First published in 1975. Southey first made his reputation, when he was a very young man, as a poet. Although he is now remembered primary for his poetry, this title reveals how he excelled in many other genres as well. Examination of Southey’s life reveals an attractive and humane personality, at ease among his books, his family and a wide and impressive range of friends, including Wordsworth, Coleridge, Lamb, Landor and Scott. This title will be of interest to students of literature.

In this second collection of biographical accounts of Romantic writers, the characters of Keats, Coleridge and Scott are recalled by their contemporaries, offering insights into their lives and writings, as well as into the art of 19th-century biography.

In Robert Southey , Andrews argues that Robert Southey's denunciation of global Catholicism is essential to understanding his life, works, and times. On this issue, Southey was absolutely consistent in all his work and the Poet Laureate's partisan rhetoric reveals much about the religious culture of this stormy period in England.

This edition of Robert Southey's early poetry seeks to restore Southey the poet to his place at the centre of late 18th and early 19th century British literary culture. This collection of his poetical works critically reassesses Southey's epics and romances.

Robert Southey's Essays Moral and Political, originally published in 1832, brings together many of Southey’s most influential journal pieces, providing important evidence for students of the political and literary culture of the Romantic period. Edited by Tim Fulford, this volume features a full introduction and detailed editorial notes setting the Essays in their contexts. The volume sets the Essays in the context of the political and social issues and controversies on which they comment, and will be of great interest to students and scholars of Literary and Political History.

The Poetic Plays Of Wordsworth, Coleridge And Southey Convey Both Assurance And Anxiety - Balancing And Counterpointing Each Other And The Object Of The Present Study Is To Show How This Balancing And Counter-Pointing Enrich The Texture Of Their Plays. Truly, Their Creative Energy Was Considerably Cramped By The Condi¬Tions Prevailing In The Contemporary Theatre, And It Is Also True That They Show An Inadequate Grasp Of Dramatic Art And Dramatic Dialogue; But What Is Remarkable In Their Dramatic Works Is Their Capacity To Seize And Analyse The Spiritual Dilemma Of The Age; Their Persistent Moral Ardour Exposes The Ailments And Iniquities Afflicting The Social Order And Also Questions And Scrutinizes The Possible Modes Of Freedom. In Fact, This Is Mainly A Study Of The Moral Concerns In The Plays Of The Three Elder English Romantic Poets Their Anxiety About The Mystery And Potency Of Evil And How To Com¬Bat It, The Issues Of Ends And Means That Have Disturbed The Sensitive Rebels Throughout Ages.The Embivalent Poetical Characters, Their Gravitation Towards Drama, Struggle For Stage Success, The Contem¬Porary Theatrical Condition, The Un-Realized Projects, The Dramatic And Stylistic Qualities, Literary Issues, Etc. Have Also Been Discussed Incidentally.

'Will you write in my album?' Many Romantic poets were asked this question by women who collected contributions in their manuscript books. Those who obliged included Byron, Scott, Wordsworth, and Lamb, but also Felicia Hemans, Amelia Opie, and Sara Coleridge. Album Verses and Romantic Literary Culture presents the first critical and cultural history of this forgotten phenomenon. It asks a series of questions. Where did 1820s 'albo-mania' come from, and why was it satirized as a women's 'mania'? What was the relation between visitors' books associated with great institutions and country houses, personal albums belonging to individuals, and the poetry written in both? What caused albums' re-gendering from earlier friendship books kept by male students and gentlemen on the Grand Tour to a 'feminized' practice identified mainly with young women? When albums were central to women's culture, why were so many published album poems by men? How did amateur and professional poets engage differently with albums? What does album culture's privileging of 'original poetry' have to say about attitudes towards creativity and poetic practice in the age of print? This volume recovers a distinctive subgenre of occasional poetry composed to be read in manuscript, with its own characteristic formal features, conventions, themes, and cultural significance. Unique albums examined include that kept at the Grande Chartreuse, those owned by Regency socialite Lady Sarah Jersey, and those kept by Lake poets' daughters. As Album Verses and Romantic Literary Culture shows, album poetry reflects changing attitudes to identity, gender, class, politics, poetry, family dynamics, and social relations in the Romantic period.