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Originally published in 1930, this classic of modern Shakespeare criticism proves both enlightening and innovative. Standing head and shoulders above all other Shakespearean interpretations, Wheel of Fire is the masterwork of the brilliant English scholarG. Wilson Knight. Founding a new and influential school of Shakespearean criticism, Wheel of Fire was Knight's first venture in the field - his writing sparkles with insight and wit, and his analyses are key to contemporary understandings of Shakespeare

Twenty-one plays by Plautus have survived (one is incomplete). The basis of all is a free translation from comedies by such writers as Menander, Diphilus, and Philemon. So we have Greek manners of Athens about 300–250 BCE transferred to the Roman stage of about 225–185, with Greek places, people, and customs, for popular amusement in a Latin city whose own culture was not yet developed and whose manners were more severe. To make his plays live for his audience, Plautus included many Roman details, especially concerning slavery, military affairs, and law, with some invention of his own, notably in management of metres. The resulting mixture is lively, genial and humorous, with good dialogue and vivid style. There are plays of intrigue (Two Bacchises, The Haunted House, Pseudolus); of intrigue with a recognition theme (The Captives, The Carthaginian, Curculio); plays which develop character (The Pot of Gold, Miles Gloriosus); others which turn on mistaken identity (accidental as in the.

Seneca is a figure of first importance in both Roman politics and literature: a leading adviser to Nero who attempted to restrain the emperor's megalomania; a prolific moral philosopher; and the author of verse tragedies that strongly influenced Shakespeare and other Renaissance dramatists. This volume completes the Loeb Classical Library's new two-volume edition of Seneca's tragedies. John Fitch's annotated translation, which faces Latin text, conveys the force of Seneca's dramatic language and the lyric quality of his choral odes. Seneca's plots are based on mythical episodes, in keeping with classical tradition. But the political realities of imperial Rome are also reflected here, in an obsessive concern with power and dominion over others. The "Octavia" is our sole surviving example of a Roman historical play; set at Nero's court, it was probably written by an admirer of Seneca as statesman and dramatist.

Seneca is a figure of first importance in both Roman politics and literature: a leading adviser to Nero who attempted to restrain the emperor's megalomania; a prolific moral philosopher; and the author of verse tragedies that strongly influenced Shakespeare and other Renaissance dramatists. Here is the first of a new two-volume edition of Seneca's tragedies, with a fully annotated translation facing the Latin text. Seneca's plays depict intense passions and interactions in an appropriately strong rhetoric. Their perspective is much bleaker than that of his prose writings. In this new translation John Fitch conveys the force of Seneca's dramatic language and the lyric quality of his choral odes.

Plautus (Titus Maccius), born about 254 BCE at Sarsina in Umbria, went to Rome, engaged in work connected with the stage, lost his money in commerce, then turned to writing comedies. Twenty-one plays by Plautus have survived (one is incomplete). The basis of all is a free translation from comedies by such writers as Menander, Diphilus, and Philemon. So we have Greek manners of Athens about 300–250 BCE transferred to the Roman stage of about 225–185, with Greek places, people, and customs, for popular amusement in a Latin city whose own culture was not yet developed and whose manners were more severe. To make his plays live for his audience, Plautus included many Roman details, especially concerning slavery, military affairs, and law, with some invention of his own, notably in management of metres. The resulting mixture is lively, genial and humorous, with good dialogue and vivid style. There are plays of intrigue ( Two Bacchises, The Haunted House, Pseudolus ); of intrigue...

Twenty-one plays by Plautus have survived (one is incomplete). The basis of all is a free translation from comedies by such writers as Menander, Diphilus, and Philemon. So we have Greek manners of Athens about 300–250 BCE transferred to the Roman stage of about 225–185, with Greek places, people, and customs, for popular amusement in a Latin city whose own culture was not yet developed and whose manners were more severe. To make his plays live for his audience, Plautus included many Roman details, especially concerning slavery, military affairs, and law, with some invention of his own, notably in management of metres. The resulting mixture is lively, genial and humorous, with good dialogue and vivid style. There are plays of intrigue (Two Bacchises, The Haunted House, Pseudolus); of intrigue with a recognition theme (The Captives, The Carthaginian, Curculio); plays which develop character (The Pot of Gold, Miles Gloriosus); others which turn on mistaken identity (accidental as in the.

Plautus (Titus Maccius), born about 254 BCE at Sarsina in Umbria, went to Rome, engaged in work connected with the stage, lost his money in commerce, then turned to writing comedies. Twenty-one plays by Plautus have survived (one is incomplete). The basis of all is a free translation from comedies by such writers as Menander, Diphilus, and Philemon. So we have Greek manners of Athens about 300–250 BCE transferred to the Roman stage of about 225–185, with Greek places, people, and customs, for popular amusement in a Latin city whose own culture was not yet developed and whose manners were more severe. To make his plays live for his audience, Plautus included many Roman details, especially concerning slavery, military affairs, and law, with some invention of his own, notably in management of metres. The resulting mixture is lively, genial and humorous, with good dialogue and vivid style. There are plays of intrigue (Two Bacchises, The Haunted House, Pseudolus); of intrigue with a...

Language Notes Text: English, Latin (translation) Original Language: Latin Terence brought to the Roman stage a bright comic voice and a refined sense of style. His six comedies--first produced in the half dozen years before his premature death in 159 BCE--were imaginatively reformulated in Latin plays written by Greek playwrights, especially Menander. For this new Loeb Classical Library edition of Terence, John Barsby gives us a faithful and lively translation with full explanatory notes, facing a freshly edited Latin text. Volume I contains a substantial introduction and three plays: The Woman of Andros , a romantic comedy; The Self-Tormentor , which looks at contrasting father-son relationships; and The Eunuch , whose characters include the most sympathetically drawn courtesan in Roman comedy. The other three plays are in Volume II: Phormio, a comedy of intrigue with an engaging trickster; The Mother-in-Law , unique among Terence's...

The Stylistics Reader documents the significant impact of linguistic theory on literary studies. It brings together in one accessible volume key essays and writings which mark the development of stylistics as a discipline from its formalist beginnings to the contextualized, discourse-based approaches practised today. The carefully selected readings are arranged in eight sections, each of which introduces a particular approach: formalist, functionalist, affective, pedagogical, pragmatic, critical, feminist and cognitive. The extracts included have been chosen to provide a full sense of what stylistics is all about. The collection is prefaced by an extensive editorial introduction which provides an overview of the area, places each piece in its context and clarifies its main points. There are suggestions for further reading as well as notes and references for each essay.