Njal's Saga is the finest of the Icelandic sagas, and one of the world's greatest prose works. Written c.1280, about events a couple of centuries earlier, it is divided into three parts: the first recounts the touching friendship between noble Gunnar and the statesman Njal, together with the fatal enmity between their wives. The second part works out the central tragedy of the saga, while the third describes the retribution wrought by Flosi and Kari.
The saga is remarkable not only for the details of everyday life - the farming, the feasting and the charcoal-burning - but also for the social structure of the society in which that life took place - the Althing or Parliament, the lawmaking and the lawgiving. The grandeur of the narrative and the beauty and distinction of the characters mark Njal's Saga as an essential text for all who love adventure and great literature.
London Labour and the London Poor is a masterpiece of personal inquiry and social observation. It is the classic account of life below the margins in the greatest Metropolis in the world and a compelling portrait of the habits, tastes, amusements, appearance, speech, humour, earnings and opinions of the labouring poor at the time of the Great Exhibition.
In scope, depth and detail it remains unrivalled. Mayhew takes us into the abyss, into a world without fixed employment where skills are declining and insecurity mounting, a world of criminality, pauperism and vice, of unorthodox personal relations and fluid families, a world from which regularity is absent and prosperity has departed. Making sense of this environment required curiosity, imagination and a novelist's eye for detail, and Henry Mayhew possessed all three.
No previous writer had succeeded in presenting the poor through their own stories and in their own words, and in this undertaking Mayhew rivals his contemporary Dickens. 'To pass from one to the other', writes one authority,' is to cross sides of the same street'.
Since its first publication in 1651, Thomas Hobbes’s Leviathan has been recognised as one of the most compelling, and most controversial, works of political philosophy written in English. Forged in the crucible of the civil and religious warfare of the mid-seventeenth century, it proposes a political theory that combines an unequivocal commitment to natural human liberty with the conviction that the sovereign power of government must be exercised absolutely. Leviathan begins from some shockingly naturalistic starting-points: an analysis of human nature as being motivated by vain-glory and pride, and a vision of religion as simply the fear of invisible powers made up by the mind. Yet from these deliberately unpromising elements, Hobbes constructs with unparalleled forcefulness an elaborate, systematic, and comprehensive account of how political society ought to be: ordered, law-bound, peaceful. In Leviathan, Hobbes presents us with a portrait of politics which depicts how a state that is made up of the unified body of all its citizens will be powerful, fruitful, protective of each of its members, and − above all − free from internal violence.
The legend of King Arthur and his knights of the Round Table is one of the most enduring and influential stories in world literature. Its themes - love, war, religion, treachery and family loyalty - are timeless, as are the reputations of its major characters, Arthur, Merlin, Guenever and Launcelot.
Malory's Le Morte Darthur is a story of noble knights, colourful tournaments and fateful love, set in a courtly society which is outwardly secure and successful, but in reality torn by dissent and, ultimately, treachery. Originally published in 1485, Malory's Le Morte Darthur is here presented in modern spelling and is accompanied by an Introduction and helpful Glossary.
Rene Descartes (1569-1650), the 'father' of modern philosophy, is without doubt one of the greatest thinkers in history: his genius lies at the core of our contemporary intellectual identity. Breaking with the conventions of his own time and suffering persecution by the Church as a consequence, Descartes in his writings - most of which are philosophical classics - attempted to answer the central questions surrounding the self, God, free-will and knowledge, using the science of thought as opposed to received wisdom based on the tenets of faith.
This edition, the most comprehensive one-volume selection of Descartes' works available in English, includes his great essay, Discourse on Method.
Sigmund Freud's audacious masterpiece, The Interpretation of Dreams, has never ceased to stimulate controversy since its publication in 1900.
Freud is acknowledged as the founder of psychoanalysis, the key to unlocking the human mind, a task which has become essential to man's survival in the twentieth century, as science and technology have rushed ahead of our ability to cope with their consequences.
Freud saw that man is at war with himself and often unable to tolerate too much reality. He propounded the theory that dreams are the contraband representations of the beast within man, smuggled into awareness during sleep. In Freudian interpretation, the analysis of dreams is the key to unlocking the secrets of the unconscious mind.
Dante Alighieri (1265-1321) is one of the most important and innovative figures of the European Middle Ages. Writing his Comedy (the epithet 'Divine' was added by later admirers) in exile from his native Florence, he aimed to address a world gone astray both morally and politically. At the same time, he sought to push back the restrictive rules which traditionally governed writing in the Italian vernacular, to produce a radically new and all-encompassing work.
The Comedy tells the story of the journey of a character who is at one and the same time both Dante himself and Everyman. In the Inferno, Dante's protagonist - and his reader - is presented with a graphic vision of the dreadful consequences of sin, and encounters an all-too-human array of noble, grotesque, beguiling, ridiculous and horrific characters.
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.
