Access the full text.
Sign up today, get DeepDyve free for 14 days.
[This chapter investigates Robert Southey’s Poems 1799 as an anxious reaction to Wordsworth’s employment of popular magic as an emancipating force. In ‘The Witch’, ‘The Cross Roads’, and ‘The Mad Woman’ the occult practitioner is revised as a dangerously reactionary figure, whose occult credentials further entrap their communities (and themselves) in outmoded dependence on patriarchal power. Poems 1799 is a stage of struggle for Southey’s political identity, as anxieties regarding his deepening conservatism are enacted in his revocalisations of Lyrical Ballads. Finally, the chapter turns to Thalaba the Destroyer. Written at the height of Southey’s apostate anxiety, the oriental drama is the site of debate regarding political identities and the uses of the occult at the end of a revolutionary decade.]
Published: Jan 17, 2019
Read and print from thousands of top scholarly journals.
Already have an account? Log in
Bookmark this article. You can see your Bookmarks on your DeepDyve Library.
To save an article, log in first, or sign up for a DeepDyve account if you don’t already have one.
Copy and paste the desired citation format or use the link below to download a file formatted for EndNote
Access the full text.
Sign up today, get DeepDyve free for 14 days.
All DeepDyve websites use cookies to improve your online experience. They were placed on your computer when you launched this website. You can change your cookie settings through your browser.