132. Robert Southey to Richard
Duppa, [12 July 1795]
Poor Seward! I write to you Duppa with a strange sinking of the
heart. he introduced me to you — he purified & strengthened my heart —
& he has left a vacancy there which will not easily be supplied.
Of my Joan of Arc. the
bookseller who has purchased the copy right will have a
frontispiece.  & he talks of about thirty
guineas as the expence of designing & engraving. will you get this done
for me? you can enter into the design character
& conceive my ideas, these are the lines as narrated by the Maid.
Last evening lorn in thought I wandered forth.
Down in the dingles depth there is a brook
That makes its way between the craggy stones
Murmuring hoarse murmurs. on an aged oak
Whose root uptorn by tempests overhangs
The stream, I sate & markd the deep red clouds
Gather before the wind, while the rude dash
Of waters rockd my senses, & the mists
Rose round. there as I gazed a Form dim seen
Descended, like the dark & moving clouds
That in the moon-beam change their shadowy shapes.
His voice was on the breeze. he bade me hail
The missiond Maid — for lo! the hour was come.
Then was the future present to my view
And strange events yet in the womb of Time
To me made manifest. I sate entranced
In the beatitude of heavenly vision. 
I should give you the lines expressing the character of Joan after she had once
been awakened to patriotism.
From that night I could feel my burthend soul
Heaving beneath incumbent Deity.
I sate in silence musing on the days
To come. anon my rapturd eye would glance
A wild prophetic meaning. I have heard
Strange voices in the evening wind — strange Forms
Dimly-discoverd, throngd the twilight sky.
They wondered at me who had known me once
A chearful careless Damsel. I have seen
Theodore gaze upon me wistfully
Till he did weep. I would have told him all
The mighty future labouring in my breast
But that methought the hour was not yet come.
shunning every eye
I loved to wander where the forest shade
Frownd deepest, there on mightiest deeps to brood
Of shadowy vastness such as made my heart
Throb fast. anon I pausd & in a state
Of half expectance listend to the wind. 
Underwood  is
in Bristol. & on seeing this subject he wishd Loutherbourg  to design it. the size is quarto. & a good design
well executed from such a subject would assist the work.
forgetting your number I enclose this to Bedford. will you be good
enough to tell me if you can get this done for me & what you estimate
the expence at. for artists use your own judgement & I am sure the
design that you approve will please me.
God bless you.
what was it that killd my dear Edmund Seward? I wrote to him
immediately on hearing of his illness. & William answerd it — for it arrived
the very hour of his death. you know not how I esteemed & loved him nor
the deep & lasting impression his death has made upon me.
direct to me at Mrs Sawiers. No 25 College Street
the poem is in the press & will be deliverd on the first
of January. I am anxious for its success — & a good deal is for Cottles sake the bookseller, a
liberal worthy man. type & paper are very splendid. for the poetry I could say much myself.
I wish to have th a vignette engraved for a
volume of poems. the subject from my Botany Bay Monologue.  a female on the sea shore, at New Holland
<gathering shells for lime>. Bedford will shew you the poem:
Underwood thinks it a very good subject for Stodhart  to design.
this is troubling you — but I believe you will feel pleasure
in being busied for xxxxxxxx me
* Address: R Duppa
Endorsement: Southey SD/
MS: Morgan Library, MA 63
Dating note: This
letter is the enclosure referred to in Letter 131, Southey to Grosvenor
Charles Bedford [12 July 1795], and can be dated accordingly. BACK
 The first edition of
Joan of Arc did not have a frontispiece, but
the second edition (1798) did. BACK
 A revised version of these lines appeared in Southey’s
Joan of Arc, An Epic Poem (Bristol and
London, 1796), p. 33. BACK
 Southey, Joan of Arc, An
Epic Poem (Bristol and London, 1796), p. 33. BACK
 Thomas Richard Underwood
(1772–1835; DNB), watercolourist and geologist, who
in 1795, advised Southey on possible illustrations for his poems. BACK
 Philippe Jacques de Loutherbourg (1740–1812;
DNB), landscape painter and scene
 ‘Elinor’, which was published in the Morning Chronicle, 18 September 1794, and revised
for Poems (1797). For the text of the poem, see
Southey to Grosvenor Charles Bedford [started before/on 12 May 1795]
(Letter 127). BACK
 Thomas Stothard (1755–1834; DNB), painter and book illustrator. BACK