In the following essay, Blumenthal focuses on “New England,” “Dear Friends,” “Doctor of Billiards,” and “Richard Cory” in a discussion of Robinson's ambivalent response to the conventions and values of his hometown, Gardiner, Maine.

In the following essay, Blumenthal traces the influence of the ideas of William James on Robinson's poetry.

In the following essay, Pack discusses humor in the poetry of Robinson and Thomas Hardy.

In the following essay, Anderson discusses Robinson's theory of poetry as revealed in his comments on his own works and those of his associates.

In the following essay, Cambon outlines the main characteristics of Robinson's poetry, particularly noting the unique aspects that set him apart from his contemporaries.

In the following essay, originally published in 1954, Coxe identifies strengths in Robinson's poetry that place him among the most important American poets of the twentieth century.

In the following essay, Lucas offers an appreciative overview of Robinson's poetry, particularly expressing admiration for his portrayals of ordinary characters.

In the following essay, Satterfield discusses the controversy surrounding poetic intention in Robinson’s sonnet, “New England.”

In the following essay, Trachtenberg discusses Robinson's response to the democratic ideals expressed in the poetry of Walt Whitman.

In the following essay, Cassity argues that Amaranth is “the superior of [Robinson's medieval poems, and possibly his masterpiece.”]

In the following essay, originally published in 1970, Howe praises what he considers sincerity and honesty in Robinson's poetry and discusses his lack of appeal among modern readers.

In the following essay, Crowder examines Robinson's concept of redemption as revealed in Talifer.

In the following essay, originally published in 1973, Lewis identifies Robinson as one of the key figures in American poetry of the period from 1890 to 1910.

In the following essay, Hall presents an appreciative overview of Robinson's life and works.

In the following excerpt, Garvin elaborates on his earlier ideas about “Richard Cory” in the course of discussing a new method of criticism. Garvin stresses the importance of Robinson's choice of and attitude toward the poem's narrator.

In the following essay, Kavka responds to Charles A. Sweet's essay on “Richard Cory” with a diagnosis: “Richard Cory” (see above) is the portrait of a narcissist with borderline personality disorder.

In the following essay, originally published in 1948, Cowley presents an overview of Robinson's career and achievement.

In the following excerpt, Weirick assesses Robinson's place in the pantheon of great American poets, concluding that Robinson and his contemporary, Robert Frost, are craftsmen rather than geniuses. Additionally, the critic examines “Richard Cory,” and argues that the mysterious distance between Cory and his neighbors mirror Robinson's own perceived distance from the rest of humanity.

In the following essay, Byrd discusses how Robinson juxtaposes traditional structure and radical content in “Richard Cory.”

In the following essay, Sweet proposes that “Richard Cory” be read as a parable in which envious townspeople simultaneously reject and idealize the wealthy Cory, heightening his isolation and propelling him toward suicide.

In the following essay, Garvin advocates a fresh and careful rereading of “Richard Cory,” as well as of other poems whose impact has been blunted by fame.

In the following essay, Clifton reports on her use of Robinson's poem “Richard Cory” together with the Paul Simon and Art Garfunkel song of the same title, to help high school students get at issues of authorial intent.

In the following essay, Moore favorably reviews The Man Who Died Twice.

In the following essay, Justice broadly places Robinson and The Torrent and the Night Before in the context of modern American poetry.

In the following essay, Burkhart analyzes the role of word choice in “Richard Cory,” pointing out that Robinson creates a series of contrasts between Cory and the townspeople as well as between Cory's inward and outward selves.

In the following essay, Kart adds to Jerome Kavka's psychoanalytic reading of “Richard Cory,” (see above), asserting that Cory is an artist who does not find an outlet.

In the essay below, Morris argues that Robinson's choice of British-sounding words in “Richard Cory” evokes the class divide between Richard Cory and the townspeople who narrate the poem.

In the following essay, Turner argues against Charles R. Morris' thesis that Robinson's word choices in “Richard Cory” are intended to associate Cory with British royalty.