This is by far the best book I've ever had to read for college. I was studying Computer Science before reading this and now I would love to be a Visual Arts Writer. Thank you for changing my life.

Whip through a couple of these short plays and fragments by the father of Greek New Comedy, and you'll see just how much our more modern formats are indebted to him: the American sit-com, the romantic comedy, etc. Menander manages much less simplistic resolution at the end of his plays, though, and it's too bad that this trend hasn't endured as well as the penchant for the "happily ever after" that we face at the close of every Julia Roberts movie.

The plays themselves are marvelous. In "Old Cantankerous," the grumpy title character stands in the way of a love between two of the play's characters, until the plot sends him down a well. His rescuer is, of course, the man who wants the old curmudgeon's daughter's hand in marriage, and they make up and all's well. "The Girl from Samos" is funnier, with a baby mix-up that leads first to the normal questions of the father's identity, but then to far less normal questions about the mother's identity.

Miller's introduction is exceptional, and I was especially appreciative of it, since I am not a classicist. She provides enough background to initiate even the casual reader, and in a manner that is both humorous and accessible. She explains what can be explained and accounted for, and freely admits to what is pure conjecture; since Menander's plays survive only in fragments, and since we don't know all of the concrete facts of his life, Miller's candor is welcome and helpful.

The only thing I found off-putting was the translation. It is not only VERY contemporary, but VERY British. While I can understand the urge to place things in a more familiar setting--an easy way to remind people that great drama is always timely--some of the dialogue sounds lifted from "Chariots of Fire" or even "Goodbye Mr. Chips." That is, it sounds very early twentieth century British, and I spent a lot of time while reading trying to figure out why (I'm still stumped). Phrases such as "There's a good chap," and explicit references to "Picadilly Circus" just didn't seem to mesh with plays that are Greek and a couple thousand years old.

Still, you could a lot worse than spend $12 on a fine collection and very readable rendition of some of the very foundations of comic form in Western literature.

I'm a Classical Civilisations student at Leeds University in England and this book is one of many that I have to read for my course. Menander was said to be "second only to Homer" and it is clear why this statement was made in this translation by Norma Miller. This book contains all but two of the fragments found of Menander. Old Cantankerous really stands out as a superb piece of literary genius, although this isnt to say that the rest of the book isnt an equally great piece of work. This book contains fragments of Menander's work as this is all that has been found of this magnificent writers accomplishments, if you are interested in classical drama then this book is definetley worth considering.

I'm a Classical Civilisations student at Leeds University in England and this book is one of many that I have to read for my course. Menander was said to be "second only to Homer" and it is clear why this statement was made in this translation by Norma Miller. This book contains all but two of the fragments found of the ancient writer and as such is a marvel to read for anyone interested in classical drama. Old Cantankerous really stands out as a superb piece of literary work and could take pride of place on anyone's book shelf. Although some of his plays are fragmentary and are therefore not always complete, Menander's writing style is both gripping and humerous and keeps the reader enthrawled throughout their classical experience.

EM Forster wrote this book in 1913-14 but declined to allow it to be published till after his death. It tells of Maurice Hall (which immediately made me think of Radclyffe Hall's classic 'The Well of Loneliness) growing up with an awareness and horror of his homosexuality. As I struggled to develop a 'oneness' with characters who were so alien to my own natural preference an amazing thing happened in the story. One of the two main 'gay' (Forster does not use this word) characters suddenly decides he likes women. Does this happen, I wondered? Or was it an excuse used by one 'gay' (or bisexual) person to disengage from a partner they no longer enjoyed? For me, of course, it drove another knife between the remaining 'gay' character and myself. It seemed that homosexuals could be changed/change - they could all be like me! Was this a literary device of Forster that aims to modify the responses of readers - making the job harder for heterosexual readers to identify with Maurice, making homosexual readers even more keenly feel the alienation of society (especially when the book was written)?

In an afterword Forster explains that his book had to have a happy ending (despite great trauma suicide is mentioned only once throughout the book). This made me think again of Radclyffe Hall's 'Well of Loneliness' with its remorseless and, for me, unsatisfyingly negative ending. Hall wrote her novel about lesbians in 1928 and it created a furore in its time. That Forster was sitting on his novel at the time is an intersting thing to me. Was he tempted to publish? Perhaps he felt he could not join the same storm. Perhaps he originally had the miserable ending Hall wrote, and changed to distinguish his novel. In the end, these can be little more than speculations.

