Robert Southey

The Critical Heritage

Lionel Madden

• Publisher: Taylor & Francis
• Year: 2002
• Print ISBN: 9780415134446
• eBook ISBN: 9781134782147
• Edition: 1
• Topic: Literatur
• Subtopic: Literaturkritik

The Critical Heritage gathers together a large body of critical sources on major figures in literature. Each vlume presents contemporary responses to a writer's work, enabling the student or researcher to read the material themselves.

1 Unsigned review, Critical Review, November 1794, 2nd series, xii, 260-2

DOI: 10.4324/9780203197271-1

The fall of Robespierre was an event of the greatest importance to the affairs of France, and is a very proper subject for the tragic muse. It may, however, be thought by some to be too recent an event to admit of that contrivance which is essentially necessary in unravelling the plot of the drama. Indeed, we have been informed, that the work before us was the production of a few hours exercise, and must, therefore, not be supposed to smell very strongly of the lamp. Several parts too being necessarily made up of such reports of the French convention, as have already been collected through the medium of newspapers, may be expected to have little of the charms of novelty.

By these free remarks, we mean not to under-rate Mr. Coleridge’s historical drama. It affords ample testimony, that the writer is a genuine votary of the Muse, and several parts of it will afford much pleasure to those who can relish the beauties of poetry. Indeed a writer who could produce so much beauty in so little time, must possess powers that are capable of raising him to a distinguished place among the English poets. [Quotes from Act 1.]

This drama consists only of three acts, of which the first is by far the most finished. The third act closes beautifully:

[Quotes conclusion of Act III.]

2 Unsigned notice, British Critic, May 1795, v, 539-40

DOI: 10.4324/9780203197271-2

Mr. Coleridge has aimed at giving a dramatic air to a detail of Conventional speeches, which they were scarcely capable of receiving. The sentiments, however, in many instances are naturally, though boldly conceived, and expressed in language, which gives us reason to think the Author might, after some probation, become no unsuccessful wooer of the tragic muse.

3 A Bristol view of Southey, 1795 (?)

DOI: 10.4324/9780203197271-3

From The Observer, Part 1st. Being a transient glance at about forty youths of Bristol Enumerating what are the prominent traits in their characters, whether they be worthy of imitation, or otherwise, published anonymously in Bristol probably in 1795. The sketch of Southey is followed by a depiction of Coleridge, whose slovenly appearance and monotonous delivery clearly produced a less favourable impression on his audiences.

Example is a living Law whose sway

Men more than all the written Laws obey.

S. C Sedley

Robert South*y.

In him may be seen a pattern for imitation; his natural genius is far above mediocrity; his classical acquisitions render that genius of a superior class: his poetical writings breathe a fire of imagination that my pen is totally insufficient to the task of describing; his bosom glows with that philanthropy alone felt by the advocates in the cause of the liberation of their fellow-men; his principles are the result of conviction. Not the prospects of a large fortune at an Aunt’s demise, or any other pecuniary consideration could make him act derogatory to what were his opinions. He was educated at Oxford, where he made such rapid strides in the school of literature, as not to be followed by his fellow-scholars. He has lately delivered some Lectures in this City, which ought to draw from all men their most warm approbation; the language was that of truth, it was the language of Liberty! I must here observe, that his gesticulation and attitude when he is speaking in Public is not the most pleasing, his body is always too stiff, his features are apt to be distorted; they are faults which he can easily obviate; if he do, I am bold to say, that he will possess Demosthenean or Ciceronian abilities. From what has been adduced it is almost unnecessary to say, that he is really the man of virtue according to the present state of Society. He has produced many pieces which would do credit to a Pope or a Dryden, he has a Work about to be published entitled Joan of Arc an ‘Epic Poem’ the vast number of subscribers to it, plead strongly in its favour.

Joan of Arc, 1796

Southey commenced Joan of Arc in July 1793 and completed the first version within six weeks. In the following year he unsuccessfully attempted to publish the poem by subscription. In 1795 he read part of the work to Joseph Cottle, the young Bristol bookseller, who offered terms of 50 gns and fifty free copies which Southey could sell at his own profit. After further revision, carried out with some assistance from Coleridge, the poem was published by Cottle in 1796. It was generally favourably received, although Southey expressed dissatisfaction with its slow sale in London (Life, i, p. 291). He continued to revise it and a second edition was published by Longman in 1798.

4 Wordsworth, from a letter to William Matthews, 21 March 1796

DOI: 10.4324/9780203197271-4

Reprinted from The Letters of William and Dorothy Wordsworth, 1787-1805, 2nd edn revised by C. L. Shaver (1967), p. 169.

You were right about Southey, he is certainly a coxcomb, and has proved it completely by the preface to his Joan of Arc, an epic poem which he has just published. This preface is indeed a very conceited performance and the poem though in some passages of first-rate excellence is on the whole of very inferior execution.

