Lecture Notes

美國名廚愛莉絲‧華特斯：《美食雜誌》（Gourmet）列為過去三十年間美國廚房內最具影響力的人物。 是誰？能夠成功說服歐巴馬，在白宮後院花園裡開闢自耕小菜圃。 是誰？讓美國名廚波登公開在自己的書中提及這位可敬的對手。 誰的食譜可以擁有這樣的魔力？讓廚師莊祖宜看完後，做出如此感動的回應──「重點是不管做什麼跟吃有關的事情，都有一種活著真好的感覺。」 真正的有機概念，作者愛莉絲‧華特斯早在三十

一本不同於一般景點的台灣旅遊書 不論去到哪裡，我總會發現美麗的大自然風光、可愛的居民， 以及超乎想像的多元文化。－－－胡浩德 跟隨17世紀荷蘭人的足跡，找尋荷蘭時期的歷史記憶與故事。 拋開城市觀點，遍覽最自然的風光、品嚐最道地的美食、 體驗最在地的文化，探訪最真實的台灣。 現任荷蘭駐台代表胡浩德，居住在台灣將近八年，他說他來到台灣一個星期之後，就認定台灣是他喜歡的地方，並在聽到一些關於17世紀荷蘭

Samuel Prideaux Tregelles (1813–1875) was a Cornish-born Biblical scholar who travelled to major libraries all over Europe in order to study ancient manuscripts. Biblical textual criticism was a burgeoning new field in the mid-nineteenth century, with leading scholars including Lachmann and Tischendorf in Germany and Tregelles' contemporaries Scrivener, Westcott and Hort in England all working towards the ideal of a more authoritative Greek New Testament text than had previously been available. In Tregelles' landmark edition, published between 1857 and 1879, each page of Greek text is accompanied by Jerome's Latin Vulgate text, indications of manuscripts used, Biblical cross-references, and a full textual apparatus. Tregelles also provides introductory notes on the manuscripts consulted and on his editorial principles. In this reissued set, the original short volumes 5, 6 and 7 are bound together in one volume.

The publications of the Hakluyt Society (founded in 1846) made available edited (and sometimes translated) early accounts of exploration. The first series, which ran from 1847 to 1899, consists of 100 books containing published or previously unpublished works by authors from Christopher Columbus to Sir Francis Drake, and covering voyages to the New World, to China and Japan, to Russia and to Africa and India. Volume 2, published in 1847, consists of letters of Christopher Columbus to the Treasurer of the King and Queen of Spain, describing his first, third and fourth voyages, and a letter from Diego Alvarez Chanca, a royal physician who went on the second voyage and reported his experiences to the town council of Seville. In this edition by R. H. Major, the letters are given in the original Latin and Spanish with an English translation, editor's preface, explanatory notes and index.

A friend of Charles Darwin and a social activist respected by John Stuart Mill, Alfred R. Wallace (1823–1913) was an outstanding nineteenth-century intellectual. Wallace, renowned in his time as the co-discoverer of natural selection, was a young schoolteacher when he began his exciting career as an explorer-naturalist, and set off for Brazil in 1848 with Henry Walter Bates. A Narrative of Travels on the Amazon and Rio Negro (1853) is the stimulating and engaging result of this first expedition and a precursor to his best-selling Malay Archipelago (1869). The depth and breadth of Wallace's observations in this book as naturalist, anthropologist and geologist are remarkable, and it is tantalising to learn that half his notes and 'the greater part of [his] collections and sketches' were lost at sea when his ship was burned on his voyage home.

