The story revolves around two seemingly homeless men waiting for someone—or something—named Godot. Vladimir and Estragon wait near a tree, inhabiting a drama spun of their own consciousness. The result is a comical wordplay of poetry, dreamscapes, and nonsense, which has been interpreted as mankind’s inexhaustible search for meaning. Beckett’s language pioneered an expressionistic minimalism that captured the existential post-World War II Europe. His play remains one of the most magical and beautiful allegories of our time.
The shorter one-act play, Riders to the Sea, is a dark elegy to the fragile existence of those who live at the mercy of the sea. Both are beautifully crafted dramas that celebrate Irish gifts for lyrical language. They are reprinted here from authoritative editions, complete with Synge's preface to The Playboy of the Western World.
“I sold flowers. I didn't sell myself. Now you've made a lady of me I'm not fit to sell anything else.” ― George Bernard Shaw, Pygmalion
In George Bernard Shaw's classic drama, Pygmalion, Professor Henry Higgins transforms a low-class flower-seller into a lady, all through changing the way she speaks. This funny, romantic and thought-provoking play is a classic work that should be read by all fans of Eliza Doolittle.
Xist Publishing is a digital-first publisher. Xist Publishing creates books for the touchscreen generation and is dedicated to helping everyone develop a lifetime love of reading, no matter what form it takes
Four Quartets is a rich composition that expands the spiritual vision introduced in “The Waste Land.” Here, in four linked poems (“Burnt Norton,” “East Coker,” “The Dry Salvages,” and “Little Gidding”), spiritual, philosophical, and personal themes emerge through symbolic allusions and literary and religious references from both Eastern and Western thought. It is the culminating achievement by a man considered the greatest poet of the twentieth century and one of the seminal figures in the evolution of modernism.
“In ten years’ time,” wrote Edmund Wilson in Axel’s Castle, “Eliot has left upon English poetry a mark more unmistakable than that of any other poet writing in English.” In 1948, Eliot was awarded the Nobel Prize “for his work as a trail-blazing pioneer of modern poetry.”
This book is made up of six individual titles: Four Quartets, Collected Poems: 1909–1935, Murder in the Cathedral, The Family Reunion, Old Possum’s Book of Practical Cats, and The Cocktail Party. It offers not only enjoyment of one of the great talents in contemporary literature, but a deeper understanding of such classics as “The Waste Land,” “The Hollow Men,” “Ash Wednesday,” “Prufrock,” “Murder in the Cathedral,” and “The Cocktail Party.” The Complete Poems and Plays of T. S. Eliot is indispensable.
T. S. Eliot’s plays—Murder in the Cathedral, The Family Reunion, The Cocktail Party (which won a Tony Award for its Broadway production), The Confidential Clerk, and The Elder Statesman—are brought together for the first time in this volume. They summarize the Nobel Prize winner’s achievements in restoring dramatic verse to the English and American stages, an effort of great significance both for the theater and for the development of Eliot’s art.
Between 1935, when Murder in the Cathedral was first produced at the Canterbury Festival, and 1958, when The Elder Statesman opened at the Edinburgh Festival prior to engagements in London and New York, Eliot had given three other plays to the theater. His paramount concerns can be traced through all five works. They have been said to be closely related, marking stages in the development of a new and individual form of drama, in which the poet worked out his intention “to take a form of entertainment, and subject it to the process that would leave it a form of art.” What Mark Van Doren said, in reviewing Murder in the Cathedral, is true of all these plays: “Mr. Eliot adapts himself to the stage with dignity, simplicity, and skill.”
Some one said: “The dead writers are remote from us because we know so much more than they did.” Precisely, and they are that which we know.
Celebrated poet and playwright T. S. Eliot was one of the twentieth century’s most influential literary critics. In Selected Essays, he compiled his most significant works of criticism and theory written between 1917 and 1932. Included here are what Eliot considered the best essays from The Sacred Wood; his essays on Elizabethan and Jacobean dramatists; Tradition and the Individual Talent; Dante; For Lancelot Andrewes; Homage to John Dryden; and many others.
This expanded edition is annotated with footnotes and includes a biographical note about the author.
