renaissance
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Caesar Borgia: A Study of the Renaissance
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Father Goriot (World’s Classics Series)
This eBook edition of "Father Goriot (World's Classics Series)" has been formatted to the highest digital standards and adjusted for readability on all devices. Father Goriot takes place during the Bourbon Restoration, which brought profound changes to French society; the struggle by individuals to secure a higher social status. Set in Paris in 1819, it follows the intertwined lives of three tenants of the Maison Vauquer boarding house: the elderly doting Goriot; a mysterious criminal-in-hiding named Vautrin; and a naive law student named Eug?ne de Rastignac. Goriot is an elderly retired vermicelli-maker who has bankrupted himself to support his two well-married daughters. Vautrin wants to get his hands on the fortune of an unmarried woman, trying to implicate Rastignac in the murdering of her brother. Rastignac, who moved to Paris from the south of France, becomes attracted to the upper class and he is willing to use any means to better his situation.
King Henry IV Part 2: Third Series
More troubled and troubling than King Henry IV Part 1, the play continues the story of King Henry's decline and Hal's reform. Though Part 2 echoes the structure of the earlier play, it is a darker and more unsettling world, in which even Falstaff's revelry is more tired and cynical, and the once-merry Hal sloughs off his tavern companions to become King Henry V. James C. Bulman's authoritative edition provides a wealth of incisive commentary on this complex history play.
Seven Minor Epics of the English Renaissance (1596-1624)
"Seven Minor Epics of the English Renaissance (1596-1624)" by Samuel Page, Dunstan Gale, active 1611 William Barksted, Richard Linche. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten?or yet undiscovered gems?of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
The Autobiography of Benvenuto Cellini
Benvenuto Cellini was a celebrated Renaissance sculptor and goldsmith - a passionate craftsman who was admired and resented by the most powerful political and artistic personalities in sixteenth-century Florence, Rome and Paris. He was also a murderer and a braggart, a shameless adventurer who at different times experienced both papal persecution and imprisonment, and the adulation of the royal court. Inn-keepers and prostitutes, kings and cardinals, artists and soldiers rub shoulders in the pages of his notorious autobiography: a vivid portrait of the manners and morals of both the rulers of the day and of their subjects. Written with supreme powers of invective and an irrepressible sense of humour, this is an unrivalled glimpse into the palaces and prisons of the Italy of Michelangelo and the Medici.
The Civilisation of the Renaissance in Italy
"The Civilisation of the Renaissance in Italy" by Jacob Burckhardt (translated by S. G. C. Middlemore). Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten?or yet undiscovered gems?of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
The Complete Works of Christopher Marlowe: Volume V: Tamburlaine the Great, Parts 1 and 2, and the Massacre at Paris With the Death of the Duke of Guise
This volume, which completes the Oxford English Texts edition of The Complete Works of Christopher Marlowe, contains the two parts of Tamburlaine the Great, edited by David Fuller, and The Massacre at Paris, edited by Edward J. Esche. It is the first time that either text has been presented in an old-spelling edition with a full critical commentary and textual annotation. The introduction to Tamburlaine gives a detailed account of the plays' sources, stage history, and text. The critical discussion considers the fundamental clashes which Marlowe dramatizes; the differing interpretations - often involved with opposing views of the Renaissance - to which these have given rise; and how new critical methodologies, and recent research into occult traditions in the Renaissance, might affect our reading of Marlowe. The commentary brings together the extensive modern scholarship on the plays, offers some new suggestions about their probable stage action, and cites new material from the period to contextualize Marlowe's treatment of war, medicine, religious controversy, and many other subjects. It also draws on scholarship on Elizabethan pronunciation to clarify Marlowe's poetic rhythms, and uses the revised edition of OED to investigate more fully than has previously been possible the originality and inventiveness of Marlowe's language. The Massacre at Paris survives only in a severely mangled version, which bears many of the signs of a `reported text'; nevertheless, it provides us with the unique example of Marlowe using contemporary French history as his subject matter. The play has been edited from the copy of the Octavo once belonging to Edmund Malone, now held in the Bodleian Library. The edition also presents the single extant leaf of Massacre (Folger MS. J.b.8) in an authoritative form with apparatus, and argues for its legitimacy as a genuine playhouse document, although not Marlowe's autograph.
