Bartlett, Phyllis.  George Meredith.  London: Longmans Green, 1963.

In George Meredith’s Modern Love, there exist examples of almost every kind of poetry.  Within his sixteen-line "mock sonnets" Meredith develops this unique pattern.  "He rises form the purely epigrammatic, a witty thought neatly turned, to the heightened epigrammatic, and then on to passages in which emotion spurs the wit" (92).  Bartlett, whose criticism of Meredith is supported with textual and historical evidence, considers Modern Love an able poem, but not a great one.  He says, "A great deal of his verse fails, some prose form, because the writer, for all his great gifts, is not feeling as a poet should feel"(95).  Bartlett believes that the reason for this is because Meredith’s attitude of mind is not the criterion of his work.  Furthermore, his attitude is too frequently coldly didactic, and his works are not sufficiently charged with emotion.

There is a lack of coherent fluidity in Meredith's famous sonnet cycle, Modern Love, because of inconsistencies in the narrative.  Meredith does not adhere to a strict narrative structure or the conventions of a clear narrative.  This creates problematic moments for the readers or scholars who study the work.  These raptures in linear narrative conventions are chronology, location, imagery patterns, and the form of the narrator’s voice.  Although Modern Love does evoke emotion and sympathy from many whom encounter the work, these reactions are strained by the contradictions created in the text by the narrative.  These contradictions make it difficult for the reader to follow the poem thematically and also creates difficulties in making insights to the ideas and assertions that Meredith creates in the poem.  Ultimately, because of the problematic aspects of the narratives, as the reader pieces together a picture of the narrator the reader will begin to question not only the narrator's quest and motives, but the narrator himself.

Crunden notes that many critics feel George Meredith’s poetry is excessively didactic.  Crunden states that the expressions of Meredith’s ideas are usually his least admired works of art, including "The Woods of Westermain."  Crunden believes that "The Woods of Westermain" reveals Meredith as a skillful poet and an interesting thinker. According to Meredith poetry has concrete images that have a kind of truth that philosophy could never attain.  In her article she is trying to prove the concrete images and abstract formulation of the poem are involved with each other inextricably.
 
Crunden interprets the poem as one divided into sections to celebrate pleasure, love and wisdom, which are found in the woods. The main theme, to Crunden, is that the real woods are enchanted with both wonder and terror.  The dare to enter the woods can not be understood until each section offers reasons for the transformation of one into the other.  Crunden believes that section one is a summary of the poem as a whole, which is the idea one must learn and obey the demands in life in the enchanted woods.   According to Crunden, section two dwelt on the sensuous pleasures that are found in the woods, while section three shows the stages in the growth of the love of earth.  The fourth section concludes with the wisdom and knowledge that peace arises from recognition that man is equal with small things such as the mouse and the worm.

Pauline Fletcher argues that the subject of "Modern Love" is more the state of mind of the narrator than the behavior of the wife.  She also proposes that "Modern Love" should be read as psychological poetry.

Fletcher argues that Meredith is obviously fascinated by the psychology of jealousy and believes it is remarkable that he views it with detachment, using it in many different forms.  This conclusion is based on her thought that "Modern Love" uses jealousy in a tragic muse or tragic/irony and later works use jealousy in comical views.  She insists that Meredith took Victorian psychological poetry to a new level of complexity by combining a sonnet sequence, Shakespearean drama, dramatic monologue and the novel.  The husband in the "Modern Love" story is not simply a case history of jealousy, but more importantly a character in process.

 Fletcher also argues that the main idea of the poem is embedded in Section 46; however, it is as ambiguous as the rest of the poem. It is in this section that the husband regains his firm belief in the wife.  The declaration of this belief startles the wife as she realizes the husbands distrust.  Fletcher believes "Modern Love" is a unique sonnet because although a man writes it and the antagonistic husband is the narrator, it creates the consciousness and point of view of the woman.

Kozicki, Henry.  "The 'Unholy Battle' with the other in George Meredith's Modern Love." Papers on Language and Literature 23 (1987): 142-160.

Because Modern Love is filled with war-like imagery, many scholars have
read the text as a symbolic battle between the married couple and their struggles with infidelity and lost love and time.  However, this reading does not seem to be completely accurate, for it does not capture the true nature of the relationship between the man and his wife.  Their relationship, Kozicki argues, is a disturbed and abnormal one.  Unlike what has been argued in the past, it is not love or lost time that the two are battling against each other for, but rather for possession of the other.  Their "unholy battle" is a battle for domination and control, not for love.

Pattison, Mark.  Academy 21 July (1883).  Rpt. in Meredith: The Critical Heritage.  Ed.  Ioan Williams.  New York: Barnes and Noble, 1971.  248-252.

Mark Pattison offers a favorable review of George Meredith and his poetic works in his 21 July 1883 article in the Academy.  Pattison immediately notes Meredith’s limited readership and unique appeal.  He feels that Meredith’s language tends to make his poetry and its meaning obscure.  He finds this especially true in Meredith’s poem, "The Woods of Westermain".  Pattison believes that with extra effort and serious contemplation one will most definitely be able to recognize the talent and beauty of George Meredith and his works.  He does believe, however, that Meredith's collection of poems, Poems and Lyrics of the Joy of Earth has more to offer to a scholar than to an everyday reader.  Pattison feels this way because Meredith delves much deeper than surface level in an attempt to explore the difficulties of human life and existence.  Once explored, these works will open up unimagined pleasure because of the deep understanding that will result.

Pattison believes that "The Woods of Westermain" exalts Meredith’s entire poetic collection because it captures the reader’s fancy.  One is left to reflect on life and the journey each individual will experience.  He finds profound teachings within "The Woods of Westermain".  He thinks the reader will learn "how what we see depends upon what we are; how transcendental influences are only to be approached through the real."  True spirituality can only be found by experiencing nature and it's reality.  A journey through the woods with Meredith offers more than trees and wildlife; the reader is called to go beyond that to find the true meanings and teachings of Meredith.

Trevelyan, G. Macaulay.  Poetry and Philosophy of George Meredith. London: Constable, 1907.  155-165.

Trevelyan shares a popular view of George Meredith.  He feels that his poetry is for the experienced reader, as the poems call for serious focus and study.  "The Woods of Westermain" is one such poem.  The ordinary reader will most definitely find difficulty within Meredith’s extended metaphors and compact phrases.  Trevelyan recognizes the profound talent of Meredith and says, "The stunning brevity of these lines, the heavy call which they make on our powers of understanding and sympathy to interpret them, are defensible only on the ground that they have a picturesque effectiveness that captures the imagination and holds the memory." It is important, as a reader, to remember the depths that Meredith demands his readers to explore.  Within a few lines of poetry, Meredith is able to relay new worlds.
Rather than dismiss Meredith’s poetry because of its difficulty, Trevelyan attempts to explain George Meredith’s intent in "The Woods of Westermain."  He argues that understanding George Meredith as a man will help the reader understand his poetry.  Trevelyan believes it is possible to read the poem solely on the surface level and be completely ignorant of Meredith’s intention, but he thinks it is hard to ignore Meredith’s representation of human life as a forest.  Meredith feels life's path can be beautiful if one is able to walk on it unafraid of what may be encountered.  One must be strong and travel without dread.  With fear, an individual will find herself on a horrifying journey into the unknown.  The author also sees Meredith make the reader feel the beauty of life by using the most ordinary situation and setting.