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The Hunchback of Notre-Dame

Introduction by Jean-Marc Hovasse

Part of Everyman's Library Classics Series

Author Victor Hugo
Introduction by Jean-Marc Hovasse
Look inside
Hardcover
$26.00 US
Knopf | Everyman's Library
5.21"W x 8.27"H x 1.24"D  
On sale Feb 07, 2012 | 504 Pages | 978-0-307-95781-8
| Grades 6-12 + AP/IB
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  • English Language Arts > Genre: Fiction > Historical Fiction: World > Europe
  • English Language Arts > Genre: Fiction > Lifestyles > City & Town Life
  • English Language Arts > Genre: Fiction > People & Places by Region > Europe
  • English Language Arts > Genre: Fiction > Social Themes > Religion & Faith
  • English Language Arts > Literature: Comparative & World > Pre-20th Century
  • About
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  • Excerpt
  • Praise
The only widely available hardcover edition of Victor Hugo's masterful historical novel of medieval Paris—one of the most beloved of world classics.

The Hunchback of Notre-Dame is an epic of a whole people, with a cast of characters that ranges from the king of France to the beggars who inhabit the Parisian sewers, and at their center the massive figure--a character in itself--of the great Cathedral of Notre-Dame. Quasimodo, the deformed bell-ringer of the cathedral; his foster father, the tormented archdeacon Frollo; and the beautiful and doomed Gypsy Esmeralda are caught up in a tragedy that still speaks clearly to us of revolution and social strife, of destiny and free will, and of love and loss.

“What a beautiful thing Notre-Dame is!” —Gustave Flaubert
Victor Hugo (1802–1885), novelist, poet, playwright, and French national icon, is best known for two of today’s most popular world classics: Les Misérables and The Hunchback of Notre-Dame, as well as other works, including The Toilers of the Sea and The Man Who Laughs. Hugo was elected to the Académie Française in 1841. As a statesman, he was named a Peer of France in 1845. He served in France’s National Assemblies in the Second Republic formed after the 1848 revolution, and in 1851 went into self-imposed exile upon the ascendance of Napoleon III, who restored France’s government to authoritarian rule. Hugo returned to France in 1870, after the proclamation of the Third Republic. View titles by Victor Hugo
From the Introduction
 
True, there is something strange and marvellous in the talent of this man who sweeps the reader before him as the wind sweeps the leaf, who leads him at will through every place and era; unveils before him as if it were child’s play the heart’s innermost recesses, the most mysterious phenomena of nature and the most obscure pages of history; whose imagination dominates and embraces every other imagination, clothing itself with the same astonishing truth in the rags of the beggar and the robes of the king, taking on every attitude, adopting every garb, speaking every language; leaving to the physiognomy of the centuries whatever in their features the wisdom of God has rendered eternal and immutable and whatever the folly of humanity in its ephemeral variety has cast upon them; who does not, as some ignorant novelists do, deck the protagonists of yesteryear in our face-paint nor daub them with the gloss of today, but forces the contemporary reader, under the thrall of his magical powers, to re-assume for the space of a few hours the spirit of olden times – a spirit held in such low esteem today – like a wise and tactful adviser inviting the ingrate son to return to his father’s house.
 
Despite appearances, this epic sentence was not written to greet Notre-Dame de Paris (The Hunchback of Notre-Dame) on its publication in March 1831. It formed the opening of an article written eight years earlier for the launch of La muse française, a journal founded by Hugo and his Romantic friends – a circle of sentimental young royalists infatuated with the Middle Ages. Hugo had chosen the ‘Literary Criticism’ section for his first contribution. Only twenty-one, he was already very familiar with the work of the man whose ‘magical powers’ he so splendidly evoked: Walter Scott, thirty years his elder, whose Quentin Durward had just appeared in French.
 
Hugo eulogized Scott. That same year, Stendhal noted ‘the French are mad about Walter Scott’. Balzac shared this enthusiasm. But Hugo alone of these admirers devoted an entire essay to Scott – he did the same for William Shakespeare forty years later. He seemed to speak most freely of himself when wearing an English mask. For Hugo, literary criticism was an essential first step in his creative life. His review of Quentin Durward laid the foundations for the notorious preface to Cromwell (yet another English mask): this was effectively the manifesto of French Romanticism (1827). Theatre then dominated the other genres as cinema does today and Hugo praised Scott for freeing his work from the trammels of the ‘narrative’ and ‘epistolary’ novel in order to create the ‘dramatic novel, in which the imaginary action unfolds in truthful and varied tableaux, just like the events of real life’. The novel, Hugo announced, should be like life: ‘And is not life a strange drama in which the good and the bad, the beautiful and the ugly, the sublime and the base are intermingled according to a law whose power ends only with the created world?’ This question, which challenges the separation of genres found in classical French plays and favours a more Shakespearian approach, reappears in almost identical form in the preface to Cromwell. In short, the novel must borrow its principles of composition from drama.
 
