The works of Lord Byron and his friend Sir Walter Scott had an influence on European literature which was immediate and profound. Peter Cochran’s book charts that influence on France, Germany, Italy, Spain, Poland and Russia, with individual chapters on Goethe, Pushkin, and Baudelaire – and one special chapter on Ibsen, who called Peer Gynt his Manfred. Cochran shows that, although Byron’s best work is his satirical writing, which is aimed in part at his earlier “romantic” material and its readership, his self-correction was not taken on board by many European writers (Pushkin being the exception), and it was the gloomy Byronic Heroes who held sway. These were often read as revolutionaries, but were in fact dead-end. It was a mythical, not a literary Byron whom people thought they had read. The book ends with chapters on three British writers who seem at last to have read Byron, in their different ways, accurately – Eliot, Joyce, and Yeats.

Richard Cardwell was given the Elma Dangerfield Award of the International Byron Society for the best book on Byron in 2005-06 Byron, arguably, was and remains the most famous and infamous English poet in the modern period in Continental Europe. From Portugal in the West to Russia in the East, from Scandinavia in the North to Spain in the South he inspired and provoked, was adored and reviled, inspired notions of freedom in subject lands and, with it, the growth of national idealisms which, soon, would re-draw the map of Europe. At the same time the Byronic persona, incarnate in "Childe Harold", "Manfred", "Lara" and others, was received with enthusiasm and fear as experience demonstrated that Byron's Romantic outlook was two-edged, thrilling and appalling in the same moment. All the great writers-Goethe, Mickiewicz, Lermontov, Almeida Garret, Espronceda, Lamartine, among many others-strove to outdo, imitate, revise, and integrate the sublime Lord into their own cultures, to create new national voices, and to dissent from the old order. The volume explores Byron's European reception in its many guises, bringing new evidence, challenging old assumptions, and offering fresh perspectives on the protean impact of Lord Byron on the Continent. This book consistes of two volumes. Series Editor: Dr Elinor Shaffer FBA, Institute of Germanic & Romance Studies, School of Advanced Study, University of London Contributors Richard A. Cardwell, University of Nottingham, UK Joanne Wilkes, University of Auckland, NZ Peter Cochran, Cambridge, UK Ernest Giddey, University of Lausanne, Switzerland Edoardo Zuccato, IULM University, Milan Giovanni Iamartino, University of Milan, Italy Derek Flitter, University of Birmingham, UK Maria Leonor Machado de Sousa, University of Lisbon, Portugal Mihaela Anghelescu Irimia, University of Bucharest, Romania Frank Erik Pointner, University of Duisburg-Essen, Germany Achim Geisenhanslüke, University of Duisburg-Essen, Germany Theo D'haen, Leiden University, The Netherlands Martin Procházka, Charles University, Prague, Czech Republic Miroslawa Modrzewska, University of Gdansk, Poland Orsolya Rakai, Budapest, Hungary Nina Diakonova, St. Petersburg, Russia Vitana Kostadinova, Plovdiv University, Bulgaria Jørgen E. Nielsen, Copenhagen, Denmark Bjorn Tysdahl, University of Oslo, Norway Ingrid Elam, Sweden Anahit Bekaryan, Institute of Fine Arts of the National Academy of Sciences of the Republic of Armenia Innes Merabishvili, State University of Tbilisi, Georgia Litsa Trayiannoudi, Aristotle University of Thessaloniki, Greece Massimiliano Demata, Mansfield College, Oxford, UK

This book offers a new history and theory of modern celebrity. It argues that celebrity is a cultural apparatus that emerged in response to the Romantic industrialization of print and culture. It investigates the often strained interactions of artistic endeavour and commercial enterprise, and the place of celebrity culture in history of the self.

Byron exists in two incompatible dimensions: as fully-documented history, and as romantic myth. Often the myth predominates, describing him as a passionate lover, a staunch friend, a great romantic poet, a champion of the working man, a loyal author to his publisher, and a fighter for democracy who sacrificed his life for the Freedom of Greece. This book attempts to prove that the verifiable truth often proves him to be the opposite. Using letters from Byron’s family, friends, and associates which have never been transcribed, collected and sequenced before, Peter Cochran argues that the poet was an unscrupulous sponger on his relatives and friends, that he harboured a horror at the idea of empowering the working man, had no time for democracy, and despised his publisher. His contempt for the Greeks is clear from everything he writes about them, and his motives for going to Greece at the end of his life (which Cochran analyses in more depth than they have ever been analysed before), were a disturbing mixture of self-indulgent fantasy and death-wish. Using large amounts of manuscript evidence, Cochran further argues that almost all editions of Byron’s writing do his style very poor service, constituting not contributions to knowledge of him, but additions to the obfuscating myth.

This exciting collection represents a range of scholarly approaches and include close textual study, comparative readings, and broad cultural analysis. Contributors to this collection include Bernard Beatty, Peter Cochran, Marilyn Gaull, Charles E. Robinson, Andrew Stauffer, and Timothy Webb.

Scott, Byron and the Poetics of Cultural Encounter is an innovative study of Scott's and Byron's poetical engagement with borders (actual and metaphorical) and the people living on and around them. The author discusses Scott's edited collection of Border Ballads, Minstrelsy of the Scottish Border and his narrative poetry, and Byron's Childe Harold's Pilgrimage , cantos 1 and 2, his Eastern Tales, and his late, utopian South-Sea poem The Island. This fascinating study provides a detailed exegesis of the importance of borders to these leading poets and the public, during the early years of the Nineteenth-Century, with an emphasis on reciprocal literary influences, and on attitudes towards cultural instability.