The Collected Letters of Robert Southey. Part 1: 1791-1797 A Romantic Circles Electronic Edition Southey, Robert, 1774-1843 Lynda Pratt Romantic Circles General Editor, Neil Fraistat General Editor, Steven E. Jones General Editor, Carl Stahmer Technical Editor Laura Mandell 2009-03-15 rce132 letterEEd.26.132 Romantic Circles, http://www.rc.umd.edu, University of Maryland College Park, MD March 15, 2009

Material from the Romantic Circles Website may not be downloaded, reproduced or disseminated in any manner without authorization unless it is for purposes of criticism, comment, news reporting, teaching, and/or classroom use as provided by the Copyright Act of 1976, as amended.

Unless otherwise noted, all Pages and Resources mounted on Romantic Circles are copyrighted by the author/editor and may be shared only in accordance with the Fair Use provisions of U.S. copyright law. Except as expressly permitted by this statement, redistribution or republication in any medium requires express prior written consent from the author/editors and advance notification of Romantic Circles. Any requests for authorization should be forwarded to Romantic Circles:>

Romantic Circles c/o Professor Neil Fraistat Department of English University of Maryland College Park, MD 20742 fraistat@umd.edu

By their use of these texts and images, users agree to the following conditions: These texts and images may not be used for any commercial purpose without prior written permission from Romantic Circles. These texts and images may not be re-distributed in any forms other than their current ones.

Users are not permitted to download these texts and images in order to mount them on their own servers. It is not in our interest or that of our users to have uncontrolled subsets of our holdings available elsewhere on the Internet. We make corrections and additions to our edited resources on a continual basis, and we want the most current text to be the only one generally available to all Internet users. Institutions can, of course, make a link to the copies at Romantic Circles, subject to our conditions of use.

Morgan Library, MA 63. Not previously published.

These letters were edited with the assistance of Carol Bolton, Tim Fulford and Ian Packer

For permission to publish the text of MSS in their possession, the editor wishes to thank the Beinecke Rare Books and Manuscript Library, Yale University; Berg Collection of English and American Literature, The New York Public Library, Astor, Lenox and Tilden Foundations; the Bodleian Library Oxford University; the British Library; Boston Public Library; the Syndics of Cambridge University Library; the Syndics of the Fitzwilliam Museum Cambridge; Haverford College, Connecticut; the Historical Society of Pennsylvania; the Hornby Library, Liverpool Libraries and Information Services; the Houghton Library, Harvard University; the John Rylands Library, Manchester; the Kenneth Spencer Research Library, University of Kansas; Luton Museum (Bedfordshire County Council); Massachusetts Historical Society; McGill University Library; the National Library of Scotland; the Newberry Library, Chicago; the New York Public Library (Pforzheimer Collections); the Pierpont Morgan Library, New York; the Public Record Offices of Bedford, Suffolk (Bury St Edmunds) and Northumberland, the Master and Fellows of Trinity College, Cambridge; the Society of Antiquaries of Newcastle upon Tyne; the Trustees of the William Salt Library, Stafford, the Wisbech and Fenland Museum; the University of Virginia Library.

A research grant from the British Academy made much of the archival work possible, as did support from the English Department of Nottingham Trent University.

All quotation marks and apostrophes have been changed: " for “," for ”, ' for ‘, and ' for ’.

Any dashes occurring in line breaks have been removed.

Because of web browser variability, all hyphens have been typed on the U.S. keyboard.

Dashes have been rendered as a variable number of hyphens to give a more exact rendering of their length.

Southey's spelling has not been regularized.

Writing in other hands appearing on these manuscripts has been indicated as such, the content recorded in brackets.

& has been used for the ampersand sign.

£ has been used for £, the pound sign

All other characters, those with accents, non-breaking spaces, etc., have been encoded in HTML entity decimals.

 NINES categories for Genre and Material Form at http://www.performantsoftware.com/nines_wiki/index.php/Submitting_RDF#.3Cnines:genre.3E on 2009-02-26 Architecture Artifacts Bibliography Collection Criticism Letters Drama Life Writing Politics Folklore Ephemera Fiction History Leisure Manuscript Reference Works Humor Education Music nonfiction Paratext Perodical Philosphy Photograph Citation Family Life Poetry Religion Review Visual Art Translation Travel Book History Law Southey Letters: Biographies Southey Letters: Places Laura Mandell XSLT Transforming Averill Buchanan corrections from proofing Laura Mandell XSLT Transforming Averill Buchanan TEI Encoding
132. Robert Southey to Richard Duppa, [12 July 1795] Address: R DuppaEndorsement: Southey SD/ AnsMS: Morgan Library, MA 63Unpublished.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.

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.The first edition of Joan of Arc did not have a frontispiece, but the second edition (1798) did. & 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. A revised version of these lines appeared in Southey’s Joan of Arc, An Epic Poem (Bristol and London, 1796), p. 33.

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. Southey, Joan of Arc, An Epic Poem (Bristol and London, 1796), p. 33.

UnderwoodThomas Richard Underwood (1772–1835; DNB), watercolourist and geologist, who in 1795, advised Southey on possible illustrations for his poems. is in Bristol. & on seeing this subject he wishd LoutherbourgPhilippe Jacques de Loutherbourg (1740–1812; DNB), landscape painter and scene designer. 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 Bristol.

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.

yrs civically Robert Southey

I wish to have th a vignette engraved for a volume of poems. the subject from my Botany Bay Monologue.‘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). 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 StodhartThomas Stothard (1755–1834; DNB), painter and book illustrator. to design.

this is troubling you — but I believe you will feel pleasure in being busied for xxxxxxxx me

farewell.