5 John Aikin, unsigned review, Monthly Review, April 1796, n.s. xix, 361-8

DOI: 10.4324/9780203197271-5

Aikin (1747-1822), doctor and author, originally contributed reviews of medical works to the Monthly Review but later concentrated increasingly on literary topics. His enthusiastic assessment of Southey’s Poems (1797) is reprinted below (No. 12).

We were sorry to observe, in the preface to this work, certain facts stated in order to display the extreme rapidity with which it was written. An epic poem in 12 books finished in six weeks, and, on its improved plan in 10 books, almost entirely recomposed during the time of printing! Is it possible that a person of classical education can have so slight an opinion of (perhaps) the most arduous effort of human invention, as to suffer the fervour and confidence of youth to hurry him in such a manner through a design which may fix the reputation of a whole life? Though it may be that a work seldom gains much by remaining long in the bureau, yet is it respectful to the public to present to it a performance of bulk and pretension, bearing on its head all the unavoidable imperfections of haste? Does an author do justice to himself, by putting it out of his power to correct that which he will certainly in a few years consider as wanting much correction? To run a race with the press, in an epic poem, is an idea so extravagant, that Mr. S. must excuse us if it has extorted from us these animadversions. We now proceed to the work itself.

[Outlines plot.]

To proceed to the execution of the design: we do not hesitate to declare our opinion that the poetical powers displayed in it are of a very superior kind, and such as, if not wasted in premature and negligent exertions, promise a rich harvest of future excellence. Conceptions more lofty and daring, sentiments more commanding, and language more energetic, than some of the best passages in this poem afford, will not easily be found:—nor does scarcely any part of it sink to languor; as the glow of feeling and genius animates the whole. The language is, for the most part, modelled on that of Milton, and not unfrequently it has a strong relish of Shakspeare: but there are more defective and discordant lines than might be wished, either owing to carelessness, or to that piece of false taste, as we think it, the copying of harsh sounds or images in harsh versification. Indeed, the author, in his preface, expressly imputes his defects of this kind to design: but surely the loose prosody of English blank verse is neither too difficult, nor too melodious, to render a close adherence to its rules an indispensable law of poetry. Another frequent cause of halting measure is the false pronunciation of French proper names, which the writer commonly accents on the first syllable, after the English manner. We confess that we are also offended with the frequency of alliteration, often when the repeated sound is most harsh and unmusical. Nor can we praise the licentious coinage of new verbs out of nouns, in which our poet, in common with many other modern lovers of novelty, too much indulges. Indeed, there are few pages in which there is not somewhat to be mended in the diction or versification,—clearly accusing the hurry with which so great a work has been completed.

With respect to the sentiments, they are less adapted to the age in which the events took place, than to that of the writer; being uniformly noble, liberal, enlightened, and breathing the purest spirit of general benevolence and regard to the rights and claims of human kind. In many parts, a strong allusion to later characters and events is manifest; and we know not where the ingenuity of a crown lawyer would stop, were he employed to make out a list of innuendos. In particular, War, and the lust of conquest, are every where painted in the strongest colours of abhorrence.—Far be it from us to check or blame even the excesses of generous ardour in a youthful breast! Powerful antidotes are necessary to the corrupt selfishness and indifference of the age.

[Quotes several passages from the poem.]