The world's foremost memory expert—and mega-bestselling author—proves that memory CAN get better with age! Diet and exercise are great, but what good is a healthy body if you don't have the mental capabilities to go with it? Harry Lorayne, who is now 83 years old, has been honing and teaching his foolproof system for sharpening the mind, improving concentration, and attaining a truly "superpower" memory for more than 40 years. Ageless Memory is the culmination of this memory expert's life's work. Specifically geared to our needs as we age, his unique memory system can be put into practice immediately—for a better memory the very same day you open the book and start to read! Completely practical and easy to use, readers learn to:Recall names and faces, even years laterNever miss an appointment or misplace keys, glasses, valuables, etc.?Give speeches without notes and learn foreign words and phrases easily?Memorize long lists of items, quotations, long numbers, Bible verses, and all kind

Fenton John Antony Hort (1828–1892) was Professor of Divinity at Cambridge and the editor, with B.F. Westcott, of an influential edition of the Greek New Testament. His detailed commentary on the Greek text of the Epistle (Letter) of St James was left incomplete at his death. When it was published in 1909, the editor wrote 'Each word and phrase and sentence has been examined in the light of the whole available evidence with characteristic freshness, and with a singularly delicate sense both of the meaning of words, and of subtle variations of grammatical structure.' The Introduction situates the Epistle in its New Testament context, and reflects on issues of authorship, reception and content. Hort's scholarly insights remain of interest to modern theologians. His work also bears witness to the strenuous efforts made by late Victorian theologians to create a textual bulwark against the growth of religious scepticism.

Antecedents and Beginnings to 1801 is the first of twelve volumes in the Oliver Wendell Holmes Devise History of the Supreme Court of the United States. In this first volume, Julius Goebel Jr. details the creation of a national judiciary in the United States under the Act of 1789 and traces the Supreme Court's development through its first decade of existence. The book is organized into three parts. The first part describes the background of American constitutionalism. Goebel then goes on to depict the Constitutional Convention, the ensuing debate over ratification, and the framing of the Bill of Rights. In the final part of the book, he explains how early legislation affected the judiciary and the initial experience of the circuit courts and of the Supreme Court. These three parts are divided into seventeen chapters, together with a statistical analysis of the business of the Supreme Court from 1789 to 1801 and substantial notes on manuscript sources.

Artificial intelligence (AI) is a field within computer science that is attempting to build enhanced intelligence into computer systems. This book traces the history of the subject, from the early dreams of eighteenth-century (and earlier) pioneers to the more successful work of today's AI engineers. AI is becoming more and more a part of everyone's life. The technology is already embedded in face-recognizing cameras, speech-recognition software, Internet search engines, and health-care robots, among other applications. The book's many diagrams and easy-to-understand descriptions of AI programs will help the casual reader gain an understanding of how these and other AI systems actually work. Its thorough (but unobtrusive) end-of-chapter notes containing citations to important source materials will be of great use to AI scholars and researchers. This book promises to be the definitive history of a field that has captivated the imaginations of scientists, philosophers, and writers for ce

Artificial intelligence (AI) is a field within computer science that is attempting to build enhanced intelligence into computer systems. This book traces the history of the subject, from the early dreams of eighteenth-century (and earlier) pioneers to the more successful work of today's AI engineers. AI is becoming more and more a part of everyone's life. The technology is already embedded in face-recognizing cameras, speech-recognition software, Internet search engines, and health-care robots, among other applications. The book's many diagrams and easy-to-understand descriptions of AI programs will help the casual reader gain an understanding of how these and other AI systems actually work. Its thorough (but unobtrusive) end-of-chapter notes containing citations to important source materials will be of great use to AI scholars and researchers. This book promises to be the definitive history of a field that has captivated the imaginations of scientists, philosophers, and writers for ce

Livy's great history of Rome contains, in Books 21 to 30, the definitive ancient account of Hannibal's invasion of Italy in 218 BC, and the war he fought with the Romans over the following sixteen years.Livy's gripping storytelling vividly conveys the drama of the great battles, and individuals as well as events are brought powerfully to slife.This new translation captures the brilliance of Livy's style, and is accompanied by a fascinating introduction and notes. The comprehensive introduction examines Livy, his work, his historical accuracy, his sources, and the course of Hannibal's campaign by a scholar well known for his work on Hannibal and his times. The edition includes a glossary of Roman and Carthaginian terms, a chronological table, an index, a series of detailed maps, and a discussion of the route of Hannibal from the south of Spain over the Alps to Italy. This wonderfully complete edition is perfect for lovers of classical literature, those with an interest in ancient or mil

