Written in 1897, Stoker's novel introduces the iconic character of the vampire Count Dracula. Through a series of letters and diary entries, the novel tells the story of Dracula's attempt to move from Transylvania to England, and the battle between Dracula and a small group of men and women led by Professor Abraham Van Helsing. Although Stoker did not invent the vampire, he defined its modern form as we know it today.

This comedy features a group of lawyers away for an important weekend conference. Hugo Barnes desperately wants to be a High Court Judge and has organised the conference - under the title 'Clean up the Bar' - to impress the new Lord Chancellor. Hugo's friend and married colleague, Nick Willmott, has invited a young solicitors' secretary along for the weekend. This decision threatens Nick's marriage, Hugo's plans for a trouble-free conference and both their reputations. Misunderstandings, narrow escapes and attemped sexual infidelity combine with an unusual undercurrent of family reconciliation and personal discovery.

The new Early English Text Society edition of The Towneley Plays will serve as a definitive edition for many years to come. It replaces the edition by George England and Alfred W. Pollard, published nearly one hundred years ago by the Early English Text Society. Apart from the corrections of errors in the transcription of the text, the new edition offers a comprehensive introduction, body of notes, and glossary. It also presents the text in a new format, based on an examination of the manuscript, by expanding stanzas attributed to the so-called `Wakefield Master' from nine lines (with some internal rhyme) to thirteen lines. The Townley Plays manuscript dates approximately to the year 1500. The plays is contains are often considered the most interesting and stylistically intricate among all those surviving in extant cycles. By both internal and external evidence they are traceable to the city of Wakefield, where they were apparently performed over much of the sixteenth century. Most notable among the contents of the manuscript is `The Second Shepherds Play', which is widely known apart from the cycle and is included in many literary and dramatic anthologies. The cycle itself contains 32 plays on the subject of salvation history from the Creation to the Last Judgement.

The myth of the sorceress Medea, who, abandoned by her Argonaut husband Jason, killed their children in revenge, has exerted a continuous impact on European writers and artists from classical Greece to the present day. The ancient Romans were especially drawn to the myth, but Seneca's tragedy is the only dramatic treatment to have survived from imperial Rome intact. It is intellectually and poetically one of the richest of Seneca's plays and theatrically one of his most innovative, spectacular and self-reflective. Its themes include the problematics of power and civilization, the dynamics of 'self' and 'other', the psychology of action, the determinism of history, the tragic theatre itself. The play's deep influence on the European dramatic, operatic and artistic tradition (and beyond) is only now being fully appreciated. Poets, dramatists, librettists, composers, choreographers, painters, film-makers - including Boccaccio, Shakespeare, Webster, Corneille, Noverre, Cherubini, Mayr, Grillparzer, Turner, Anouilh, Jeffers, Pasolini, Muller, Ripstein, Reimann - exhibit its formal and thematic force. This full-scale critical edition of Seneca's Medea offers a substantial introduction, a new Latin text, an English verse translation designed for both performance and serious study, and a detailed commentary on the play which is exegetic, analytic, and interpretative. The aim throughout has been to elucidate the text dramatically as well as philologically, and to locate the play firmly in its contemporary historical and theatrical context and in the ensuing literary and dramatic tradition.