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<title type="main">The Collected Letters of Robert Southey. Part 2: 1798-1803 </title>
<title type="subordinate">A Romantic Circles Electronic Edition</title>
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<name>Southey, Robert, 1774-1843</name>
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<editor>Lynda Pratt</editor>
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<idno type="nines">rce370</idno>
<idno type="edition">letterEEd.26.361</idno>
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<p>National
                        Library of Wales, MS 4811D.  Previously  published:
                        Kenneth Curry (ed.), New Letters of Robert
                            Southey, 2 vols (London and New York, 1965),
                        I, pp. 176–178.</p>
<p>These letters were edited with the assistance of Carol Bolton, Tim Fulford and Ian Packer</p>
<p>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.</p>
<p>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.</p>
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<div n="361" type="letter">
<head>361. Robert Southey to <ref target="people.html#WynnCharlesWW">Charles Watkin
                        Williams Wynn</ref>, <date when="1798-12-17">17 December
                        1798</date>
<note place="foot" resp="editors" type="headnote">Address: To/ C. W. Williams Wynn Esq<hi rend="sup">r</hi>. M.P./ 5 Stone Buildings/ Lincolns
                        Inn/ London<lb/>Stamped: BRISTOL<lb/>Postmarks: FREE/
                        DE/ 18/ 98; B/ DE/ 18/ 98<lb/>Endorsements: Dec 17/ 98;
                            M<hi rend="sup">r</hi> Wynn <lb/>MS: National
                        Library of Wales, MS 4811D<lb/>Previously published:
                        Kenneth Curry (ed.), <title>New Letters of Robert
                            Southey</title>, 2 vols (London and New York, 1965),
                        I, pp. 176–178.</note>
</head>
<opener>
<dateline>
<date when="1798-12-17">Monday. Dec 17. 98.</date>
</dateline>
<salute>My dear Wynn</salute>
</opener>
<p rend="indent1"> I have been about &amp; about writing these
                    many days, but my daily walk takes up so inconvenient a
                    portion of my day that I find the rest short enough for its
                    calls. you do not know the comfort of slipping eight miles
                    thro the mire for the mere purpose of exercise with no other
                    end or object &amp; in all weathers. since my return I have
                    been very unwell &amp; still am indisposed enough to be very
                    punctual in following advice.</p>
<p rend="indent1"> The Lyrical Ballads are by <ref target="people.html#ColeridgeSamuelTaylor">Coleridge</ref> &amp; <ref target="people.html#WordsworthWilliam">Wordsworth</ref>.<note n="1" place="foot" resp="editors">
<title>Lyrical Ballads, With a Few Other
                            Poems</title> (1798).</note> The Night[MS torn], the
                    Dungeon, the Foster Mothers Tale, &amp; the long ballad of
                    the Old [MS torn]er are all that were written by <ref target="people.html#ColeridgeSamuelTaylor">Coleridge</ref>. the ballad I think nonsense, the
                    nightingale tolerable. the other two are pieces of his
                    tragedy. for <ref target="people.html#WordsworthWilliam">Wordsworths</ref> poems the last pleases me best,<note n="2" place="foot" resp="editors">‘Lines Written a Few
                        Miles Above Tintern Abbey, On Revisiting the Banks of
                        the Wye During a Tour, July 13, 1798’.</note> &amp; tho
                    the Idiot boy is sadly dilated it is very well done. I
                    reviewed them two months ago.<note n="3" place="foot" resp="editors">
<title>Critical Review</title>, 24
                        (October 1798), 232–234.</note>
</p>
<p rend="indent1"> I mentioned to <ref target="people.html#CottleJoseph">Cottle</ref> what
                        Lewis<note n="4" place="foot" resp="editors">Matthew
                        Gregory Lewis (1775–1818; <title>DNB</title>) was
                        probably collecting ballads for his <title>Tales of
                            Wonder</title> (1801).</note> wished about my
                    Ballads, for the copyright is his. he referred it entirely
                    to me, but seemed convinced that to let them be printed
                    elsewhere would injure the sale materially. I thought so
                    too, so he must not have the Old Woman.<note n="5" place="foot" resp="editors">‘A Ballad, Shewing How an
                        Old Woman Rode Double, and Who Rode Before Her’,
                        published in <title>Poems</title>, 2 vols (Bristol,
                        1799), II, pp. [143]–160.</note> in my next I will send
                    you the wood cut,<note n="6" place="foot" resp="editors">A
                        woodcut illustrating ‘A Ballad, Shewing How an Old Woman
                        Rode Double, and Who Rode Before Her’ appeared in
                            <title>Poems</title> (Bristol, 1799), p.
