<?xml version="1.0" encoding="utf-8"?><TEI xmlns="http://www.tei-c.org/ns/1.0">
<teiHeader>
<fileDesc>
<titleStmt>
<title type="main">The Collected Letters of Robert Southey. Part 2: 1798-1803 </title>
<title type="subordinate">A Romantic Circles Electronic Edition</title>
<author>
<name>Southey, Robert, 1774-1843</name>
</author>
<editor>Lynda Pratt</editor>
<sponsor>Romantic Circles</sponsor>
<respStmt>
<resp>General Editor, </resp>
<name>Neil Fraistat</name>
</respStmt>
<respStmt>
<resp>General Editor, </resp>
<name>Steven E. Jones</name>
</respStmt>
<respStmt>
<resp>Technical Editor</resp>
<name>Laura Mandell</name>
</respStmt>
</titleStmt>
<editionStmt>
<edition>
<date>2011-08-15</date>
</edition>
</editionStmt>
<publicationStmt>
<idno type="nines">rce391</idno>
<idno type="edition">letterEEd.26.382</idno>
<publisher>Romantic Circles, http://www.rc.umd.edu, University of Maryland</publisher>
<pubPlace>College Park, MD</pubPlace>
<date when="2011-08-15">August 15, 2011</date>
<availability status="restricted">
<p>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.</p>
<p>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:&gt;
												<address>
<addrLine>Romantic Circles</addrLine>
<addrLine>c/o Professor Neil Fraistat</addrLine>
<addrLine>Department of English</addrLine>
<addrLine>University of Maryland</addrLine>
<addrLine>College Park, MD 20742</addrLine>
<addrLine>fraistat@umd.edu</addrLine>
</address>
</p>
<p>By their use of these texts and images, users agree to the following conditions: <list>
<item>These texts and images may not be used for any commercial purpose without prior written
														permission from Romantic Circles.</item>
<item>These texts and images may not be re-distributed in any forms other than their current
														ones.</item>
</list>
</p>
<p>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.</p>
</availability>
</publicationStmt>
<sourceDesc>
<p>Huntington
                        Library, HM 4819 .  Previously  published: J. W.
                        Robberds (ed.), A Memoir of the Life and Writings
                            of the Late William Taylor of Norwich, 2
                        vols (London, 1843), I, pp. 252–256. </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>
</sourceDesc>
</fileDesc>
<encodingDesc>
<editorialDecl>
<quotation>
<p>All quotation marks and apostrophes have been changed: " for “," for ”, ' for ‘, and ' for ’.</p>
</quotation>
<hyphenation eol="none">
<p>Any dashes occurring in line breaks have been removed.</p>
<p>Because of web browser variability, all hyphens have been typed on the U.S. keyboard.</p>
<p>Dashes have been rendered as a variable number of hyphens to give a more exact rendering of their
												length.</p>
</hyphenation>
<normalization method="markup">
<p>Southey's spelling has not been regularized.</p>
<p>Writing in other hands appearing on these manuscripts has been indicated as such, the content recorded
												in brackets.</p>
</normalization>
<normalization>
<p>&amp; has been used for the ampersand sign.</p>
<p>£ has been used for £, the pound sign</p>
<p>All other characters, those with accents, non-breaking spaces, etc., have been encoded in HTML entity
												decimals.</p>
</normalization>
</editorialDecl>
<classDecl>
<taxonomy corresp="http://www.performantsoftware.com/nines_wiki/index.php/Submitting_RDF#.3Cnines:genre.3E" xml:id="g">
<bibl>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</bibl>
<category xml:id="g1">
<catDesc>Architecture</catDesc>
</category>
<category xml:id="g2">
<catDesc>Artifacts</catDesc>
</category>
<category xml:id="g3">
<catDesc>Bibliography</catDesc>
</category>
<category xml:id="g4">
<catDesc>Collection</catDesc>
</category>
<category xml:id="g5">
<catDesc>Criticism</catDesc>
