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First published in Munich in 1911, Wassily Kandinsky’s “Concerning the Spiritual in Art” explores the artist’s ideas on the different forms of art and what role art plays in the spiritual life of mankind. Considered to have painted the first truly abstract work of art, Kandinsky was a highly influential and important pioneer in the modern art movement. “Concerning the Spiritual in Art” is organized into two parts. In the first part titled “About General Aesthetic”, Kandinsky makes the argument that art should transition from being an exact and realistic representation of the material world to becoming instead an abstract reflection of the inner mind of the artist. In the second part, titled “About Painting”, the artist describes the different psychological and emotional meanings of colors and the social and spiritual responsibilities of the artist. Kandinsky believed that humanity was a pyramid and at the top are the greatest of artists and those artists had the ability and duty to lead society to its spiritual pinnacle. Over a hundred years later, Kandinsky’s work continues to be a valuable and illuminating read into the artistic mind of Wassily Kandinsky. This edition follows the 1912 translation of Michael T. H. Sadler.

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Euripides turned to playwriting at a young age, achieving his first victory in the Athens’ City Dionysia dramatic competitions in 441 BC. He would be awarded this honor three more times in his life, and once more posthumously. His plays are often ironic, pessimistic, and display radical rejection of classical decorum and rules. In 408 BC, Euripides left war-torn Athens for Macedonia, upon the invitation of King Archelaus, and there he spent his last years as a confidant of the king. In his final years, he produced “The Bacchae”, which in modern times has become one of the most frequently preformed plays from classical antiquity. Winner of the first prize of the Athens’ City Dionysia dramatic competition, the play is a tragedy based on the Greek myth of King Pentheus of Thebes and his mother Agave. When Dionysus appears at the palace of Thebes to attest that he is the son of Zeus, the sisters of his mortal mother, Semele, do not believe him. He proceeds to establish a cult of followers in Thebes and exact vengeance on all those who deny his godly status. Considered one of the greatest of all dramas from classical antiquity, this play’s popularity and critical acclaim stands as a testament to the profound dramatic talent of Euripides. This edition includes a biographical afterword.

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First published in 1954, “Stolen Legacy” is the thought-provoking and controversial book by George G. M. James, a Guyanese-American historian and author. James makes the argument that Greek philosophy originated in Ancient Egypt, rather than Greece and was stolen and used without acknowledgement by Greek philosophers. In support of his premise, James contends that when Alexander the Great invaded Egypt and sacked the Royal Library at Alexandria he stole many important Egyptian documents and these stolen ideas were then used by famous Greek philosophers, such as Aristotle, without credit being given to the Egyptians. He also argues that Pythagorus and Plato studied in Egypt as evidence that their ideas were Egyptian in origin. While James’s ideas were met with much skepticism when they were first published, many of his ideas have since influenced historians who have found Egyptian influences in many aspects of Greek culture and thought.

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“The Complete Fairy Tales” is a collection of whimsical, fantastical, and deeply moral tales by Oscar Wilde, the renowned nineteenth century Irish poet and playwright. Though best known for his plays and the novel “The Picture of Dorian Gray”, Wilde was an accomplished and talented author of children’s stories and fairy tales. This collection includes many of his most enduring short stories: the sad and beautiful “The Happy Prince”, where a lonely swallow, left behind by his flock, shows the magical statue of a privileged and wealthy Prince the harsh reality of life for the poor; “The Selfish Giant”, a touching tale of a giant who realizes the importance of love and kindness when he finally allows children to play in his garden, which had turned cold and lonely when the giant closed it off to them; and “The Remarkable Rocket”, the tale of an arrogant and disdainful, but forgotten, firework who alienates everyone and finally explodes with no one there to appreciate him. Those tales along with six other stories are included in this collection. Readers of all ages will be inspired by these beautiful and magical tales which teach the value of kindness and charity. This edition includes a biographical afterword.

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Little is known of Amelia Simmons, the author of the first American cookbook, except that she was probably a domestic worker and lacked any formal education. Some assumed that she was a New Englander based on the location of the first editions; however, later editions published around the Hudson River Valley, and the inclusion of several Dutch words in the book, reinforce the belief that Simmons was probably from the Hudson River Valley region. The book first appeared in 1796 to popular reception, as all other cookbooks being printed and used in the United States prior to this were British. Simmons presents the best methods of picking, preparing, and cooking a variety of ingredients, and her recipes do not shy away from generous use of herbs and wine. This is the first cookbook known to use pearlash, the precursor to modern baking powder, and it contains the first known printed recipe for turkey with cranberries. A classic of early American culinary literature, “American Cookery” gives a wonderful insight into the cuisine of early America.

