For many of us DH Lawrence was a schoolboy hero. Who can forget sniggering in class at the mention of Women In Love or Lady Chatterley's Lover? Lawrence was a talented if nomadic writer whose novels were passionately received, suppressed at times and generally at odds with Establishment values. This of course did not deter him. At his death in 1930 at the young age of 44 he was more often thought of as a pornographer but in the ensuing years he has come to be more rightly regarded as one of the most imaginative writers these shores have produced. As well as his novels and of course his poetry - he wrote in excess of 800 of them he was also a very talented playwright. These works have not been given quite the attention they deserve. Here we publish 'The Widowing of Mrs Holroyd.

The partnership between William Schwenck Gilbert and Arthur Seymour Sullivan and their canon of Savoy Operas is rightly lauded by all lovers of comic opera the world over. Gilbert's sharp, funny words and Sullivan's deliciously lively and hummable tunes create a world that is distinctly British in view but has the world as its audience. Both men were exceptionally talented and gifted in their own right and wrote much, often with other partners, that still stands the test of time. However, together as a team they created Light or Comic Operas of a standard that have had no rivals equal to their standard, before or since. That's quite an achievement. To be recognised by the critics is one thing but their commercial success was incredible. The profits were astronomical, allowing for the building of their own purpose built theatre - The Savoy Theatre. Beginning with the first of their fourteen collaborations, Thespis in 1871 and travelling through many classics including The Sorcerer (1877), H.M.S. Pinafore (1878), The Pirates of Penzance (1879), The Mikado (1885), The Gondoliers (1889) to their finale in 1896 with The Grand Duke, Gilbert & Sullivan created a legacy that is constantly revived and admired in theatres and other media to this very day.

John Webster is known primarily for his two Jacobean tragedies, The Duchess of Malfi and The White Devil. Much of the detail and chronology of his life that led to these two pivotal works is, however, unknown. His father, a carriage maker also named John Webster, married a blacksmith's daughter, Elizabeth Coates, on November 4th, 1577, and it is likely that Webster was born within a year or two in or near London. The family lived in St. Sepulchre's parish. Both his father and his uncle, Edward Webster, were Freemen of the Merchant Taylors' Company and Webster attended Merchant Taylors' School in Suffolk Lane, London. Some accounts say he began to study law but nothing is certain although there are some legal aspects to his later works to suggest this may have been so. By 1602, Webster was employed working as part of various teams of playwrights on history plays, though unfortunately most were never printed and therefore do not survive. These include a tragedy Caesar's Fall (written with Michael Drayton, Thomas Dekker, Thomas Middleton and Anthony Munday), and a collaboration with Thomas Dekker; Christmas Comes but Once a Year (1602). This factory line assembly of plays may seem rather odd to us today but plays then ran for much shorter durations and consequently a steady supply had to be assured. Webster's relationship with Dekker seems to have been a good one. Together they wrote Sir Thomas Wyatt, printed in 1607, although it is thought first performed in 1602 and two city comedies, Westward Ho! in 1604 and Northward Ho! in 1605. It seems Webster also adapted, in 1604, John Marston's The Malcontent for staging by the King's Men. On March 18th, 1606 Webster married the 17-year-old Sara Peniall at St Mary's Church, Islington. Sara was 7 months pregnant and marrying during Lent required the issuing of a special permit, hence the certainty of the date. Their first child, John, was baptised at the parish of St Dunstan-in-the-West on March 8th, 1606. Records show that on the death of a neighbour, who died in 1617, several bequests were made to the Webster family and it is therefore thought that other children were born to the couple. Despite his ability to write comedy, and to collaborate with others, Webster is remembered best for his sole authorship on two brooding English tragedies based on Italian sources. The White Devil, retells the intrigues involving Vittoria Accoramboni, an Italian woman assassinated at the age of 28. It was performed at the open-air Red Bull Theatre in 1612 but was unsuccessful, perhaps being too high brow for a working-class audience. In 1614 The Duchess of Malfi was first performed by the King's Men, most probably in the indoor Blackfriars Theatre and to a more high-brow audience. It proved to be more successful. The play Guise, based on French history, was also written but him but no text has survived. Webster wrote one more play on his own: The Devil's Law Case (c. 1617-1619), a tragicomedy. He continued to write thereafter but always in collaboration and usually city comedies; Anything for a Quiet Life (c. 1621), with Thomas Middleton, and A Cure for a Cuckold (c. 1624), with William Rowley. In 1624, he also co-wrote a topical play about a recent scandal, Keep the Widow Waking (with John Ford, Rowley and Dekker). The play itself is lost, although its plot is known from a court case. There is also some certainty that he contributed to the tragicomedy The Fair Maid of the Inn with John Fletcher, John Ford, and Phillip Massinger. His Appius and Virginia, was probably written with Thomas Heywood, and is of uncertain date. It is believed, mainly from Thomas Heywood's Hierarchie of the Blessed Angels (licensed 7 November 1634) that speaks of him in the past tense that John Webster had died at some point in that year of 1634.

