Oxford University Press

Shirley is Charlotte Bronte e'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.

Mr Verloc, the secret agent, keeps a shop in London's Soho where he lives with his wife Winnie, her infirm mother, and her idiot brother, Stevie. When Verloc is reluctantly involved in an anarchist plot to blow up the Greenwich Observatory things go disastrously wrong, and what appears to be «a simple tale» proves to involve politicians, policemen, foreign diplomats and London's fashionable society in the darkest and most surprising interrelations. Based on the text which Conrad's first English readers enjoyed, this new edition includes a full and up-to-date bibliography, a comprehensive chronology and a critical introduction which describes Conrad's great London novel as the realization of a «monstrous town», a place of idiocy, madness, criminality, and butchery. It also discusses contemporary anarchist activity in the UK, imperialism, and Conrad's narrative techniques.

Roxana (1724), Defoe's last and darkest novel, is the autobiography of a woman who has traded her virtue, at first for survival, and then for fame and fortune. Its narrator tells the story of her own «wicked» life as the mistress of rich and powerful men. Endowed with many seductive skills, she is herself seduced: by money, by dreams of rank, and by the illusion that she can escape her own past. This edition uses the rare first edition text, with a new Introduction, detailed Notes, textual history and a map of contemporary London.

Hard Times--Dickens's shortest novel and one of his triumphs--tells the tragic story of Louisa Gradgrind and her father and has had lasting appeal to generations of readers.

In Basil's secret and unconsummated marriage to Margaret Sherwin, and the consequent horrors of betrayal, insanity, and death, Collins reveals the bustling, commercial London of the first half of the nineteenth century. Collins' treatment of adultery shocked contemporary reviewers, and even today the passionate and lurid atmosphere he created has the power to disturb the modern reader.

Young Tess Durbeyfield attempts to restore her family's fortunes by claiming their connection with the aristocratic d'Urbervilles. But Alec d'Urberville is a rich wastrel who seduces her and makes her life miserable. When Tess meets Angel Clare, she is offered true love and happiness, but her past catches up with her and she faces an agonizing moral choice. Hardy's indictment of society's double standards, and his depiction of Tess as «a pure woman», caused controversy in his day and has held the imagination of readers ever since. Hardy thought it his finest novel, and Tess the most deeply felt character he ever created. This unique critical text is taken from the authoritative Clarendon edition, which is based on the manuscript collated with all Hardy's subsequent revisions.

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 tale of Daisy's irruption into staid European society enjoyed, as did Daisy herself, a success de scandale; and it has remained one of Jamess most popular short stories. Like the others collected here 'Pandora', 'The Patagonia', and 'Four Meetings' it describes a confrontation between different values in a changing world. Is the new independent American girl enchanting in her spontaneity, alarming in her unpredictability, or merely vulnerable in her ignorance of social codes? Hung about with make admirers who seek, uncertainly, to grasp the new phenomenon, Daisy marches on undiscourageable, to her triumphant-or tragic-destiny. This volume contains prefaces by Henry James, a chronology of his life, and editor's notes.

Performed variously as escapist fantasy, celebratory fiction, and political allegory, The Tempest is one of the plays in which Shakespeare's genius as a poetic dramatist found its fullest expression. Significantly, it was placed first when published in the First Folio of 1623, and is now generally seen as the playwright's most penetrating statement about his art. Stephen Orgel's wide-ranging introduction examines changing attitudes to The Tempest, and reassesses the evidence behind the various readings. He focuses on key characters and their roles and relationships, as well as on the dramatic, historical, and political context, finding the play to be both more open and more historically determined than traditional views have allowed.

Timon of Athens is a bitterly intriguing study of a fabulously rich man who wastes his wealth on his friends, and, when he is finally impoverished, learns to despise humanity with a hatred that drives him to his grave. The play's plot structure is schematically clear, and the poetry of Timon's rage is arresting in its savage intensity. Yet readers have often detected loose ends, and the tone of writing is uneven. In his introduction, John Jowett explains how these characteristics arise because the play was written as a collaboration between Shakespeare and Thomas Middleton. This edition pays full justice to Middleton's presence, explaining how his contribution gave the play its distinctive edge. Readers need to read this play as a dialogue between writers of different temperaments, and this edition is the first to make such a reading possible. The introduction provides the fullest account of the play's performance history available. The commentary is the most detailed ever to have been published. Appendices include source materials and a listing of major productions worldwide.

In A Room of One's Own and Three Guineas, Virginia Woolf considers with energy and wit the implications of the historical exclusion of women from education and from economic independence. In A Room of One's Own (1929), she examines the work of past women writers, and looks ahead to a time when women's creativity will not be hampered by poverty, or by oppression. In Three Guineas (1938), however, Woolf argues that women's historical exclusion offers them the chance to form a political and cultural identity which could challenge the drive towards fascism and war.

'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.

This is the first fully annotated modern-spelling edition of King Henry VIII to appear for over a decade and includes up-to-date scholarship on all aspects of the play, including dating authorship, printing, sources and stage history. The editor accepts the view that the play is a collaboration between Shakespeare and Fletcher. Unique to this edition is the frequent reference to Cavendish's biography of Wolsey, neglected in earlier editions. This edition includes a fully detailed commentary and a selective collation of major variant readings appear immediately beneath the text. Special attention has been paid to the frequent allusion to scripture and proverb law. An index to all words glossed and authorities cited appears at the end of the volume.