When I read Richard Fortey's book 'Trilobite' I complained in my review that I never really got to like trilobites as Mr Fortey obviosly does, despite enjoying the book immensely. The case is the same here. Forster's writing is inventive and rich, but I am left feeling just as alienated from homosexuals - I am simply not one of them. Am I more sympathetic? Perhaps. But the best that I can hope for is probably to be more tolerant.

The film of "Maurice" produced by Merchant Ivory a number of years ago is one my favorite films. I was curious, having never read E.M. Forster before, to see how much of the issue of homosexuality was a product of the book and how much was played-up for the film. The book did not dissapoint. An honest, self-aware writer, E.M. Forster tells a beautiful story of a fairly unremarkable young man who is forced to (by virtue of being gay) become remarkable. Problems of English repugnance at homosexuality (a feeling he shares himself at first) and of class make him into a grownup, into a real man. In the book this becomes a wonderful liberation--that does not come through as well in the film. A marvelous read. Not published until after his death in 1970. Only a few read it when he actually wrote it in the teens. Too dangerous. A shame. Far ahead of it's time.

I think I'm setting myself up to be abused for an imperfect understanding of Forster's work, but I love Maurice, and I only like everything else he wrote. Forster's plots to me are so controlled that his novels become more like chess games than stories--his characters move entirely according to their classist/symbolic value; their minds are types, their types interact. Sometimes this interaction is delightful, as in Room with a View. Sometimes it is genuinely touching, as in Where Angels Fear to Tread. But it is always highly regimented. This criticism extends for me to his prose, which I find to be too rule-bound--he always leaves the same words out; his style is symbolic of delicate subtlety without necessarily being so.

But in Maurice, Forster lets go some of this reserve. His prose, which I find formulaic in his later stuff, is here undeveloped enough to be idiosyncratic, un-stylized, and gorgeous. Maurice as a character is wonderfully, wonderfully real, and I appreciate the detailed development of the plot because Forster brings home with such ability the hazards of Maurice's struggle, the ever-present possibility of failure, the balance between lesser and more important goals, and the way in which Forster makes clear that these goals, as Maurice knows when he "listens beneath" words, are not the ends that he is really achieving as he achieves them. Maurice himself is drawn with Jane Austen-ian precision: Forster mixes the divine heroism--beauty and brutality--in Maurice's essential, private life with his utterly mundane non-essentials--politics, understanding, relationships with family, opinions, way of talking, appearance, job.

This is a heroic book. It moves me to tears every time I read it.

Reminded me of an episodic TV detective show--interesting premise (gentleman burglar) executed poorly, without much verve. Leblanc is more interested in going on and on about how great his hero is--a matter of reputation--than in showing us how he works in any sort of interesting way--a matter of dramatic tension. Most of these tales have the transparent dramatic devices (how many "It's Lupin in disguise!" tricks can you pull in one book?) and anti-climactic conclusions of Grimms' fairy tales. Usually it's more important to Leblanc that Lupin did a crime than it is HOW he did it, which isn't nearly as interesting. There are a few exceptions, but basically this is thin melodrama, striking concept though it may be.--J.Ruch

Published in 1907, Maurice leBlanc's book introduces Arsene Lupin, the gentleman burglar: thief of exquisite country houses; master of disguise; friend to the royal and rich; a man of impeccable taste who will only snatch items of 'artistic value', and from those who can afford it. His wit, style and daring make him the unquestioned hero of the book, easily out-dazzling his two detective rivals, the plodding Ganimard and the brilliant logician Herlock Sholmes. Safes, secret passages, jewels, high windows, impenetrable castles, 'impossible' prison breakouts, sensational coutroom dramas, romances on luxury cruises, nocturnal murders, chases through forests and empty streets - so many crimes and incidents and personae proliferate, Lupin seems to become omnipotent.

Although these nine loosely-connected mysteries are pure fantasy, their detail and context open out the Belle Epoque milieu in which they are set. One of the major themes is that the 'respectable' bourgoisie Lupin robs are often as dishonest and even criminal as he, indulging in the illegal speculations/swindles rife at the time or organising elaborate charades to conceal financial decline. The invidiousness of social inequality is a factor in Lupin's psychological make-up. The antiquity of French history and national character is in conflict with the disruption of modernity (telephones, photographs, automobiles etc.). The vulnerability of the bourgeoisie contrasts with a democratising popular press avidly chronicling Lupin's every move, making him 'our national thief'.