</category>
<category xml:id="g7">
<catDesc>Letters</catDesc>
</category>
<category xml:id="g6">
<catDesc>Drama</catDesc>
</category>
<category xml:id="g8">
<catDesc>Life Writing</catDesc>
</category>
<category xml:id="g9">
<catDesc>Politics</catDesc>
</category>
<category xml:id="g10">
<catDesc>Folklore</catDesc>
</category>
<category xml:id="g11">
<catDesc>Ephemera</catDesc>
</category>
<category xml:id="g12">
<catDesc>Fiction</catDesc>
</category>
<category xml:id="g13">
<catDesc>History</catDesc>
</category>
<category xml:id="g14">
<catDesc>Leisure</catDesc>
</category>
<category xml:id="g15">
<catDesc>Manuscript</catDesc>
</category>
<category xml:id="g16">
<catDesc>Reference Works</catDesc>
</category>
<category xml:id="g17">
<catDesc>Humor</catDesc>
</category>
<category xml:id="g18">
<catDesc>Education</catDesc>
</category>
<category xml:id="g19">
<catDesc>Music</catDesc>
</category>
<category xml:id="g20">
<catDesc>nonfiction</catDesc>
</category>
<category xml:id="g21">
<catDesc>Paratext</catDesc>
</category>
<category xml:id="g22">
<catDesc>Perodical</catDesc>
</category>
<category xml:id="g23">
<catDesc>Philosphy</catDesc>
</category>
<category xml:id="g24">
<catDesc>Photograph</catDesc>
</category>
<category xml:id="g25">
<catDesc>Citation</catDesc>
</category>
<category xml:id="g26">
<catDesc>Family Life</catDesc>
</category>
<category xml:id="g27">
<catDesc>Poetry</catDesc>
</category>
<category xml:id="g28">
<catDesc>Religion</catDesc>
</category>
<category xml:id="g29">
<catDesc>Review</catDesc>
</category>
<category xml:id="g30">
<catDesc>Visual Art</catDesc>
</category>
<category xml:id="g31">
<catDesc>Translation</catDesc>
</category>
<category xml:id="g32">
<catDesc>Travel</catDesc>
</category>
<category xml:id="g33">
<catDesc>Book History</catDesc>
</category>
<category xml:id="g34">
<catDesc>Law</catDesc>
</category>
</taxonomy>
<taxonomy corresp="http://www.rc.umd.edu/southey_letters/people.xml">
<category xml:id="people">
<catDesc>Southey Letters: Biographies</catDesc>
</category>
</taxonomy>
<taxonomy corresp="http://www.rc.umd.edu/southey_letters/places.xml">
<category xml:id="places">
<catDesc>Southey Letters: Places</catDesc>
</category>
</taxonomy>
</classDecl>
</encodingDesc>
<profileDesc>
<textClass>
<catRef scheme="#genre" target="#g7 #g27"/>
<catRef scheme="#people" target="./people.html"/>
<catRef scheme="#places" target="./places.html"/>
</textClass>
</profileDesc>
<revisionDesc>
<change who="#LM" when="2011-08-15" n="4">
<label>Changed by</label>
<name>Laura Mandell</name>
<list>
<item>XSLT Transforming after latest corrections</item>
</list>
</change>
<change who="#LM" when="2011-07-06" n="3">
<label>Changed by</label>
<name xml:id="LM">Laura Mandell</name>
<list>
<item>XSLT Transforming</item>
</list>
</change>
<change who="#AB" when="2011-03-20" n="2">
<label>Changed by</label>
<name>Averill Buchanan</name>
<list>
<item>corrections from proofing</item>
</list>
</change>
<change who="#AB" when="2011-02-21" n="1">
<label>Changed by</label>
<name xml:id="AB">Averill Buchanan</name>
<list>
<item>Part II added</item>
</list>
</change>
</revisionDesc>
</teiHeader>
<text>
<body>
<div n="382" type="letter">
<head>382. Robert Southey to <ref target="people.html#TaylorWilliam">William Taylor</ref>,
                        <date when="1799-02-24">24 February 1799</date>
<note place="foot" resp="editors" type="headnote">Address: To/
                            M<hi rend="sup">r</hi> W<hi rend="sup">m</hi> Taylor
                            Jun<hi rend="sup">r</hi>/ Surry Street/ Norwich./
                        Single<lb/>Postmarks: BRISTOL/ FEB 25 99; [partial] FE/
                        26/ 99 <lb/>Endorsement: Ansd 4 March<lb/>MS: Huntington
                        Library, HM 4819 <lb/>Previously published: J. W.