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“The Two Gentlemen of Verona” is one of the Shakespeare’s classic romantic plays and considered by some scholars to possibly be the playwright’s first play. It is the story of two young gentlemen from Verona, Valentine and Proteus, who travel to Milan so that they may learn to be “perfect gentlemen”. Valentine is eager to begin this new adventure, but Proteus is reluctant to go as he has fallen in love with the beautiful Julia and she returns his devotion. However, Proteus’s father forces him to leave and he pledges his love to Julia before they part. In Milan, both Valentine and Proteus fall in love with the Duke’s daughter, Silvia, and Proteus is quick to forget Julia. She has not forgotten about Proteus and disguises herself as a boy so that she may follow him to Milan. Silvia does not return Proteus’s regard and has herself fallen in love with Valentine, though her father does not approve of the match. Much confusion and comical misadventures ensue before each of the gentlemen end up with the right lady and all misunderstandings are resolved. This enduring classic by the Bard is a tale of love, romance, happy endings, and the importance of friendship. This edition is annotated by Henry N. Hudson, includes an introduction by Charles Harold Herford, and a biographical afterword.

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Although one of his lesser known plays, Shakespeare’s considerable abilities as a playwright are readily apparent in “Troilus and Cressida.” This historical and tragic ‘problem play’, thought to be inspired by Chaucer, Homer, and some of Shakespeare’s history-recording contemporaries, is initially a tale of a man and woman in love during the Trojan War. When Cressida is given to the Greeks in exchange for a prisoner of war, Troilus is determined to rescue her. When he does find her, however, Troilus believes Cressida has betrayed him. On a larger scale, this play also deals with the political battle being waged by Agamemnon of the Greeks against Priam of the Trojans. Much of the plot centers on war councils and battles in which Hector and Achilles play a part. Ultimately, Shakespeare’s play is memorable for its love and betrayal, questioning of hierarchy and honor, morality in the face of reality, and cynical disillusionment. This edition is annotated by Henry N. Hudson, includes an introduction by Charles Harold Herford, and a biographical afterword.

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One of Shakespeare’s early comedies, “The Merry Wives of Windsor” was first published in 1602 and is believed to have been written sometime before 1597. It is unique among his plays for its exclusive focus on the middle class of Elizabethan England, though it is nominally set during the reign of Henry IV. The main character is a fat knight, Sir John Falstaff, who first appeared in Shakespeare’s plays “Henry IV, Part I” and “Henry IV, Part II.” Falstaff tries to woo two married women for money, but they quickly discover his scheming and trick him numerous times in return, creating memorable, humorous scenes at Falstaff’s expense. An additional thread is woven into the story concerning the daughter of one of the wives, who loves a man of whom her parents do not approve. Most likely written at the personal request of Queen Elizabeth for a court occasion, this cast of strong female characters fills the stage with spirited action, not always without irony, and creates a plot overlaid with such timeless themes as marriage, cuckoldry, wealth, social class, and love. This edition is annotated by Henry N. Hudson, includes an introduction by Charles Harold Herford, and a biographical afterword.

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The third part of Shakespeare’s impressive “Henriad”, this play follows “Richard II” and “Henry IV, Part I”, and precedes the final play of the tetralogy, “Henry V”. Following the events of “Henry IV, Part I”, Prince Hal is once again out of favor with his father, the king, who is in his last months of life. In contrast to their relationship in “Part I”, Falstaff, the comical criminal, is rejected by Prince Hal. Falstaff and Prince Hal only share two brief scenes together as Hal believes he must disassociate himself with the London criminal underworld before becoming king. A more somber play than “Part I”, King Henry IV lies in bed, sick, dying, and beset by constant rebellion. He feels the weight of his role and wonders if Hal is equal to the task, reflecting in the famous quote “Uneasy lies the head that wears a crown.” Falstaff too, in moments of cynical clarity, reflects on his own poor health and approaching death. A central theme is Hal’s reform into a man worthy enough to be king in contrast with Falstaff’s continued dissolute life. “Henry IV, Part II” is a work of transformation, reconciliation, and musings on life and death that attest to the universal nature of Shakespeare’s dramas. This edition is annotated by Henry N. Hudson, includes an introduction by Charles Harold Herford, and a biographical afterword.

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Performed as early as 1611 and published in the “First Folio” in 1623, Shakespeare’s “Cymbeline” weaves an elaborate tale of palatial envy and power in Ancient Britain. Cymbeline, King of Britain, commands that his lovely young daughter Imogen marry Cloten, the violent and callous son of the current Queen by her former husband. With her heart already promised to the poor yet heroic Posthumus, Imogen refuses. Disgusted at the prospect of his daughter marrying beneath her class and thus unable to produce a worthy heir to the British throne, Cymbeline banishes Posthumus from Britain. The Queen becomes involved as well and plots the death of young Imogen and her father, the King, so that her son can rule. Against the backdrop of plots, treachery, a fairy-tale turn of events, and the appearance of a Roman god, Imogen and Posthumus travel long distances and overcome great odds in an attempt to be reunited. In the process, Imogen’s long-lost brothers are found, a Roman army is defeated, and the treacherous Queen is exposed. Exciting, tragic, romantic and adventurous, Shakespeare’s “Cymbeline” remains a thrilling and timeless depiction of young love. This edition is annotated by Henry N. Hudson, includes an introduction by Charles Harold Herford, and a biographical afterword.

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