Goya's model for his visual indictment of war and its horrors was the Spanish insurrection of 1808 and the resulting Peninsular War with Napoleonic France. The bloody conflict and the horrible famine of Madrid were witnessed by Goya himself, or were revealed to him from the accounts of friends and contemporaries. From 1810 to 1820, he worked to immortalize them in a series of etchings.The artist himself never saw the results. The etchings were not published until 1863, some 35 years after his death. By then, the passions of the Napoleonic era had subsided and the satirical implications in Goya's work were less likely to offend. The Dover edition reproduces in its original size the second state of this first edition, which contained 80 prints. Three additional prints not in the 1863 edition are also included here, making this the most complete collection possible of the etchings Goya intended for this series. The bitter, biting captions are reprinted, along with the new English translations, as are the original title page and preface.

    Col. Arthur J. L. Fremantle of the British Coldstream Guards toured the Confederacy. Mildly predisposed toward the Union side because of his dislike of slavery, he was soon awakened to the gallantry of Jefferson Davis, Robert E. Lee and his generals, ordinary Johnny Rebs, and the women left at home. From April to early July 1863—the critical period of campaigns at Vicksburg, Chancellorsville, and Gettysburg—Fremantle traveled from the Texas frontier to northern Virginia, recording in a diary his experience of the war. Three Months in the Southern States, published upon his return to England later in the year, has long been considered a classic of wartime writing, especially in its description of the Battle of Gettysburg. Filled with biographical vignettes of Lee, Davis, Stonewall Jackson, Sam Houston, and others, this book offers a kaleidoscopic view of the Confederacy at floodtide.

    Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

    The four years he spent as a soldier were among the most significant in his life and inspired the tales collected here. In ?The Cossacks,? Tolstoy tells the story of Olenin, a cultured Russian whose experiences among the Cossack warriors of Central Asia leave him searching for a more authentic life. ?The Sevastopol Sketches? bring into stark relief the realities of military life during the Crimean War. And ?Hadji Murat? paints a portrait of a great leader torn apart by divided loyalties. In writing about individuals and societies in conflict, Tolstoy has penned some of the most brilliant stories about the nature of war.

    Indeed it was with a Salon review that he made his literary debut: and it is significant that even at this early stage - in 1845 - he was already articulating the need for a painter who could depict the heroism of modern life. This he was to find in Constantin Guys, whom he later celebrated in the famous essay which provides the title-piece for this collection. Other material in this volume includes important and extended studies of three of Baudelaire's contemporary heroes - Delacroix, Poe and Wagner - and some more general articles, such as those on the theory and practice of caricature, and on what Baudelaire, with intentional scorn, called philosophic art. This last article develops views only touched on in Baudelaire's other writings. This volume is extensively illustrated with reproductions of works referred to in the text and otherwise relevant to it. It provides a survey of some of the most important ideas and individuals in the critical world of the great poet who has been called the father of modern art criticism.

    Longfellow's Wayside Inn in Sudbury, Massachusetts, originally known as Howe's Tavern, was the inspiration for Longfellow's widely read book of poems, Tales of a Wayside Inn. He based his works on a group of fictitious characters that regularly gathered at the old Sudbury tavern. Lyman Howe was the character featured in "The Landlord's Tale," and where Longfellow penned the immortal phrase, "Listen, my children, and you shall hear / Of the midnight ride of Paul Revere."

    They have transformed the way we see ourselves - and each other. They have inspired debate, dissent, war and revolution. They have enlightened, outraged, provoked and comforted. They have enriched lives - and destroyed them. Now Penguin brings you the works of the great thinkers, pioneers, radicals and visionaries whose ideas shook civilization and helped make us who we are.