“Mr. Eliot is a master of critical exposition.” —The New York Times
• More than 40 illustrations by “Phiz” (Hablot K. Browne) from the original 1859 edition and Frederick Barnard from the 1872 edition
• Author bio and bibliography
• Introduction by Dickens scholar and novelist Andrei Baltakmens
A Tale of Two Cities opens in 1775, when Doctor Manette is reunited with
his daughter Lucie after having been locked away in the Bastille for 18
years. Lucie nurtures her half-mad father back to health, but their
troubles are far from over, as their lives become entangled with the
emigrant son of the Marquis St. Evrémonde, the wayward ne’er-do-well
Sydney Carton, and the vengeful Madame and Monsieur Defarge. Set against
the terror and turmoil of the French Revolution, A Tale of Two Cities
is one of Charles Dickens’s most loved works—a historical adventure of
high drama and surprising depth.
The word culture has been widely and erroneously employed in political, educational, and journalistic contexts. In helping to define a word so greatly misused, T. S. Eliot contradicts many of our popular assumptions about culture, reminding us that it is not the possession of any one class but of a whole society—and yet its preservation may depend on the continuance of a class system, and that a “classless” society may be a society in which culture has ceased to exist.
Surveying the post–World War II world, Eliot finds evidence of decay in cultural standards in every department of human activity, and expects the phenomenon to continue. He suggests that culture and religion have a common root—and if one decays, the other may die too. In observing the superpowers of his day and the course of recent history, he reminds us that “the Russians have been the first modern people to practise the political direction of culture consciously, and to attack at every point the culture of any people whom they wish to dominate.”
The appendix includes Eliot’s broadcasts to Europe, ending with a plea to preserve the legacy of Greece, Rome, and Israel, and Europe’s legacy throughout the last two thousand years.
“Behind the urbanity, the modesty, the mere good manners of Mr. Eliot’s exposition, one cannot mistake the force and significance of what he has to say, or ignore that it constitutes a fundamental attack on most of our assumptions on the subject.” —The Spectator
The title poem, The Waste Land (1922), ranks among the most influential poetic works of the century. An exploration of the psychic stages of a despairing soul caught in a struggle for redemption, the poem contrasts the spiritual stagnation of the modern world with the ennobling myths of the past. Other selections include the complete contents of Prufrock (1971), including "The Love Song of J. Alfred Prufrock," "Portrait of a Lady," "Rhapsody on a Windy Night," "Mr. Apollinax," and "Morning at the Window." From Poems (1920) there are "Gerontion," "The Hippopotamus," "Mr. Eliot's Sunday Morning Service," "Sweeney Among the Nightingales," and more.
An indispensable resource for all poetry lovers, this modestly priced edition is also an ideal text for English literature courses from high school to college. Includes "The Love Song of J. Alfred Prufrock."
Mr. Eliot has written the words; the scenario and design of the play were provided by a collaborator, and the purpose was to provide a pageant of the Church of England for presentation on a particular occasion. The action turns upon the efforts and difficulties of a group of London masons in building a church. Incidentally a number of historical scenes, illustrative of church-building, are introduced. The play, enthusiastically greeted, was first presented in England, at Sadler's Wells; the production included much pageantry, mimetic action, and ballet, with music by Dr. Martin Shaw.
Immediately after the production of this play in England, Francis Birrell wrote in The New Statesman: "The magnificent verse, the crashing Hebraic choruses which Mr. Eliot has written had best be studied in the book. 'The Rock' is certainly one of the most interesting artistic experiments to be given in recent times." The Times Literary Supplement also spoke with high praise: "The choruses exceed in length any of his previous poetry; and on the stage they prove the most vital part of the performance. They combine the sweep of psalmody with the exact employment of colloquial words. They are lightly written, as though whispered to the paper, yet are forcible to enunciate. . . . There is exhibited here a command of novel and musical dramatic speech which, considered alone, is an exceptional achievement."
"It is a great novel and belongs on anybody's list, absolutely." — Garrison Keillor
An eighteen-year-old girl without money or connections ventures forth from her small town in search of a better life in Theodore Dreiser's revolutionary first novel. The chronicle of Carrie Meeber's rise from obscurity to fame — and the effects of her progress on the men who use her and are used in turn — aroused a storm of controversy and debate upon its debut in 1900. The author's nonjudgmental portrait of a heroine who violates the contemporary moral code outraged some critics, including the book's publisher, Frank Doubleday, who tried to back out of his agreement his firm had made with Dreiser. But others were elated — and Dreiser's compelling plot and realistic characters continue to fascinate readers.
