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‘Dear Martial’ – what a strange coincidence that Martial’s soul-mate, who leads the life he himself dreams of living, is called ‘Julius Martial’. In our selection we meet him first at 1.107, playfully teasing the poet that he ought to write “something big; you’re such a slacker”; at the start of book 3, JMa’s is ‘a name that’s constantly on my lips’ (3.5), and the welcome at his lovely suburban villa on the Janiculan Hill 4.64 is so warm, ‘you will think the place is yours’.

The post ‘Tomorrow I’ll start living': Martial on priorities appeared first on OUPblog.

His books are famous around the world, but their author struggles to get by – two themes that quickly become familiar to any reader. Martial has an eye for fabric. He habitually ranks himself and judges others by the price and quality of their clothing and accessories (e.g. 2.29, 2.57), a quick index in the face-to-face street life of the crammed metropolis.

The post Distinctive dress: Martial’s index to life in a crammed metropolis appeared first on OUPblog.

An epigram is a short poem, most often of two or four lines. Its typical metre is the elegiac couplet, which is also the metre of Roman love poetry (elegy) and the hallmark of Ovid. In antiquity it was a distinctively Greek literary form: Roman writers were never comfortable in it as they were in other imported genres, such as epic and elegy. When they dabbled in epigram they often used Greek to do so. Martial’s decision to write books of Latin epigrams, and nothing else, is thus a very significant departure.

The post Roman author, Greek genre: Martial’s use of Epigrams appeared first on OUPblog.

Who is ‘Martial’? "Up to this point, Madam, this little book has been written for you. You want to know for whom the bits further in are written? For me." (3.68) Marcus Valerius Martialis was born some time around AD 40 (we know his birthday, 1st March, but not the year) at Bilbilis in Hispania Tarraconensis, a province of oil- and wine-rich Roman Spain.

The post Introducing Martial: Epigrams appeared first on OUPblog.

The poet we call Martial, Marcus Valerius Martialis, lived by his wits in first-century Rome. Pounding the mean streets of the Empire's capital, he takes apart the pretensions, addictions, and cruelties of its inhabitants with perfect comic timing and killer punchlines.

The post Oxford World’s Classics Reading Group Season 4: Martial’s Epigrams appeared first on OUPblog.

We're just over a fortnight away from the end of our third season of the Oxford World's Classics Reading Group. It's still not too late to join us as we follow the story of young Pip and his great expectations. If you're already stuck in with #OWCReads, these discussion questions will help you get the most out of the text.

The post Discussion questions for Great Expectations by Charles Dickens appeared first on OUPblog.

The characters in Great Expectations are a rather lively bunch; even Orlick, who is (arguably) one of the most foul characters in the book, has a deal of depth that makes us love to hate him. Throughout this season's reading group, have you ever wondered which of Dickens's characters you're most like?

The post Which Great Expectations character are you? appeared first on OUPblog.

Our Oxford World's Classics reading group, in its third season, has chosen Dickens's Great Expectations for discussion. In addition to analyzing that a work for its literary depth, it is just as important to consider an author's life and the context in which the work was written.

The post The public life of Charles Dickens appeared first on OUPblog.

When, in 1859, Dickens decided to publish a statement in the press about his personal affairs he expected that Bradbury and Evans would run it in Punch, which they also published. He was furious when they, very reasonably, declined to insert ‘statements on a domestic and painful subject in the inappropriate columns of a comic miscellany’ (Patten, 262). He therefore determined to break with them completely and to return to his old publishers Chapman and Hall.

The post All the Year Round, A Tale of Two Cities, and Great Expectations, 1859–1861 appeared first on OUPblog.

Perhaps Dickens's best-loved work, Great Expectations tells the story of Pip, a young man with few prospects for advancement until a mysterious benefactor allows him to escape the Kent marshes for a more promising life in London.

The post Miss Havisham takes on the London Gentleman: An OWC audio guide to Great Expectations appeared first on OUPblog.

When a mysterious benefaction takes Young Pip from the Kent marshes to London, his prospects of advancement improve greatly. Yet Pip finds he is haunted by figures from his past: the escaped convict Magwitch; the time-withered Miss Havisham and her proud and beautiful ward Estella; his abusive older sister and her kind husband Joe. In time, Pip uncovers not just the origins of his great expectations but the mystery of his own heart.

The post Oxford World’s Classics Reading Group Season 3: Great Expectations appeared first on OUPblog.

Now that the second season of the Oxford World's Classics Reading Group is drawing to a close, let's see how much you've learnt from reading Bram Stoker's Dracula. Test your knowledge of all things Vampire with our quiz.

The post How much do you know about Dracula?[quiz] appeared first on OUPblog.

The date-line is 2014. An outbreak of a deadly disease in a remote region, beyond the borders of a complacent Europe. Local deaths multiply. The risk does not end with death, either, because corpses hold the highest risk of contamination and you must work to contain their threat. All this is barely even reported at first, until the health of a Western visitor, a professional man, breaks down.

The post Why bother reading Bram Stoker’s Dracula? appeared first on OUPblog.

