THE MEN OF KENT
Sometimes I am rewarded for fretting myself so much about present
matters by a quite unasked-for pleasant dream. I mean when I am
asleep. This dream is as it were a present of an architectural
peep-show. I see some beautiful and noble building new made, as
it were for the occasion, as clearly as if I were awake; not
vaguely or absurdly, as often happens in dreams, but with all the
detail clear and reasonable. Some Elizabethan house with its
scrap of earlier fourteenth-century building, and its later
degradations of Queen Anne and Silly Billy and Victoria,
marring but not destroying it, in an old village once a clearing
amid the sandy woodlands of Sussex. Or an old and unusually
curious church, much churchwardened, and beside it a fragment of
fifteenth-century domestic architecture amongst the not
unpicturesque lath and plaster of an Essex farm, and looking
natural enough among the sleepy elms and the meditative hens
scratching about in the litter of the farmyard, whose trodden
yellow straw comes up to the very jambs of the richly carved
Norman doorway of the church. Or sometimes 'tis a splendid
collegiate church, untouched by restoring parson and architect,
standing amid an island of shapely trees and flower-beset
cottages of thatched grey stone and cob, amidst the narrow
stretch of bright green water-meadows that wind between the
sweeping Wiltshire downs, so well beloved of William Cobbett. Or
some new-seen and yet familiar cluster of houses in a grey
village of the upper Thames overtopped by the delicate tracery
of a fourteenth-century church; or even sometimes the very
buildings of the past untouched by the degradation of the sordid
utilitarianism that cares not and knows not of beauty and
history: as once, when I was journeying (in a dream of the night)
down the well-remembered reaches of the Thames betwixt Streatley
and Wallingford, where the foothills of the White Horse fall back
from the broad stream, I came upon a clear-seen mediaeval town
standing up with roof and tower and spire within its walls, grey
and ancient, but untouched from the days of its builders of old.
All this I have seen in the dreams of the night clearer than I
can force myself to see them in dreams of the day. So that it
would have been nothing new to me the other night to fall into an
architectural dream if that were all, and yet I have to tell of
things strange and new that befell me after I had fallen asleep.
I had begun my sojourn in the Land of Nod by a very confused
attempt to conclude that it was all right for me to have an
engagement to lecture at Manchester and Mitcham Fair Green at
half-past eleven at night on one and the same Sunday, and that I
could manage pretty well. And then I had gone on to try to make
the best of addressing a large open-air audience in the costume I
was really then wearing--to wit, my night-shirt, reinforced for
the dream occasion by a pair of braceless trousers. The
consciousness of this fact so bothered me, that the earnest faces
of my audience--who would NOT notice it, but were clearly
preparing terrible anti-Socialist posers for me--began to fade
away and my dream grew thin, and I awoke (as I thought) to find
myself lying on a strip of wayside waste by an oak copse just
outside a country village.
Aldous Huxley's profoundly important classic of world literature, Brave New World is a searching vision of an unequal, technologically-advanced future where humans are genetically bred, socially indoctrinated, and pharmaceutically anesthetized to passively uphold an authoritarian ruling order--all at the cost of our freedom, full humanity, and perhaps also our souls. “A genius [who] who spent his life decrying the onward march of the Machine” (The New Yorker), Huxley was a man of incomparable talents: equally an artist, a spiritual seeker, and one of history’s keenest observers of human nature and civilization. Brave New World, his masterpiece, has enthralled and terrified millions of readers, and retains its urgent relevance to this day as both a warning to be heeded as we head into tomorrow and as thought-provoking, satisfying work of literature. Written in the shadow of the rise of fascism during the 1930s, Brave New World likewise speaks to a 21st-century world dominated by mass-entertainment, technology, medicine and pharmaceuticals, the arts of persuasion, and the hidden influence of elites.
"Aldous Huxley is the greatest 20th century writer in English." —Chicago Tribune
SONNET TO LIBERTY
SONNET : ON THE MASSACRE OF THE CHRISTIANS IN BULGARIA
LIBERTATIS SACRA FAMES
THE GARDEN OF EROS
SONNET ON APPROACHING ITALY
AVE MARIA GRATIA PLENA
SONNET : WRITTEN IN HOLY WEEK AT GENOA
URBS SACRA ÆTERNA
THE NEW HELEN
THE BURDEN OF ITYS
IMPRESSION DU MATIN
LA BELLA DONNA DELLA MIA MENTE
FLOWERS OF GOLD
THE GRAVE OF KEATS
IN THE GOLD ROOM
BALLADE DE MARGUERITE
THE DOLE OF THE KING’S DAUGHTER
IMPRESSION DE VOYAGE
THE GRAVE OF SHELLEY
BY THE ARNO
IMPRESSIONS DE THÉÂTRE
FABIEN DEI FRANCHI
WRITTEN AT THE LYCEUM THEATRE
THE FOURTH MOVEMENT
QUIA MULTUM AMAVI
FLOWER OF LOVE
UNCOLLECTED POEMS (1876-1893)
FROM SPRING DAYS TO WINTER
THE TRUE KNOWLEDGE
I LE JARDIN
II LA MER
UNDER THE BALCONY
ROSES AND RUE (1884)
THE HARLOT’S HOUSE
LE JARDIN DES TUILERIES
ON THE SALE BY AUCTION OF KEATS’ LOVE LETTERS
THE NEW REMORSE
I LE PANNEAU
II LES BALLONS
WITH A COPY OF ‘A HOUSE OF POMEGRANATES’ (1888)
SYMPHONY IN YELLOW
IN THE FOREST
TO MY WIFE (1893)
ORIGINAL MANUSCRIPT OF AN UNPUBLISHED POEM.