Publius Terentius Afer is better known to us as the Roman playwright, Terence.Much of his life, especially the early part, is either unknown or has conflicting sources and accounts.His birth date is said to be either 185 BC or a decade earlier: 195 BC. His place of birth is variously listed as in, or, near Carthage, or, in Greek Italy to a woman taken to Carthage as a slave. It is suggested that he lived in the territory of the Libyan tribe that the Romans called Afri, near Carthage, before being brought to Rome as a slave. Probability suggests that it was there, in North Africa, several decades after the destruction of Carthage by the Romans in 146 BC, at the end of the Punic Wars, that Terence spent his early years.One reliable fact is that he was sold to P. Terentius Lucanus, a Roman senator, who had him educated and, impressed by his literary talents, freed him.These writing talents were to ensure his legacy as a playwright down through the millennia. His comedies, partially adapted from Greek plays of the late phases of Attic Comedy, were performed for the first time around 170-160 BC. All six of the plays he has known to have written have survived.Indeed, thanks to his simple conversational Latin, which was both entertaining and direct, Terence's works were heavily used by monasteries and convents during the Middle Ages and The Renaissance. Scribes often learned Latin through the copious copying of Terence's texts. Priests and nuns often learned to speak Latin through re-enactment of Terence's plays. Although his plays often dealt with pagan material, the quality and distinction of his language promoted the copying and preserving of his text by the church. This preservation enabled his work to influence a wide spectrum of later Western drama.When he was 25 (or 35 depending on which year of birth you ascribe too), Terence travelled to Greece but never returned. It has long been assumed that he died at some point during the journey.Of his own family nothing is known, except that he fathered a daughter and left a small but valuable estate just outside Rome.His most famous quotation reads: "e;Homo sum, humani nihil a me alienum puto"e;, or "e;I am human, and I think nothing human is alien to me."e;

The reality is that little is known of Aristophanes actual life but eleven of his forty plays survive intact and upon those rest his deserved reputation as the Father of Comedy or, The Prince of Ancient Comedy. Accounts agree that he was born sometime between 456BC and 446 BC. Many cities claim the honor of his birthplace and the most probable story makes him the son of Philippus of gina, and therefore only an adopted citizen of Athens, a distinction which, at times could be cruel, though he was raised and educated in Athens. His plays are said to recreate the life of ancient Athens more realistically than any other author could. Intellectually his powers of ridicule were feared by his influential contemporaries; Plato himself singled out Aristophanes' play The Clouds as a slander that contributed to the trial and condemning to death of Socrates and although other satirical playwrights had also caricatured the philosopher his carried the most weight. His now lost play, The Babylonians, was denounced by the demagogue Cleon as a slander against the Athenian polis. Aristophanes seems to have taken this criticism to heart and thereafter caricatured Cleon mercilessly in his subsequent plays, especially The Knights. His life and playwriting years were undoubtedly long though again accounts as to the year of his death vary quite widely. What can be certain is that his legacy of surviving plays is in effect both a treasured legacy but also in itself the only surviving texts of Ancient Greek comedy.