The Hunchback of Notre-Dame does in fact display remarkable unity of time and place, as required by the often forgotten subtitle (Notre-Dame de Paris. 1482) but is no less remarkable for its unity of action. In these respects, it faithfully followed the principles set out by Hugo in La muse française. As to the intermingling of genres – Hugo’s key demand in his manifesto – we find it everywhere in The Hunchback. Indeed some have diagnosed an obsession with antitheses. These are present from the first page, which mixes the Epiphany of the Wise Men with the Feast of the Fools, to the last, which brings together Esmeralda and Quasimodo (Beauty and the Beast) for that rather peculiar wedding night – described by Graham Robb in his superlative biography of Hugo as a ‘parody of a happy ending’. Nor should we forget the antithesis constituted by those two considerable personages, the ‘supreme suzerain of the Realm of Argot’ and the King of France, namely Clopin Trouillefou and Louis XI.
 
Hugo had nevertheless slipped an astonishing remark into his critique of Quentin Durward, which he wisely removed when the essay was republished in 1834:
 
As Frenchmen, we do not thank Sir Walter for his incursion into our history; indeed we are somewhat inclined to reproach the Scotsman for it. True, the man who, setting aside Charlemagne, Philippe-Auguste, Saint Louis, Louis XII, François I, Henri IV and Louis XIV, selected from all our kings the figure of Louis XI, must necessarily be a foreigner. This is truly the inspiration of an English Muse.
 
Five years later, Louis XI with his archers and iron cages occupied the foreground of The Hunchback of Notre-Dame. Against all expectation, here was the origin of the book. In so far as we can decipher Hugo’s notes, it had first been intended as a theatre piece on the death of Louis XI; the outline of this draft followed Quentin Durward quite closely. The English muse thus seemed to wipe the floor with La muse française, which (in the form of that journal) had long since retired from the scene. True to his habits, Hugo entirely surpassed his model. In Swinburne’s famous and telling analogy, Walter Scott’s portrayal of Louis XI looked, beside Hugo’s, like a Van Dyck portrait alongside one by Velásquez. ‘The style was a new revelation of the supreme capacities of human speech,’ Swinburne added, and ‘the touch of it on any subject of description or of passion is as the touch of the sun for penetrating irradiation and vivid evocation of life.’

When in late October 1828, Charles Gosselin, the French publisher of Quentin Durward, contacted Hugo, his principal motivation was, he said, the resemblance he detected between Hugo and Scott. Was this a subtle hint or something that had struck Gosselin while reading Hugo’s novel of 1823, Han d’Islande? In either case, Hugo was receptive to the suggestion: he now had a large household to feed – a wife and three children along with two domestics – and unlike most of his author friends, he had no resource but his pen. On 15 November 1828, he signed a contract with Gosselin for his complete works – at the age of twenty-six – including a two-volume novel to be delivered in six months’ time, The Hunchback of Notre-Dame. This ‘historical novel’ was announced as nearly complete. In fact, it consisted of two pages of prose and fifty lines of telegraphic notes scribbled down between two poems.
 
Six months later, when Hugo was expected to submit his manuscript, the novel was no further advanced. But Hugo spared no pains to disguise the fact. In the preface to his book of poems Les Orientales, published by Gosselin in January 1829, he span a long metaphor comparing his work with a medieval city in which the ‘old gallows’ stood in the background and ‘at its centre, the great Gothic cathedral’. His critics would, he said, ‘find him reckless and foolish to desire for France a literature that [could] be compared to a medieval town. No madder fantasy could be entertained; it [meant] actively seeking disorder, profusion, bad taste and the bizarre.’ These were not qualities much appreciated in the land of Racine and Voltaire. But it is sometimes forgotten that this was also the land of Corneille and Rabelais, and Hugo openly drew on Rabelais for inspiration. It was from the top of the towers of Notre-Dame that Gargantua’s stream of urine drowned 260,418 Parisians ‘besides the women and children’; Quasimodo sent ‘two jets of molten lead’ from the very same towers to similar effect on the cathedral’s beggar-assailants. But as the historian Michelet remarked, Quasimodo’s tenancy of Notre-Dame wholly eclipsed Gargantua’s:
 