Although occultists like the antiquarian Montague Summers would like to claim that the belief in vampires is global and transhistorical (and therefore probably true), the vampire is a thoroughly modern being. Like the Gothic genre itself, stories of vampires emerge in the Age of Enlightenment, as instances of primitive superstition that help define the rational scepticism of northern, Protestant Europe.

The post The birth of the vampyre: Dracula and mythology in Early Modern Europe appeared first on OUPblog.

Centuries after its 1847 publication, Wuthering Heights, Emily Brontë's breathtaking literary classic, remains a seminal text to scholars, students, and readers around the world. Though best known for its depiction of romance between Heathcliff and Catherine Earnshaw, it is also largely multidimensional, grappling with themes such as religious hypocrisy, the precariousness of social class, and the collision of nature and culture. But how much do you know about this famous work of English literature?

The post How much do you know about Wuthering Heights? [quiz] appeared first on OUPblog.

Catherine’s removal from the plot (other than as a haunting presence in the background, much less potent hereafter than the waif-like child ghost whose wrist Lockwood rubs back and forth across the broken window glass till the blood runs freely (p. 21)) has seemed to some readers to weaken the second half of the novel. One modern critic has suggested, indeed, that the whole of the second-generation narrative was an afterthought.

The post Emily Brontë, narrative, and nature appeared first on OUPblog.

Are you part of the Oxford World's Classics Readfing Group? The following is an extract from the current selection, Wuthering Heights, by Emily Brontë, taken from volume II, chapter II, pages 147-148 in the Oxford World's Classics edition.

The post “You said I killed you — haunt me, then!” An extract from Wuthering Heights appeared first on OUPblog.

Last week we announced the launch of the Oxford World’s Classics Reading Group, and the first book, Wuthering Heights by Emily Brontë. Helen Small, editor of the Oxford World’s Classics edition of the book, has put together some helpful discussion questions that will help you gain a deeper understanding of the text as you read it and when you finish it.

1. Even the early critics who were revolted or dismayed by the violence of Wuthering Heights admitted the ‘power’ of the novel. What seems to you to be the best explanation of that power?

2. How ‘moral’ a story is Wuthering Heights? More specifically, is moral justice a concern in the shaping of the story and its characters?

3. Catherine Earnshaw comes across as many things: passionate, rebellious, full of laughter and of scorn for others, driven by social ambition but careless of social expectations, self-seeking but ultimately self-destructive (willing herself to die). Is it a problem for our reading of her that we never hear her voice unmediated? How far did you feel inclined to trust what you are told of her by others?

4. One critic has speculated that the ‘second generation’ story was an afterthought, written to fill the gap created in a three volume set (Wuthering Heights, Charlotte’s The Professor, Anne’s Agnes Grey) after Charlotte withdrew. How cogently does the Catherine/Linton/Hareton narrative seem to you to fit with the first half of the novel?

5. Does Heathcliff’s story hold the novel together? Does it make sense to read it as, in its own fashion, a Bildungsroman (telling the story of the building of a character over time, through education and experience)?

6. Wuthering Heights is in many respects lawless, but it is also a novel in which the law (and what people do with it) is crucial to the plot. What do you make of its interest in, especially, property law? How does it compare with other Victorian novels you may have read (Dickens? Trollope?) which have an interest in how the law seeks to regulate ownership of land, houses, even people (wives and children)?

7. This is a famously difficult book to place within any wider story about the development of the English novel. Does it seem to you a ‘bookish’ work or primarily an oral tale?

8. How important is supernaturalism to the novel’s effects? And how closely tied to religion is the supernaturalism explored here?

Heading image: Top Withens by John Robinson. CC BY 2.0 via Wikimedia Commons.

The post Discussion questions for Emily Brontë’s Wuthering Heights appeared first on OUPblog.

        

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We’re excited to announce the launch of the Oxford World’s Classics Reading Group, an online group for everyone who is interested in reading and discussing the classics. The Oxford World’s Classics social media channels will provide a forum for conversation around the chosen book, and every three months we will choose a new work of classic literature for the group to read. The editor of the Oxford World’s Classics edition of the book will provide literary context, discussion questions, and lead an online question-and-answer session around the book.

We’re starting our first season of the Oxford World’s Classics Reading Group with Wuthering Heights, Emily Brontë’s classic love story that incorporates themes such as social class, death and the afterlife, and the supernatural. The setting, a remote farmhouse on the moors of Northern England, is bleak, harsh, wild, and unpredictable, reflecting many of the novel’s characters. Helen Small, Professor of English Literature at the University of Oxford and editor of the Oxford World’s Classics edition of Wuthering Heights, will be leading the Reading Group this season.

If you have a classic that you’ve always wanted to read, let us know and we’ll consider it for next season. In this video, Oxford University Press staff from offices all over the world talk about classic books they’ve always wanted to read but haven’t yet:

You can follow along, and join in the conversation by following us on Twitter and Facebook, and by using the hashtag #OWCreads.

Heading image: Old books. CC0 via Pixabay.

The post Announcing the Oxford World’s Classics Reading Group appeared first on OUPblog.

        

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