Robert Southey

Estudiamos la recepción de La Araucana en Inglaterra durante la transición de los siglos al , un contexto en el que la consolidación del poder imperial británico fue una de las preocupaciones centrales de los escritores y pensadores románticos de pensamiento más radical. Después de describir las circunstancias en las que el poema fue introducido en el ámbito británico, nos centramos en dos obras: Essay on Epic Poetry (1782) de William Hayley, cuya lectura 'romantizada' de La Araucana otorgó una amplia popularidad al poema y determina su recepción posterior entre los ingleses, y Madoc de Robert Southey (cuyas primeras versiones circularon en la década de 1790), obra en la que el escritor inglés elaboró y problematizó poéticamente sus reflexiones sobre el colonialismo británico y para quien el poema de Ercilla se convirtió en un modelo épico anti-imperialista. Abstract We study the reception of Alonso de Ercilla y Zuñiga's sixteenth-century epic poem La Araucana in England during the transition between the seventeenth and eighteenth centuries, a context in which the consolidation of British imperial power was one of the main concerns of the Romantic writers and intellectuals of more radical thought. After describing the circumstances in which the poem was introduced into the British ambit, we focus on two works: William Hayley's Essay on Epic Poetry (1782), whose 'romanticized' reading of La Araucana made the poem widely popular and determined its subsequent reception among the English; and Robert Southey's Madoc (whose first versions disseminated around the 1790s), a work in which the English writer poetically elaborated and problematized his reflections on British colonialism, and to whom Ercilla's poem became an anti-imperialistic epic model.

Tom Duggett’s Gothic Romanticism is a compellingly ambitious study of the pursuit of a purer and better gothic in late-eighteenth- and early-nineteenth-century England. Focusing on Wordsworth and the Lake Poets’ attempt to refine a coarser, more sensational gothic as set forth in the novels of Radcliffe and Scott and in antiquarian curiosities, Duggett weaves sustained analysis of their poetry with thoughtful commentary on medieval architectural imagery and history, the turn to conservative politics, and educational reform. This multileveled investigation demonstrates in engaging prose the centrality of a cultivated rhetoric of a gothic aesthetic in this period while provocatively suggesting its relevance to a post-9/11 era where architecture “has assumed an importance that seemed without precedent.” Gothic Romanticism goes far in detailing such a poetic, cultural, and historical precedent. - MLA

The Romantic Period in England can be considered as indicative of 'an age of crises' because the era witnessed several political affairs, ideologies and strategies such as slaver trade, colonialism, American and French Revolutions. These political and social changes all signalled 'chaos' which would dominate European political, cultural, and literary life for the next quarter of a century. Therefore, it was inevitable that Romantic writers were influenced by the political and social events in Europe. They were considerably aware of British expansionism. It would not be incorrect to claim that there is a direct correlation between socio-political revolution and the literary revolution in Britain. No matter what their ideological stance was, some Romantic poets of the era, like S. T. Coleridge, William Cowper, William Blake and Robert Southey, reflected their observations of the colonialist activities in their works. Some other poets of the era, however, like Percy Bysshe Shelley and Lord Byron, tried to especially avoid subjects concerning European colonialism in their writings. They were concerned with escape from day-today reality, with images and narratives remarkable for their historical or geographical exoticism. This paper will analyse these two reactions of the English Romantic poets; those who directly dealt with colonialism and those who principally presented orientalist and exotic elements in their poems.

This article traces the publication history and origins of Robert Southey's poem, "Saint Patrick's Purgatory." Published anonymously by Matthew Gregory Lewis in 1801, the poem was not acknowledged by Southey until 1838. The poem has its origins in the writings of Marie de France, and the chronicles of Roger of Wendover. Southey's original, and revised versions are included here, as well as the original Wendover chronicle, and historical accounts on the destruction, and latter-day revival, of the legendary site in Ireland.

