Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

The Methuen Drama Student Edition of Twelve Angry Men is the first critical edition of Reginald Rose's play, providing the play text alongside commentary and notes geared towards student readers. In New York, 1954, a man is dead and the life of another is at stake. A 'guilty' verdict seems a foregone conclusion, but one member of the jury has the will to probe more deeply into the evidence and the courage to confront the ignorance and prejudice of some of his fellow jurors. The conflict that follows is fierce and passionate, cutting straight to the heart of the issues of civil liberties and social justice. Ideal for the student reader, the accompanying pedagogical notes include elements such as an author chronology; plot summary; suggested further reading; explanatory endnotes; and questions for further study. The introduction discusses in detail the play's origins as a 1954 American television play, Rose's re-working of the piece for the stage, and Lumet's 1957 film version, identifying textual variations between these versions and discussing later significant productions. The commentary also situates the play in relation to the genre of courtroom drama, as a milestone in the development of televised drama, and as an engagement with questions of American individualism and democracy. Together, this provides students with an edition that situates the play in its contemporary social and dramatic contexts, while encouraging reflection on its wider thematic implications.

Victor-Marie Hugo (1802-1885) was a French poet, playwright, novelist, essayist, visual artist, statesman, human rights activist and exponent of the Romantic movement in France. His best-known works are the novels Les Miserables and The Hunchback of Notre-Dame, though in France, Hugo's literary fame comes first from his poetry. This volume contains three dramas: The Burgraves, Torquemada, and Lucretia Borgia.

This revised Student Edition includes an introduction by Bess Rowen, Visiting Assistant Professor at Villanova University, US, which looks in particular at the play's treatment of rape, vulnerable people, mental institutions (especially in connection to Williams's own family), sexuality and sexual desire. A Streetcar Named Desire shows a turbulent confrontation between traditional values in the American South - an old-world graciousness and beauty running decoratively to seed - set against the rough-edged, aggressive materialism of the new world. Through the vividly characterised figures of Southern belle Blanche Dubois, seeking refuge from physical ugliness in decayed gentility, and her brutal brother-in-law Stanley Kowalski, Tennessee Williams dramatises his sense of the South's past as still active and often destructive in modern America. METHUEN DRAMA STUDENT EDITIONS are expertly annotated texts of a wide range of plays from the modern and classic repertoires. A well as the complete text of the play itself, this volume contains: * A chronology of the play and the playwright's life and work * An introductory discussion of the social, political, cultural and economic context in which the play was originally conceived and created * A succinct overview of the creation processes followed and subsequent performance history of the piece * An analysis of, and commentary on, some of the major themes and specific issues addressed by the text * A bibliography of suggested primary and secondary materials for further study

Koos Prinsloo, wat in 1994 in die ouderdom van 37 jaar oorlede is, kan met reg as ’n James Dean van die Afrikaanse letterkunde beskou word: ’n ikoniese figuur wat te vinnig, te gevaarlik geleef en te vroeg gesterf het. Byna drie dekades ná die verskyning van sy eerste bundel en vyftien jaar ná sy dood, eggo sy stem steeds oor die grense van sy tyd en oeuvre heen – en dis in hierdie weerklank wat die toneelstuk Prinsloo Versus gestalte vind.

Prinsloo versus is nie ’n elegie aan Koos nie, maar die postmoderne vergestalting van ’n persoonlike tragedie, uitgespeel op private en openbare; persoonlike en artistieke slagvelde. Dis ’n veelvlakkige collage oor ’n kunstenaar wie se lewe en werk kwalik met ’n suikerlagie bedek kon word; wat gerebelleer het teen ’n patriargale kultuur en ’n diep weersin in alle vorme van outoriteit getoon het.

Soos ’n briefskrywer in die Burger van 24 Oktober 2003 op die eerste vertoning van die stuk gereageer het: “Ek kon nie anders as om te dink dat Koos, waar hy ook al is, met ’n sardoniese glimlaggie sit en kyk na dié stuk nie.”

Included in this volume are "The Cyclops," "Necuba," "The Trojan Dames," "Helen," "Electra," "Orestes," "Andromache," "Iphigenia in Aulis," and "Iphignia in Tauris." Introduction by Ernest Rhys. Reprinted from the 1906 Edition.

Lessing was a playwright, scholar, poet, archeologist, philosopher, and critic. His genius is evident in the works collected in this volume, which includes the comedy Minna von Barnhelm, the tragedy Emilia, Galotti, Nathan the Wise, The Jews (and related correspondence), Ernst and Falk: Conversations for the Freemasons, and selections from philosophical and theological writings>

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.

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.

It was a brave man who would cross the Devon moorlands in darkness. For the ancient legend of the hound of the Baskervilles had persisted in family history for generations. It was Sir Charles's mysterious death in the grounds of Baskerville Hall that brought Sherlock Holmes to the scene.