Someone has marked this monument with so powerful a hand that no one will ever again dare to touch it. From now on it is his object, his fief; it is Quasimodo’s entailed property. Next to the old cathedral he built a cathedral of poetry and its foundations are as solid and its towers as high as those of the original.
Copyright © 2012 by Jean-Marc Hovasse. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
“What a beautiful thing Notre-Dame is!” —Gustave Flaubert

About

The only widely available hardcover edition of Victor Hugo's masterful historical novel of medieval Paris—one of the most beloved of world classics.

The Hunchback of Notre-Dame is an epic of a whole people, with a cast of characters that ranges from the king of France to the beggars who inhabit the Parisian sewers, and at their center the massive figure--a character in itself--of the great Cathedral of Notre-Dame. Quasimodo, the deformed bell-ringer of the cathedral; his foster father, the tormented archdeacon Frollo; and the beautiful and doomed Gypsy Esmeralda are caught up in a tragedy that still speaks clearly to us of revolution and social strife, of destiny and free will, and of love and loss.

“What a beautiful thing Notre-Dame is!” —Gustave Flaubert

Author

Victor Hugo (1802–1885), novelist, poet, playwright, and French national icon, is best known for two of today’s most popular world classics: Les Misérables and The Hunchback of Notre-Dame, as well as other works, including The Toilers of the Sea and The Man Who Laughs. Hugo was elected to the Académie Française in 1841. As a statesman, he was named a Peer of France in 1845. He served in France’s National Assemblies in the Second Republic formed after the 1848 revolution, and in 1851 went into self-imposed exile upon the ascendance of Napoleon III, who restored France’s government to authoritarian rule. Hugo returned to France in 1870, after the proclamation of the Third Republic. View titles by Victor Hugo

Excerpt

From the Introduction
 
True, there is something strange and marvellous in the talent of this man who sweeps the reader before him as the wind sweeps the leaf, who leads him at will through every place and era; unveils before him as if it were child’s play the heart’s innermost recesses, the most mysterious phenomena of nature and the most obscure pages of history; whose imagination dominates and embraces every other imagination, clothing itself with the same astonishing truth in the rags of the beggar and the robes of the king, taking on every attitude, adopting every garb, speaking every language; leaving to the physiognomy of the centuries whatever in their features the wisdom of God has rendered eternal and immutable and whatever the folly of humanity in its ephemeral variety has cast upon them; who does not, as some ignorant novelists do, deck the protagonists of yesteryear in our face-paint nor daub them with the gloss of today, but forces the contemporary reader, under the thrall of his magical powers, to re-assume for the space of a few hours the spirit of olden times – a spirit held in such low esteem today – like a wise and tactful adviser inviting the ingrate son to return to his father’s house.
 
Despite appearances, this epic sentence was not written to greet Notre-Dame de Paris (The Hunchback of Notre-Dame) on its publication in March 1831. It formed the opening of an article written eight years earlier for the launch of La muse française, a journal founded by Hugo and his Romantic friends – a circle of sentimental young royalists infatuated with the Middle Ages. Hugo had chosen the ‘Literary Criticism’ section for his first contribution. Only twenty-one, he was already very familiar with the work of the man whose ‘magical powers’ he so splendidly evoked: Walter Scott, thirty years his elder, whose Quentin Durward had just appeared in French.
 
Hugo eulogized Scott. That same year, Stendhal noted ‘the French are mad about Walter Scott’. Balzac shared this enthusiasm. But Hugo alone of these admirers devoted an entire essay to Scott – he did the same for William Shakespeare forty years later. He seemed to speak most freely of himself when wearing an English mask. For Hugo, literary criticism was an essential first step in his creative life. His review of Quentin Durward laid the foundations for the notorious preface to Cromwell (yet another English mask): this was effectively the manifesto of French Romanticism (1827). Theatre then dominated the other genres as cinema does today and Hugo praised Scott for freeing his work from the trammels of the ‘narrative’ and ‘epistolary’ novel in order to create the ‘dramatic novel, in which the imaginary action unfolds in truthful and varied tableaux, just like the events of real life’. The novel, Hugo announced, should be like life: ‘And is not life a strange drama in which the good and the bad, the beautiful and the ugly, the sublime and the base are intermingled according to a law whose power ends only with the created world?’ This question, which challenges the separation of genres found in classical French plays and favours a more Shakespearian approach, reappears in almost identical form in the preface to Cromwell. In short, the novel must borrow its principles of composition from drama.
 