　　《威尼斯商人》 是莎士比亚早期的重要作品，是一部具有极大讽刺性的喜剧。主要讲述了威尼斯商人安东尼奥为了帮助好友巴萨尼奥成婚，向犹太人高利贷者夏洛克借了三千金币。夏洛克因为安东尼奥借给别人钱不要利息，影响了他的生意，又侮辱过他，所以借机报复，在借约上戏言三个月期满还不上钱，就从安东尼奥身上割下一磅肉抵债。安东尼奥因船失事，不能如期还钱，夏洛克就提起公诉，要安东尼奥履行借约。 为救安东尼奥的性命，巴萨尼奥的未婚妻鲍西亚假扮律师，利用智慧巧妙地让夏洛克无法执行割一磅肉而败诉，害人不成反而失去财产。

本书作为我社“经典英语文库”第15辑中的一种，精选由英国著名作家D. H. 劳伦斯的作品《无意识幻想曲》。D.H.劳伦斯被称为“英国文学伟大的人物之一”，长期以来受到大家的广泛关注。与任意时期任何国家的作家相比，劳伦斯有一极其鲜明，他的写作形式相当广泛，包括小说，短篇故事诗，意大利和俄国文学的英译，新建文学评论，社会评论，编史心理学笔记游记，他的游记覆盖了以上诸多的写作形式本书是其在心理学方面的代表作。

本书作为我社“经典英语文库”第15辑中的一种，精选由英国著名作家弗吉尼亚·伍尔芙的经典作品《夜与日》。故事发生在爱德华七世时期的伦敦，将两位女主人公——凯瑟琳·希尔伯里和玛丽·达切特的日常生活和浪漫情怀行了对比，探讨了爱情、婚姻、幸福和成功之间的关系。故事有四位主人公：凯瑟琳·希尔伯里，玛丽·达切特，拉尔夫·德纳姆，和威廉·罗德尼，他们苦苦探索人生，追求爱情的真谛，找寻真正的自我。《夜与日》提到了妇女的参政权、爱情和婚姻是否可以共存、婚姻是否是幸福的前提等问题。贯穿全书的主题有星空、泰晤士河和切恩道。

本书作为我社“经典英语文库”第15辑中的一种，精选俄国著名剧作家和短篇小说大师契诃夫的短篇小说。其以语言精练、准确见长，善于透过生活的表层行探索，将人物隐蔽的动机揭露得淋漓尽致。他的优秀剧本和短篇小说没有复杂的情节和清晰的解答，集中讲述一些貌似平凡琐碎的故事，创造出一种特别的，有时可以称之为令人难以忘怀的或是抒情味极浓的艺术氛围。他采用简洁的写作技巧避免炫耀文学手段，被认为是19世纪末俄国现实主义文学流派的杰出代表。

这是奥斯汀*受欢迎的一部小说，它写的是爱情纠葛，但显然并不限于爱情。一本书能成为名著，当然不仅仅它能让人感到愉悦，更重要的是，它能让人有所启迪。 那时候，作者就告诉我们：为了财产、金钱和地位而结婚是错误的。但是，200年后，我们不还是如此吗？

　　弗莱德里克不顾兄弟情谊，篡夺同胞兄弟的公爵头衔，把公爵赶走，使他被迫流亡在森林里。不久公爵的女儿罗瑟琳也被驱逐到森林，遇到了受兄长奥列佛虐待的奥兰多，两人相爱。奥兰多宽恕了奥列佛，使奥列佛悔过，并与罗瑟琳的堂妹西莉娅产生了爱情。他们一起生活在森林里，罗瑟琳终于在森林里找到了父亲，弗莱德里克受隐士拨，对自己的行为十分懊悔，将权位归还给了胞兄，奥兰多与罗瑟琳、奥列佛与西莉娅、牧人西尔维斯与牧女菲必、小丑试金石与村姑奥德雷四对恋人喜结良缘，收获了大团圆的结局。

本书作为我社“经典英语文库”第15辑中的一种，精选法国十九世纪著名作家大仲马所作长篇小说《十年以后》。本书是《三个火枪手》的续集。为“达塔尼昂浪漫三部曲”之一。三部曲的故事发展到《十年以后》一书中的阶段，个中的场景已不再是三十年前的刀光剑影、血雨腥风，取而代之的是法王路易十四挥金如土、宫闱暧昧、官场明争暗斗以及贵妇人之间争风吃醋等情节。其中，柔弱质朴、胆小怕事的路易丝·德拉瓦利埃小姐如何一步步被设局沦落为路易十四情妇的经过，为下来《路易丝·德拉瓦利埃》的展做足了铺垫。

