CRITICISM

Bauman, Michael. “The Historicity of the Trial Scene in Southey's Joan of Arc: A Note.” In Charles Lamb Bulletin 79 (1992): 254-55.

Maintains that although Southey was faithful to the historical record for the most part in his Joan of Arc, there were occasional alterations to history in the name of poetic license.

Butler, Marilyn. “Revising the Canon.” In Times Literary Supplement 4418 (December 4, 1987): 1349, 1359-60.

Proposes that canonical poets in English literary history can be better understood when studied together with minor poets, and offers Robert Southey as an example of one whose poems help put the works of more famous poets in clearer perspective.

de Deugd, Cornelis. “Friendship and Romanticism: Robert Southey and Willem Bilderdijk.” In Europa Provincia Mundi, pp. 369-88. Atlanta, Georgia, and Amsterdam: Rodopi, 1992.

Explores the possible influence of Dutch author Willem Bilderdijk's friendship with Southey on the latter's work.

Eastwood, David. “Ruinous Prosperity: Robert Southey's Critique of the Commercial System.” In Wordsworth Circle 25, No. 2 (Spring 1994): 72-76.

Examines Southey's writings on economics and commercial society, suggesting that they were informed by the standard Romantic Tory views of the time.

Heinzelman, Kurt. “The Uneducated Imagination: Romantic Representations of Labor.” In At the Limits of Romanticism: Essays in Cultural, Feminist, and Materialist Criticism. Edited by Mary A. Favret and Nicola J. Watson, pp. 101-24. Bloomington and Indianapolis, Indiana: Indiana University Press, 1994.

Discusses Southey's Lives of Uneducated Poets and how it reveals the poet's attitudes toward working-class people and his belief that literature could act as a spiritual balm for the masses.

Hoffpauir, Richard. “The Thematic Structure of Southey's Epic Poetry: Part II.” In Wordsworth Circle 7, No. 2 (1976): 109-16.

Compares and contrasts the thematic and organizational structure of Southey's epic poems and shows how the poet's work developed from Joan of Arc through Roderick, the Last of the Goths.

Joukovsky, Nicholas A. “Wordsworth's Lost Article on Byron and Southey.” In Review of English Studies 45, No. 180 (November 1994): 496-516.

A detailed article on the clash between Byron and the Lake Poets as seen through their newspaper reviews, editorials, letters, and other publications.

Manogue, Ralph Anthony. “Southey and William Winterbotham: New Light on an Old Quarrel.” In Charles Lamb Bulletin 38 (April 1982): 105-14.

Discusses the controversy that arose with the publication of Southey's Wat Tyler and traces how the manuscript got into the hands of the Reverend William Winterbotham, a Plymouth minister who appropriated the work for his own purposes.

Misenheimer, Carolyn. “Southey's Letters to Children.” In Charles Lamb Bulletin 91, No. 91 (1995): 130-42.

Excerpts many of Southey's letters to his children from such works as The Life and Correspondence of Robert Southey and claims that the letters illustrate Southey's personal side and exhibit his wit, humor, and love for his children.

de Montluzin, Emily Lorraine. “Southey's ‘Satanic School’ Remarks: An Old Charge for a New Offender.” In Keats-Shelley Journal 21-22 (1972-73): 29-33.

Attempts to clear up some of the misconceptions behind Southey's remarks in the preface to A Vision of Judgment that were seen as an attack on Byron; many of his comments were actually directed at Thomas Moore according to the critic.

Morgan, Peter F. “Southey: A Critical Spectrum.” In Wordsworth Circle 5, No. 2 (Spring 1974): 71-75.

Discusses Southey's views on prose writing, including his distaste for satire and literary criticism and his interest in history.

Owen, W. J. B. “Southey's England and The Prelude.” In Wordsworth Circle 23, No. 1 (Winter 1992): 10-17.

Suggests that Southey was familiar with Wordsworth's The Prelude and borrowed ideas from it when working on his Letters from England.

Pym, David. “Robert Southey: Bulwark of Victorian Faith.” In Charles Lamb Bulletin 60 (1987): 131-38.

Explains that Southey's decline in popularity as a historian was largely due to his attempts to use history to defend the views of the Church of England.

———. “The Ideas of Church and State in the Thought of the Three Principal Lake Poets: Coleridge, Southey and Wordsworth.” In Durham University Journal 52, No. 1 (1991): 19-26.

Discusses how Coleridge, Southey, and Wordsworth were key interpreters of the Anglican tradition at a time when the Church of England was in turmoil.

Stanton, Michael N. “Southey and the Art of Autobiography.” In Wordsworth Circle 5, No. 2 (Spring 1974): 113-19.

Shows how Southey reveals little more than the factual details of his childhood and youth in his Life and Correspondence in order to avoid revealing the contradictions between his youthful beliefs and those of adulthood.

Zall, P. M. “The Gothic Voice of Father Bear.” In Wordsworth Circle 5, No. 2 (Spring 1974): 124-28.

Disputes the notion that Southey at any time claimed he was the originator of the “Three Bears” story while still asserting that his interpretation was an accomplished one.

Additional coverage of Southey's life and career is contained in the following sources published by the Gale Group: Dictionary of Literary Biography, Vols. 93, 107, and 142; and Something about the Author, Vol. 54.