This essay explores the claim made by Robert Southey that Lord Byron and his "satanic school" were subverting the morals of readers. As Byron did not appreciate this term coined by Mr. Southey, he decided to write a mock poem that challenged the harsh critique. Byron was, instead, a symbol of freedom and a mouth piece for a new liberal age. By exploring Byron's writings and his appreciation for rebellious figures, like Milton's Satan and Napoleon Bonaparte, we begin to see an image of Byron that was not necessarily "mad, bad, and dangerous to know."

Tales of Wonder is a landmark work in the history of Gothic
literature, and a milestone in Romantic poetry. Percy Shelley owned the
book as a young man, and drew ghosts and monsters in its margins;
indeed, a cluster of Shelley’s juvenile poems are imitations of the
supernatural ballads collected here. Sir Walter Scott allowed himself to
be tutored by its author and compiler, and both Scott and Robert
Southey provided Gothic poems and ballads for the collection, originally
to be titled Tales of Terror. These are the Introductions to both volumes of my complete annotated edition of Lewis's collection. This annotated edition traces the literary origins of the poems and the stories behind them, connecting them to the long line of eccentric antiquarian scholars who collected classical, Runic, English, and Scottish manuscripts or folk material. The poems here also reveal the late 18th-century British project of constructing a pagan pre-history for England.

This article investigates Robert Southey's Thalaba the Destroyer representation of mechanized automata and copies of human forms, and proposes that the poem's  mechanized humanoids is galvanized by a conflict between natural philosophy and Islamic scripture.

William Wordsworth's poetry reveals his interest in the social model of the Catholic monastery, his sense of this model's vulnerability during political crises, and its potential in addressing the social and environmental concerns of the nineteenth century. While Wordsworth laments the devastation of religious communities during the French Revolution, he targets industrial capitalism as the modern-day threat to a communal ideal of environmental and spiritual harmony. Underexplored works such as “Tuft of Primroses” and “St. Bees” legitimize a celibate religious vocation and female leadership within this context, views he shared with the founders of the Oxford Movement who sought his involvement in a shared agenda of religious reform on the local level. Catholic ruins in Great Britain, in Wordsworth's estimation, can be remodeled along Protestant lines congruent with the original founders' institutional mission to address the needs of the local community. Thus, the transformation of “St. Bees” from a medieval nunnery to a nineteenth-century Protestant seminary is just one way in which a legacy of service and sustainability can continue in the modern age. Wordsworth's writings on the relevance of monastic culture in the nineteenth-century make visible his contributions to the Victorian projects of local reform, historic preservation, and religious liberalization.

Trabalho final de Licenciatura em História, que explora os relatos de viajantes estrangeiros do Norte da Europa (Inglaterra e Escandinávia) nas suas vindas à cidade de Lisboa, durante a segunda metade do Século XVIII. O seu subtema é a percepção que tinham sobre os grupos sociais lisboetas: povo, clero e nobreza.

Drama played an important but under-recognized role in the dynamic counterculture of Chartism, the working-class protest movement for political rights. Making use of a wide range of theatrical genres, the Chartists staged amateur productions in their own associations and held frequent benefits in many of London’s largest working-class theaters. They recontextualized an array of published plays and produced such original works as John Watkins’s John Frost, a Chartist Play (1841) and reenactments of the Irish revolutionary Robert Emmet’s 1803 trial. Within Chartism, drama exemplified a form of collaborative labor that advanced claims about the capacity of working-class people to imagine and create alternative social formations. It also functioned as a means of debating the most pressing issues that the Chartists faced, including the potential and limits of political violence. Whereas Chartist poetry commonly shied away from endorsing “physical force,” on stage Chartists instantiated revolutionary crowds and enacted the threat of governmental reprisal.