Human, All Too Human (1878) marks the point where Nietzsche abandons German romanticism for the French Enlightenment. At a moment of crisis in his life (no longer a friend of Richard Wagner, forced to leave academic life through ill health), he sets out his views in a scintillating and bewildering series of aphorisms which contain the seeds of his later philosophy (e.g. the will to power, the need to transcend conventional Christian morality). The result is one of the cornerstones of his life's work. It well deserves its subtitle ‘A Book for Free Spirits’, and its original dedication to Voltaire, whose project of radical enlightenment here finds a new champion.
Beyond Good and Evil (1886) is a scathing and powerful critique of philosophy, religion and science. Here Nietzsche presents us with problems and challenges that are as troubling as they are inspiring, while at the same time outlining the virtues, ideas, and practices which will characterise the philosophy of the future. Relentless, energetic, tirelessly probing, he both determines that philosophy's agenda and is himself the embodiment of the type of thought he wants to foster.
David Hume (1711–1776) was the most important philosopher ever to write in English, as well as a master stylist. This volume contains his major philosophical works. A Treatise of Human Nature (1739–1740), published while Hume was still in his twenties, consists of three books on the understanding, the passions, and morals. It applies the experimental method of reasoning to human nature in a revolution that was intended to make Hume the Newton of the moral sciences. Disappointed with the Treatise’s failure to bring about such a revolution, Hume later recast Book I as An Enquiry concerning Human Understanding (1751), and Book III as An Enquiry concerning the Principles of Morals, which he regarded as ‘incomparably the best’ of all his works. Both Enquiries went through several editions in his lifetime.
Hume’s works, controversial in his day, remain deeply and widely influential in ours, especially for his contributions to our understanding of the nature of morality, political and economic theory, philosophy of religion, and philosophical naturalism.
This volume also includes Hume’s anonymous Abstract of Books I and II of the Treatise, and the short autobiographical essay, ‘My Own Life’, which he wrote just before his death.
Democracy in America is a classic of political philosophy. Hailed by John Stuart Mill and Horace Greely as the finest book ever written on the nature of democracy, it continues to be an influential text on both sides of the Atlantic, above all in the emerging democracies of Eastern Europe.
De Tocqueville examines the structures, institutions and operation of democracy, and shows how Europe can learn from American success and failures. His central theme is the advancement of the rule of the people, but he also predicts that slavery will bring about the 'most horrible of civil wars', foresees that the USA and Russia will be the Superpowers of the twentieth century, and is 150 years ahead of his time in his views on the position and importance of women.
A new version of John Payne's Victorian translation, with an Introduction by Cormac O Cuilleanain.
1348. The Black Death is sweeping through Europe. In Florence, plague has carried off one hundred thousand people. In their Tuscan villas, seven young women and three young men tell tales to recreate the world they have lost, weaving a rich tapestry of comedy, tragedy, ribaldry and farce.
Boccaccio's Decameron recasts the storytelling heritage of the ancient and medieval worlds into perennial forms that inspired writers from Chaucer and Shakespeare down to our own day. Boccaccio makes the incredible believable, with detail so sharp we can look straight into the lives of people who lived six hundred years ago. His Decameron hovers between the fading glories of an aristocratic past - the Crusades, the Angevins, the courts of France, the legendary East - and the colourful squalor of contemporary life, where wives deceive husbands, friars and monks pursue fleshly ends, and natural instincts fight for satisfaction.
Here are love and jealousy, passion and pride - and a shrewd calculation of profit and loss which heralds the rise of a dynamic merchant class. These stories show us early capitalism during a moment of crisis and revelation.
Lawrence's reputation as a novelist has often meant that his achievements in poetry have failed to receive the recognition they deserve. This edition brings together, in a form he himself sanctioned, his Collected Poems of 1928, the unexpurgated version of Pansies, and Nettles, adding to these volumes the contents of the two notebooks in which he was still writing poetry when he died in 1930.
It therefore allows the reader to trace the development of Lawrence as a poet and appreciate the remarkable originality and distinctiveness of his achievement. Not all the poems reprinted here are masterpieces but there is more than enough quality to confirm Lawrence's status as one of the greatest English writers of the twentieth century.
During his life, Geoffrey Chaucer (born c.1340) was courtier, diplomat, revenue collector, administrator, negotiator, overseer of building projects, landowner and knight of the shire. He was servant, retainer, husband, friend and father. Whilst he was doing and ‘being’ all of these things, he was writing. Not only did he write in English - for princes, friends, family and, presumably, for his own pleasure – but his knowledge of French and Italian enabled him to engage with the works of notable French poets such as Eustache Deschamps, and also with the Italian works of Petrarch, Dante and Boccaccio, an understanding which he used to enrich and develop his own language.