     In his book "The Black Man," Brown argued for blacks' rights to full citizenship, and to make his case he includes a series of life histories of notable blacks, showing their contributions to the nation or region. Brown also highlights slaves' willingness to use violence to gain their freedom, including portraits of a number of revolutionary blacks who revolted against their slave masters. Brown's book opens with his own amazing life story, then is followed by an overview of black heritage going back to Ethiopia, Egypt, Minerva, Jupiter, Tertullian, St. Augustine, Hanno, Hamilcar Barca, and Hannibal---demonstrating the historical nature of the cosmopolitan black community. The remainder of the book is devoted to 57 short biographies of famous black historical figures including Benjamin Baneker, Nat Turner, Toussaint L'Ouverture, Crispus Attucks, Alexander Dumas, Denmark Vesey, Martin Delany, Frederick Douglass, James W.C. Pennington, Sir Edward Jordan, and John S. Rock. In describing his view on social justice, Brown writes that "every man must make equality for himself. No society, no government, can make this equality. I do not expect the slave of the south to jump into equality; all I claim for him is, that he may be allowed to jump into liberty, and let him make equality for himself." In describing his views on the high importance of self-improvement, Brown writes that "I have some white neighbors around me in Cambridge; they are not very intellectual; they don't associate with my family; but whenever they shall improve themselves, and bring themselves up by their own intellectual and moral worth, I shall not object to their coming into my society--all things being equal." Other works by the author include: • Narrative of William W. Brown, a Fugitive Slave • Three Years in Europe: Or, Places I Have Seen and People I Have Met • CLOTEL; or the President's Daughter • The American Fugitive in Europe • The Rising Son, or The Antecedents and Advancements of the Colored Race • My Southern Home: or, The South and Its People • The Negro in the American Rebellion Biographies included in Brown's "The Black Man" include: • BENJAMIN BANNEK

    Translated into English for the first time, the novel weaves an engaging tale of manipulation, infatuation, and female assertiveness that takes place one year after the liberation of the empire's serfs. Upending Russian literary clich's of female passivity and rural gentry benightedness, Sofia Khvoshchinskaya centers her story on a commonsense, hardworking noblewoman and her self-assured daughter living on their small rural estate. The antithesis of the thoughtful, intellectual, and self-denying young heroines created by Khvoshchinskaya's male peers, especially Ivan Turgenev, seventeen-year-old Olenka ultimately helps her mother overcome a sense of duty to her "betters" and leads the two to triumph over the urbanites' financial, amorous, and matrimonial machinations. Sofia Khvoshchinskaya and her writer sisters closely mirror Britain's Bront?s, yet Khvoshchinskaya's work contains more of Jane Austen's wit and social repartee, as well an intellectual engagement reminiscent of Elizabeth Gaskell's condition-of- England novels. Written by a woman under a male pseudonym, this brilliant and entertaining exploration of gender dynamics on a post-emancipation Russian estate offers a fresh and necessary point of comparison with the better-known classics of nineteenth-century world literature.

    The means whereby he revealed these architectural marvels was a journal of his travels which, recovered from the forest near Luang Prabang in Laos where Mouhout died at the age of 35 in 1861, formed the basis of this book.Apart from his sketches and observations of Angkor,other episodes in his journal remain long remembered. His description of monkeys teasing crocodiles in the jungles, his impressions of the Cambodian kings and their palaces, the way of life in the Thai province of Korat, the flooded rice plains near Ayutthaya, and the poignancy of the end of his diary when close to death --'Have pity on me, oh my god!' -- are the strongly evocative passages from the pen of a talented writer. Mouhot's Travels remains a pleasure to read and its illustrations are among the finest to depict scenes from Indo-China exploration of any book in the nineteenth century. Henri Mouhot had the spirit of adventure and inquiry, and the work that was posthumously put together relating his travels in mainland South-East Asia remains a classic of its kind. It is republished in a complete, hardback edition for the first time since its original publication in 1864 and is introduced by Mivhael Smithies , well known for his own writings on Thailand.

    I REMEMBER my father telling me that sitting up late one night talking with Tennyson the latter remarked that he had not kept such late hours since a recent visit of Jowett.