The Life of Cesare Borgia and the Strolling Saint: Rafael Sabatini Classics Masterpiece Collection
This is no Chronicle of Saints. Nor yet is it a History of Devils. It is a record of certain very human, strenuous men in a very human, strenuous age; a lustful, flamboyant age; an age red with blood and pale with passion at white-heat; an age of steel and velvet, of vivid colour, dazzling light and impenetrable shadow; an age of swift movement, pitiless violence and high endeavour, of sharp antitheses and amazing contrasts. To judge it from the standpoint of this calm, deliberate, and correct century?as we conceive our own to be?is for sedate middle-age to judge from its own standpoint the reckless, hot, passionate, lustful humours of youth, of youth that errs grievously and achieves greatly. So to judge that epoch collectively is manifestly wrong, a hopeless procedure if it be our aim to understand it and to be in sympathy with it, as it becomes broad-minded age to be tolerantly in sympathy with the youth whose follies it perceives. Life is an ephemeral business, and we waste too much of it in judging where it would beseem us better to accept, that we ourselves may come to be accepted by such future ages as may pursue the study of us. But if it be wrong to judge a past epoch collectively by the standards of our own time, how much more is it not wrong to single out individuals for judgement by those same standards, after detaching them for the purpose from the environment in which they had their being? How false must be the conception of them thus obtained! We view the individuals so selected through a microscope of modern focus. They appear monstrous and abnormal, and we straight-way assume them to be monsters and abnormalities, never considering that the fault is in the adjustment of the instrument through which we inspect them, and that until that is corrected others of that same past age, if similarly viewed, must appear similarly distorted. Hence it follows that some study of an age must ever prelude and accompany the study of its individuals, if comprehension is to wait upon our labours. To proceed otherwise is to judge an individual Hottentot or South Sea Islander by the code of manners that obtains in Belgravia or Mayfair. Mind being the seat of the soul, and literature being the expression of the mind, literature, it follows, is the soul of an age, the surviving and immortal part of it; and in the literature of the Cinquecento you shall behold for the looking the ardent, unmoral, na?ve soul of this Renaissance that was sprawling in its lusty, naked infancy and bellowing hungrily for the pap of knowledge, and for other things. You shall infer something of the passionate mettle of this infant: his tempestuous mirth, his fierce rages, his simplicity, his na?vet?, his inquisitiveness, his cunning, his deceit, his cruelty, his love of sunshine and bright gewgaws. To realize him as he was, you need but to bethink you that this was the age in which the Decamerone of Giovanni Boccaccio, the Facetiae of Poggio, the Satires of Filelfo, and the Hermaphroditus of Panormitano afforded reading-matter to both sexes. This was the age in which the learned and erudite Lorenzo Valla?of whom more anon?wrote his famous indictment of virginity, condemning it as against nature with arguments of a most insidious logic. This was the age in which Casa, Archbishop of Benevento, wrote a most singular work of erotic philosophy, which, coming from a churchman's pen, will leave you cold with horror should you chance to turn its pages. This was the age of the Discovery of Man; the pagan age which stripped Christ of His divinity to bestow it upon Plato, so that Marsilio Ficino actually burnt an altar-lamp before an image of the Greek by whose teachings?in common with so many scholars of his day?he sought to inform himself. It was an age that had become unable to discriminate between the merits of the Saints of the Church and the Harlots of the Town.
The Marriage of Heaven and Hell (Illuminated Manuscript With the Original Illustrations of William Blake)
This carefully crafted ebook: "The Marriage of Heaven and Hell (Illuminated Manuscript with the Original Illustrations of William Blake)" is formatted for your eReader with a functional and detailed table of contents. This ebook is a series of texts, which were written in imitation of biblical books of prophecy, but expressing the poets own personal romantic and revolutionary beliefs. It is not exactly known when the work was written. One assumes it was composed in London between 1790 and 1793 , a period of political conflict arising immediately after the French Revolution. The book is about the first person narrators visit to Hell, a concept taken by Blake from Dantes Inferno and Miltons Paradise Lost. Apart from the opening Argument and the Song of Liberty, the entire book is written in prose. The Marriage of Heaven and Hell was influenced by the mysticism of Swedish theosophist Emanuel Swedenborg and is also in part a satire on Emanuel Swedenborgs writings, especially on Heaven and Hell from which Blake adapted the title. William Blake (1757 ? 1827) was a British poet, painter, visionary mystic, and engraver, who illustrated and printed his own books. Blake proclaimed the supremacy of the imagination over the rationalism and materialism of the 18th-century. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of both the poetry and visual arts of the Romantic Age.