                        Robberds (ed.), <title>A Memoir of the Life and Writings
                            of the Late William Taylor of Norwich</title>, 2
                        vols (London, 1843), I, pp. 252–256. </note>
</head>
<p rend="indent1"> Thank you for the dirge, which I hope neither
                    of us may ever deserve, &amp; for Lake Keswic.<note n="1" place="foot" resp="editors">Taylor’s ‘Dirge: For him who
                        shall deserve it’, <title>Annual Anthology</title>
                        (Bristol, 1799), pp. 36–37; and ‘Lake Keswic’, published
                        as ‘Topographical Ode’, in <title>Annual
                            Anthology</title> (Bristol, 1799), pp. 1–9.</note> I
                    begin to know you now in prose &amp; verse. there is a
                    profusion of imagery a rapidity of combination which belong
                    to nobody else. like the Eastern Mosques every part is
                    beautiful, &amp; all the parts blend into an impressive
                    whole. I knew you in the Edda, with which every body is
                    pleased, &amp; I thank you for lenity there.<note n="2" place="foot" resp="editors">Taylor’s review of Amos
                        Simon Cottle, <title>Icelandic Poetry, or the Edda of
                            Saemund Translated into English Verse</title>
                        (1797), <title>Monthly Review</title>, 27 (December,
                        1798), 318–388.</note> I know you in that rascal <ref target="people.html#CroftHerbert">Herbert Crofts</ref>
                        book,<note n="3" place="foot" resp="editors">Taylor’s
                        review of Herbert Croft’s (1751–1816;
                        <title>DNB</title>), <title>A Letter, from Germany, to
                            the Princess Royal of England; on the English and
                            German Languages</title> (1797), <title>Monthly
                            Review</title>, 27 (December, 1798), ‘Appendix’,
                        494–498.</note> (of whom I have something to say
                    speedily in the Magazine<note n="4" place="foot" resp="editors">For Southey’s attack on Croft, see his
                        letter to the editor of the <title>Monthly
                            Magazine</title>, October [1799], Letter 439.</note>
                    –) &amp; in the Abbe Barruel,<note n="5" place="foot" resp="editors">Taylor’s review of Augustin Barruel
                        (1741–1820), <title>Memoirs Illustrating the History of
                            Jacobinism</title> (1798), appeared in the
                            <title>Monthly Review</title>, 27 (December, 1798),
                        ‘Appendix’, 509–524.</note> whom I suspect of being a
                    great scoundrel, for he cannot possibly believe all he
                    attempts to prove. On your ode I offer a few remarks before
                    the press closes on it. in the first line – would it not be
                    better by an easy transposition to get rid of the
                    superfluous syllable &amp; write it <hi rend="ital">O Keswic
                        oer thy lake?</hi> for should not rhymeless odes be as
                    harmonious as possible? in the second <hi rend="ital">sail</hi> &amp; <hi rend="ital">gale</hi> rhyme. is not
                    the second stanza incongruous? a cloud fathoming the sky
                    seems to reverse the fact. stanzas 5 &amp; 7. it would I
                    think be better to continue the conditional tense. 15. <hi rend="ital">streak</hi> &amp; <hi rend="ital">cheek</hi>. 16. I would rather <hi rend="ital">time</hi>
                    destroyed you than <hi rend="ital">woe</hi>. 23. is not <hi rend="ital">sear</hi> an inapplicable word? 30. the moon
                    does not <hi rend="ital">wind</hi>.</p>
<p rend="indent1"> I do not think the ode too long. a bad poem
                    cannot be too short, the reverse is not quite true – &amp;
                    yet I am always sorry to come to the end of what has
                    delighted me. will you have the stanzas seperated in
                    printing, or connected as they sometimes run into each
                    other? &amp; what signature do you chuse? I have a curious
                    optical anecdote for the Magazine<note n="6" place="foot" resp="editors">See Southey’s letter to the editor of the
                            <title>Monthly Magazine</title>, 21 February 1799,
                        Letter 381.</note> &amp; shall send up the
                        advertisement<note n="7" place="foot" resp="editors">The
                        advertisement for the <title>Annual Anthology</title>;
                        see <title>Monthly Magazine</title>, 8 (November 1799),
                        807.</note> with it. it will be better perhaps to call
                    it by the original name of the Almanach, as that title will