I don't want to get too solemn, such is the breezy pleasure of this book, but I believe 'Lupin' is more than simply an engaging riposte to Sherlock Holmes; Lupin is more than someone who pilfers from the rich. Whereas most crime literature seeks to re-order a violated society through a central, reliable, narrational consciousness embodied in the figure of the detective, 'Lupin' disrupts order at every opportunity. Lupin's facility with disguise is matched by his disruptions of the text, which changes narrator and point-of-view without warning, Lupin himself often betraying the reader's trust by assuming the first-person on false pretences. With wit, playfulness and a light touch, leBlanc undermines our certainties as readers, just as Lupin does his victims, filling each tale with alternative narratives, jarring tones, shifting modes, unfulfilled expectations. Lupin is always taking his bow, leaving the stage and slipping away, as terrified by his own lack of a recognisable identity as he terrifies everyone else. For omnipotence and fame come at a price - existential dread and sexual impotence: the penetration of homes and homosocial company must substitute for failed relationships with women.

After reading the whole series in both Chinese and French, I pity the English readers who miss out on the Arsene Lupin series. This series is rated in Europe/Asia at the level of the Sherlock Holmes series. If you can find a copy, read it. It is simply excellent for any hardcore mystery fan.

I'm of 100% italian descent and live in toronto but have always as a child refused to speak italian with family members.. But obviously, if i needed to, i knew how to get by in italian since i was surrounded by the language 24-7. But, I recently became unhappy with my inability to say i can understand two languages because my italian and french are on the border lines.. anyways, I got this book. This book is a very good one as I have gone through about half of it, but people who buy these types of books without any prior knowledge of the language are just kidding themselves if they think it'll make them proficient in italian. If the purpose is to just get by on a two week vacation, I think this'll help tremendously as it goes through many easy sayings such as 'excuse me sir, what time is it' and 'where's the beef?'. ok, i'm kidding about the last one! but the best way to learn languages is take actual courses at universities where you speak and practice with others on the same level. This book may be helpful in that situation if you use it while taking an actual course. But, through whichever method you choose, or purpose(mine being work in italy since i have citizenship already) I believe everyone should learn italian because it's a beautiful language. ciao

I am in an Italian club at school, and we use this book. At the meetings, we listen to the great example dialogues and repeat them ourselves in English, and/or practice them in Italian. If you read over the chapters and listen to the dialogues and practice speaking with your friends, you will definitely pick up plenty of Italian. This book teaches very systematically, lets you really absorb the information, and does not overload you with memorization. This is a wonderful book, I love learning Italian from it. It is incredibly easy and fun. I encourage all prospective self-teachers of Italian to buy this book. You could start an Italian club at YOUR school!

I am in an Italian club at school, and we use this book. At the meetings, we listen to the great example dialogues and repeat them ourselves in English, and/or practice them in Italian. If you read over the chapters and listen to the dialogues and practice speaking with your friends, you will definitely pick up plenty of Italian. This book teaches very systematically, lets you really absorb the information, and does not overload you with memorization. This is a wonderful book, I love learning Italian from it. It is incredibly easy and fun. I encourage all prospective self-teachers of Italian to buy this book. You could start an Italian club at YOUR school!

Chariots of Fire was a mind expanding piece of writing. The style of the book flowed so that the book was easily read, yet the impact of the story is understood upon reflection. The struggle of the Jews touches the soul. This book is a Must Read for all people who are interested in Religous History

This is the true story of two young men in their prime. It is complex but wonderfully woven, as life can sometimes be. One man seeks to please God; clearly the center of his life. The other man is Jewish in the Britain of the 1920's. He's understandably militant in the face of heartless bigots and rampant discrimination. This young man's drive to win stems from his subconscious yearning to be accepted. Elegantly written, befitting the time, you will find yourself brought back to that romantic era of the '20's.

"This collection constitutes a compelling blend of the natural world with the spiritual, a fusion central to Native American lore; it will long linger with its readers." -Deborah Donovan, Independent Publisher

Maurice Kenny, best known throughout the world for his award-winning poetry, has put together a set of short stories that stay with you forever. Strong imagery and subtle character building give each story punch, surprise, humor and memorability. The stories flow one to another - never straying from Kenny's strong ties to Native American themes and characters. Each morsel should be savored. I tried to read one a day to have time to reflect and digest each before going on to the next. I confess - I couldn't always control myself!

The Jungle Books are usually marketed as juvenile fiction. True, this is essential reading for children, but it's even deeper when you read it as an adult.

Although "Rikki-Tikki-Tavi" and "The White Seal" are just as good as the least of the Mowgli stories, it is the various tales of the boy raised in the jungles of India that are - and justifiably - the heart of the collection.