The Hunchback of Notre-Dame does in fact display remarkable unity of time and place, as required by the often forgotten subtitle (Notre-Dame de Paris. 1482) but is no less remarkable for its unity of action. In these respects, it faithfully followed the principles set out by Hugo in La muse française. As to the intermingling of genres – Hugo’s key demand in his manifesto – we find it everywhere in The Hunchback. Indeed some have diagnosed an obsession with antitheses. These are present from the first page, which mixes the Epiphany of the Wise Men with the Feast of the Fools, to the last, which brings together Esmeralda and Quasimodo (Beauty and the Beast) for that rather peculiar wedding night – described by Graham Robb in his superlative biography of Hugo as a ‘parody of a happy ending’. Nor should we forget the antithesis constituted by those two considerable personages, the ‘supreme suzerain of the Realm of Argot’ and the King of France, namely Clopin Trouillefou and Louis XI.
 
Hugo had nevertheless slipped an astonishing remark into his critique of Quentin Durward, which he wisely removed when the essay was republished in 1834:
 
As Frenchmen, we do not thank Sir Walter for his incursion into our history; indeed we are somewhat inclined to reproach the Scotsman for it. True, the man who, setting aside Charlemagne, Philippe-Auguste, Saint Louis, Louis XII, François I, Henri IV and Louis XIV, selected from all our kings the figure of Louis XI, must necessarily be a foreigner. This is truly the inspiration of an English Muse.
 
Five years later, Louis XI with his archers and iron cages occupied the foreground of The Hunchback of Notre-Dame. Against all expectation, here was the origin of the book. In so far as we can decipher Hugo’s notes, it had first been intended as a theatre piece on the death of Louis XI; the outline of this draft followed Quentin Durward quite closely. The English muse thus seemed to wipe the floor with La muse française, which (in the form of that journal) had long since retired from the scene. True to his habits, Hugo entirely surpassed his model. In Swinburne’s famous and telling analogy, Walter Scott’s portrayal of Louis XI looked, beside Hugo’s, like a Van Dyck portrait alongside one by Velásquez. ‘The style was a new revelation of the supreme capacities of human speech,’ Swinburne added, and ‘the touch of it on any subject of description or of passion is as the touch of the sun for penetrating irradiation and vivid evocation of life.’

When in late October 1828, Charles Gosselin, the French publisher of Quentin Durward, contacted Hugo, his principal motivation was, he said, the resemblance he detected between Hugo and Scott. Was this a subtle hint or something that had struck Gosselin while reading Hugo’s novel of 1823, Han d’Islande? In either case, Hugo was receptive to the suggestion: he now had a large household to feed – a wife and three children along with two domestics – and unlike most of his author friends, he had no resource but his pen. On 15 November 1828, he signed a contract with Gosselin for his complete works – at the age of twenty-six – including a two-volume novel to be delivered in six months’ time, The Hunchback of Notre-Dame. This ‘historical novel’ was announced as nearly complete. In fact, it consisted of two pages of prose and fifty lines of telegraphic notes scribbled down between two poems.
 
Six months later, when Hugo was expected to submit his manuscript, the novel was no further advanced. But Hugo spared no pains to disguise the fact. In the preface to his book of poems Les Orientales, published by Gosselin in January 1829, he span a long metaphor comparing his work with a medieval city in which the ‘old gallows’ stood in the background and ‘at its centre, the great Gothic cathedral’. His critics would, he said, ‘find him reckless and foolish to desire for France a literature that [could] be compared to a medieval town. No madder fantasy could be entertained; it [meant] actively seeking disorder, profusion, bad taste and the bizarre.’ These were not qualities much appreciated in the land of Racine and Voltaire. But it is sometimes forgotten that this was also the land of Corneille and Rabelais, and Hugo openly drew on Rabelais for inspiration. It was from the top of the towers of Notre-Dame that Gargantua’s stream of urine drowned 260,418 Parisians ‘besides the women and children’; Quasimodo sent ‘two jets of molten lead’ from the very same towers to similar effect on the cathedral’s beggar-assailants. But as the historian Michelet remarked, Quasimodo’s tenancy of Notre-Dame wholly eclipsed Gargantua’s:
 