                    be recognized on the continent, &amp; I hope to equal the
                    continental collections.</p>
<p rend="indent1"> Judging by what I hear &amp; feel, I do not
                    think the Oberon will be popular in England, at least not in
                    Sothebys translation.<note n="8" place="foot" resp="editors">William Sotheby (1757–1833; <title>DNB</title>),
                            <title>Oberon, a Poem; From the German of
                            Wieland</title> (1798).</note> It only <hi rend="ital">diverts</hi>. it does not kindle the
                    imagination, it does not agitate &amp; make the heart beat
                    like the wonders of Ariosto &amp; Tasso.<note n="9" place="foot" resp="editors">Ludovico Ariosto (1474–1535)
                        and Torquato Tasso (1544–1595), Italian epic
                        poets.</note> Wielands opinion of the effect of
                        story<note n="10" place="foot" resp="editors">In a
                        letter to Southey of 28 January 1799, Taylor had cited
                        Christoph Wieland’s (1733–1813) opinion that ‘The fable
                        of a poem is ... of very inferior consequence to its
                        beauties of detail’ (J.W. Robberds (ed.), <title>A
                            Memoir of the Life and Writings of the Late William
                            Taylor of Norwich</title>, 2 vols (London, 1843), I,
                        p. 250).</note> is contrary to all experience, witness
                    the Thebaid – witness the Henriade.<note n="11" place="foot" resp="editors">Publius Papinius Statius (c. AD 45–c.
                        96), <title>The Thebaid</title> (1st century AD);
                        François-Marie Arouet (Voltaire) (1694–1778), <title>La
                            Henriade</title> (1728).</note>
</p>
<p rend="indent1"> Your D<hi rend="sup">r</hi> Smith<note n="12" place="foot" resp="editors">Taylor’s friend James Edward
                        Smith (1759–1828; <title>DNB</title>), Unitarian,
                        botanist, and founder and President of the Linnean
                        Society.</note> is to treat us with Botanical Lectures,
                    which I fear can hardly be so timed as to benefit me. M<hi rend="sup">rs</hi> Smith is hopelessly ill. so I am told
                    &amp; by those who best know.<note n="13" place="foot" resp="editors">Pleasance Smith (1773–1877;
                            <title>DNB</title>), was healthier than she seemed,
                        living until the age of 103.</note>
</p>
<p rend="indent1"> I am vexed about <ref target="people.html#BurnettGeorge">Burnett</ref> &amp;
                    uneasy as to his future fortunes. there is not only the
                    difficulty of subsisting during his medical studies – but
                    the interval after they are compleated before he can get
                    into practice. the Brentford scheme<note n="14" place="foot" resp="editors">Presumably a scheme to benefit <ref target="people.html#BurnettGeorge">George
                            Burnett</ref>.</note> might have satisfied him by
                    keeping him employed. in every way of life there is a crowd
                    struggling to get on, &amp; <ref target="people.html#BurnettGeorge">George</ref> is not
                    calculated to make his way in a crowd. His <ref target="places.html#Yarmouth">Yarmouth</ref> situation,
                    with nothing better in view, was surely not enough to
                    content a young man, but is he likely to better himself by
                    the alteration? if indeed his restlessness arises from
                    unsettled opinions, one cannot wish him to have acted
                    otherwise. the prospect appears to me a very gloomy one. he
                    has been too long accustomed to do little; ever to
                    accomplish much.</p>
<p rend="indent1"> We have a very extraordinary young man lately
                    settled here, who is to manage the Pneumatic
                        Institution.<note n="15" place="foot" resp="editors">The
                        Pneumatic Institute, Dowry Square, Bristol, had opened
                        recently. It was first advertised in the <title>Bristol
                            Gazette and Public Advertiser</title>, 21 March
                        1799.</note>
<ref target="people.html#BeddoesThomas">Beddoes</ref>
                    mentioned him in the M Magazine.<note n="16" place="foot" resp="editors">Thomas Beddoes had announced Humphry
                        Davy’s appointment as ‘superintendant’ at the Pneumatic
                        Institute in a letter of 9 October, see <title>Monthly
                            Magazine</title>, 6 (October 1798), 238.</note> he
                    is not yet twenty one, nor has he applied to Chemistry more