"Sister Carrie stands outside the brief traffic of the customary stage. It leaves behind an inescapable impression of bigness, of epic sweep and dignity. It is not a mere story, not a novel in the customary American meaning of the word; it is at once a psalm of life and a criticism of life … [Dreiser's] aim is not merely to tell a tale; his aim is to show the vast ebb and flow of forces which sway and condition human destiny. The thing he seeks to do is to stir, to awaken, to move. One does not arise from such a book as Sister Carrie with a smirk of satisfaction; one leaves it infinitely touched." — H. L. Mencken
In his epic treatment of the Faust legend, Marlowe retains much of the rich phantasmagoria of its origins. There are florid visions of an enraged Lucifer, dueling angels, the Seven Deadly Sins, Faustus tormenting the Pope, and his summoning of the spirit of Alexander the Great. But the playwright created equally powerful scenes that invest the work with tragic dignity, among them the doomed man's calling upon Christ to save him and his ultimate rejection of salvation for the embrace of Helen of Troy.
With immense poetic skill, and psychological insight that foreshadowed the later work of Shakespeare and the Jacobean playwrights, Marlowe created in Dr. Faustus one of the first true tragedies in English. Vividly dramatic, rich in poetic grandeur, this classic play remains a robust and lively exemplar of the glories of Elizabethan drama.
This correspondence with friends and mentors vividly documents all the stages of Eliot’s personal and artistic transformation during these crucial years, the continuing anxieties of his private life, and the forging of his public reputation.
First produced on the London stage in 1894, Arms and the Man continues to be among the most performed of Shaw’s plays around the world. The play is reprinted in its entirety here from an authoritative British edition, and is complete with Shaw's stimulating preface to Volume II of Plays: Pleasant and Unpleasant.
Often compared to Shakespeare in terms of his dynamic plots and poetic lyricism, Webster created radical, profoundly original works that feature shifting perspectives and thought-provoking challenges to conventional moral judgments. Required reading for courses in seventeenth-century English literature, this provocative masterpiece from the Golden Age of English drama will not only be welcomed by students and teachers of English literature but also a wide audience of general readers.
While a student at Harvard in the early years of the twentieth century, T. S. Eliot immersed himself in the verse of Dante, Donne, and the nineteenth-century French poet Jules Laforgue. His study of the relation of thought and feeling in these poets led Eliot, as a poet and critic living in London, to formulate an original theory of the poetry generally termed “metaphysical”—philosophical and intellectual poetry that revels in startlingly unconventional imagery.
Eliot came to perceive a gradual “disintegration of the intellect” following three “metaphysical moments” of European civilization—the thirteenth, seventeenth, and nineteenth centuries. The theory is at once a provocative prism through which to view Western intellectual and literary history and an exceptional insight into Eliot’s own intellectual development.
This annotated edition includes the eight Clark Lectures on metaphysical poetry that Eliot delivered at Trinity College in Cambridge in 1926, and their revision and extension for his three Turnbull Lectures at Johns Hopkins University in Baltimore in 1933. They reveal in great depth the historical currents of poetry and philosophy that shaped Eliot’s own metaphysical moment in the twentieth century.
It is a comedy with two plots, one involving Sir Oliver Surface's attempts to discover the worthier of his two nephews, and the other unleashing Lady Sneerwell's strategies to ensnare both nephews and the hapless Lady Teazle in her designs. Both plots converge brilliantly in the screen scene — one of the most famous in all of theater.
The School for Scandal reveals not only Sheridan's mastery of the mechanics of stage comedy, but also his flair for witty dialogue and obvious delight in skewering the affectation and pretentiousness of aristocratic Londoners of the 1770s. Its evergreen appeal makes it one of the most produced of all theater classics today, and one of the most delightful to read.
