The story of Oedipus has captured the human imagination as few others. It is the story of a man fated to kill his father and marry his mother, a man who by a cruel irony brings these things to pass by his very efforts to avoid them. But these plays are not about fate, and not about irony. They are about character, choice and consequence. In Antigone, we see a woman who will defy human law, and die for it, rather than transgress the eternal, unwritten laws of the gods. Oedipus the Tyrant is the story of a ruler destroyed by those qualities — pride, determination and belief in his own abilities — which made him ruler in the first place. Finally, in Oedipus at Colonus, written late in Sophocles' life, the aged and blinded king achieves a personal reconciliation, but at a cost — a son who will die in battle against his country, and a daughter who will die burying her brother.

With an Introduction by Joanna Trollope. Trollope's delightful novel recounts the fortunes of Doctor Thorne, an upright and principled country doctor, and his niece Mary. She falls in love with Frank Gresham, heir to the heavily mortgaged Greshambury estate, but he is constrained in his choices by the need to marry well so that he can restore the family fortunes. The vicissitudes of Mary and Frank's courtship are lovingly detailed with all the wit and satire that show Trollope at his finest. In this social comedy, full of snobbery, hypocrisy and self-seeking, we meet characters from the city and cathedral of Barchester, and are introduced to the grandiloquent de Courcy family, whose pretensions mark its members among the author's most felicitous creations, as well as the down-to-earth heiress Miss Dunstable and the deplorable Sir Roger Scatcherd.

Edgar Poe was born the son of itinerant actors on January 19th, 1809 in Boston, Massachusets. Abandoned by his father and the later death of his mother, he was taken into the foster care of John Allan, a Virginia tobacco farmer. Now styled as Edgar Allan Poe, he distinguished himself at the University of Virginia but was equally adept at collecting debts from his assiduous gambling. His stepfather's disapproval shattered their fragile relationship and Poe left home to seek his fortune. In 1836 he married his cousin Virginia but despite his prolific activities — journalism, poetry, lecturing, short stories, publishing, criticism and experimentation with fictional genres, including the detective novel which he virtually invented with the publication of 'The Murders in the Rue Morgue' (1841) — he received scant recognition for his efforts until the publication of 'The Raven' in 1845. The poem's instant popularity gave him a new visibility in literary circles, but his personal situation remained desperate: poverty, illness, drink, and the physical decline and ultimate death of Virginia in 1847 led to his untimely and premature decline. In 1849 he was found sick, injured and semi-conscious in a Baltimore tavern. Taken to hospital, he lingered on for four days, but never recovered and on October 7th Edgar Allan Poe died at the age of 40. He was one of the most original writers in the history of American letters — a genius who, thanks to his dire reputation, was tragically misunderstood during his lifetime. It was not until Baudelaire enthusiastically translated his work that he found a wider audience in Europe, and became not only an enormous influence on modern French literature but also on the acclaimed work of writers such as Dostoevsky, Conan Doyle and Jules Verne.

«The Last Man» is Mary Shelley's apocalyptic fantasy of the end of human civilisation. Set in the late twenty-first century, the novel unfolds a sombre and pessimistic vision of mankind confronting inevitable destruction. Interwoven with her futuristic theme, Mary Shelley incorporates idealised portraits of Shelley and Byron, yet rejects Romanticism and its faith in art and nature. Mary Wollstonecraft Shelley (1797-1851) was the only daughter of Mary Wollstonecraft, author of «Vindication of the Rights of Woman», and the radical philosopher William Godwin. Her mother died ten days after her birth and the young child was educated through contact with her father's intellectual circle and her own reading. She met Percy Bysshe Shelley in 1812; they eloped in July 1814.In the summer of 1816 she began her first and most famous novel, «Frankenstein». Three of her children died in early infancy and in 1822 her husband was drowned. Mary returned to England with her surviving son and wrote novels, short stories and accounts of her travels; she was the first editor of P.B.Shelley's poetry and verse.»

«These stories of myth and resurrection, of uncanny events and violent impulse, were with one exception written and published in the latter half of the 1920s, coinciding with the composition of Lawrence's controversial masterpiece «Lady Chatterley's Lover». At this time Lawrence declared himself to be 'really awful sick of writing'; yet here we find some of his most beautiful, hauntingly melancholy fictions. In struggling to escape from their thwarted lives and to achieve human 'tenderness', the characters embody and continue the major preoccupations of Lawrence's work as a whole. «Love Among the Haystacks» provides an early illustration of the intensity and innovation which made Lawrence one of the most distinctive and important of twentieth-century writers.»