FAC-SIMILE OF AN UNPUBLISHED POEM
CHORUS OF CLOUD MAIDENS
A FRAGMENT FROM THE AGAMEMNON OF JESCHYLOS
SEN ARTYSTY; OR, THE ARTIST’S DREAM
THE SPHINX (1883)
THE BALLAD OF READING GAOL (1897)
This edition uses the English translation done by Wilde’s lover, Lord Alfred Douglas, and overseen and corrected by Wilde himself. Appendices detail the play’s sources and provide extensive materials on its contemporary reception and dramatic productions.
by Oscar Wilde
THE PERSONS OF THE PLAY
Lord Augustus Lorton
Mr. Cecil Graham
The Duchess of Berwick
Lady Agatha Carlisle
THE SCENES OF THE PLAY
ACT I. Morning-room in Lord Windermere's house.
ACT II. Drawing-room in Lord Windermere's house.
ACT III. Lord Darlington's rooms.
ACT IV. Morning-room in Lord Windermere's house.
The action of the play takes place within twenty-four hours,
beginning on a Tuesday afternoon at five o'clock, and ending the
next day at 1.30 p.m.
Lady Windermere's Fan
Harper Lee's Pulitzer Prize-winning masterwork of honor and injustice in the deep South—and the heroism of one man in the face of blind and violent hatred
One of the most cherished stories of all time, To Kill a Mockingbird has been translated into more than forty languages, sold more than forty million copies worldwide, served as the basis for an enormously popular motion picture, and was voted one of the best novels of the twentieth century by librarians across the country. A gripping, heart-wrenching, and wholly remarkable tale of coming-of-age in a South poisoned by virulent prejudice, it views a world of great beauty and savage inequities through the eyes of a young girl, as her father—a crusading local lawyer—risks everything to defend a black man unjustly accused of a terrible crime.
Devilishly attractive Lord Illingworth is notorious for his skill as a seducer. But he is still invited to all the “best” houses while his female conquests must hide their shame in seclusion. In this devastating comedy, Wilde uses his celebrated wit to expose English society’s narrow view of everything from sexual mores to Americans.
The ebook also features an interview Merlin Holland, Oscar Wilde’s only grandchild, and author of The Real Trial of Oscar Wilde.
By merging text and audio, this is a perfect learning tool for enhancing comprehension and enjoyment. The text includes plot summaries of each scene, and it is highly recommended as a study aid for students, teachers, actors and directors.
Includes scene-by-scene and word-for-word text and audio of L.A. Theatre Works’ full cast performance starring:
Martin Jarvis as Lord Illingworth
Peter Dennis as Sir John Pontefract
Jim Norton as Mr. Kelvil, M.P.
Robert Machray as The Ven. Archdeacon Daubeny, D.D.
Paul Gutrecht as Gerald Arbuthnot
Miriam Margolyes as Lady Hunstanton
Jane Carr as Lady Caroline Pontefract
Judy Geeson as Lady Stutfield
Cherie Lunghi as Mrs. Allonby and Alice
Samantha Mathis as Miss Hester Worsley
Rosalind Ayres as Mrs. Arbuthnot.
Adapted by Martin Jarvis and directed by Michael Hackett for L.A. Theatre Works.
“Mary Renault lives again!” declares Emma Donoghue, author of Room, referring to The Song of Achilles, Madeline Miller’s thrilling, profoundly moving, and utterly unique retelling of the legend of Achilles and the Trojan War. A tale of gods, kings, immortal fame, and the human heart, The Song of Achilles is a dazzling literary feat that brilliantly reimagines Homer’s enduring masterwork, The Iliad. An action-packed adventure, an epic love story, a marvelously conceived and executed page-turner, Miller’s monumental debut novel has already earned resounding acclaim from some of contemporary fiction’s brightest lights—and fans of Mary Renault, Bernard Cornwell, Steven Pressfield, and Colleen McCullough’s Masters of Rome series will delight in this unforgettable journey back to ancient Greece in the Age of Heroes.
“A deeply soulful novel that comprehends love and cruelty, and separates the big people from the small of heart, without ever losing sympathy for those unfortunates who don’t know how to live properly.” —Zadie Smith
One of the most important and enduring books of the twentieth century, Their Eyes Were Watching God brings to life a Southern love story with the wit and pathos found only in the writing of Zora Neale Hurston. Out of print for almost thirty years—due largely to initial audiences’ rejection of its strong black female protagonist—Hurston’s classic has since its 1978 reissue become perhaps the most widely read and highly acclaimed novel in the canon of African-American literature.
Edition bilingue / Bilingual Edition
Cette édition est pourvue d'hyperliens pour passer directement d’une version à l’autre.
This edtion is supplied with hyperlinks to switch directly from one version to the other.
Salome (French: Salomé, pronounced: [salome]) is a tragedy by Oscar Wilde. The original 1891 version of the play was in French. Three years later an English translation was published. The play tells in one act the Biblical story of Salome, stepdaughter of the tetrarch Herod Antipas, who, to her stepfather's dismay but to the delight of her mother Herodias, requests the head of Jokanaan (John the Baptist) on a silver platter as a reward for dancing the dance of the seven veils.