Table of contents

• Cover Page
• Half Title Page
• Series Page
• Title Page
• Copyright Page
• Dedication
• General Editor’s Preface
• Contents
• Preface
• Acknowledgments
• Abbreviations
• Introduction
• Note on the Text
• The Fall of Robespierre (1794)
• 1 Unsigned review, Critical Review, November 1794
• 2 Unsigned notice, British Critic, May 1795
• 3 A Bristol view of Southey, 1795(?)
• Joan of Arc (1796)
• 4 Wordsworth, from a letter to William Matthews, March 1796
• 5 John Aikin, unsigned review, Monthly Review, April 1796
• 6 From an unsigned review, Critical Review, June 1796
• 7 lamb, from a letter to Coleridge, June 1796
• 8 Unsigned notice, Monthly Magazine, July 1796
• 9 From an unsigned review, Analytical Review, 1796
• 10 Coleridge, from three letters, November and December 1796, March 1797
• Poems by Robert Southey (1797, 1799)
• 11 Coleridge, from two letters, December 1796 and April 1797
• 12 John Aikin, unsigned review, Monthly Review, March 1797
• 13 Parodies in the Anti-Jacobin, November and December 1797
• 14 lamb, letter to Southey, March 1799
• Thalaba the Destroyer (1801)
• 15 Unsigned review, British Critic, September 1801
• 16 Unsigned review, Monthly Mirror, October 1801
• 17 From an unsigned review, Monthly Magazine, January 1802
• 18 Francis Jeffrey, unsigned review, Edinburgh Review, October 1802
• 19 william Taylor, unsigned review, Critical Review, December 1803
• Amadis of Gaul (1803)
• 20 Walter scott on Southey as translator, Edinburgh Review, October 1803
• 21 From an unsigned review, British Critic, November 1804
• Madoc (1805)
• 22 wordsworth, from two letters to Sir George Beaumont, June, July 1805
• 23 Dorothy wordsworth, from a letter to Lady Beaumont, June 1805
• 24 John ferriar, unsigned review, Monthly Review, October 1805
• 25 From an unsigned review, Imperial Review, November 1805
• 26 From an unsigned review, Eclectic Review, December 1805
• 27 From an unsigned review, Literary Journal, 1805
• 28 From an unsigned review, General Review of British and Foreign Literature, June 1806
• Metrical Tales and Other Poems (1805)
• 29 From an unsigned review, Critical Review, February 1805
• 30 william Taylor, unsigned review, Annual Review, 1806
• Specimens of the Later English Poets (1807)
• 31 From an unsigned review, Universal Magazine, July 1807
• Letters from England (1807)
• 32 francis Jeffrey, unsigned review, Edinburgh Review, January 1808
• 33 Christopher lake moody, unsigned review, Monthly Review, April 1808
• The Remains of Henry Kirke White (1807, 1822)
• 34 Southey as editor, Cabinet, March 1808
• The Chronicle of the Cid (1808)
• 35 Coleridge, from a letter to Humphry Davy, December 1808
• 36 mrs thrale on Southey, August 1808
• 37 Byron, satire in English Bards and Scotch Reviewers, 1809
• The Curse of Kehama (1810)
• 38 From an unsigned review, Monthly Mirror, February 1811
• 39 From an unsigned review, Critical Review, March 1811
• 40 John foster, unsigned review, Eclectic Review, April 1811
• 41 From an unsigned review, Literary Panorama, June 1811
• The History of Brazil (1810–19)
• 42 From an unsigned review, Eclectic Review, September 1810
• 43 Joseph Lowe, unsigned review, Monthly Review, December 1812
• 44 Shelley on Southey, 1811–12
• 45 Byron on Southey, 1811–13
• 46 henry crabb robinson on Southey, 1811–15
• 47 james smith, parody of Southey, 1812
• 48 Walter scott recommends Southey as Poet Laureate, September 1813
• The Life of Nelson (1813)
• 49 From an unsigned review, Critical Review, July 1813
• 50 From an unsigned review, British Critic, October 1813
• 51 From an unsigned review, Eclectic Review, June 1814
• Roderick, The Last of the Goths (1814)
• 52 From an unsigned review, Theatrical Inquisitor, December 1814
• 53 John Herman merivale, unsigned review, Monthly Review, March 1815
• 54 grosvenor charles Bedford, unsigned review, Quarterly Review, April 1815
• 55 John Taylor Coleridge, unsigned review, British Critic, April 1815
• 56 lamb, from a letter to Southey, May 1815
• 57 From an unsigned review, Christian Observer, September 1815
• 58 From an unsigned review, British Review, November 1815
• Carmen Triumphale for the Commencement of the Year 1814 (1814)
• 59 From an unsigned review, Critical Review, February 1814
• 60 From an unsigned review, Scourge, February 1814
• 61 Unsigned review, Eclectic Review, April 1814
• Odes to … the Prince Regent, … the Emperor of Russia, and … the King of Prussia (1814)
• 62 From an unsigned review, British Critic, July 1814
• The Poet’s Pilgrimage to Waterloo (1816)
• 63 From an unsigned review, Critical Review, May 1816
• 64 From an unsigned review, Monthly Review, June 1816
• 65 From an unsigned review, Augustan Review, July 1816
• 66 Josiah conder, unsigned review, Eclectic Review, August 1816