本书作为我社“经典英语文库”第15辑中的一种，精选由英国著名作家弗吉尼亚·伍尔芙的经典作品《雅各的房间》。作品讲述了一位年轻人短暂的一生。海边的童年、剑桥求学、独立成长、与不同女性的情感、到法国及希腊游学、及后丧生于次世界大战中。此书通常被认为是伍尔夫在文学创新方面次较大规模的探索和实验，是她创作过程中的一个转折，是她尝试用意识流手法创作的一个端。这本小说时间背景设置在英格兰，始于雅各的童年。

本书作为我社“*经典英语文库”第14辑中的一种，精选法国著名作家维克多·雨果的经典作品《悲惨世界 （五卷之第五卷）》（前四卷已出）。作品讲述了主人公土伦苦刑犯冉·阿让（Jean Valjean）的个人经历，并融了法国的历史、革命、战争、道德哲学、法律、正义、宗教信仰。《悲惨世界》以冉·阿让出狱后的种种经历贯穿全书，深刻反映了时代的问题。雨果在作品中融了从拿破仑在滑铁卢的失败到反对“七月王朝”的人民起义这一阶段的历史，反映了当时的社会生活和政治状况。作品不仅描述了获释犯人冉·阿让和流浪妇女芳汀的不幸生活以及芳汀的私生女柯赛特的悲惨遭遇，而且揭示了当时社会中勤劳善良的劳动人民却受歧视和压迫的不公平命运。雨果还在作品中揭露了当时残酷不公的法典和秩序，猛烈抨了那种人们饿死可以而偷面包却要坐牢的社会制度，谴责了那些安于现状和铁石心肠的市民在面对处于困境中的他人时的那种袖手旁观的冷漠态度。

“事情并不简单，而是错综复杂的。如果它咬了布朗宁先生，那是因为他也咬了她。仇恨并非只是仇恨；仇恨也可以是爱。” 弗吉尼亚·伍尔夫为诗人伊丽莎白·巴雷特·勃朗宁（Elizabeth Barrett Browning）的西班牙猎犬所著的传记，令人愉悦，探讨了作为人类以及作为狗的意义。

本书作为我社“经典英语文库”第15辑中的一种，精选由英国著名作家D.H劳伦斯劳伦斯创作的长篇小说《虹》。本书通过一家三代人的遭遇，描述了工业革命给传统的乡村带来的巨大变化，同时以巨大的热情和深度，探索有关性的心理问题。代人的生活带有田园诗的色彩，同时也预示古老文明即将结束。第二代人精神的苦闷和呆滞的目光，是令人窒息的工业化社会的好注解。第三代人的探索具有积极的社会意义，表达了人们要冲破狭窄的生活圈子，渴望一种自然和谐的生活。

Those who had not discovered our truth had Satan in their hearts. We lived amongst them, but not with them, ‘in the world, but not of the world’. We were special. We were the disciples of the Fellowship. When she was a child, Lindsey Rosa’s every waking moment was governed by the rules of an extreme separatist sect. It controlled what she wore and what she ate; it forbade her to listen to music, to cut her hair, to watch television, to use a computer. The Fellowship said her family was special. Why would she believe otherwise? Then, when Lindsey was seven, her elder brother was caught listening to music and the family were expelled from the sect. But Lindsey’s parents knew nothing but the ways of the Fellowship, so they remained in hope that they would be accepted and continued to make the family live by the sect’s strict rules--cutting themselves off from their local community. But as Lindsey grew, so too did her awareness of a world outside. And, feeling increasingly isolated, she struggled with her own identity. Until finally she was faced with a devastating choice: to continue to live by the rules of the religious sect or to be brutally cast out and leave the family she loved behind forever.

