'The sweetness of her glance - or rather, my evil star already in its ascendant and drawing me to my ruin - did not allow me to hesitate for a moment' So begins the story of Manon Lescaut, a tale of passion and betrayal, of delinquency and misalliance, which moves from early eighteenth-century Paris - with its theatres, assemblies, and gaming-houses - via prison and deportation to a tragic denouement in the treeless waste of Louisiana. It is one of the great love stories, and also one of the most enigmatic: how reliable a witness is Des Grieux, Manon's lover, whose tale he narrates? Is Manon a thief and a whore, the image of love itself, or a thoroughly modern woman? Prévost is careful to leave the ambiguities unresolved, and to lay bare the disorders of passion. This new translation includes the vignette and eight illustrations that were approved by Prévost and first published in the edition of 1753. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

With The Greek Girl’s Story, Alan Singerman presents the first reliable, stand-alone translation and critical edition of Abbé Prévost’s 1740 literary masterpiece Histoire d’une Grecque moderne. The text of this new English translation is based on Singerman’s 1990 French edition, which Jonathan Walsh called “arguably the most valuable critical edition” of Prévost’s novel to date. This new edition also includes a complete critical apparatus comprising a substantial introduction, notes, appendixes, and bibliography, all significantly updated from the 1990 French edition, taking into account recent scholarship on this work and providing some additional reflection on the question of Orientalism. Prévost’s roman à clef is based on a true story involving the French ambassador to the Ottoman Porte from 1699 to 1711. It is narrated from the ambassador’s viewpoint and is a model of subjective, unreliable narration (long before Henry James). It is remarkably modern in its presentation of an enigmatic, ambiguous character, as the truth about the heroine can never be established with certainty. It is the story of the tormented relationship between the diplomat and a beautiful young Greek concubine, Théophé, whom he frees from a pasha’s harem. While her benefactor becomes increasingly infatuated with her and bent on becoming her lover, the Greek girl becomes obsessed with the idea of becoming a virtuous and respected woman. Viewing the ambassador as a father figure, she condemns his quasi-incestuous passion and firmly rejects his repeated seduction attempts. Unable to possess the young woman or tolerate the thought that she might grant to someone else what she has refused him, the narrator subjects her behavior to minute scrutiny in an effort to catch her in an indiscretion. His investigations are fruitless, however, and Théophé, the victim of incessant persecution, simply dies, leaving all the questions about her behavior unanswered.

Anthology covering from the 11th through the 17th century, containing over sixty selections, many of which are translated into English for the first time.

(Opera). Casa Ricordi is the original publisher for the unforgettable Italian operas that have made their mark on musical history and now hold a special place in the hearts of millions of music lovers. Now, for the first time, Ricordi makes their full orchestral scores available to us with covers featuring beautiful color reproductions of authentic Ricordi artwork from opera posters, set designs and postcards from the turn of the century. Each edition features lyrics in the original language, and includes a synopsis of each act in English, Italian, German and French.

This guide opens with a general survey of Massenet's career and continues with two essays about the opera 'Manon' in particular. Professor Hugh Macdonald explores the interplay of speech and song in this opera and Massenet's genius for comedy. Professor Vivienne Mylne traces the sources of Prévost's novel, setting it in the context of other racy, supposedly improving, 18th century novels of the seduction and ruin of women.