As a baby, Mowgli is found and raised by a clan of wolves and three godfatherly mentors who each teach him about life in different ways - Baloo the Bear, who teaches him the technical laws he'll need to survive; Kaa the Python, the nearly archtypal figure who teaches him even deeper lessons; and Bagheera the Panther, who perhaps loves Mowgli most of all but understands all too well the implications of the ambiguous humanity of the boy he's come to care for.

The stories have it all, from the alternately humorous and frightening "Kaa's Hunting", where Mowgli learns an important lesson about friendship and it's responsibility, to the epic "Red Dog" that reads like something out of Homer, to "Letting in the Jungle" which, without giving anything away contains a disturbing paragraph that's both glaring and a long time in coming if you've read between the lines in the previous Mowgli stories and yet at the same time so subtle you can almost miss it's importance.

If you didn't read it as a child, read it now. If you did, read it again as an adult.

The story of Mowgli, a boy raised by wolves in the jungles of 19th century India, charmed me when I was young no less than it does today. Kipling wrote this to celebrate his love of India and it's wild animals as well as to show again some of his frequent themes of honor, loyalty, and perserverance. While his writing may seem 'dated' to some, to others the truths he includes rise above politics and 'current correctness'. Baloo the Bear, Shere Khan the Tiger, Bagheera the Panther, Kaa the Python were all childhood friends of mine, and reading these Jungle Book stories to your own children today will result in their exposure to such old fashioned concepts as sticking by your friends in adversity, helping your family, relying on yourself. Good lessons then, good lessons now. Mowgli learns the value of 'good manners' early on, learns that 'all play and no work' leads to unexpected troubles, learns that thoughtless actions can have devasting consequences. By showing Mowgli in an often dangerous 'all animal' world, we see reflections of modern human problems presented in a more subtle light. Kipling leads children down the jungle path into adventures beyond their day to day imagining and along the way, he weaves subtle points in and out of the stories, he shows the value of 'doing for yourself', of 'learning who to trust'. All of this in a tale of childhood adventure that's never been equaled. The book is over 100 years old now, and there are terms & concepts from the age of Empire that aren't 'correct' today. Parents can edit as needed as they read bedtime stories, but I've found that children learn early on that the world changes, and that some ideas that were popular long ago did not prove to be correct. Explaining this, too, is a part of parenting. Some of our current popular ideas may not stand the test of time, but I suspect that 100 years from now parents will still read the Jungle Book to their children. And the children will still be charmed, thrilled and instructed in valuable life-lessons.

This was probably one of my most favorite books as a young child if not my favorite. The way Kipling shows the struggle of this young boy in the jungle is amazing. He fails to leave out any detail and throughout the whole story your totally caught up in it without one point of boredom. I recommend this to any parent looking for a good book to read to their children or to have their kids read. Kipling is a great author and after doing a report on him and reading some of his other works I recommend those as well, especially A White Man's Burden. If your looking for books by a author who mixes fiction with truth, action and adventure with tales that bring in more serious aspects Kipling is the author for you.

T.S. Eliot labelled Sidney's Arcadia as a "monument of dullness," and about 100 pages into the book, I felt inclined to agree with his assessment. Sidney was a poet first and foremost, and even he admitted to his sister, the Countess of Pembroke, that this particular work was but "a trifle."

Yet, surprisingly, I found myself getting captivated by the plot of two princes disguised as shepherds to win the girls of their dreams (in the process, of course, they also win girls -- and guys -- of their nightmares). The somewhat stilted (even by Renaissance standards) language makes it difficult to plod through at times, but the plot is interesting and keeps your attention -- and that's ultimately what counts.

Re: this edition, it is one of the few good editions of the original "Old" Arcadia around. Sidney revised the work during his lifetime and his friend and biographer, Fulke Greville, later published a bizarre composite of the old and revised versions that for centuries stood as the definitive "Arcadia". K. Duncan-Jones provides a clean text with useful scholarly apparatus. One caveat: in my edition, pp. 297-306 were *missing*, mistakenly replaced by a double-printed pp. 307-316. This is an annoyance for someone who is reading the book as a scholar, which I believe represents the majority readership of the book, as I can't imagine casual readers picking it up for bedstand reading!
All in all, a fun work and better than the first act leads one to believe!

Instead of a historical account, this author examines the methodology of Keats as a craftsman. Through the interpretation of poems and letters, he conjectures if Keats succeeded with his own dogmas. Since Ridley believes that authors do not necessarily follow their own methodologies, he examines the shape of Keats' artistic development in the light of his compelling axioms of poetry and philosophy. Ridley puts Keats' own terms such as "negative capability" and "intensity" to work to show that he indeed followed his own doctrine. A scholarly account of Keats' aimed at the educated adult.