                    than eighteen months, but he has advanced with such
                    seven-leagued strides as to overtake every body. his name is
                        <ref target="people.html#DavyHumphry">Davy</ref>, I have
                    been labouring at his Essays on Light &amp;c,<note n="17" place="foot" resp="editors">Humphy Davy, ‘Experimental
                        Essays on Heat, Light, and on the Combination of Light,
                        with a New Theory of Respiration, and Observations on
                        the Chemistry of Life’, in Thomas Beddoes,
                            <title>Contributions to Physical and Medical
                            Knowledge, Principally from the West of
                            England</title> (Bristol, 1799), pp. 5–147.</note>
                    but he is going to show me his poems, of which I hear much
                    from tolerable judges &lt;&amp; wch I shall better
                    understand.&gt; Whatever his verses may be he is a great
                    acquisition to this neighbourhood, &amp; if his future
                    progress be at all answerable to the success with which he
                    has set out, he must rank with the first names of the
                    century.</p>
<p rend="indent1"> You mentioned young Parry<note n="18" place="foot" resp="editors">Taylor’s letter to Southey,
                        26 September 1798 (J.W. Robberds (ed.), <title>A Memoir
                            of the Life and Writings of the Late William Taylor
                            of Norwich</title>, 2 vols (London, 1843), I, p.
                        229) mentioned Charles Henry Parry (1779–1860;
                            <title>DNB</title>), the son of the eminent Bath
                        physician <ref target="people.html#ParryCalebHillier">Caleb Hillier Parry</ref>. Like his father, Charles
                        Parry became a doctor, rather than a poet or
                        painter.</note> in one of your letters. I hav[MS cut]
                    him but seldom; &amp; to little advantage. he displeased me
                    by a forwardness &amp; a desire of displaying himself, the
                    effect I am told of being always shown off at home &amp;
                    having always been admired. this will probably wear away. I
                    did not know that he ever wrote poetry his drawings are very
                    fine indeed. whether his taste in painting be good or not,
                    better judges than me must determine, he spoke with high
                    praise of Barry,<note n="19" place="foot" resp="editors">The
                        history painter James Barry (1741–1806;
                            <title>DNB</title>).</note> &amp; therefore I
                    suppose scientifically, for no common eye will ever look
                    five minutes on any picture of Barrys – I was quite
                    disappointed at find&lt;ing&gt; so little said of Voss’s
                    Louisa in the Monthly Review.<note n="20" place="foot" resp="editors">Johann Heinrich Voss (1751–1826),
                            <title>Luise</title> (1795). The article in the
                            <title>Monthly Review</title>, 27 (December, 1798),
                        ‘Appendix’, 564–565 was not by Taylor.</note> you have
                    made me hunger &amp; thirst after German poetry.</p>
<p rend="indent1"> Your hexameters from Klopstock<note n="21" place="foot" resp="editors">Unidentified; possibly a
                        translation of a section of Friedrich Gottlieb Klopstock
                        (1724–1803), <title>Der Messias</title>
                        (1748–1773).</note> are very fine, one or two inversions
                    of syntax might have been avoided, but these little
                    corrections are always more obvious to a reader than a
                    writer. they gave me pleasure too as by their situation
                    rendering such metres not quite strange to an English
                    ear.</p>
<p rend="indent1"> My poems<note n="22" place="foot" resp="editors">Southey’s two-volume <title>Poems</title>
                        (1799).</note> I hope will reach you in the course of
                    the week. I am clearing off other things to begin the Dom
                        Daniel.<note n="23" place="foot" resp="editors">An early
                        version of <title>Thalaba the Destroyer</title>
                        (1801).</note> which will be in stanzas, the rhymes I
                    believe irregularly arranged, &amp; perhaps the lines long
                    or short at pleasure.</p>
<closer>
<salute rend="indent1"> God bless you.</salute>
<salute rend="indent2"> yrs affectionately</salute>
<signed rend="indent3"> Robert Southey.</signed>
</closer>
<postscript>
<p>
<date when="1799-02-24">Sunday night. 24 Feb<hi rend="sup">y</hi>. 99.</date>
</p>
</postscript>
</div>
</body>
</text>
</TEI>
