Winner of the Elma Dangerfield Prize 2018 Byron in Italy – Venetian debauchery, Roman sight-seeing, revolution, horse-riding and swimming, sword-brandishing and pistol-shooting, the poet’s ‘last attachment’ – forms part of the fabric of Romantic mythology. Yet Byron’s time in Italy was crucial to his development as a writer, to Italy’s sense of itself as a nation, to Europe’s perceptions of national identity and to the evolution of Romanticism across Europe. In this volume, Byron scholars from Britain, Europe and beyond re-assess the topic of ‘Byron and Italy’ in all its richness and complexity. They consider Byron’s relationship to Italian literature, people, geography, art, religion and politics, and discuss his navigations between British and Italian identities.

Byron and Italy tackles a subject to which no book has been devoted exclusively since the early 1940s. Peter Cochran writes not just about Byron’s relationships with Italian literature, not just about his relationships with Italian women, and not just about his relationship with Italian politics. He writes about Byron’s relationship with Italy as a whole, seeing the poet’s sojourn in Italy as a vain attempt to forge a new identity for himself. Drawing on a wide range of up-to-date research, including his own as editor of Teresa Guiccioli’s Lord Byron’s Life in Italy and the diary of John Cam Hobhouse, Cochran traces numerous threads of evidence showing how the critical reception Byron’s poetry received from Italian critics gave him a new sense of self-worth, and how his experience of Italian Carnival, and of the Italian mock-heroic tradition in verse, gave him a new idea of who he was, and of what poetry was about. Among much else, the book includes new material on the Carbonari and on Byron’s reading of Ugo Foscolo, and an appendix containing translations of all known Italian and Austrian police-reports on Byron and his entourage.

Lord Byron's Life in Italy is an English translation of Vie de Lord Byron en Italie by Byron's Italian friend Teresa Guiccioli, the manuscript of which has lain in Ravenna since the early 1880s, and which has never-been published, or even read except by a small number of scholars. Teresa Guiccioli was the poet's last mistress, his liaison with whom was of longer duration than any other. They met in 1819, and their relationship lasted until he left Italy for Greece in 1823. Persecuted by the authorities because of the friendship with such a dangerous man, Teresa's family had to move from Ravenna to Pisa and finally to Genoa. Teresa knew Byron better, probably, than any other person, and her fresh and original account of his life has been unknown for too long. This superb translation, with elaborate introduction and notes, fills a long-acknowledged gap in studies of Byron. Michael Rees is a past joint chair of the Byron Society. Peter Cochran is the editor of the Newstead Abbey Byron Society Review.

George Gordon, the sixth Lord Byron (1788-1824), was one of the most celebrated poets of the Romantic period, as well as a peer, politician and global celebrity, famed not only for his verse, but for his controversial lifestyle and involvement in the Greek War of Independence. In thirty-seven concise, accessible essays, by leading international scholars, this volume explores the social and intertextual relationships that informed Byron's writing; the geopolitical contexts in which he travelled, lived and worked; the cultural and philosophical movements that influenced changing outlooks on religion, science, modern society and sexuality; the dramatic landscape of war, conflict and upheaval that shaped Napoleonic and post-Napoleonic Europe and Regency Britain; and the diverse cultures of reception that mark the ongoing Byron phenomenon as a living ecology in the twenty-first century. This volume illuminates how we might think of Byron in context, but also as a context in his own right.

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.