Was he a monster, driven by an endless, ruinous quest for military glory? Or a social and political visionary brought down by petty, reactionary kings of Europe? In the most definitive account to date, respected historian Charles Esdaile argues that the chief motivating factor for Napoleon was his insatiable desire for fame. More than a myth-busting portrait of Napoleon, however, this volume offers a panoramic view of the armed conflicts that spread so quickly out of revolutionary France to countries as remote as Sweden and Egypt. Napoleon's Wars seeks to answer the question, What was it that made the countries of Europe fight one another for so long and with such devastating results? Esdaile portrays the European battles as the consequence of rulers who were willing to take the immense risks of either fighting or supporting Napoleon—risks that resulted in the extinction of entire countries. This is history writing equal to its subject—grand and ambitious.

    In this electrifying novel, those lives are explored through the eyes of the women who knew and loved them—intensely, scandalously.Four women from widely different backgrounds are linked by a sensational fate. Mary Shelley: the gifted daughter of gifted parents, for whom passion leads to exile, loss, and a unique fame. Lady Caroline Lamb: born to fabulous wealth and aristocratic position, who risks everything for the ultimate love affair. Fanny Brawne: her quiet, middle-class girlhood is transformed—and immortalized—by a disturbing encounter with genius. Augusta Leigh: the unassuming poor relation who finds herself flouting the greatest of all taboos.With the originality, richness, and daring of the poets themselves, Passion presents the Romantic generation in a new and unforgettable light.

    George V, Wilhelm II and Nicholas II, known in the family as Georgie, Willy and Nicky, were cousins. Between them they ruled over half the world. They had been friends since childhood. But by July 1914 the Trade Union of Kings was falling apart. Each was blaming the other for the impending disaster of the First World War. 'Have I gone mad?' Nicky asked his wife Alix in St Petersburg, showing her another telegram from Willy. 'What on earth does William mean pretending that it still depends on me whether war is averted or not!' Behind the friendliness of family gatherings lurked family quarrels, which were often played out in public. Drawing widely on previously unpublished documents, this is the extraordinary story of their overlapping lives, conducted in palaces of unimaginable opulence, surrounded by flattery and political intrigue. And through it runs the question: to what extent were the King, the Kaiser and the Tsar responsible for the outbreak of the war, and, as it turned out, for the end of autocratic monarchy?

    The book argues that Muslims, nurished by their own points of reference, can approach the modern epoch by adopting a specific social, political, and economic model that is linked to ethical values, a sense of finalities and spirituality. Rather than a modernism that tends to impose Westernization, it is a modernity that admits to the pluralism of civilizations, religions, and cultures.Table of Contents:ForewordIntroductionHistory of a ConceptThe Lessons of HistoryPart 1: At the shores of Transcendence: between God and ManPart 2: The Horizons of Islam: Between Man and the CommunityPart 3: Values and Finalities: The Cultural Dimension of the Civilizational Face to FaceConclusionAppendixIndexTariq Ramadan is a professor of Islamic Studies at the University of Oxford and a visiting professor in Identity and Citizenship at Erasmus University. He was named by TIME Magazine as one of the one hundred innovators of the twenty-first century.

    The famous poem Auguries of Innocence by William Blake.

    One can understand that men as indispensable as Marx and Engels should be the partisans of a programme which, consecrating and approving political power, opens the door to all ambitions. Since there will be political power there will necessarily be subjects, got up in Republican fashion, as citizens, it is true, but who will none the less be subjects, and who as such will be forced to obey.

    Invaluable for the insight they give into the daily life of the poet and his friendship with Coleridge, they are also remarkable for their spontaneity and immediacy, and for the vivid descriptions of people, places, and incidents that inspired some of Wordsworth's best-loved poems. The Grasmere Journal was begun at Dove Cottage in May 1800 and kept for three years. Dorothy notes the walks and the weather, the friends, country neighbors and beggars on the roads; she sets down accounts of the garden, of Wordsworth's marriage, their concern for Coleridge, the composition of poetry. The earlier Alfoxden Journal was written during 1797-8, when the Wordsworths lived near Coleridge in Somerset. Not intended for publication, but to give Wm Pleasure by it, both journals have a quality recognized by Wordsworth when he wrote of Dorothy that she gave me eyes, she gave me ears.

    Journalist Victor Sebestyen witnessed much of the 1989 fall of the Soviet empire at first hand, and in this book, he reassesses this decisive moment in modern history.