• The Lay of the Laureate. Carmen Nuptiale (1816)
• 67 Francis Jeffrey, unsigned review, Edinburgh Review, June 1816
• 68 William hazlitt, unsigned review, Examiner, July 1816
• 69 From an unsigned review, Augustan Review, August 1816
• 70 Unsigned notice, New Monthly Magazine, August 1816
• 71 james hogg, parody in The Poetic Mirror, 1816
• Wat Tyler (1817)
• 72 William hone, Reformists’ Register, February 1817
• 73 william hazlitt, unsigned review, Examiner, March 1817
• 74 From a debate in the House of Commons, March 1817
• 75 From an unsigned review, Black Dwarf, March 1817
• 76 Unsigned notice, Literary Gazette, March 1817
• 77 Byron, from a letter to John Murray, May 1817
• 78 Southey, satirized: The Changeling, 1817
• A Letter to William Smith, Esq., M.P. (1817)
• 79 leigh hunt, ‘Extraordinary Case of the Late Mr. Southey’, Examiner, May 1817
• 80 Unsigned notice, Monthly Review, June 1817
• 81 Unsigned notice, New Monthly Magazine, June 1817
• 82 George ticknor meets Southey, May 1817
• 83 Coleridge on Southey, 1817
• 84 Byron, dedication of Don Juan, 1818
• 85 Thomas love peacock on Southey, 1818
• 86 ‘The nine-pin of reviews’, byron on Southey, 1819
• The Life of Wesley and the Rise and Progress of Methodism (1820)
• 87 Unsigned notice, Monthly Magazine, June 1820
• 88 richard watson, a Methodist view, 1820
• 89 John gibson lockhart, unsigned review, Blackwood’s Edinburgh Magazine, February 1824
• A Vision of Judgement (1821)
• 90 From an unsigned review, Literary Gazette, March 1821
• 91 From an unsigned review, Literary Chronicle and Weekly Review, March 1821
• 92 Dorothy Wordsworth, from a letter to Mrs Clarkson, March 1821
• 93 From an unsigned review, Monthly Review, June 1821
• 94 Byron, The Two Foscari, 1821
• 95 Southey satirized: Peter Pindar’s Ghost, 1821
• 96 byron’s Vision of Judgment, 1822
• History of the Peninsular War (1823–32)
• 97 From an unsigned review, Literary Gazette, December 1822
• 98 From an unsigned review, Monthly Censor, March 1823
• 99 From an unsigned review, Eclectic Review, July 1823
• 100 Wordsworth, from a letter to Southey, February-March 1827
• The Book of the Church (1824)
• 101 From an unsigned review, Universal Review, March 1824
• 102 From an unsigned review, British Critic, May 1824
• 103 From an unsigned review, Examiner, October 1824
• 104 William hazlitt, The Spirit of the Age, 1824
• A Tale of Paraguay (1825)
• 105 From an unsigned review, Blacktvood’s Edinburgh Magazine, September 1825
• 106 From an unsigned review, Eclectic Review, 1825
• 107 William benbow, A Scourge for the Laureate, 1825(?)
• 108 Thomas love peacock, ‘Fly-by-Night’, 1825–6
• 109 William hazlitt on Southey’s prose style, 1826
• 110 john henry newman on Southey’s epics, 1829
• Sir Thomas More, or, Colloquies on the Progress and Prospects of Society (1829)
• 111 wordsworth, from a letter to George Huntly Gordon, May 1829
• 112 From an unsigned review, Monthly Review, 1829
• 113 thomas babington macaulay, unsigned review, Edinburgh Review, January 1830
• 114 From an unsigned review, Fraser’s Magazine, June 1830
• 115 John stuart mill on Southey, October 1831
• 116 Bulwer-lytton on Southey, 1833
• The Doctor (1834–47)
• 117 John Gibson lockhart, unsigned review, Quarterly Review, March 1834
• 118 henry crabb robinson on The Doctor, 1836–8
• 119 Thomas carlyle meets Southey, February 1835
• 120 George ticknor, reunion with Southey, September 1835
• 121 Evaluation by henry crabb robinson, January 1839
• 122 Herman merivale on Southey’s poetry, Edinburgh Review, January 1839
• 123 Reminiscences by thomas de quincey, 1839
• 124 Wordsworth’s epitaph, 1843
• 125 lord Shaftesbury on Southey’s character, March 1843
• 126 Wordsworth on Southey and Coleridge, October 1844
• 127 Joseph Cottle on Southey in early life, 1847
• 128 John anster, unsigned review, North British Review, February 1850
• 129 John henry Newman on Southey’s epics, March 1850
• 130 charlotte Bronte on Southey, April 1850
• 131 Walter savage landor, Fraser’s Magazine, December 1850
• 132 John Gibson lockhart and whitwell elwin, Quarterly Review, December 1850
• 133 William bodham donne, Edinburgh Review, April 1851
• 134 Walter bagehot on Southey, 1853
• 135 Nathaniel hawthorne on Southey, 1855
• 136 samuel rogers on Southey, 1856
• 137 Southey as essayist and reviewer, Bentley’s Miscellany, 1856
• 138 Southey’s character: a tribute from thackeray, 1860
• 139 George borrow on Southey, 1862
• 140 lewis carroll parodies Southey, 1865
• 141 thomas carlyle’s reminiscences of Southey, January– March 1867
• 142 John Dennis on Southey’s prose, 1876
• 143 Gerard manley hopkins on the versification of Thalaba, 1878
• 144 Edward dowden on Southey, 1879
• Bibliography
• Index