Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.

Aphra Behn (1640-1689) is historically recognized as the first woman to make a living through writing; her plays, novels, poems and pamphlets have met with fresh notoriety since the 20th century. Her work was particularly significant to a group of contemporary writers known as The Female Wits, as well as to later feminist writers like Virginia Woolf. Stories of comedy and intrigue, complete with masks, mistaken identities, visual deceptions, and complicated love triangles which reflect Behn's remarkable life experiences: her conservative upbringing, her political support of the Tories, her recruitment as a political spy for Charles II, and later speculation of her bisexuality. Behn once wrote that she had led a "life dedicated to pleasure and poetry." This second volume of Behn's collected works includes "Abdelazer," "The Young King," "The City Heiress," "The Feign'd Curtezans," and critical and explanatory notes for the reader.

During the years 1500–1800, European performing arts reveled in a kaleidoscope of Otherness: Middle-Eastern harem women, fortune-telling Spanish 'Gypsies', Incan priests, Barbary pirates, moresca dancers, and more. In this prequel to his 2009 book Musical Exoticism, Ralph P. Locke explores how exotic locales and their inhabitants were characterized in musical genres ranging from instrumental pieces and popular songs to oratorios, ballets, and operas. Locke's study offers new insights into much-loved masterworks by composers such as Cavalli, Lully, Purcell, Rameau, Handel, Vivaldi, Gluck, and Mozart. In these works, evocations of ethnic and cultural Otherness often mingle attraction with envy or fear, and some pieces were understood at the time as commenting on conditions in Europe itself. Locke's accessible study, which includes numerous musical examples and rare illustrations, will be of interest to anyone who is intrigued by the relationship between music and cultural history, and by the challenges of cross-cultural (mis)understanding.