«Count Leo Tolstoy (1828-1910) is best known for «War and Peace» and «Anna Karenina», commonly regarded as amongst the greatest novels ever written. He also, however, wrote many masterly short stories, and this volume contains four of the longest and best in distinguished translations that have stood the test of time. In the early story 'Family Happiness', Tolstoy explores courtship and marriage from the point of view of a young wife. In 'The Kreutzer Sonata' he gives us a terrifying study of marital breakdown, in 'The Devil' a powerful depiction of the power of sexual temptation, and, in perhaps the finest of all, 'The Death of Ivan Ilyich', he portrays the long agony of a man gradually coming to terms with his own mortality.»

Lyrical Ballads (1798 and 1800) constituted a quiet poetic revolution, both in its attitude to its subject-matter and its anti-conventional language. Those volumes and Wordsworth's and Coleridge's other major poems were central to the Romantic period and remain classic texts in our own time. Wordsworth focuses on the essential passions of the heart and achieves a penetrating insight into love and death, solitude and community. Coleridge explores a more fantastic and dreamlike imagination, and also writes poems of quiet, conversational mediation. Both poets look with a fresh and visionary eye at the human and natural world. They examine the condition of men and women at the extreme edge of society: they are also subtle analysts of their own minds and the processes of introspection and memory. This volume contains all of Lyrical Ballads (1798) with Wordsworth's Preface of 1800/1802, and a wide ranging selection of both poets other work across their poetic careers, including virtually all their best known and most discussed shorter poems.

When The Forsyte Saga was shown on television in 1967 it was hugely successful. The nation was gripped by the masterful visual telling of the Forsyte family's troubled story and adapted its activities to suit the next transmission. The Forsyte Saga comprising The Man of Property, In Chancery and To Let, is here produced by Wordsworth for the first time in a single volume. Initially, the narrative centres on Soames Forsyte — a successful solicitor living in London with his beautiful wife Irene. A pillar of the late Victorian upper middle class, materially wealthy, his appears to be a golden existence endowed with all the necessary possessions for a 'Man of Property', but beneath this very proper exterior lies a core of unhappiness and brutal relationships. The marriage of Soames and Irene disintegrates in bitter recrimination, creating a feud within the family that will have far-reaching consequences.

This superb new collection brings together stories from the earliest decades of Gothic writing with later 19th and early 20th century tales from the period in which Gothic diversified into the familiar forms of the ghost-and horror-story. Some of these stories, like the haunting ‘The Lame Priest’ are ‘lost masterpieces’ and several have never been anthologised before.

The House of Mirth tells the story of Lily Bart, aged 29, beautiful, impoverished and in need of a rich husband to safeguard her place in the social elite, and to support her expensive habits — her clothes, her charities and her gambling. Unwilling to marry without both love and money, Lily becomes vulnerable to the kind of gossip and slander which attach to a girl who has been on the marriage market for too long. Wharton charts the course of Lily’s life, providing, along the way, a wider picture of a society in transition, a rapidly changing New York where the old certainties of manners, morals and family have disappeared and the individual has become an expendable commodity.

Hector bidding farewell to his wife and baby son, Odysseus bound to the mast listening to the Sirens, Penelope at the loom, Achilles dragging Hector's body round the walls of Troy — scenes from Homer have been reportrayed in every generation. The questions about mortality and identity that Homer's heroes ask, the bonds of love, respect and fellowship that motivate them, have gripped audiences for three millennia. Chapman's Iliad and Odyssey are great English epic poems, but they are also two of the liveliest and readable translations of Homer. Chapman's freshness makes the everyday world of nature and the craftsman as vivid as the battlefield and Mount Olympus. His poetry is driven by the excitement of the Renaissance discovery of classical civilisation as at once vital and distant, and is enriched by the perspectives of humanist thought.

The child of parents who divorce, remarry and then embark on adulterous affairs, Maisie Farange survives by her intelligence and spirit. For all its sombre theme of childhood innocence exposed to a corrupted adult world, this novel is one of James’s comic masterpieces. The outrageous behaviour of the characters on the seedy fringes of the English upper class is conveyed with wit and relish. The dual perspective of a sophisticated narrator richly appreciative of the absurdities of the adult sexual merry-go-round and the candid vision of Maisie, 'rebounding' from one parent to another like a 'shuttlecock', together create an 'associational magic'. Strangely, unexpectedly, from so much that is tawdry, comes a tale of moral energy and subtlety. James’s foresight was in understanding the modernity of his subject, which is even more relevant today in the twenty-first century.

In 1795 Mungo Park, a twenty-four year old Scottish surgeon, set out from the Gambia to trace the course of the Niger, a river of which Europeans had no first-hand knowledge. Travels in the interior districts of Africa is his Journal of that extraordinary journey. He travelled on the sufferance of African rulers and soon came to depend for his survival on the charity of African villagers. Before he reached the Niger, he endured months of captivity in the camp of a Moorish chief. His subsequent misadventures included being robbed and stripped naked by Fulani bandits. Yet, throughout his travels, Park maintained a remarkable empathy for African societies and beliefs. He recorded what he saw as accurately as he could, and without presuming European superiority. He prefaced his Journal with the disclaimer that it ‘has nothing to recommend it but truth. It is a plain unvarnished tale, without any pretensions of any kind…’ Park's truthfulness and lack of pretension will endear him to modern readers.