                        [143].</note> the Devil is done as well as if the Pious
                        Painter<note n="7" place="foot" resp="editors">Southey’s
                        ‘The Pious Painter: A Catholic Story’ was published in
                        the <title>Morning Post</title>, 2 November 1798. In the
                        poem, the painter makes a picture of the Devil.</note>
                    had made the drawing from the life. I have altered the <hi rend="ital">trepidation</hi> stanza, it is better tho
                    not good, “And the choristers song that late was so strong,
                    Grew a quaver of consternation. They did not try Benvenuto
                        Cellinis’<note n="8" place="foot" resp="editors">Benvenuto Cellini (1500–1571), Italian artist.</note>
                    dæmonifuge, a recipe <del rend="strikethrough">of</del> in
                    which Martin Luther seemd to have confidence, for I find it
                    recorded in the Colloquia or Table Talk of that great
                    Reformer, (a book which by the by was translated in
                    consequence of a miracle).<note n="9" place="foot" resp="editors">Martin Luther (1483–1546), German
                        religious reformer. His <title>Dris Martini Lutheri
                            Colloquia Mensalia: or, Dr. Martin Luther’s Divine
                            Discourses at his Table … Translated by Henrie
                            Bell</title> (1652) was published posthumously. The
                        story of the miraculous survival of the book and its
                        translation is recorded in ‘Captain Henrie Bell’s
                        Narrative’, unpaginated.</note> that he was of opinion
                    the best way to drive away the Devil (&amp; grievously was
                    Martin Luther beset by the Devil) was to make fun of him
                    &amp; mob him, &amp; annoy him with jokes, one of which
                    jokes Martin Luther has left for the benefit of posterity —
                    Oh ho Devil! I have bewrayed my breeches — dost thou not
                    smell me?<note n="10" place="foot" resp="editors">
<title>Dris Martini Lutheri Colloquia
                            Mensalia</title> (London, 1652), p. 381.</note>
</p>
<p rend="indent1"> Did you ever see the book? it shows him to be
                    either as great <del rend="strikethrough">as</del> a fanatic
                    or rogue as the Romish Saints whom he so execrates. however
                    there are some good things in it. among the rest an g[MS
                    torn] of certain strange children called Killcrops whom I
                    shall [MS torn] day balladize perhaps.<note n="11" place="foot" resp="editors">
<title>Dris Martini Lutheri
                            Colloquia Mensalia</title> (London, 1652), p. 387.
                        Joseph Cottle published a ballad on this subject in
                        Southey’s <title>Annual Anthology</title> (Bristol,
                        1799), pp. 151–160.</note> A Killcrop is the child of
                    the Devil, either laid as a changeling in the cradle, or
                    begotten by the Nix which is Lewis’s Water King,<note n="12" place="foot" resp="editors">Matthew Gregory Lewis
                        (1775–1818: <title>DNB</title>), ‘The Water King. A
                        Danish Ballad’ in <title>The Monk</title>, 3 vols
                        (London, 1796), III, pp. 17–20.</note> only the Nix does
                    not kill young women. but a Killcrop resembles other
                    children in every thing except its appetite — for he sucks
                    his mother dry &amp; all the nurses that come<del rend="strikethrough">s</del> to him &amp; moreover eats
                    as much as two threshers. Martin Luther saw one, a boy of
                    twelve years old, &amp; so confident was the Old Reformer
                    that he was a Killcrop, that he wrote to the Prince of
                    Anhalt whose subject the boy was, to say that if he was
                    Prince in that country, he would have the Killcrop thrown
                    into the river. but as the Prince did not take the hint,
                    Martin Luther desired the ostensible parents to pray to God
                    to remove the Devil, &amp; they did so, &amp; so <del rend="strikethrough">xx</del> in two years the Killcrop
                    died.</p>
<p rend="indent1"> Sundry other things doth Martin Luther relate
                    concerning the Devil, pleasant to read &amp; profitable to
                    know that we &lt;may&gt; beware of his cunning.</p>
<p rend="indent1"> He has a story of a Succubus like your origin
                    of the Mortimer.<note n="13" place="foot" resp="editors">
<title>Dris Martini Lutheri Colloquia
                            Mensalia</title> (London, 1652), pp. 386–387. Wynn’s
                        tale of ‘the origin of the Mortimer’ may have been a
                        legend that the Mortimer family, powerful landowners on
                        the English-Welsh Borders in the medieval era, were
                        descended from a succubus.</note> I have planned a very
                    ugly ballad upon the known [MS torn] that the Devil walks in
                    dead bodies.<note n="14" place="foot" resp="editors">Southey
                        does not seem to have written this ballad.</note>
</p>
<closer>
<salute rend="indent1"> God bless you.</salute>
<salute rend="indent2"> yrs affectionately</salute>
<signed rend="indent3"> Robert Southey.</signed>
</closer>
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