This introductory text explores the theory of graph spectra: a topic with applications across a wide range of subjects, including computer science, quantum chemistry and electrical engineering. The spectra examined here are those of the adjacency matrix, the Seidel matrix, the Laplacian, the normalized Laplacian and the signless Laplacian of a finite simple graph. The underlying theme of the book is the relation between the eigenvalues and structure of a graph. Designed as an introductory text for graduate students, or anyone using the theory of graph spectra, this self-contained treatment assumes only a little knowledge of graph theory and linear algebra. The authors include many developments in the field which arise as a result of rapidly expanding interest in the area. Exercises, spectral data and proofs of required results are also provided. The end-of-chapter notes serve as a practical guide to the extensive bibliography of over 500 items.

In his introduction, Darwin reveals that for many years he had no intention of publishing his notes on this topic, 'as I thought that I should thus only add to the prejudices against my views'. By 1871, he felt that his fellow scientists would show a greater openness of mind to his arguments, even when taken to their logical conclusion and applied to the descent of man from the apes – the aspect of his theory which had been so widely mocked since the notorious question asked by Bishop Wilberforce at the Oxford debate of 1860: was it through his grandmother or his grandfather that Thomas Huxley, Darwin's champion, considered himself descended from a monkey? However, the book's focus on the area of sexual selection and the evolutionary importance of secondary sexual characteristics across the animal kingdom meant that the book was received without the public outrage that Darwin had feared.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

一個五歲小女孩用她人生的最後九個月，為我們上了一堂最寶貴的課如果你今年還沒有被任何一本書感動，現在就從這一本開始！ 五歲的艾蓮娜，在她生命正要綻放的時刻，卻罹患了腦癌，她一天天的失去說話能力、視覺範圍漸漸縮小、雙手開始麻痺，卻仍努力在紙上畫下一顆顆的愛心，寫下一句又一句的「I Love You」，她偷偷地將這些紙條藏在家裡的各個角落，希望在她永遠的離開之後，可以成為她留給家人最後的禮物……一個真

Allardyce Nicoll's History of English Drama, 1660–1900 was an immense scholarly achievement and the work of one man. Nicoll's History, which tells the story of English drama from the reopening of the theatres at the time of the Restoration right through to the end of the Victorian period, was viewed by Notes and Queries (1952) as 'a great work of exploration, a detailed guide to the untrodden acres of our dramatic history, hitherto largely ignored as barren and devoid of interest'. The History is reissued in seven paperback volumes, available separately and as a set. In volumes 1–5 Nicoll describes the conditions of the stage, actors and managers as well as dramatic genres. The sixth and seventh volumes offer a comprehensive list of all the plays known to have been produced or printed in England between 1660 and 1930, with their authors and alternative titles; it has thus independent value as well as providing an index to the earlier volumes.

The Persae is the oldest of surviving plays and its subject matter is unique in ancient drama, since it is concerned with a recent historical event, the defeat of the Persians at Salamis; yet before the publication of this work in 1960, there had been no edition suitable for university students and scholars. This major edition - the first to be attempted on such a scale - incorporated much material that former editions had neglected, including a number of textual suggestions and elucidations. In his introduction, Dr Broadhead assesses the Persae as a work of dramatic art, considers how far Aeschylus' patriotism has coloured his presentation of the tragedy, discusses the possibility that the play is part of a tetralogy, and reviews the evidence for a Sicilian text. He also explains the principles followed in establishing the text, which is accompanied by select critical notes. There is a full-scale commentary, which takes account of the scholarship that was current when this volume was

The undisputed master of stylistic criticism, Leo Spitzer combined phenomenal learning in historical and comparative linguistics with brilliant and original critical insight. He was born in Vienna in 1887. He studied Romance Philology at the Universities of Vienna and Paris and then taught at Vienna, Bonn, Marburg and Cologne. After escaping from Germany in 1933, he taught briefly at Istanbul and then at The Johns Hopkins University in Baltimore. He died in 1960. He was the author of over 800 books, articles, reviews and notes on the language and literatures of France, Spain, Italy, Portugal, Romania, Germany, England and America from the Middle Ages to the twentieth century. This translation brings together for the first time in any language all of Spitzer's work on the literature of seventeenth-century France, including 'Racine's classical piano' (1928) and 'Saint-Simon's portrait of Louis XIV' (1928). Each of the essays demonstrates in practical rather than theoretical terms the ess

