
Pride and Prejudice
Elizabeth Bennet and Darcy dislike each other on sight and spend the novel being wrong. Austen wrote conversation better than anyone in English, and readers return to it their whole lives.

Elizabeth Bennet and Darcy dislike each other on sight and spend the novel being wrong. Austen wrote conversation better than anyone in English, and readers return to it their whole lives.

Iago tells the audience exactly how he will destroy his general, then does it with a handkerchief and patient lying. His reasons never explain it, and watching Othello believe him is agony.

Onegin coolly refuses a country girl's love letter, then kills a friend in a pointless duel. Pushkin wrote it in verse so quick and alive that Russians still know stanzas by heart.

English fiction found its first fierce female voice in Jane, plain and poor and conceding nothing. She survives a brutal charity school, becomes a governess, and loves an employer with a secret.

Ovid runs classical myth through a single idea, transformation, from the creation of the world to Julius Caesar. Girls become trees and hunters become deer, and painters have ransacked him for centuries.

Turned down as a young man, Florentino Ariza waits fifty-one years for the woman he loves to be widowed. García Márquez makes old age more erotic than youth.

At a party in Verona two teenagers from feuding families meet, marry the next day, and are gone inside a week. Everything they say to each other still sounds newly invented.

Emma Woodhouse is rich, clever, and sure she knows what everyone needs, so she arranges marriages and ruins them. Austen puts you inside her head until you miss what she misses.

Kundera puts a Prague surgeon who cannot stop having affairs, the woman who loves him, and the Soviet tanks of 1968 together, then asks whether a life lived once can weigh anything.

Horace compresses wine, friendship, and the certainty of death into stanzas of exact and unhurried form, the summit of Latin lyric. Carpe diem is his line, and in context it is not cheerful.

Latin love poetry begins with Catullus, counting kisses by the thousand for the aristocrat he calls Lesbia and then admitting he hates and loves her at once. The obscenity still stings.

Four Athenians run into the woods to escape a forced marriage, a fairy potion lands on the wrong eyelids, and a weaver acquires a donkey's head. Shakespeare makes desire look gloriously stupid.

Grief for a wandering dervish named Shams turned Rumi into a poet of longing for God. His great Masnavi opens with a reed flute crying for the bed it was cut from.

Phaedra confesses she wants her stepson, a father is ordered to sacrifice his daughter for a favorable wind, and a hidden boy threatens a usurping queen. Racine packs this into polite rhymed couplets.

In seventeenth-century Lombardy two peasants want to marry, and a lord who wants the bride frightens their priest into refusing. Riot, famine, and plague come between them. Italian prose was remade on it.

Siddhartha leaves home to seek enlightenment, meets the Buddha and declines to follow him, then spends years chasing money and a courtesan. What finally teaches him is a river and its ferryman.

Three hundred and five songs from ancient China about courtship, harvest, soldiers on campaign, and bad government. Confucius taught from them, and every Chinese poet since has written with them in earshot.

In Venice a merchant borrows from Shylock, a Jewish moneylender he has spat on, pledging a pound of his flesh. Shylock asks whether a Jew does not bleed, and the comedy never recovers.

Banished from court, Rosalind hides in the Forest of Arden in men's clothes and coaches the man she loves in how to court her. She talks rings around everyone in Shakespeare.

Beatrice and Benedick insult each other so expertly that their friends trick each into believing the other is secretly in love. Their war of words gave English comedy its model for courtship.