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Northanger Abbey is both a perfectly aimed literary parody and a withering satire of the commercial aspects of marriage among the English gentry at the turn of the nineteenth century. But most of all, it is the story of the initiation into life of its naïve but sweetly appealing heroine, Catherine Morland, a willing victim of the contemporary craze for Gothic literature who is determined to see herself as the heroine of a dark and thrilling romance. When Catherine is invited to Northanger Abbey, the grand though forbidding ancestral seat of her suitor, Henry Tilney, she finds herself embroiled in a real drama of misapprehension, mistreatment, and mortification, until common sense and humor—and a crucial clarification of Catherine’s financial status—puts all to right. Written in 1798 but not published until after Austen’s death in 1817, Northanger Abbey is characteristically clearheaded and strong, and infinitely subtle in its comedy.

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Persuasion is Jane Austen's last completed novel. She began it soon after she had finishedEmma and completed it in August 1816. She died, aged 41, in 1817; Persuasion was published in December of that year (but dated 1818).

Persuasion is linked to Northanger Abbey not only by the fact that the two books were originally bound up in one volume and published together, but also because both stories are set partly inBath, a fashionable city with which Austen was well acquainted, having lived there from 1801 to 1805.

Besides the theme of persuasion, the novel evokes other topics, such as the Royal Navy, in which two of Jane Austen's brothers ultimately rose to the rank of admiral. As in Northanger Abbey, the superficial social life of Bath—well known to Austen, who spent several relatively unhappy and unproductive years there—is portrayed extensively and serves as a setting for the second half of the book. In many respects, Persuasion marks a break with Austen's previous works, both in the more biting, even irritable satire directed at some of the novel's characters and in the regretful, resigned outlook of its otherwise admirable heroine, Anne Elliot, in the first part of the story. Against this is set the energy and appeal of the Royal Navy, which symbolises for Anne and the reader the possibility of a more outgoing, engaged, and fulfilling life, and it is this worldview which triumphs for the most part at the end of the novel.

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Persuasion is Jane Austen's last completed novel. She began it soon after she had finishedEmma and completed it in August 1816. She died, aged 41, in 1817; Persuasion was published in December of that year (but dated 1818).

Persuasion is linked to Northanger Abbey not only by the fact that the two books were originally bound up in one volume and published together, but also because both stories are set partly inBath, a fashionable city with which Austen was well acquainted, having lived there from 1801 to 1805.

Besides the theme of persuasion, the novel evokes other topics, such as the Royal Navy, in which two of Jane Austen's brothers ultimately rose to the rank of admiral. As in Northanger Abbey, the superficial social life of Bath—well known to Austen, who spent several relatively unhappy and unproductive years there—is portrayed extensively and serves as a setting for the second half of the book. In many respects, Persuasion marks a break with Austen's previous works, both in the more biting, even irritable satire directed at some of the novel's characters and in the regretful, resigned outlook of its otherwise admirable heroine, Anne Elliot, in the first part of the story. Against this is set the energy and appeal of the Royal Navy, which symbolises for Anne and the reader the possibility of a more outgoing, engaged, and fulfilling life, and it is this worldview which triumphs for the most part at the end of the novel.

Listed by Unglue.it.

Northanger Abbey is both a perfectly aimed literary parody and a withering satire of the commercial aspects of marriage among the English gentry at the turn of the nineteenth century. But most of all, it is the story of the initiation into life of its naïve but sweetly appealing heroine, Catherine Morland, a willing victim of the contemporary craze for Gothic literature who is determined to see herself as the heroine of a dark and thrilling romance. When Catherine is invited to Northanger Abbey, the grand though forbidding ancestral seat of her suitor, Henry Tilney, she finds herself embroiled in a real drama of misapprehension, mistreatment, and mortification, until common sense and humor—and a crucial clarification of Catherine’s financial status—puts all to right. Written in 1798 but not published until after Austen’s death in 1817, Northanger Abbey is characteristically clearheaded and strong, and infinitely subtle in its comedy.