Andrey Bely, one of the leading writers of the Russian Symbolist movement, was unusually well informed about music, and shared that movement's general enthusiasm for Wagner. In one of his more striking novels, St. Petersburg, he attempted to develop prose as a form of expression on the basis of Wagner's musical techniques. Dr Steinberg connects word and music in Bely's novels by a clear-headed discussion of the degree to which analogies between music and poetry or prose may be carried, and of the way Bely tried to eliminate the distinction between poetry and prose by experimenting with an array of musical devices. In the second half of the book the author analyses specific devices such as verbal orchestration, dissonance, tonality, and counterpoint in relation to their use in particular novels: St. Petersburg, Kotik Letaev, The Baptized Chinaman, Notes of a Crank, Moscow and Masks. Through this analysis, Dr Steinberg is able to throw light on much that is obscure and difficult in Bely'

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

Samuel Pepys (1633–1703) was a student of Magdalene College, Cambridge, and bequeathed his personal library of 3000 volumes to the College on condition that the contents remained intact and unaltered; they remain there, in his original bookcases, to this day. In the early twentieth century, a project to produce a complete catalogue was begun, and four volumes were published between 1914 and 1940. Volume 2 contains a general introduction to the library and its history, including extracts from Pepys's diary, will, and accounts. It then lists and describes the early printed books, with notes as to special features, other extant copies and publication history, among them several liturgical books in the Sarum rite and 1557 editions of Malory's La morte d'Arthur and the works of Thomas More. It also includes an index of printers. This catalogue remains a valuable resource for researchers in early publishing history and seventeenth-century studies.

Samuel Pepys (1633–1703) was a student of Magdalene College, Cambridge, and bequeathed his personal library of 3000 volumes to the College on condition that the contents remained intact and unaltered; they remain there, in his original bookcases, to this day. In the early twentieth century, a project to produce a complete catalogue was begun, and four volumes were published between 1914 and 1940. Volume 4 describes the books about shorthand which Pepys – an enthusiastic practitioner himself - methodically collected, and had bound in five volumes. Over the centuries, various specialists had consulted this important collection but this catalogue brought it to the attention of bibliographers for the first time. It provides background information about the author of each work, places the content in its historical context and supplies bibliographic details together with notes about other surviving copies. It is a valuable resource for historians of stenography and its uses.

Even before Charles Darwin changed the world with his theory of natural selection, he was recognised as an eminent scientist and natural historian. Published in 1840, his Journal of Researches into the Geology and Natural History of the Various Countries Visited by H.M.S. Beagle reveals him as a writer of formidable intelligence and a keen observer of natural and human life. Darwin's journal encompasses every observable detail of the animals, birds and plants he encountered on the five-year voyage. It includes minute descriptions and even sketches of the movements and habits of hitherto unfamiliar species. Accompanying the entries are his own conclusions, analyses and classificatory notes that demonstrate his skill and talent as a naturalist. Darwin's entries on natural phenomena are interspersed with anecdotes of the indigenous peoples he encountered, transforming his journal from an impersonal scientific record to a book of true human interest.

William Paley (1743–1805) argues for the existence of God as the intelligent creator of the world in this, his last book, published in 1802. He builds on early modern natural theology including the works of John Ray, William Derham, and Bernard Nieuwentyt, and most of his examples are taken from medicine and natural history. Paley uses analogy and metaphors, including a particularly well-written version of the 'watchmaker analogy', to prove that the world is designed and sustained by God. This sixth edition also contains a detailed bibliography, appendices on Paley's courses, and background notes on key figures. It was an influential best-seller throughout the nineteenth century, read by theologians and scientists alike, and reprinted in cheap editions for the middle classes. It inspired many nineteenth-century works on natural theology, including the Bridgewater Treatises (which also appear in this series), and is a landmark of Western thought.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

