twenty times our satirist". He was not as forgiving of the next tribute to his work, Modern Greece: A Poem (1817) by Felicia Hemans, which was dependent for its subject on the second canto of the Pilgrimage. At first published anonymously, it was even taken to be by Byron himself in one contemporary review. While it was written in a similar rhetorical style, her poem used a slightly longer 10-line stanza terminating in an alexandrine. This too deplored the land's Turkish enslavement and mourned its decline, although pausing to admire the occasion in the past when "woman mingled with your warrior band" (stanza 50) in resisting invasion. Where the author diverged to take direct issue with Byron was on the controversy over the Elgin Marbles, championing instead their removal to a land that can still cherish their inspiration. To Byron's assertion that she had replied Over the years, others wrote works dependent on the Pilgrimage to a greater or lesser degree. George Croly celebrated the victory at the Battle of Waterloo with his Paris in 1815: A Poem (London, 1817). It was prefaced by 21 Spenserian stanzas in the Byronic manner, followed by many more sections in couplets. This was followed in 1818 by the anonymous collection Childe Harold’s Pilgrimage to the Dead Sea (and other poems). There the Byronic outcast of the title poem relates a catalogue of sins through thirty pages of irregular couplets, wound up by a call to last minute repentance. By 1820 the habit of imitation had crossed to the US, where five Spenserian stanzas dependent on the Pilgrimage'''s Canto II were published under the title "Childe Harold in Boetia" in The Galaxy. But the Childe was to be found applying himself to other activities than travel. The 62 pages of Francis Hodgson's Childe Harold's Monitor, or Lines occasioned by the last canto of Childe Harold (London 1818), are given over to literary satire in the manner of Byron's English Bards and Scotch Reviewers. Written in heroic couplets, it champions the style of the Augustan poets against the emergent Romantic style, particularly of the Lake Poets. Childe Harold in the Shades: An Infernal Romaunt (London 1819), displays much the same sentiments. The poem is set in the Classical underworld and its anonymous youthful author has since been identified as Edward Dacres Baynes. Byron's death in the Greek War of Independence initiated a new round of