The Rivals, brimming with false identities and with romantic entanglements carried on amid a cloud of parental disapproval, satirizes the pretentiousness and sentimentality of the age. It features a cast of memorable characters, among them the lovely Lydia Languish, whose pretty head has been filled with nonsense from romantic novels; Capt. Jack Absolute, a young officer in love with Lydia; Sir Anthony Absolute, Jack's autocratic father; Sir Lucius O'Trigger, a fiery Irishman; and Jack's provincial neighbor, Bob Acres, a bumptious but lovable country squire in love with Lydia.
Hoping to win Lydia's affection, Captain Jack woos the pretty miss by pretending to be a penniless ensign named Beverley, an act that nearly incites a duel with Acres. His actions also provoke serious objections from Lydia's aunt, Mrs. Malaprop, a misspeaking matron whose ludicrous misuse of words gave the English language a new term: malapropism. Ultimately, the hilarious complications are resolved in a radiant comic masterpiece that will entertain and delight theater devotees and students of English drama alike.
Hidden away for decades, this newly discovered trove of previously unpublished early works includes drafts of T .S. Eliot’s poems such as “The Love Song of J. Alfred Prufrock” and “Portrait of a Lady”—as well as ribald verse and other youthful curios that reveal a very different man from Eliot’s public persona.
Edited by Christopher Ricks, its publication was hailed by the New York Times Book Review as “perhaps the most significant event in Eliot scholarship in the past twenty-five years.”
"Mrs. Dalloway was the first novel to split the atom. If the novel before Mrs. Dalloway aspired to immensities of scope and scale, to heroic journeys across vast landscapes, with Mrs. Dalloway Virginia Woolf insisted that it could also locate the enormous within the everyday; that a life of errands and party-giving was every bit as viable a subject as any life lived anywhere; and that should any human act in any novel seem unimportant, it has merely been inadequately observed. The novel as an art form has not been the same since.
"Mrs. Dalloway also contains some of the most beautiful, complex, incisive and idiosyncratic sentences ever written in English, and that alone would be reason enough to read it. It is one of the most moving, revolutionary artworks of the twentieth century."
--Michael Cunningham, author of The Hours
The first volume respects Eliot's decisions by opening with his Collected Poems 1909-1962 in the form in which he issued it, shortly before his death fifty years ago. There follow in this first volume the uncollected poems from his youth that he had chosen to publish, along with such other poems as could be considered suitable for publication.
The Poems of T. S. Eliot is a work of enlightening scholarship that will delight and inform all those who read Eliot for pleasure, as well as all those who read with pleasure and for study. Here are a new accuracy and an unparalleled insight into the marvels and landmarks from The Love Song of J. Alfred Prufrock and The Waste Land through to Four Quartets.
The Spanish Tragedy was written in the late 16th century and is believed to have influenced Shakespeare's Hamlet as it also includes a vengeful ghost.The action centers around a political rivalry that leads to many murders and a promise for revenge.
Poet, dramatist, critic, and editor, T. S. Eliot was one of the defining figures of twentieth-century poetry. This edition of Collected Poems 1909-1962 includes The Love Song of J. Alfred Prufrock along with Four Quartets, The Waste Land, and several other poems.
“The Real Inspector Hound”
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
Henrik Ibsen's A Doll's House premiered in 1879 in Copenhagen, the second in a series of realist plays by Ibsen, and immediately provoked controversy with its apparently feminist message and exposure of the hypocrisy of Victorian middle-class marriage. In Ibsen's play, Nora Helmer has secretly (and deceptively) borrowed a large sum of money to pay for her husband, Torvald, to recover from illness on a sabbatical in Italy. Torvald's perception of Nora is of a silly, naive spendthrift, so it is only when the truth begins to emerge, and Torvald appreciates the initiative behind his wife, that unmendable cracks appear in their marriage.
This compelling new version of Ibsen's masterpiece by playwright Simon Stephens premiered at the Young Vic Theatre, London, on 29 June 2012.
'Ibsen's great feminist drama' Daily Telegraph
From the play's effervescent beginnings in Algernon Moncrieff's London flat to its hilarious denouement in the drawing room of Jack Worthing's country manor in Hertfordshire, this comic masterpiece keeps audiences breathlessly anticipating a new bon mot or a fresh twist of plot moment to moment.
