"The "Lulu" plays Erdgeist (Earth Spirit, 1895) and Die Büchse der Pandora (Pandora's Box, 1904) were probably his best-known works until the 2006 adaptation of Spring Awakening [Frühlings Erwachen]. Originally conceived as a single play, the two pieces tell a continuous story of a sexually enticing young dancer who rises in society through her relationships with wealthy men but who later falls into poverty and prostitution. The frank depiction of sexuality and violence in these plays, including lesbianism and an encounter with Jack the Ripper (a role that Wedekind played in the original production), pushed the boundaries of what was considered acceptable on the stage at the time."--

“At the beginning stands Wedekind.” So wrote German literary critic Rudolf Kayser in 1917 of the new forms of expressionist theater that were then becoming central to German culture. In Schloss Wetterstein (Castle Wetterstein), one of his most important plays, Wedekind offers a satirical take on marriage and the bourgeois nuclear family; at the play’s center is a rebellious teenage girl who turns to prostitution after her upbringing in an unstable household. The play was published in 1912, but a performance ban was put into effect immediately, and continued until after Wedekind’s death. This new edition offers a fresh translation, an illuminating brief introduction, and a selection of background materials that help to set the play in context.

Two of Wedekind's most seminal plays, "e;Earth Spirit"e; and "e;Pandora's Box"e; both focus on the actions of the young heroine Lulu, who embodies both animal sensuality and waif-like innocence, as she escapes a life on the streets, receives a society education, marries, takes on various lovers, becomes a dancer in a revue, is imprisoned for murder, and encounters Jack the Ripper. When "e;Earth Spirit"e; was premiered Leipzig in 1898, Wedekind was vilified and persecuted for advocating unfeigned sexual pleasure and making his heroine a heartless whore. "e;Death and Devil"e; and "e;Castle Wetterstein,"e; the other plays that make up this volume, are essentially extensions of and complementary to the Lulu tragedies.

Wedekind's expressionist plays influenced the whole course of modern drama A moralist who wore the mask of an immoralist, Wedekind was the terror of the German bourgeoisie. His work was censored and the original Lulu play was not even published during his lifetime; Wedekind toned it down and adapted it to make two plays: Pandora's Box and Earth-Spirit. The version in this volume, Lulu: A Monster Tragedy, is based on the first manuscript, presenting the original sexually voracious heroine to a British audience for the first time. The volume also contains Spring Awakening, "a work of great compassion that still has a lot to teach us about the dangers of battening down adolescent sex..." (Guardian). The translation of Spring Awakening ("scrupulously faithful both to Wedekind's irony and his poetry" The Times) was commissioned by the National Theatre and that of Lulu: A Monster Tragedy ("the Bonds' version is sharper and funnier than its predecessors" Guardian) was toured nationally. Both plays are complemented by the translators' historically illuminating introductions.

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

The most celebrated of French medieval poets, Francois Villon makes poetry out the basest material - the raw urban life of Paris with its petty officials, students, clergy, tradesmen, pimps, whores and thieves. Despite successful studies, the young Villon immersed himself in this world, embarking on a career of petty crime that brought him repeated imprisonment. Condemned to death, but then reprieved and banished from Paris, he disappears from history in 1463, leaving behind a legend of poete maudit that has never lost its fascination. Dual language edition.

After one of their own people repeatedly fails to live up to a pact with the Devil, a petty and morally bankrupt village community is plagued by a swarm of deadly black spiders. Using a complex narrative structure, Gotthelf 's cautionary novella shrewdly dissects the iniquitous social dynamics of rural life.

The young student Nathanael remains haunted by his childhood fears: he is convinced that Coppelius, a strange night-time visitor who used to come to his house to conduct alchemical experiments with his father - the latter dying as a consequence of one of these sessions - was none other than the Sandman, a mythical figure who was said to steal the eyes of children who refused to go to sleep. When a mysterious Italian salesman with a beautiful daughter moves into town, Nathanael's suspicions are reawakened, pushing him to the brink of madness as extraordinary event unfold. First published in 1816, this classic of German Gothic fiction has enthralled generations ever since, and has spawned countless interpretations by critics intrigued by its powerful symbolism. Sigmund Freud famously examined the novella in relation to his concept of the "e;Uncanny"e;, and an extract from this analysis is included in this volume.