This chapter examines British poets’ creative engagements with foreign poetic texts from the mid-1810s to the mid-1830s. In these years, paeans to the nation’s poetic tradition mixed with examinations of its foreign connections and the publication of ‘cross-cultural’ verse. Accordingly, the chapter focuses on three major ‘internationally-minded’ poets – Lord Byron, Robert Southey and Felicia Hemans – and their ideologically and politically motivated re-elaborations of foreign poetry and its voices. It opens with an analysis of Southey’s Roderick, the Last of the Goths (1814) as an Anglo-Hispanic ‘epic’ combining English and Spanish literary, historical and ethnographic materials. Subsequently it examines Italian voices in Byron’s poetry from 1818 to 1821, that is, from Childe Harold’s Pilgrimage IV to his Ravenna plays, reading them as instrumental to his reflection on the politics of post-Napoleonic Italy and the Continent. The chapter closes with an analysis of Hemans’s National Lyrics, and Songs for Music (1834). Offering multiple instances of her distinctive ventriloquism of foreign voices, this volume represents the culmination of her lifelong fashioning of a transnational poetics suffused with her pragmatically moderate liberalism.