This is the first book to examine how Romantic writers revised and transformed poetic collections to reach new audiences. Exploding the myth of Romantic poets as naive, unworldly, and unconcerned with the practical aspects of literary production, it instead shows them to be intensely social authors: fully engaged in packaging their works, in shaping their literary reputations, and in working closely with publishers and booksellers rather than in opposition to them. Through a series of sharply focused case studies on copyright and self-collected works, newspaper poetry and anthologies, subscription publication, second editions, laureate verse, and posthumous volumes, Professor Gamer surveys the full range of self-canonizing publications he calls "re-collections." At the same time, he offers a fresh and insistently material perspective on how we think about poetic revision, locating it at a nexus between aesthetic and economic registers and foregrounding on the importance of published collections rather than individual poems to the construction of careers.

Reviewed in: The Times Literary Supplement (10 July 2018): <https://www.the-tls.co.uk/articles/private/sweeter-songs-to-sing/>; European Romantic Review 29 (2018): 499-503; The Wordsworth Circle 49 (2018), 214-16; Modern Philology (Summer 2018): <https://doi.org/10.1086/697675>; Studies in English Literature, 1500-1900 57 (Autumn 2017), 891; Studies in Romanticism 56:2 (Summer 2017), 285-8; Romantic Circles Book Chat, September 2017, URL: https://www.rc.umd.edu/reviews-blog/romantic-circles-bookchat-michael-gamers-romanticism-self-canonization-and-business.

This essay sets out to establish the significance of Southey’s Common-place Book (1849-51) and The Doctor (1834-47) in explicating his near obsessive use of paratext, and, by extension, his systematic inclination towards a digressive and fragmentary narrative style. In an attempt to identify Southey’s writing practice, especially his methods for annotating his orientalist romantic poems, I will explore the connections between his practices of ‘common-placing’ and annotating, and introduce aesthetic and stylistic parallels between his common-place books/notebooks and his literary paratext. Finally, I will discuss the theoretical implications of The Doctor’s abundance in paratextual material and its peculiarly elusive structure and generic status, demonstrating a ‘playful hybridity [and an] ability to be novel and common-place book, everything and nothing’. In 1821, Southey confessed: ‘I have a dangerous love of detail, and a desire of accuracy, which is much more expensive (both in m...

During the first half of the 1820s, Britain experienced a veritable craze for speculation in the newly independent states of Spanish America. Then, in December of 1825, the bubble burst, to the ruin of thousands of banks, companies, and individual investors. The purpose of this essay is to examine the conflicting ways in which British literature, periodicals, and popular entertainments fomented, critiqued, and ultimately repudiated the investment mania. From 1822-1825, an entire cultural industry was carved out to exploit Britain's infatuation with Spanish America. James Robinson Planché's musical drama Cortez, or The Conquest of Mexico (1823) delighted audiences at Covent Garden, William Bullock's Mexican Exhibition (1824-25) offered spectators tantalizing specimens of everything from contemporary Mexico's gold and silver to its ancient Aztec relics, and entrepreneurs flooded the press with Spanish American stock and bond prospectuses. Against a prospect of such dazzling spectacles, Robert Southey's A Tale of Paraguay and Felicia Hemans's The Forest Sanctuary (both 1825) stand out for their striking lack of exoticism, their avoidance of the subject of commerce, and their overarching morbidity. By placing these poems in the historical context of the boom and cataclysmic bust of the British economy, I argue that their absence of natural and cultural description and their association of Spanish America with fatality metaphorize the dangerously little that investors knew about Spanish American and the destruction that would soon result from their ignorance.

There is a strange reluctance among literary critics to accept that anyone other than John Clare and – perhaps – Oliver Goldsmith, touches on the subject of enclosure in novels or poetry. In The Idea of Landscape and the Sense of Place John Barrell maintains that Clare’s enclosure poetry is somehow an aberration in literary history, that Clare 'was writing himself out of the main stream of European literature' (188).
But I suggest that this is quite wrong. Certainly during the late eighteenth and early nineteenth centuries there is a strong literary current towards enclosure. Contrary to the critical orthodoxy  poets and novelists – some canonical, some more obscure – return again and again to enclosure and agricultural improvement. Robert Southey was preoccupied with property and land ownership, enclosure and colonisation, for more than a decade.