    La Fanfarlo-part bitter fictionalized autobiography, part parody, part ambiguous poetic exploration, and the poet's only completed work of fictional prose- is very much the work of an apprentice beginning to find his way. In terms only of plot, the story is slender enough: trying to help an acquaintance reclaim her husband from an infatuation with La Fanfarlo, the young poet Samuel Cramer himself falls in love with the exotic dancer and slides from the pursuit of his poetry into the commercialized world of advertising and politics.

    It was premiered in Saint Petersburg’s Alexandrinsky Theatre on November 1, 1871, as a benefice for actor Fyodor Burdin.

    Caught between interventionists at home and fundamentalists abroad, a prime minister flounders as his ministers betray him, alliances fall apart, and a runaway general makes policy in the field. As the media accuse Western soldiers of barbarity and a region slides into chaos, the armies of God clash on an ancient river and an accidental empire arises.This is not the Middle East of the early twenty-first century. It is Africa in the late nineteenth century, when the river Nile became the setting for an extraordinary collision between Europeans, Arabs, and Africans. A human and religious drama, the conflict defined the modern relationship between the West and the Islamic world. The story is not only essential for understanding the modern clash of civilizations but is also a gripping, epic, tragic adventure."Three Empires on the Nile" tells of the rise of the first modern Islamic state and its fateful encounter with the British Empire of Queen Victoria. Ever since the self-proclaimed Islamic messiah known as the Mahdi gathered an army in the Sudan and besieged and captured Khartoum under its British overlord Charles Gordon, the dream of a new caliphate has haunted modern Islamists. Today, Shiite insurgents call themselves the Mahdi Army, and Sudan remains one of the great fault lines of battle between Muslims and Christians, blacks and Arabs. The nineteenth-century origins of it all were even more dramatic and strange than today's headlines.In the hands of Dominic Green, the story of the Nile's three empires is an epic in the tradition of Kipling, the bard of empire, and Winston Churchill, who fought in the final destruction of the Mahdi's army. It is a sweeping and very modern tale of God and globalization, slavers and strategists, missionaries and messianists. A pro-Western regime collapses from its own corruption, a jihad threatens the global economy, a liberation movement degenerates into a tyrannical cult, military intervention goes wrong, and a temporary occupation lasts for decades. In the rise and fall of empires, we see a parable for our own times and a reminder that, while American military involvement in the Islamic world is the beginning of a new era for America, it is only the latest chapter in an older story for the people of the region.

    Thirty-seven poems of varying lengths are included, among them such well-known verses as "Adonais," "Ode to the West Wind," "Ozymandias," "The Cloud," "To a Skylark" "Hymn to Intellectual Beauty," and "Arethusa."Reprint of poems from Shelley: Poetical Works, Oxford University Press, 1905.

    Although imperialist power was on the rise, Douglas Porch refutes the notion that indigenous militias were easily overtaken by their European conquerors. Porch explores the rise of imperial power, and the reasons for the temporary supremacy of some of the empire builders, but he also examines why such far-flung empires ultimately proved to be unsustainable.A full exploration of the expansion and ultimate decline of imperial power, strain from conflict abroad, and the reality of the colonizers' struggling home economies. Full narration of the British army's defeats at the hands of American rebels, Afghan fighters, Indian mutineers, and the Boers. Analysis of Russia's humiliating defeat in the Caucasus, and France's defeat in Algeria, embarrassments that demonstrated the limitations of imperial power.

    With its lively style and psychological insight, this memoir about Sergei Esenin has abiding value for scholar and general reader alike.

    The story begins when a paragraph in a newspaper plunges the narrator into his memories as a younger man. The perspective seems to shift back and forth between the past and present, so the reader is never entirely sure if the narrator is recounting past events from memory, or retelling current events as they happen. Critics have praised the writing for its lucid and lyrical style. The narrator, of noble status who has recently come into an inheritance, decides to leave Paris, where he is living a debauched life of theater and drink, and return to the love of his youth, a peasant girl named Sylvie who has classic features and brunette hair, a "timeless ideal". She sows gloves for a living and ends up marrying another man more equal to her class. The narrator also loves a seductive actress in Paris named Aurelia, who has many suitors who tell her empty idylls of love, but none love her for who she really is, including the narrator, who sees her as a lovely illusion that fades in the daylight of reality. The narrator also loves Adrienne, of noble birth, tall with blonde hair, she is an "ideal beauty", but she lives in a convent, and dies an early death. In the end he loves all three but obtains none, seemingly for reasons both beyond and within his making.