How one man turned a midlife crisis into the realisation of a childhood dream at 4pm at Wincanton Dominic Prince, journalist, documentary-maker, racing enthusiast and bon viveur hit the scales at nearly 16 stone on his 45th birthday. It was not always so. His first love was and still is horses. As a child he would bunk off school to ride his first horse, Conker, and it was only after an horrific accident that left him and his horse wound up in barbed wire that he stepped down off his mount and gave in to the lure of Fleet Street and the three hour lunch. But the smell of oats and the mist of early morning canters were never far away, even if he was living it from the other side of the paddock. In the 20 years since he last rode a horse he has made a film on Lester Piggott, bought and sold one race horse and won and lost thousands on 'the occasional flutter'. Through the drastic changes to his overindulgent lifestyle that he has had to go through to make the weight for the 4pm at Wincanton in October, is weaved an insider's account of the very particular world of jockeys, racing and the multi-billionaire owners who pull the strings at the world's greatest race courses. Memoir, sports book, exposé of the dark world of horse racing, at heart Jumbo to Jockey is the story that all middle aged men will know well of the realisation of a childhood dream before it is too late.

Max Hastings's account of his family's tumultuous 20th century experiences embraces the worlds of fashion and newspapers, theatre and TV, pioneering in Africa and even – his father's most exotic 1960 stunt – being cast away on a desert island in the Indian Ocean. The author is the son of broadcaster and adventurer Macdonald Hastings and journalist and gardening writer Anne Scott-James. One of his grandfathers was a literary editor while the other wrote plays and essays, and penned an enchanting memoir of his own Victorian childhood. His great-uncle was an African hunter who wrote poetry and became one of Max's heroes. The author tells a richly picaresque story, featuring guest appearances by a host of celebrities from Thomas Hardy and Joseph Conrad to John Betjeman and Osbert Lancaster, who became Anne Scott-James's third husband. 'All families are dysfunctional', Anne asserted impenitently to Max, but the Hastings’ managed to be more dysfunctional than most. His father roamed the world for newspapers and as a presenter for BBC TV's legendary Tonight programme, while his mother edited ‘Harper's Bazaar’, became a famous columnist and wrote best-selling gardening books. Here, the author brings together this remarkable cast of forebears, 'a tribe of eccentrics', as he himself characterises them. By turns moving, dramatic and comic, the book portrays Max's own childhood fraught with rows and explosions, in which the sudden death of a television set was only one highlight. His story will make a lot of people laugh and perhaps a few cry. It helps to explain why Max Hastings, whose family has produced more than eighty books over three generations, felt bound to follow their path of high adventure and popular journalism.

An arresting collection of interviews, collated by Norma Farnes, Spike Milligan's close friend and longstanding agent, bringing to life the late, great Milligan in all his various guises. Heralded as brilliant and difficult in equal measure, Spike Milligan is one of the most prolific and mould-breaking writers of the twentieth century. Fantastically funny and incredibly talented, on his death in 2002, Spike left behind him one of the most diverse legacies in British entertainment history. Creative, inspirational, and at times doggedly loyal, yet famously tempestuous and fickle, Spike was many things to many people. In Memories of Milligan, Norma Farnes sets out to interview those who knew him best, amassing an array of personal memories from fellow performers and comedians, long time friends and former girlfriends. Compiled of intimate stories, small exchanges and habits that go into making up a relationship, be it personal or professional, Memories of Milligan captures another side to the performer's well-known public persona, to build a complete picture of one of the greatest British comic writers to date. Ranging from interviews with fellow comedian Barry Humphries, *writers Galton and Simpson, director Jonathan Miller, stalwart presenters Michael Palin and Terry Wogan, to comic geniuses such as Eric Sykes and producer George Martin, this original book encapsulates a moving portrait of a man who is synonymous with a unique era in post-war entertainment.

Maria Housden tells of her own transformation, as a mother, a wife and a woman, as she struggled to cope with the death of her daughter Hannah and make the hardest decision of her life. From the author of the bestselling Hannah’s Gift. At the age of 36, instead of enjoying the perfect family life she had imagined as a child, Maria felt judged and found wanting by others. She realised that, no matter how much she still loved her husband and how powerful her bond of love was with her children, she had to change her life radically – she had to make it her own again. What followed was an emotional and enlightening search for herself. Written in the same moving, lyrical style as Hannah’s Gift, the story unfolds in a series of painful, joyful and humorous moments. At times the story is heart-wrenchingly sad but ultimately it is uplifting and inspiring.