331. To Robert Southey (10 April 1800)

2000 ◽  
Author(s):  
Samuel Taylor Coleridge
Keyword(s):  
Robert Southey

Robert Southey

2011 ◽  
Author(s):  
Stuart Andrews
Keyword(s):  
Robert Southey

Lynda Pratt The Collected Letters of Robert Southey: Part One, 1791–7

Romanticism ◽  
2011 ◽  
Vol 17 (1) ◽  
pp. 116-118
Author(s):  
Caroline Franklin
Keyword(s):  
Robert Southey

What Robert Southey Did Not Write Next

Romanticism ◽  
2011 ◽  
Vol 17 (1) ◽  
pp. 1-9 ◽  
Author(s):  
Lynda Pratt
Keyword(s):  
Robert Southey

‘Otherwise in London’ or, the ‘Essence of Things’: Modernity and Estrangement in the Nineteenth-Century Cityscape

2015 ◽  
Vol 5 (1) ◽  
pp. 17-35
Author(s):  
Julian Wolfreys
Keyword(s):  
Nineteenth Century ◽  
William Wordsworth ◽  
Urban Landscape ◽  
Thomas De Quincey ◽  
Urban Centre ◽  
Early Nineteenth Century ◽  
Urban Representation ◽  
Robert Southey ◽  
The World ◽  
The City

Writers of the early nineteenth century sought to find new ways of writing about the urban landscape when first confronted with the phenomena of London. The very nature of London's rapid growth, its unprecedented scale, and its mere difference from any other urban centre throughout the world marked it out as demanding a different register in prose and poetry. The condition of writing the city, of inventing a new writing for a new experience is explored by familiar texts of urban representation such as by Thomas De Quincey and William Wordsworth, as well as through less widely read authors such as Sarah Green, Pierce Egan, and Robert Southey, particularly his fictional Letters from England.

Conclusion

2018 ◽  
Author(s):  
W. B. Patterson
Keyword(s):  
Nineteenth Century ◽  
Samuel Taylor Coleridge ◽  
English Reformation ◽  
Historical Writing ◽  
Robert Southey ◽  
History Of ◽  
Charles Lamb

Fuller’s books about England’s religious past helped to stimulate an outpouring of historical writing. Peter Heylyn wrote about some of the same subjects as Fuller, and so did Gilbert Burnet, Edward Stillingfleet, John Strype, and Jeremy Collier. Burnet, who looked for models for his history of the English Reformation, was sarcastic about Fuller, partly because of the latter’s “odd way of writing.” Fuller’s work was not highly regarded in the late seventeenth and eighteenth centuries. In the nineteenth century Charles Lamb, Robert Southey, and Samuel Taylor Coleridge deeply admired him for his insights and praised him for his writing. Several nineteenth-century historians defended his work. His reputation has remained uncertain, despite fresh assessments in recent years. Coleridge was remarkably apt in his viewpoint. Fuller saw the broader significance of the events he described and was one of the most sensible scholars and writers of his time.

A Reluctant Traveller: Robert Southey by Stages

2011 ◽  
Vol 42 (1) ◽  
pp. 73-77 ◽  
Author(s):  
Kerri Andrews
Keyword(s):  
Robert Southey

‘Peripateticating among the mountains’: Robert Southey and the Aesthetics of Pedestrian Motion

Romanticism ◽  
2021 ◽  
Vol 27 (1) ◽  
pp. 75-87
Author(s):  
Jonathan Gonzalez
Keyword(s):  
Travel Narrative ◽  
Lake District ◽  
Robert Southey ◽  
Multiple Meanings ◽  
Insight Into

Robert Southey's first published text about the Lake District, the faux travel narrative Letters from England (1807), inaugurated what became a lifelong concern with this landscape, one with pedestrianism at its very core. Ostensibly the work of the Spanish tourist Don Manuel Alvarez Espriella, Southey's Lakeland tour narrative depended on his own Letters Written During a Short Residence in Spain and Portugal (1797) – his Iberian countryside ramblings serving as a blueprint to frame his alter ego's engagement with the Lakes on foot. The motif of the outlandish Spaniard in the English fells as a turnaround of the foreign Englishman walking in Iberia, I argue, was exploited by Southey to outgrow the limitations of the picturesque as a mode of understanding and appreciating landscape. These two texts offer an insight into the direction of thought at work in peripatetic practice, evincing a markedly pedestrian Southeyan gaze that highlights each place's potential to hold multiple meanings.

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