The Wordsworth Dictionary of Phrase & Fable explains the origins of the familiar and the unfamiliar in everyday speech and literature, including the colloquial and the proverbial, and embracing archaeology, history, religion, the arts, science, mythology, and characters from fiction. This invaluable dictionary, which revises and updates the original work of Dr Ebenezer Cobham Brewer, encompasses material from all over the English speaking world and cites many equivalents from other European countries. The inclusion of quotations which accompany and illustrate many of the entries adds hugely to the value of this legendary work of reference.

The captivating Irish stories collected in this new edition include both comic tales such as 'Paddy O'Kelly and the Weasel', and tales of heroes from ancient literature such as 'How Cormac Mac Art went to Faery'. By turns funny, fantastical and mysterious, the stories are matched in liveliness by the original illustrations of John D. Batten. It would be hard to find a better introduction for children to the special magic of Celtic storytelling. The stories in this book are taken from Joseph Jacob's classic two-volume collection Celtic Fairy Tales (1891-2) and More Celtic Fairy Tales (1894)

The magical Peter Pan comes to the night nursery of the Darling children, Wendy, John and Michael. He teaches them to fly, then takes them through the sky to Never-Never Land, where they find Red Indians, wolves, Mermaids and... Pirates. The leader of the pirates is the sinister Captain Hook. His hand was bitten off by a crocodile, who, as Captain Hook explains 'liked me arm so much that he has followed me ever since, licking his lips for the rest of me'. After lots of adventures, the story reaches its exciting climax as Peter, Wendy and the children do battle with Captain Hook and his band. Peter Pan in Kensington Gardens is the magical tale that first introduces Peter Pan, the little boy who never grows any older. He escapes his human form and flies to Kensington Gardens, where all his happy memories are, and meets the fairies, the thrushes, and Old caw the crow. The fairies think he is too human to be allowed to stay in after Lock-out time, so he flies off to an island which divides the Gardens from the more grown-up Hyde Park… Peter’s adventures, and how he eventually meets Mamie and the goat, are delightfully illustrated by Arthur Rackham.

«'Doctor Watson, Mr Sherlock Holmes' — The most famous introduction in the history of crime fiction takes place in Sir Arthur Conan Doyle's «A Study in Scarlet», bringing together Sherlock Holmes, the master of science detection, and John H. Watson, the great detective's faithful chronicler. This novel not only establishes the magic of the Holmes myth but also provides the reader with a dramatic adventure yarn which ranges from the foggy, gas-lit streets of London to the burning plains of Utah. «The Sign of the Four», the second Holmes novel, presents the detective with one of his greatest challenges. The theft of the Agna treasure in India forms a catalyst for treachery, deceit and murder.»

«Washington Square» marks the culmination of James’s apprentice period as a novelist. With sharply focused attention upon just four principal characters, James provides an acute analysis of middle-class manners and behaviour in the New York of the 1870’s, a period of great change in the life of the city. This change is explored through the device of setting the novel's action during the 1840s, similarly a period of considerable turbulence as the United States experienced the onset of rapid commercial and industrial expansion. Through the relationships between Austin Sloper, a celebrated physician, and his sister Lavinia Penniman, his daughter Catherine, and Catherine's suitor, Morris Townsend, James observes the contemporary scene as a site of competing styles and performances where authentic expression cannot be articulated or is subject to suppression.»

The Man in the Iron Mask is the final episode in the cycle of novels featuring Dumas' celebrated foursome of D'Artagnan, Athos, Porthos and Aramis, who first appeared in The Three Musketeers. Some thirty-five years on, the bonds of comradeship are under strain as they end up on different sides in a power struggle that may undermine the young Louis XIV and change the face of the French monarchy. In the fast-paced narrative style that was his trademark, Dumas pitches us straight into the action. What is the secret shared by Aramis and Madame de Chevreuse? Why does the Queen Mother fear its revelation? Who is the mysterious prisoner in the Bastille? And what is the nature of the threat he poses? Dumas, the master storyteller, keeps us reading and guessing until the climactic scene in the grotto of Locmaria, a fitting conclusion to the epic saga of the musketeers.

Hans Christian Andersen is the best-loved of all tellers of fairy tales. This collection of over forty of Andersen's most popular stories includes The Mermaid, The Real Princess, The Red Shoes, The Little Match Girl, The Snow Queen, The Tinder Box, The Ugly Duckling and many more. It is delightfully illustrated in black-and-white by those remarkable brothers, Charles, Thomas and William Heath Robinson.