Prefácio:

"Desatualizar a historiografia significa mostrar que o histórico não se limita a um passado morto, nem o historiador a uma espécie de taxidermista oitocentista. O histórico é vivo como um oceano em que passado, presente e futuro se misturam no fluxo e refluxo das temporalidades, mais como um líquido a adquirir formas provisórias do que continentes imóveis a serem reconstruídos como um puzzle de pequenas peças estáveis e destinadas a formar sempre a mesma imagem. Embora em momentos de crise muitos se deixem levar por velhas palavras de ordem autocongratulatórias, a esperança de a verdade histórica poder ser reduzida à simples coleção de fatos é mais do que nunca uma infame ilusão. A verdade será sempre mais complexa e ambivalente, como demonstraram André Ramos e Robert Southey".

Valdei Araujo
Professor do Departamento de História e do Programa de Pós-Graduação em História da Universidade Federal de Ouro Preto (UFOP)

Quarta capa:

"O mar revolto sob uma tempestade de neve, um barco a vapor cuja tripulação, casco e mastreação tentam resistir em meio a intempérie inclemente, expressas nas cores simultaneamente belas e angustiantes de Turner, que ilustram a capa deste livro, é uma excelente metáfora das linguagens, conceitos e narrativas da experiência dos modernos no alvorecer oitocentista. Por meio de uma análise original e criativa de uma parte pouco explorada da obra do inglês Robert Southey (1774-1843), André da Silva Ramos oferece-nos um detido panorama das aporias, dilemas e disputas intelectuais deste tempo irrequieto marcado por turbulências e definições tanto políticas quanto semânticas, fundamentais à ideia do que era e seria a história. Escrito com elegância e erudição notáveis, o autor nos apresenta um Southey, conhecido, sobretudo pelos especialistas em historiografia brasileira, por sua monumental History of Brazil, mais humano, um letrado que viaja, estuda, pensa e escreve mergulhado em suas pretensões intelectuais e sociais, sensível à melancolia e assombrado por um espectro cético. Finalmente, o livro de Ramos não é um produto isolado, é fruto do trabalho coletivo de um grupo de pesquisa sobre a história da historiografia que se consolidou nos últimos anos na UFOP sob a liderança de Valdei Araujo e outros colegas e que vem modificando a forma de se fazer e refletir a história no Brasil: a busca por uma desatualização do hoje, como uma alternativa às tiranias do presentismo contemporâneo. É como se Southey, sobrevivendo ao Snow Storm de Turner, emergisse do passado e chegasse a nós desafiando o tempo, só que não guiado pelos mortos, mas pelas mãos hábeis de Ramos: and I with them shall travel on through all futurity!"

Temístocles Cezar
Professor Titular do Departamento de História da UFRGS
Presidente da Sociedade Brasileira de Teoria e História da Historiografia

Orelha:

"André Ramos se dedica à descrição cuidadosa da modernidade como uma temporalidade marcada pela ampliação do “horizonte de expectativa”. No entanto, o que vamos notando ao longo do livro é certa tonalidade que reúne autores como Southey, Kant, Gonçalves de Magalhães e Machado, a melancolia. Nesse sentido, se o futuro parecia ser mais interessante que passados e presente, isto se tornava possível enquanto uma hipótese ou aposta tendo em vista que tudo “estaria submetido à regra alguma” (Kant).
Se Southey ou Kant estavam tão envolvidos com a aposta de que o futuro precisaria ser melhor, é porque também estavam assombrados pela possibilidade de que o amanhã fosse tão ou ainda mais crítico.
O livro de André nos convida a pensar a modernidade como uma temporalidade melancólica, determinada pela oscilação insuperável entre passados e futuros, otimismo e pessimismo, forma e devir, belo e sublime, Apolo e Dioniso, Lei e Revolução, desejo e vontade. Trata-se, assim, de uma história da historiografia atenta aos fantasmas... Imperdível!"   