A Midsummer Night's Dream is perhaps Shakespeare's most popular play, particularly as a first introduction to Shakespeare for children--filled as it is with a marvelous mixture of aristocrats, workers, and fairies. For this edition, Peter Holland's introduction looks at dreams and dreamers, tracing the materials out of which Shakespeare constructs his world of night and shadows.

Usually classified as a «problem comedy», All's Well that Ends Well is a psychologically disturbing presentation of an aggressive, designing woman and a reluctant husband wooed by trickery. In her introduction Susan Snyder makes the play's clashing ideologies of class and gender newly accessible, and offers a fully reconsidered, annotated text for both readers and actors.

With its witty heroine Rosalind, who has the longest role of Shakespeare's female characters, As You Like It is Shakespeare's most light-hearted and most performed comedy. This edition includes numerous illustrations of productions and reassesses both its textual and performance history, showing how interpretations have changed since the first recorded production in 1740. It also examines Shakespeare's sources and elucidates the central themes of love, pastoral, and doubleness, and provides detailed annotations investigating the play's allusive and often bawdy language.

Perhaps the most brilliant political play ever written, Coriolanus is a gripping psychological study of the relationship between personality and politics, and its Roman hero one of the most memorable Shakespeare ever created. The introduction to this new edition offers the first full stage history and analysis of the original production of Coriolanus at the Blackfriars theater, and also examines Shakespeare's adaptation of his historical material while emphasizing the wide range of interpretations that are possible in performance.

The introduction includes an examination of the Quarto and texts, and of the relationship between them; a critical discussion of the play's historical and literary sources; an examination of conflicting critical attitudes to the play, and of its fluctuating theatrical fortunes; and a demonstration of the range and variety of Shakespeare's characterization.

Henry VI: Part One is a dramatic tale of the lives of soldiers, diplomats, kings, and insurrectionists. It depicts the fractious instability of the court and nobility of fifteenth-century England, and their squabbles with their French counterparts. Despite its debut performance in 1592, however, Henry VI: Part One does not appear in printed form until some thirty years later, in the 1623 folio. There are many questions, therefore, surrounding exactly how many people wrote the play, when they did so, how it was performed, who played what part, and the nature of the manuscript behind the first performance. In his wide-ranging introduction, Michael Taylor offers answers to these questions, and discusses other key issues such as language, structure, performance history, and the role of women in the play. Taylor edits the play for students, scholars, and theater-goers with an informative commentary on all aspects of the language, action, characters, and staging. 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.

This new edition to the Oxford Shakespeare series, based on the 1623 First Folio text, challenges conventional thinking about the nature and relationship of the earliest texts. It contributes substantial new evidence about Shakespeare's revision of the plays and the introduction and commentary focus on stage-oriented discussions of the play's meaning and reception.

Love's Labour's Lost, now recognized as one of the most delightful and stageworthy of Shakespeare's comedies, came into its own both on the stage and in critical esteem only during the 1930s and 1940s--after nearly three hundred years of neglect by the theater and misuse by critics. In this new critical edition, Hibbard pays particular attention to this process of rehabilitation. Based on the quarto of 1598, and drawing on recent scholarly analysis, he proposes that the quarto goes back, probably by way of a «lost» quarto, to an authorial manuscript that represents the play in a state prior to «fair copy.» He offers numerous original readings of difficult and disputed passages, and a helpful commentary to the play's scintillating language.

Shakespeare's vivid dramatic projection of moral and ethical issues in Measure for Measure has given the play great appeal to both readers and theatergoers. Exploring the play's qualities as a complex work of art written specifically for the theater, the introduction to this new edition sets the play in its historical context, discussing the originality of Shakespeare's treatment of a well-known story. Bawcutt explains the obsolete marriage customs, and also offers a comprehensive account of the text's theatrical afterlife from Restoration adaptations to recent productions.

Pericles was one of the most popular plays of its time, and it has regained much of that popularity today. In a wide-ranging introduction, Roger Warren draws on his experience of the play in rehearsal and performance to explore the reasons for this enduring popularity. Unfortunately Pericles survives only in a corrupt text, the Quarto of 1609, in which many passages are nonsensical and others appear to be missing altogether. Earlier editions have merely cleaned-up the Quarto, but this edition offers a conjectural reconstruction of what the original play might have been like. It draws upon George Wilkin's The Painful Adventures of Pericles (1608) to emend some of the errors and missing material. It does so in the belief that the play is a collaboration between Shakespeare and Wilkins. The entire Quarto text is reprinted in an appendix, together with the passages from Wilkin's narrative that have particularly contributed to the reconstruction, so that readers can see for themselves how the reconstruction has been made.

Shakespeare's Henry VI plays dramatize contemporary as much as Elizabethan issues: the struggle for power, the manoeuvres of politicians, social unrest, civil war. This edition draws on experience of the play in rehearsal and performance to focus on both its theatricality and contemporary relevance in a wide-ranging introduction and detailed commentary.