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Roxana
Highlights:
_’I had so long habituated myself to a Life of Vice, that really it appear’d to be no Vice to me’_
Beautiful, proud Roxana is terrified of being poor. When her foolish husband leaves her penniless with five children, she must choose between being a virtuous beggar or a rich whore. Embarking on a career as a courtesan and kept woman, the glamour of her new existence soon becomes too enticing and Roxana passes from man to man in order to maintain her lavish society parties, luxurious clothes and amassed wealth. But this life comes at a cost, and she is fatally torn between the sinful prosperity she has become used to and the respectability she craves. A vivid satire on a dissolute society, _Roxana_ (1724) is a devastating evocation of the ways in which vanity and ambition can corrupt the human soul.
In his introduction, David Blewett discusses Defoe’s literary career, his moral stance and his portrayal of his heroine’s psychological turmoil and the social world she inhabits. This edition includes a chronology, bibliography, notes and a map of Roxana’s London.
Rubáiyát of Omar Khayyám
Highlights:
In 1859, Edward FitzGerald translated into English the short, epigrammatic poems (or “rubáiyát”) of medieval Persian poet Omar Khayyám. If not a true translation–his Omar seems to have read Shakespeare and the King James Bible–the poem nevertheless conveyed some of the most beautiful and haunting images in English poetry, and some of the sharpest-edged. By the end of the century, it was one of the best-known poems in the English language, admired by Swinburne and Ruskin. Daniel Karlin’s richly annotated edition focuses on the poem as a work of Victorian literary art, doing justice to the scope and complexity of FitzGerald’s lyrical meditation on “human death and fate.” Karlin provides a fascinating critical introduction which documents the poem’s treatment of its Persian sources, along with its multiple affiliations with English and Classical literature and to the Bible. A selection of contemporary reviews offers an insight into the poem’s early reception, including the first attack on its status as a translation.