In the late summer of 1940 Madame Claudette Lamartine set out from her home in Nazi-occupied France to find her missing husband in England. For her in particular this perilous journey is more than especially fraught with personal dangers and difficulty. More than thirty years later, following the first of two British snap elections in 1974, ex-newspaperman turned government press chief, John Colebrook, has been told his face no longer fits in Whitehall. Sent home to cool his heels while his future is decided, he is secretly approached by Sally Hegarty, a rising young civil servant, who enlists him to investigate the wartime activities of a prominent industrialist. His searches begin to reveal a connection with Madame Lamartine's journey and a murky wartime conspiracy in Lisbon, whose instigators may still be active in public life. Colebrook begins to suspect he too is under surveillance and starts to have doubts about Sally's real motives for involving him. But he is torn by his feelings for her.

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

Focusing on the efforts of nine European intellectuals, including Tocqueville, Flaubert and Marx, to make sense of 1848, Jonathan Beecher casts a fresh and engaging perspective on the experience and impact of the Revolution, and on why, within two generations, a democratic revolution had twice culminated in the dictatorship of a Napoleon.

Romantic Poetry encompasses twenty-seven new essays by prominent scholars on the influences and interrelations among Romantic movements throughout Europe and the Americas. It provides an expansive overview of eighteenth- and nineteenth-century poetry in the European languages. The essays take account of interrelated currents in American, Argentinian, Brazilian, Bulgarian, Canadian, Caribbean, Chilean, Colombian, Croatian, Czech, Danish, English, Estonian, Finnish, French, German, Greek, Hungarian, Irish, Italian, Mexican, Norwegian, Peruvian, Polish, Romanian, Russian, Serbian, Slovak, Spanish, Swedish, and Uruguayan literature. Contributors adopt different models for comparative study: tracing a theme or motif through several literatures; developing innovative models of transnational influence; studying the role of Romantic poetry in socio-political developments; or focusing on an issue that appears most prominently in one national literature yet is illuminated by the international context. This collaborative volume provides an invaluable resource for students of comparative literature and Romanticism.SPECIAL OFFER: 30% discount for a complete set order (5 vols.).The Romanticism series in the Comparative History of Literatures in European Languages is the result of a remarkable international collaboration. The editorial team coordinated the efforts of over 100 experts from more than two dozen countries to produce five independently conceived, yet interrelated volumes that show not only how Romanticism developed and spread in its principal European homelands and throughout the New World, but also the ways in which the affected literatures in reaction to Romanticism have redefined themselves on into Modernism. A glance at the index of each volume quickly reveals the extraordinary richness of the series' total contents. Romantic Irony sets the broader experimental parameters of comparison by concentrating on the myriad expressions of “irony” as one of the major impulses in the Romantic philosophical and artistic revolution, and by combining cross-cultural and interdisciplinary studies with special attention also to literatures in less widely diffused language streams. Romantic Drama traces creative innovations that deeply altered the understanding of genre at large, fed popular imagination through vehicles like the opera, and laid the foundations for a modernist theater of the absurd. Romantic Poetry demonstrates deep patterns and a sharing of crucial themes of the revolutionary age which underlie the lyrical expression that flourished in so many languages and environments. Nonfictional Romantic Prose assists us in coping with the vast array of writings from the personal and intimate sphere to modes of public discourse, including Romanticism's own self-commentary in theoretical statements on the arts, society, life, the sciences, and more. Nor are the discursive dimensions of imaginative literature neglected in the closing volume, Romantic Prose Fiction, where the basic Romantic themes and story types (the romance, novel, novella, short story, and other narrative forms) are considered throughout Europe and the New World. This enormous realm is seen not just in terms of Romantic theorizing, but in the light of the impact of Romantic ideas and narration on later generations. As an aid to readers, the introduction to Romantic Prose Fiction explains the relationships among the volumes in the series and carries a listing of their tables of contents in an appendix. No other series exists comparable to these volumes which treat the entirety of Romanticism as a cultural happening across the whole breadth of the “Old” and “New” Worlds and thus render a complex picture of European spiritual strivings in the late eighteenth and the nineteenth centuries, a heritage still very close to our age.

Reprint of the original, first published in 1873.