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Volume VIII opens with Byron in Ravenna, in 1821. His passion for the Countess Guiccioli is subsiding into playful fondness, and he confesses to his sister Augusta that he is not "so furiously in love as at first." Italy, meanwhile, is afire with the revolutionary activities of the Carbornari, which Byron sees as "the very poetry of politics."
This gripping and important book brings alive over two hundred years of humanitarian interventions. Freedom’s Battle illuminates the passionate debates between conscience and imperialism ignited by the first human rights activists in the 19th century, and shows how a newly emergent free press galvanized British, American, and French citizens to action by exposing them to distant atrocities. Wildly romantic and full of bizarre enthusiasms, these activists were pioneers of a new political consciousness. And their legacy has much to teach us about today’s human rights crises.
Numbering for v 13 from dust jacket Includes bibliographical references and indexes v 1 1798-1810, 'In my hot youth' -- v 2 1810-1812, 'Famous in my time' -- v 3 1813-1814, 'Alas! the love of women!' -- v 4 1814-1815, 'Wedlock's the devil' -- v 5 1816-1817, 'So late into the night' -- v 6 1818-1819, 'The flesh is frail' -- v 7 1820, 'Between two worlds' -- v 8 1821, 'Born for opposition' -- v 9 1821-1822, 'In the wind's eye' -- v 10 1822-1823, 'A heart for every fate' - only held - v 11 1823-1824, 'For freedom's battle' -- v 12 'The trouble of an index': anthology of memorable passages and index to the eleven volumes -- v 13 Supplementary volume, 'What comes uppermost' Some copies with imprint: Cambridge, Mass : Belknap Press of Harvard University Press.
Using diverse sources ranging from hagiographies and historiographies to historical novels and satirical poems, this is the first book-length examination of Emmanouil Roidis’ Pope Joan (1866). Providing a long-overdue and authoritative introduction to the sinuous poetics of one of the most celebrated Modern Greek novels, Roidis and the Borrowed Muse takes in a broad gamut of British writers, from Swift, Sterne and Gibbon to Scott, Macaulay and Byron, and casts a fresh and original eye on the intertextual connections between their work and Roidis’ magnum opus. This comprehensive comparative study will appeal not only to intellectual historians, literary critics and students, but also to scholars of Romanticism and readers interested in the many facets of satire.