Someone has marked this monument with so powerful a hand that no one will ever again dare to touch it. From now on it is his object, his fief; it is Quasimodo’s entailed property. Next to the old cathedral he built a cathedral of poetry and its foundations are as solid and its towers as high as those of the original.
Copyright © 2012 by Jean-Marc Hovasse. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

Praise

“What a beautiful thing Notre-Dame is!” —Gustave Flaubert

Additional formats

  • The Hunchback of Notre-Dame
    The Hunchback of Notre-Dame
    Victor Hugo
    $15.00 US
    Paperback
    Oct 08, 2002
  • The Hunchback of Notre Dame
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    Victor Hugo
    $5.95 US
    Mass Market Paperback
    Feb 01, 1981
  • The Hunchback of Notre-Dame
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    Victor Hugo
    $15.00 US
    Paperback
    Oct 08, 2002
  • The Hunchback of Notre Dame
    The Hunchback of Notre Dame
    Victor Hugo
    $5.95 US
    Mass Market Paperback
    Feb 01, 1981

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  • Uncle Tom's Cabin
    Uncle Tom's Cabin
    or, Life among the Lowly
    Harriet Beecher Stowe
    $10.00 US
    Paperback
    Jan 09, 2001
  • David Copperfield
    David Copperfield
    Charles Dickens
    $8.95 US
    Paperback
    Nov 28, 2000
  • Moby-Dick
    Moby-Dick
    or, The Whale
    Herman Melville
    $16.00 US
    Paperback
    Oct 10, 2000
  • Heart of Darkness
    Heart of Darkness
    and Selections from The Congo Diary
    Joseph Conrad
    $11.00 US
    Paperback
    Aug 10, 1999
  • Les Miserables
    Les Miserables
    Introduction by Peter Washington
    Victor Hugo
    $42.00 US
    Hardcover
    Mar 31, 1998
  • Romances
    Romances
    Introduction by Tony Tanner
    William Shakespeare
    $26.00 US
    Hardcover
    Apr 07, 1997
  • The Histories
    The Histories
    Introduction by Rosalind Thomas
    Herodotus
    $30.00 US
    Hardcover
    Mar 25, 1997
  • Histories, vol. 2
    Histories, vol. 2
    Volume 2; Introduction by Tony Tanner
    William Shakespeare
    $28.00 US
    Hardcover
    Nov 01, 1994
  • The Theban Plays
    The Theban Plays
    Introduction by Charles Segal
    Sophocles
    $22.00 US
    Hardcover
    Oct 18, 1994
  • Histories, vol. 1
    Histories, vol. 1
    Volume 1; Introduction by Tony Tanner
    William Shakespeare
    $28.00 US
    Hardcover
    Oct 04, 1994
  • Fear and Trembling and The Book on Adler
    Fear and Trembling and The Book on Adler
    Introduction by George Steiner
    Soren Kierkegaard
    $25.00 US
    Hardcover
    May 10, 1994
  • Democracy in America
    Democracy in America
    Introduction by Alan Ryan
    Alexis de Tocqueville
    $35.00 US
    Hardcover
    May 10, 1994
  • The Souls of Black Folk
    The Souls of Black Folk
    Introduction by Arnold Rampersad
    W. E. B. Du Bois
    $22.00 US
    Hardcover
    Oct 26, 1993
  • A Tale of Two Cities
    A Tale of Two Cities
    Introduction by Simon Schama
    Charles Dickens
    $30.00 US
    Hardcover
    Feb 23, 1993
  • The Sonnets and Narrative Poems of William Shakespeare
    The Sonnets and Narrative Poems of William Shakespeare
    Introduction by Helen Vendler
    William Shakespeare
    $21.00 US
    Hardcover
    Dec 15, 1992
  • The Awakening
    The Awakening
    Introduction by Elaine Showalter
    Kate Chopin
    $21.00 US
    Hardcover
    Nov 03, 1992
  • Canterbury Tales
    Canterbury Tales
    Introduction by Derek Pearsall
    Geoffrey Chaucer
    $28.00 US
    Hardcover
    Jun 30, 1992
  • The Aeneid
    The Aeneid
    Introduction by Philip Hardie
    Virgil
    $28.00 US
    Hardcover
    Jun 30, 1992
  • Dr. Jekyll and Mr. Hyde
    Dr. Jekyll and Mr. Hyde
    Introduction by Nicholas Rance
    Robert Louis Stevenson
    $20.00 US
    Hardcover
    Apr 28, 1992
  • Utopia
    Utopia
    Introduction by Jenny Mezciems
    Thomas More
    $20.00 US
    Hardcover
    Apr 28, 1992
  • The House of Mirth
    The House of Mirth
    Introduction by Pamela Knights
    Edith Wharton
    $26.00 US
    Hardcover
    Nov 26, 1991
  • Pride and Prejudice
    Pride and Prejudice
    Introduction by Peter Conrad
    Jane Austen
    $26.00 US
    Hardcover
    Oct 15, 1991
  • The Wealth of Nations
    The Wealth of Nations
    Introduction by D. D. Raphael and John Bayley
    Adam Smith
    $28.00 US
    Hardcover
    Oct 15, 1991
  • Bleak House
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    Introduction by Barbara Hardy
    Charles Dickens
    $32.00 US
    Hardcover
    Oct 15, 1991
  • Wuthering Heights