Marcelo de Mello Rangel
Professor do Departamento de História e do Programa de Pós-Graduação em História e Filosofia da Universidade Federal de Ouro Preto (UFOP)

Rhetorical theories of genre promise to revolutionize our understanding of both the epic and Romanticism.  By thinking about genre not as a category of form or a catalog of devices, rhetorical genre theory refocus our attention on a genre's social purpose and historical context. Romantic epics, therefore, are discussed not only in terms of their classical antecedents, but as texts where the intellectual community theorized their own historical role.  Robert Southey's _Joan of Arc_ is examined.

El presente artículo examina desde la Estética de la recepción y el concepto de «fenomenología» el modo en que tres autores del Romanticismo inglés, Southey, Coleridge y Shelley leen los autos sacramentales de Calderón de la Barca. Según podremos comprobar, los comentarios críticos de estos autores sobre el teatro del dramaturgo aurisecular son diversos y oscilan desde el deleite estético hasta el juicio crítico negativo desde una postura de prejuicio religioso.

My book examines a range of Robert Southey's writing to explore the relationship between Romantic literature and colonial politics during the expansion of Britain's second empire. This study draws upon a range of interdisciplinary materials to consider the impact of his work upon nineteenth-century views of empire. It also considers the writing of William Wordsworth, Samuel Taylor Coleridge, Lord Byron, Mary Russell Mitford and James Montgomery.

Bringing together eleven chapters using methods from book history and print culture studies, _The Work of Annotation in Eighteenth-Century Poetry_ explores the many functions of printed annotation, specifically how prose foot- and endnotes shaped poetry’s changing relation to the book trade and the class-specific marketing of literature after 1700.

Contributors: Karina Williamson, Barbara Benedict, David Hopkins, Adam Rounce, Sandro Jung, Tom Mason, Jeff Strabone, Mark Pedreira, Alex Watson, Thomas Van der Goten, William Jones, and Michael Edson

... Schotter 61 Angela Carter&#x27;s Narrative Chiasmus: The Infernal Desire Machines of Doctor Hoffman and The Passion of New Eve Scott Dimovitz 83 Literary Reportage: The &#x27;Other&#x27; Literary Journalism John C. Hartsock 113 &quot;The ...

This important contribution to both Romantic and cultural studies situates literature by Wordsworth, Southey, Hunt, Clare, and Blake within the context of folklore and popular customs associated with May Day. Romantic responses to May Day bring into focus a range of issues now regarded as central to the writing of the period – the natural world, city life, the pastoral, regional and national identities, popular culture, cultural degeneration, and cultural difference. Essaka Joshua explores new connections between these issues in the context of a set of heterogeneous cultural practices that are rooted in the traditions and activities of diverse social groups. She shows how Romantic writers have positioned themselves in relation to what has become known as the public sphere, and the way in which they articulate an understanding of the common sphere as a site of plebeian self-expression. Joshua's nuanced account acknowledges the full complexity of class formations and inter-class relationships and permits noncanonical and canonical texts such as the Prelude, Songs of Innocence and Experience, and 'The Village Minstrel' to be reinterpreted in a cultural context that has not been previously explored by literary critics.

The full text is available here
http://www.socratesjournal.com/index.php/socrates/article/view/46

http://online.pubhtml5.com/gqct/xbvz/

"Abstract
The impact of Persian literature on world culture and literature is undeniable. Persian poets such as Firdowsi, Sa’di, Hafiz, Rumi and Khayyam who deal with universal themes beyond a particular place and time are among the most widely-known literary figures of the world; their works are translated into different languages. Despite the fact that there are different translations of Persian literature in English, it is still not clear whether Persian literature has gained its appropriate place in the world. We study the reception of Persian literature in general and classical Persian poetry in particular in Britain and The United States to see whether it is rightly introduced to these countries or not. A close study of the reception of Persian poetry in Anglophone world in general and in Britain and The United States in particular reveals that while Persian literature is introduced and taught in these countries, it is still far from being truly known there. Those who have been familiar with Persian literature have mainly known it through translations by western scholars, and this has led to problems and misconceptions. As Edward Said argues in Orientalism, the orient is never truly depicted by the west. The best way would be to have Persian scholars of English literature translate Persian works into English.
Keywords: Classical Persian Poetry, Anglophone World, Translation, Britain, The United States.
"

This uniquely fascinating travelogue combines fictional accounts with social commentary to create a complex work of literary merit that appeals to a general readership, as well as students and scholars of Romantic-period literature and social history.