* Beautifully illustrated with images relating to Eliot's life and works
* Concise introductions to the poetry books
* Images of how the poetry books were first printed, giving your eReader a taste of the original texts
* Excellent formatting of the poems
* Special chronological and alphabetical contents tables for the poetry
* Features rare poems
* Easily locate the poems you want to read
* Includes Eliot's early essay collection THE SACRED WOOD
* Scholarly ordering of texts into chronological order and literary genres
Please note: the collection presents the most complete collection of Eliot’s poetry possible, complying with US copyright laws. Once new texts enter the public domain, they will be added to the eBook as a free update.
Please visit www.delphiclassics.com to browse through our range of exciting titles
The Poetry Collections
PRUFROCK AND OTHER OBSERVATIONS
THE WASTE LAND
THE HOLLOW MEN
VERSES FROM PERIODICALS
LIST OF POEMS IN CHRONOLOGICAL ORDER
LIST OF POEMS IN ALPHABETICAL ORDER
THE SACRED WOOD
Please visit www.delphiclassics.com to browse through our range of exciting titles
Originally delivered in 1939 at Corpus Christi College, these three lectures by the renowned poet and playwright T. S. Eliot address the direction of religious thought toward criticism of political and economic systems. With sincerity and intellectual rigor, the Nobel Prize winner asks whether—and how—it is possible for Christianity to coexist with Western democracy and capitalism.
Under the editorial supervision of Jonathan Bate and Eric Rasmussen, two of today’s most accomplished Shakespearean scholars, this Modern Library series incorporates definitive texts and authoritative notes from William Shakespeare: Complete Works. Each play includes an Introduction as well as an overview of Shakespeare’s theatrical career; commentary on past and current productions based on interviews with leading directors, actors, and designers; scene-by-scene analysis; key facts about the work; a chronology of Shakespeare’s life and times; and black-and-white illustrations.
Ideal for students, theater professionals, and general readers, these modern and accessible editions from the Royal Shakespeare Company set a new standard in Shakespearean literature for the twenty-first century.
As Muldoon writes, "It's almost impossible to think of a world in which The Waste Land did not exist. So profound has its influence been not only on twentieth-century poetry but on how we’ve come to view the century as a whole, the poem itself risks being taken for granted." Famously elliptical, wildly allusive, at once transcendent and bleak, The Waste Land defined modernity after the First World War, forever transforming our understanding of ourselves, the broken world we live in, and the literature that was meant to make sense of it. In a voice that is arch, ironic, almost ebullient, and yet world-weary and tragic, T. S. Eliot mixes and remixes, drawing on a cast of ghosts to create a new literature for a new world. In the words of Edmund Wilson, "Eliot…is one of our only authentic poets…[The Waste Land is] one triumph after another."
Tom Stoppard was catapulted into the front ranks of modem playwrights overnight when Rosencrantz and Guildenstern Are Dead opened in London in 1967. Its subsequent run in New York brought it the same enthusiastic acclaim, and the play has since been performed numerous times in the major theatrical centers of the world. It has won top honors for play and playwright in a poll of London Theater critics, and in its printed form it was chosen one of the “Notable Books of 1967” by the American Library Association.
To accompany Eliot's poems, Christopher Ricks and Jim McCue have provided a commentary that illuminates the creative activity that came to constitute each poem, calling upon drafts, correspondence and other original materials to provide a vivid account of the poet's working processes, his reading, his influences and his revisions.
The first volume respects Eliot's decisions by opening with his Collected Poems 1909-1962 in the form in which he issued it, shortly before his death fifty years ago. There follow in this first volume the uncollected poems from his youth that he had chosen to publish, along with such other poems as could be considered suitable for publication. The second volume opens with the two books of poems of other kinds that he issued, Old Possum's Book of Practical Cats and his translation of Perse's Anabase, moving then to verses privately circulated as informal or improper or clubmanlike. Each of these sections is accompanied by its respective commentary, and then, pertaining to the entire edition, there is a comprehensive textual history recording variants both manuscript and published.
The Poems of T. S. Eliot is a work of enlightening scholarship that will delight and inform all those who read Eliot for pleasure, as well as all those who read with pleasure and for study. Here are a new accuracy and an unparalleled insight into the marvels and landmarks from The Love Song of J. Alfred Prufrock and The Waste Land through to Four Quartets
This modern verse play by the author of The Waste Land, “The Love Song of J. Alfred Prufrock,” and other modern masterpieces deals with the problem of man’s guilt—and his need for expiation through his acceptance of responsibility for the sin of humanity. It reveals the depth and versatility of a twentieth-century writer who excelled as both a poet and a dramatist.