    Wuthering Heights
    Emily Bronte
    $8.00 US
    Paperback
    Dec 07, 2021
  • Selected Stories of Guy de Maupassant
    Selected Stories of Guy de Maupassant
    Introduction by Catriona Seth
    Guy de Maupassant
    $22.00 US
    Hardcover
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  • The Babur Nama
    The Babur Nama
    Introduction by William Dalrymple
    Babur
    $30.00 US
    Hardcover
    Nov 03, 2020
  • Independent People
    Independent People
    Introduction by John Freeman
    Halldor Laxness
    $26.00 US
    Hardcover
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  • The Mayor of Casterbridge
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    Thomas Hardy
    $11.00 US
    Paperback
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  • Reflections on the Revolution in France and Other Writings
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    Edited and Introduced by Jesse Norman
    Edmund Burke
    $32.00 US
    Hardcover
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  • The Autobiography and Other Writings
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    Introduction by Jill Lepore
    Benjamin Franklin
    $28.00 US
    Hardcover
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  • Walden & Civil Disobedience
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    $11.00 US
    Paperback
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    A Romance
    Nathaniel Hawthorne
    $8.00 US
    Paperback
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    Introduction by Tim Farrant
    Jules Verne
    $35.00 US
    Hardcover
    Oct 01, 2013
  • The Age of Innocence
    The Age of Innocence
    Edith Wharton
    $11.00 US
    Paperback
    Jun 05, 2012
  • The Custom of the Country
    The Custom of the Country
    Edith Wharton
    $12.00 US
    Paperback
    Jun 05, 2012
  • The Time Machine, The Invisible Man, The War of the Worlds
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    Introduction by Margaret Drabble
    H. G. Wells
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    Hardcover
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  • Annals and Histories
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    Introduction by Robin Lane Fox
    Tacitus
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    Hardcover
    Oct 06, 2009
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    Charles Dickens
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    Paperback
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    Introduction by Umberto Eco
    Alexandre Dumas
    $30.00 US
    Hardcover
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    Charlotte Bronte
    $9.00 US
    Paperback
    Apr 07, 2009
  • Villette
    Villette
    Charlotte Bronte
    $17.00 US
    Paperback
    Apr 07, 2009
  • The Travels of Marco Polo
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    Introduction by Colin Thubron
    Marco Polo
    $32.00 US
    Hardcover
    Oct 21, 2008
  • The Prince
    The Prince
    Niccolo Machiavelli
    $14.00 US
    Paperback
    Feb 05, 2008
  • Emma
    Emma
    Jane Austen
    $10.00 US
    Paperback
    Sep 04, 2007
  • Persuasion
    Persuasion
    Jane Austen
    $7.00 US
    Paperback
    Sep 04, 2007
  • Notes from Underground
    Notes from Underground
    Introduction by Richard Pevear
    Fyodor Dostoevsky
    $26.00 US
    Hardcover
    Mar 23, 2004
  • Kim
    Kim
    Rudyard Kipling
    $8.00 US
    Paperback
    Feb 10, 2004
  • The Origin of Species and The Voyage of the 'Beagle'
    The Origin of Species and The Voyage of the 'Beagle'
    Introduction by Richard Dawkins
    Charles Darwin
    $35.00 US
    Hardcover
    Oct 14, 2003
  • Our Mutual Friend
    Our Mutual Friend
    Charles Dickens
    $13.00 US
    Paperback
    Sep 10, 2002
  • Daniel Deronda
    Daniel Deronda
    George Eliot
    $11.00 US
    Paperback
    Jul 09, 2002
  • Moll Flanders
    Moll Flanders
    Daniel Defoe
    $14.00 US
    Paperback
    Jun 11, 2002
  • The Memoirs of Hector Berlioz
    The Memoirs of Hector Berlioz
    Introduced by David Cairns
    Hector Berlioz
    $35.00 US
    Hardcover
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  • Little Dorrit
    Little Dorrit
    Charles Dickens, H. K. Browne
    $13.00 US
    Paperback
    Mar 12, 2002
  • Far from the Madding Crowd
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    Thomas Hardy
    $11.00 US
    Paperback
    Dec 11, 2001
  • Oliver Twist
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    Charles Dickens, George Cruikshank