This article focuses upon the little-known musical refiguring of Robert Southey’s The Curse of Kehama by the British composer Granville Bantock (1868-1946). After noting parallels between the poet and composer’s creative difficulties associated with their respective projects, and issues highlighted in the reception of both ‘texts’, two aspects of Bantock’s project (a significant document in the reception of Southey’s poetry) are discussed in more detail: his attempts to unify an extended musico-poetic structure, and his response to the sense of ‘other’ in Southey’s poem. In terms of the latter, and in the context of Bantock’s complex relationship with the East, two specific ideas from Southey scholarship are identified as having a real potential in helping us to understand Bantock’s refiguring: the concept of layers of otherness in Southey’s poetry, and the panoramic mode. The application of these ideas in a musical context offers further parallels and contrasts between poet and composer, leading to a richer understanding of the complexities involved in creative responses to oriental material in literary and musical forms.

This article investigates Robert Southey&#39;s Thalaba the Destroyer representation of mechanized automata and copies of human forms, and proposes that the poem&#39;s mechanized humanoids is galvanized by a conflict between natural philosophy and Islamic scripture.

The first collection of its kind, Chartist Drama makes available four plays written or performed by members of the Chartist movement of the 1840s. Emerging from the lively counter-culture of this protest campaign for democratic rights, these plays challenged cultural as well as political hierarchies by adapting such recognisable genres as melodrama, history plays, and tragedy for performance in radically new settings. They include poet-activist John Watkins's John Frost, which dramatises the gripping events of the Newport rising, in which twenty-two Chartists lost their lives in what was probably a misfired attempt to spark a nationwide rebellion. Gregory Vargo's introduction and notes elucidate the previously unexplored world of Chartist dramatic culture, a context that promises to reshape what we know about early Victorian popular politics and theatre.
https://manchesteruniversitypress.co.uk/9781526142061/

This essay examines the rhetoric of sameness (as opposed to the more familiar rhetoric of otherness) that characterized British imperial interest in Spanish American during the Romantic era. To do this, it analyzes how Robert Southey's 1805 poem Madoc, a Welsh-Mexican epic set in the twelfth century, builds on the Burkean plea for colonial benevolence in India in order to mount its own vindication of 'good' imperialism in Spanish America. Southey's struggle to exalt traditional colonialism as the great unifier of conqueror and conquered was dogged, however, by internal contradictions as well as by Britain's increasingly aggressive presence in Spanish America. This essay appears in _Sullen Fires Across the Atlantic: Essays in Transatlantic Romanticism_, a volume of _Romantic Circles Praxis Series_, prepared exclusively for Romantic Circles (http://www.rc.umd.edu/), University of Maryland.

Publisher:  https://rowman.com/ISBN/9781611462524/Annotation-in-Eighteenth-Century-Poetry

This book chapter explores Robert Southey’s extensive endnotes for his eccentric medieval Welsh and Aztec conquest epic Madoc (1805). In the verse of this idiosyncratic piece, Southey retells the legend of Madoc, the Welsh prince who escaped dynastic conflict by sailing to South America and establishing a colony in Mexico. In his copious endnotes, Southey displays an exotic compendium of extracts from volumes of Portuguese poetry, histories of American Indians, Welsh druids, and South American conquistadors, as well as travel accounts of Canada, China, the West Indies, and the South Sea Islands. I argue that Southey’s annotations should be regarded as imprints, imprints with which we can trace his journey from the political radical he was in the last years of the eighteenth century to the conservative poetic and political identity that would define him as a man of letters in the nineteenth century.