John Dover Wilson's New Shakespeare, published between 1921 and 1966, became the classic Cambridge edition of Shakespeare's plays and poems until the 1980s. The series, long since out-of-print, is now reissued. Each work is available both individually and as a set, and each contains a lengthy and lively introduction, main text, and substantial notes and glossary printed at the back. The edition, which began with The Tempest and ended with The Sonnets, put into practice the techniques and theories that had evolved under the 'New Bibliography'. Remarkably by today's standards, although it took the best part of half a century to produce, the New Shakespeare involved only a small band of editors besides Dover Wilson himself. As the volumes took shape, many of Dover Wilson's textual methods acquired general acceptance and became an established part of later editorial practice, for example in the Arden and New Cambridge Shakespeares.

Wallace Stevens is a fascinating and enigmatic poet; the vice-president of an insurance company, a corporate lawyer, an expert on the bond market, and, almost incidentally, one of America's greatest poets. Despite the many books written about him, Stevens remains a difficult poet, whose notorious injunction - 'Poetry must resist the intelligence almost successfully' - seems to haunt all his work, and especially the long poems. This study presents a close reading of Stevens' seven longest poems: 'The Comedian as the letter C', 'Owl's Clover', 'The Man with the Blue Guitar', 'Notes Toward a Supreme Fiction', 'Esthétique du Mal', 'The Auroras of Autumn' and 'An Ordinary Evening in New Haven'. Dr Patke argues for the centrality of the long poem in Stevens' oeuvre, and of Stevens to the poetic and cultural heritage of modern times. Extensive reference is made to the shorter poems, prose and correspondence, and to the possible influences on the poetry. Critical jargon and theorising are kept

It is likely that the gospel was brought to Britain in Roman times by merchants and soldiers from Gaul. The author offers a details and balanced history of the events of these years. While his main theme is the conversion of the English to the Christian faith, his account is not narrowly ecclesiastical: he is concerned as much with the notable personalities and cultural achievements as with the fluctuating fortunes of the Church itself, the growth of its institutions and the work of its missions. The sixteen plates, including some illustrations seldom or never previously reproduced, give rich evidence of Anglo-Saxon taste and skill. there are six maps, an extensive bibliography, and full notes and references. No history of the Old English Church of a comparable size and scope has appeared in this century; and since Mr Godfrey's approach is both informed and uncomplicated, his book will be equally enjoyed by the scholar and the general reader.

Allardyce Nicoll's History of English Drama, 1660–1900 was an immense scholarly achievement and the work of one man. Nicoll's History, which tells the story of English drama from the reopening of the theatres at the time of the Restoration right through to the end of the Victorian period, was viewed by Notes and Queries (1952) as 'a great work of exploration, a detailed guide to the untrodden acres of our dramatic history, hitherto largely ignored as barren and devoid of interest'. The History is reissued in seven paperback volumes, available separately and as a set. In volumes 1–5 Nicoll describes the conditions of the stage, actors and managers as well as dramatic genres. The sixth and seventh volumes offer a comprehensive list of all the plays known to have been produced or printed in England between 1660 and 1930, with their authors and alternative titles; it has thus independent value as well as providing an index to the earlier volumes.

Allardyce Nicoll's History of English Drama, 1660–1900 was an immense scholarly achievement and the work of one man. Nicoll's History, which tells the story of English drama from the reopening of the theatres at the time of the Restoration right through to the end of the Victorian period, was viewed by Notes and Queries (1952) as 'a great work of exploration, a detailed guide to the untrodden acres of our dramatic history, hitherto largely ignored as barren and devoid of interest'. The History is reissued in seven paperback volumes, available separately and as a set. In volumes 1–5 Nicoll describes the conditions of the stage, actors and managers as well as dramatic genres. The sixth and seventh volumes offer a comprehensive list of all the plays known to have been produced or printed in England between 1660 and 1930, with their authors and alternative titles; it has thus independent value as well as providing an index to the earlier volumes.