I believe so that I may understand. For I believe this also, that unless I believe, I shall not understand.' Does God exist? Can we know anything about God's nature? Have we any reason to think that the Christian religion is true? What is truth, anyway? Do human beings have freedom of choice? Can they have such freedom in a world created by God? These questions, and others, were ones which Anselm of Canterbury (c.1033-1109) took very seriously. He was utterly convinced of the truth of the Christian religion, but he was also determined to try to make sense of his Christian faith. Recognizing that the Christian God is incomprehensible, he also believed that Christianity is not simply something to be swallowed with mouth open and eyes shut. For Anselm, the doctrines of Christianity are an invitation to question, to think, and to learn. Anselm is studied today because his rigour of thought and clarity of writing place him among the greatest of theologians and philosophers. This translation provides readers with their first opportunity to read all of his most important works within the covers of a single volume.

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.

`So you're the little woman who wrote the book that started this great war!' These words, said to have been uttered by Abraham Lincoln, signal the celebrity of Uncle Tom's Cabin. The first American novel to become an international best-seller, Stowe's novel charts the progress from slavery to freedom of fugitives who escape the chains of American chattel slavery, and of a martyr who transcends all earthly ties. At the middle of the nineteenth-century, the names of its characters - Little Eva, Topsy, Uncle Tom - were renowned. A hundred years later, `Uncle Tom' still had meaning, but, to Blacks everywhere it had become a curse. This edition firmly locates Uncle Tom's Cabin within the context of African-American writing, the issues of race and the role of women. Its appendices include the most important contemporary African-American literary responses to the glorification of Uncle Tom's Christian resignation as well as excerpts from popular slave narratives, quoted by Stowe in her justification of the dramatization of slavery, Key to Uncles Tom's Cabin.

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

'You should know that men like Benvenuto, unique in their profession, need not be subject to the law.' Thus spoke Pope Paul III on learning that Cellini had murdered a fellow artist, so great was his reputation in Renaissance Florence. A renowned sculptor and goldsmith, whose works include the famous salt-cellar made for the King of France, and the statue of Perseus with the head of the Medusa, Cellini's life was as vivid and enthralling as his creations. A man of action as well as an artist, he took part in the Sack of Rome in 1527; he was temperamental, passionate, and conceited, capable of committing criminal acts ranging from brawling and sodomy to theft and murder. He numbered among his patrons popes and kings and members of the Medici family, and his autobiography is a fascinating account of sixteenth-century Italy and France written with all the verve of a novel. This new translation, which captures the freshness and vivacity of the original, is based on the latest critical edition. It examines in detail the central event in Cellini's narrative, the casting of the statue of Perseus.

`... holding her solitary way among a crowd of wild, grotesque companions; the only pure, fresh, youthful object in the throng.' `Little Nell' cares for her grandfather in the gloomy surroundings of his curiosity shop. Reduced to poverty the pair flee London, pursued by the grotesque and vindictive Quilp. In a bizarre and shifting kaleidoscope of events and characters the story reaches its tragic climax, an ending that famously devastated the novel's earliest readers. Dickens blends naturalistic and allegorical styles to encompass both the actual blight of Victorian industrialization and textual echoes of Bunyan, the Romantic poets, Shakespeare, pantomine and Jacobean tragedy. Contrasting youth and old age, beauty and deformity, innocence and cynicism, The Old Curiosity Shop is a compelling mixture of humour and brooding meance. This edition uses the Clarendon text, the definitive edition of the novels of Charles Dickens, and includes the original illustrations.

Pamela under the Notion of being a Virtuous Modest Girl will be introduced into all Familes,and when she gets there, what Scenes does she represent? Why a fine young Gentleman endeavouring to debauch a beautiful young Girl of Sixteen.' (Pamela Censured, 1741) One of the most spectacular successes of the burgeoning literary marketplace of eighteeent-century London, Pamela also marked a defining moment in the emergence of the modern novel. In the words of one contemporary, it divided the world 'into two different Parties, Pamelists and Antipamelists', even eclipsing the sensational factional politics of the day. Preached up for its morality, and denounced as pornography in disguise, it vividly describes a young servant's long resistance to the attempts of her predatory master to seduce her. Written in the voice of its low-born heroine, but by a printer who fifteen years earlier had narrowly escaped imprisonment for the seditious output of his press, Pamela is not only a work of pioneering psychological complexity, but also a compelling and provocative study of power and its abuse. Based on the original text of 1740, from which Richardson later retreated in a series of defensive revisions, this edition makes available the version of Pamela that aroused such widespread controversy on its first appearance.

All the terms one would expect to find in a comprehensive dictionary of philosophy can be found in this expertly researched reference, plus many terms and concepts not ususally found in such reference works. Capsule biographies of nearly 500 individuals, from the pre-Socratics through such major figures as Aquinas, Lady Anne Finch, Nietzsche, and Einstein, are included.