    $8.00 US
    Paperback
    Oct 09, 2001
  • Jude the Obscure
    Jude the Obscure
    Thomas Hardy
    $12.00 US
    Paperback
    Aug 14, 2001
  • Hard Times
    Hard Times
    Charles Dickens
    $10.00 US
    Paperback
    Jul 10, 2001
  • Silas Marner
    Silas Marner
    The Weaver of Raveloe
    George Eliot
    $9.00 US
    Paperback
    May 08, 2001
  • The Analects
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    Introduction by Sarah Allan
    Confucius
    $22.00 US
    Hardcover
    May 01, 2001
  • Symposium and Phaedrus
    Symposium and Phaedrus
    Introduction by Richard Rutherford
    Plato
    $21.00 US
    Hardcover
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  • Tess of the d'Urbervilles
    Tess of the d'Urbervilles
    A Pure Woman
    Thomas Hardy
    $10.00 US
    Paperback
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  • Great Expectations
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    Charles Dickens
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  • Uncle Tom's Cabin
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    Harriet Beecher Stowe
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    Charles Dickens
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    Herman Melville
    $16.00 US
    Paperback
    Oct 10, 2000
  • Heart of Darkness
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  • Les Miserables
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    Victor Hugo
    $42.00 US
    Hardcover
    Mar 31, 1998
  • Romances
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    William Shakespeare
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    Hardcover
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  • The Histories
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  • Histories, vol. 2
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    Volume 2; Introduction by Tony Tanner
    William Shakespeare
    $28.00 US
    Hardcover
    Nov 01, 1994
  • The Theban Plays
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    Introduction by Charles Segal
    Sophocles
    $22.00 US
    Hardcover
    Oct 18, 1994
  • Histories, vol. 1
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    Volume 1; Introduction by Tony Tanner
    William Shakespeare
    $28.00 US
    Hardcover
    Oct 04, 1994
  • Fear and Trembling and The Book on Adler
    Fear and Trembling and The Book on Adler
    Introduction by George Steiner
    Soren Kierkegaard
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    Hardcover
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  • Democracy in America
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    Introduction by Alan Ryan
    Alexis de Tocqueville
    $35.00 US
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    W. E. B. Du Bois
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    Charles Dickens
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    Hardcover
    Feb 23, 1993
  • The Sonnets and Narrative Poems of William Shakespeare
    The Sonnets and Narrative Poems of William Shakespeare
    Introduction by Helen Vendler
    William Shakespeare
    $21.00 US
    Hardcover
    Dec 15, 1992
  • The Awakening
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    Introduction by Elaine Showalter
    Kate Chopin
    $21.00 US
    Hardcover
    Nov 03, 1992
  • Canterbury Tales
    Canterbury Tales
    Introduction by Derek Pearsall
    Geoffrey Chaucer
    $28.00 US
    Hardcover
    Jun 30, 1992
  • The Aeneid
    The Aeneid
    Introduction by Philip Hardie
    Virgil
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    Hardcover
    Jun 30, 1992
  • Dr. Jekyll and Mr. Hyde
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    Robert Louis Stevenson
    $20.00 US
    Hardcover
    Apr 28, 1992
  • Utopia
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    Thomas More
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    Hardcover
    Apr 28, 1992
  • The House of Mirth
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    Edith Wharton
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    Nov 26, 1991
  • Pride and Prejudice
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    Jane Austen
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    Hardcover
    Oct 15, 1991
  • The Wealth of Nations
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    Adam Smith
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    Oct 15, 1991
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    Oct 15, 1991

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