Books published by publisher At The Clarendon Press

Romola, George Eliot's only historical novel, always occupied a special place in her own affections. Looking back at the end of her career, she remarked "I could swear by every sentence as having been written with my best blood." Henry James called it "on the whole the finest thing she wrote." Yet since its first appearance the novel has perplexed many of Eliot's admirers by the range and density of its historical references. The Clarendon Edition, based on the original Cornhill serialization with emendations from later authoritative editions, traces and explains the allusions and provides a comprehensive account of the composition and publishing history of the novel: it confirms Romola as one of Eliot's greatest artistic achievements.

As well as being the author of the greatest of all children's plays, Peter Pan, J.M. Barrie also wrote sophisticated social comedy and political satire. The Admirable Crichton and What Every Woman Knows are shrewd and entertaining contribution to the politics of class and gender, while Mary Rose is one of the best ghost stories written for the stage.

This book explores the "self-conscious poem" - that is, a poem concerned with poetry that displays awareness of itself as poetry - in the work of the major Romantic poets, Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats. Michael O'Neill's readings freshly illuminate the imaginative distinction of many famous and often-studied poems, and revalue less regarded works. An extended coda looks at some post-Romantic poets, particularly Yeats, Stevens, Auden, and Clampitt, in the light of the book's central theme.

This path-breaking study looks at the nature of contemporary environmental politics, analyzing the emergence and sustenance of institutional perceptions of environmental problems. The book argues that a new perspective-- "ecological modernization", which stresses the opportunities of environmental policy for modernizing the economy and stimulating technological innovation--has come to replace the antagonistic debates of the 1970s.

This edition offers a fully modernized text of one of Shakespeare's most fascinating plays. Henry IV, Part 2 is the only play in the canon whose structure almost exactly mirrors that of its predecessor, and thereby affords unique perspectives on Shakespeare's art and craft. Far from being the impoverished country cousin of an illustrious work, Part 2 introduces unforgettable new characters like Pistol and Shallow, and memorable minor players such as Doll Tearsheet and the reluctant Goucestershire recruits. Above all, it gives us more Falstaff. Although he is now politically distanced from Hal, he looms larger than ever as a mischievous figure who never ceases to fascinate with his unique blend of native wit, inventiveness, and corruption. Through a radical reconsideration of the play's text(s) and date, it is argued here for the first time that the character of Falstaff was called Oldcastle in Part 2 as well as in as in Part 1, and that it was the vetting of Part 2 for the 1596-7 Christmas performances at Court which led to the change of name in both plays. This edition moreover takes the view that the Folio-only passages in the play reflect the text of the original prompt-book.