It was Boccaccio’s Decameron which inspired Chaucer, in the 1390s, to begin work on The Canterbury Tales, which was still unfinished at his death in October 1400. It tells the story of a group of 30 pilgrims who meet at the Tabard Inn in Southwark, on the south bank of the Thames opposite the city of London, and travel together to visit the then famous shrine of St Thomas Becket in Canterbury cathedral. The tavern host, who accompanies them, suggests that they amuse one another along the way by telling stories. There will be a prize for this: the best storyteller will get a free meal in the tavern on their return. The stories told by the pilgrims range from bawdy comedies through saints’ lives and moral tracts to courtly romances, but are always delivered with a generous helping of Chaucer’s own sly wit and ironic humour. Although based on the stereotypes of ‘estates satire’, his pilgrims appear as individuals who can be recognised by their audience. Chaucer succeeds in his aim of producing an overview of his times and their culture, for posterity, in the manner of Italian, proto-Renaissance, writers. In the decades after his death, Chaucer was recognised and elevated by a new generation of writers to a position of prominence in the emerging canon of English writing, from which he ultimately became known as ‘the Father of English Literature’.
Sigmund Freud’s controversial ideas have penetrated Western culture more deeply than those of any other psychologist. The ‘Freudian slip’, the ‘Oedipus complex’, ‘childhood sexuality’, ‘libido’, ‘narcissism’ ‘penis envy’, the ‘castration complex’, the ‘id’, the ‘ego’ and the ‘superego’, ‘denial’, ‘repression’, ‘identification’, ‘projection’, ‘acting out’, the ‘pleasure principle’, the ‘reality principle’, ‘defence-mechanism’ – are all taken for granted in our everyday vocabulary. Psychoanalysis was never just a method of treatment, rather a vision of the human condition which has continued to fascinate and provoke long after the death of its originator.
Its central hypothesis, that we live in conflict with ourselves and seek to resolve matters by turning away from reality, did not emerge from experimental science but from self-examination and the unique opportunities for observation presented by the psychoanalytic technique – in particular, from the confessions produced by ‘free-association’ in Freud's consulting room. Written during the turmoil of the First World War, A General Introduction to Psychoanalysis was distilled from a series of lectures given at Vienna University, but had to wait for the war to end before being made available to the English speaking world.
He saw her wounded, and bleeding to death; saw her ashy countenance, and her wasting eyes ... turned piteously on himself, as if imploring him to save her from the fate that was dragging her to the grave...’
Ann Radcliffe, author of The Romance of the Forest and The Mysteries of Udolpho, is the high priestess of the gothic novel. In The Italian, first published in 1797, she creates a chilling, atmospheric concoction of thwarted lovers, ruined abbeys, imprisonment and dark passages, with an undercurrent of seething sexuality and presents us with a cunning villain in the sinister monk Schedoni.
A contemporary review commented on, ‘Radcliffe’s uncommon talent for exhibiting, with picturesque touches of genius, the vague and horrid shapes which imagination bodies forth...’
Radcliffe’s work was hugely influential and H.P. Lovecraft, early twentieth century master of the uncanny, was impressed by the, ‘eerie touch of setting and action contributing artistically to the impression of illimitable frightfulness which she wished to convey.’
The novel remains a fascinating, engrossing and unnerving masterpiece of gothic fiction.
The exploits of Sweeney Todd, ‘The Demon Barber of Fleet Street’, have been recounted many times in plays, films and musicals, but the origins of the character largely were forgotten for many years. The String of Pearls - the original tale of Sweeney Todd, a classic of British horror - was first published as a weekly serial in 1846-7 by Edward Lloyd, the King of the Penny Dreadfuls. One of the earliest detective stories, it became an important source for Bram Stoker's Dracula, but it was after over 150 years of obscurity that it appeared first in book form in the Wordsworth edition published in 2005.
The one great mystery that has surrounded the book is who the author was - or was it possibly the work of more than one man? In his new introduction to this fully revised second edition, Dick Collins, by means of detailed research of contemporary records, has established finally the identity of the creator of this legendary figure.
So here is the original story of the terrifying owner of that famous London barber-shop, and the secret recipe for Mrs Lovett's delicious pies…
In 1888 Henry James wrote 'There was the customary novel by Mr Le Fanu for the bedside; the ideal reading in a country house for the hours after midnight'. Madam Crowl's Ghost & Other Stories are tales selected from Le Fanu's stories which mostly appeared in The Dublin University Magazine and other periodicals, and their haunting, sinister qualities still have an enormous appeal for the modern reader. The great M.R. James, who collected and introduces the stories in this book, considered that Le Fanu 'stands absolutely in the first rank as a writer of ghost stories.
‘The worst parts were the great masses of flesh of the monstrous Worm, in all its red and sickening aspect… The sight was horrible enough, but, with the awful smell added, was simply unbearable. The Worm's hole appeared to breathe forth death in its most repulsive forms.’
Here are two great, neglected horror novels by Bram Stoker, author of Dracula, together in one volume for the first time. It is a double treat for lovers of blood-curdling fantasy fiction.
The Lady of the Shroud, published here in its full and unabridged form, is a fascinating and engrossing concoction of a vampire tale, Ruritanian adventure story and science fiction romance. The novel fully demonstrates the breadth and ingenuity of Stoker's imagination.
The spine-chilling The Lair of the White Worm features a monstrous worm secreted for thousands of years in a bottomless well and able to metamorphose into a seductive woman of a reptilian beauty who survives on her victim's life blood. The novel contains some of Stoker's most graphic and grisly moments of horror.
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