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Set during five of the most intensely dramatic days ever portrayed, ROMEO AND JULIET was probably written in 1594 or 1595, and first published in a 1597 edition, as transcribed by actors who had performed it. Other editions appeared later, but even the more authoritative versions, such as that of 1599--probably drawn from Shakespeare's own manuscript copies--lack the detailed stage directions present in the actors' transcription; thus, modern editions incorporate several sources. ROMEO AND JULIET is among the most oft performed of Shakespeare's works, and it has been among the most beloved since its earliest days on the stage. Though the title page of the 1597 edition declares that ROMEO AND JULIET had been performed and enjoyed many times prior to its publication, the first extant direct record of the events of a production refer to a 1662 staging, in which the play was probably adapted or altered--adaption was particularly popular in the 17th century. One London stage ran different conclusions on alternative nights; audiences who went home glum on Friday could be uplifted by the play's ending if they returned on Saturday night. The story of ROMEO AND JULIET was derived by Shakespeare from many sources. The version most contemporary to his own was the 1562 poem "The Tragicall History of Romeus and Iuliet" by Arthur Brooke, which itself was an adaptation of a French piece by Pierre Boaistuau, which Boaistuau had adapted from the Italian. Indeed, aspects of the tragic story have recurred throughout Western literature since at least the third century. Shakespeare greatly intensified the pace by compressing a piece which had unfolded over the course of several months into the space of five days--a period in which much transpires at daybreak, including the famous balcony scene where Romeo declares, "But soft, what light through yonder window breaks?/It is the east, and Juliet is the sun." Romeo is forced to approach Juliet in secret because of the impassioned rivalry between his family, the Montagues--and Juliet's, the Capulets. Despite the intensity of their family's mutual disdain, the young lovers strive to marry. However, fate intervenes to keep them apart, and, when the Montagues and Capulets discover the folly of their ways, it's too late for Romeo and Juliet.

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During a trip to Europe, Christopher Newman, a wealthy American businessman, asks the charming Claire de Cintré to be his wife. To his dismay, he receives an icy reception from the heads of her family, who find Newman to be a vulgar example of the American privileged class. Brilliantly combining elements of comedy, tragedy, romance and melodrama, this tale of thwarted desire vividly contrasts nineteenth-century American and European manners. Oxford's edition ofThe American, which was first published in 1877, is the only one that uses James' revised 1907 text. About the Series:For over 100 yearsOxford World's Classicshas 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.

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The third in Trollope's six-volume Palliser series, The Eustace Diamonds boasts an extraordinary heroine in Lizzie Eustace, a lying schemer in the mould of Thackeray's Becky Sharp. A pompous Under-Secretary of State, an exploitative and acquisitive American and her unhappy "niece," a shady radical peer, and a brutal aristocrat are only some of the characters in this, one of Trollope's most engaging novels: part sensation fiction, part detective story, part political satire, and part ironic romance. It is also a highly revealing study of Victorian Britain, its colonial activities in Ireland and India, its veneration of wealth, and its pervasive dishonesty. In her introduction, Helen Small explores the central themes of lying and truth-telling, placing the novel within contemporary political and social debates. An invaluable appendix outlines the political context of the Palliser novels and establishes the internal chronology of the series and the relationship between fictional and actual political events, providing a unique understanding of the series as a linked narrative. In addition, the book includes a compact biography of Trollope and a wealth of explanatory notes.

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Young Mrs. Petherwin stepped from the door of an old and well-appointed inn in a Wessex town to take a country walk. By her look and carriage she appeared to belong to that gentle order of society which has no worldly sorrow except when its jewellery gets stolen; but, as a fact not generally known, her claim to distinction was rather one of brains than of blood. She was the daughter of a gentleman who lived in a large house not his own, and began life as a baby christened Ethelberta after an infant of title who does not come into the story at all, having merely furnished Ethelberta's mother with a subject of contemplation. She became teacher in a school, was praised by examiners, admired by gentlemen, not admired by gentlewomen, was touched up with accomp-lishments by masters who were coaxed into painstaking by her many graces, and, entering a mansion as governess to the daughter thereof, was stealthily married by the son. He, a minor like herself, died from a chill caught during the wedding tour, and a few weeks later was followed into the grave by Sir Ralph Petherwin, his unforgiving father, who had bequeathed his wealth to his wife absolutely.

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