“What poets and playwrights have been fumbling at in their desire to put poetry into drama and drama into poetry has here been realized.” —The New York Times
An unruly bunch of bright, funny sixth-form (or senior) boys in a British boys' school are, as such boys will be, in pursuit of sex, sport, and a place at a good university, generally in that order. In all their efforts, they are helped and hindered, enlightened and bemused, by a maverick English teacher who seeks to broaden their horizons in sometimes undefined ways, and a young history teacher who questions the methods, as well as the aim, of their schooling. In The History Boys, Alan Bennett evokes the special period and place that the sixth form represents in an English boy's life. In doing so, he raises—with gentle wit and pitch-perfect command of character—not only universal questions about the nature of history and how it is taught but also questions about the purpose of education today.
Following his early experimentation with the dark comedy Sweeney Agonistes (1932), Eliot is invited to write the words of an ambitious scenario sketched out by the producer-director E. Martin Browne (who was to direct all of Eliot's plays) for a grand pageant called The Rock (1934). The ensuing applause leads to a commission from the Bishop of Chichester to write a play for the Canterbury Festival, resulting in the quasi-liturgical masterpiece of dramatic writing, Murder in the Cathedral (1935). A huge commercial success, it remains in repertoire after eighty years.
Even while absorbed in time-consuming theatre work, Eliot remains untiring in promoting the writers on Faber's ever broadening lists - George Barker, Marianne Moore and Louis MacNeice among them.
In addition, Eliot works hard for the Christian Church he has espoused in recent years, serving on committees for the Church Union and the Church Literature Association, and creating at Faber & Faber a book list that embraces works on church history, theology and liturgy.
Having separated from his wife Vivien in 1933, he is anxious to avoid running into her; but she refuses to comprehend that her husband has chosen to leave her and stalks him across literary society, leading to his place of work at the offices of Faber & Faber. The correspondence draws in detail upon Vivien's letters and diaries to provide a picture of her mental state and way of life - and to help the reader to appreciate her thoughts and feelings.
Yet despite his personal trials, this period was one of great literary activity for Eliot. In 1930 he composed the poems Ash-Wednesday and Marina, and published Coriolan and a translation of Saint-John Perse’s Anabase the following year. As director at the British publishing house Faber & Faber and editor of The Criterion, he encouraged W. H. Auden, Stephen Spender, Louis MacNeice, and Ralph Hogdson, published James Joyce’s Haveth Childers Everywhere, and turned down a book proposal from Eric Blair, better known by his pen name, George Orwell. Through Eliot’s correspondences from this time the reader gets a full-bodied view of a great artist at a personal, professional, and spiritual crossroads.
Full of cruelty and betrayal, King Lear is the timeless and timely story of a kingdom held in the thrall of an aging ruler’s descent into madness. Desperate for praise, he banishes those who would guide him with honesty and surrounds himself with sycophants—an action which leads to his ultimately tragic downfall...
This revised Signet Classics edition includes unique features such as:
• An overview of Shakespeare's life, world, and theater
• A special introduction to the play by the editor, Russell Fraser
• Selections from Raphael Holinshed's Chronicles of England, Scotland, and Ireland, Sir Philip Sidney's Arcadia, and The True Chronicle History of King Lear, the sources from which Shakespeare derived King Lear
• Dramatic criticism from Samuel Johnson, A. C. Bradley, John Russell Brown, and others
• A comprehensive stage and screen history of notable actors, directors, and productions
• Text, notes, and commentaries printed in the clearest, most readable text
• And more...
Each Edition Includes:
• Comprehensive explanatory notes
• Vivid introductions and the most up-to-date scholarship
• Clear, modernized spelling and punctuation, enabling contemporary readers to understand the Elizabethan English
• Completely updated, detailed bibliographies and performance histories
• An interpretive essay on film adaptations of the play, along with an extensive filmography
Laurence Olivier starred as Stanhope in the first performance of Journey's End in 1928; the play was an instant stage success and remains a remarkable anti-war classic.