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<title type="main">The Collected Letters of Robert Southey. Part 2: 1798-1803 </title>
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<name>Southey, Robert, 1774-1843</name>
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<p>Huntington
                        Library, HM 4821 .  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. 271–276.</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
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											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="398" type="letter">
<head>398. Robert Southey to <ref target="people.html#TaylorWilliam">William
                        Taylor</ref>, <date when="1799-04-15">15 April 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/ APR 15 99; B/ AP/ 16/
                        99<lb/>Endorsement: Ans<hi rend="sup">d</hi> 7 May<lb/>MS: Huntington
                        Library, HM 4821<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. 271–276.</note>
</head>
<opener>
<salute>My dear friend</salute>
</opener>
<p rend="indent1"> Your allegory of the Seas<note n="1" place="foot" resp="editors">Taylor’s ‘The Seas’, published in <title>Annual Anthology</title> (Bristol,
                        1799), pp. 233–236 and sent to Southey on 25 March 1799 (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, 270).</note> is as
                    ingenious as <del rend="strikethrough">x</del> any I remember to have seen. the
                    negligence of the versification I do not perceive – perhaps from versifying
                    myself with more negligence than should be allowed. if there be any inaccuracy
                    in the allegory it is making Taste cast a dwelling eye where Inspiration first
                    waved his seraph wings. The Rovers Apology<note n="2" place="foot" resp="editors">Taylor sent his ‘Rover’s Apology’ to Southey on 25 March
                        1799, but it was not included in the <title>Annual Anthology</title> (1799)
                        (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.
                        270).</note> scans – but would not be <del rend="strikethrough">metr</del>
                    harmonious if read by one who did not understand the metre. now when the
                    classical metres are adopted in a modern language the <del rend="strikethrough">xxx</del> accents should be so arranged as to produce the <del rend="strikethrough">xx</del> necessary cadence, tho read by one unlearned.
                    I will try to mould your sapphics to this. with my own I never yet had patience
                    – but I have a great desire to render the metre popular, not only as it is in
                    itself beautiful, but as a step toward naturalizing hexameters. does not an
                    English &amp; still more a German hexameter take up a longer time in repetition
                    than a Greek or Latin one on account of the greater number of letters in the
                    syllables? <del rend="strikethrough">xx</del> the letters in a line must be
                    nearly a fourth more. – <del rend="strikethrough">&amp; if</del> could we
                    retrench one of the first four feet? the metre would not be difficult after one
                    had written a hundred lines.</p>
<p rend="indent1"> My Dom Daniel<note n="3" place="foot" resp="editors">The early
                        working-title for <title>Thalaba the Destroyer</title> (1801).</note> I
                    shall as you advised write in stanzas, partly to avoid a sameness of style which
                    in blank verse would be almost inevitable. but I do not think it will be
                    advisable to confine myself to a regular stanza. this license lessens the
                    fetters of rhyme, &amp; the ear will not be disappointed if the rhymes are not
                    placed too distant from each other to be readily remembered. I think that
                    writing in stanzas will correct the feebleness you observe, simplicity would be
                    out of character – I must build a Saracenic mosque – not a Quaker meeting
                    house.</p>
<p rend="indent1">
<ref target="people.html#BeddoesThomas">Beddoes</ref> &amp; his <ref target="people.html#DavyHumphry">young assistant</ref> are doing wonders at
                    the Pneumatic Institution – but not by the gasses.<note n="4" place="foot" resp="editors">The Pneumatic Institute, Dowry Square, Bristol, had opened
                        earlier in 1799. It was dedicated to using gases to treat disease.</note>
                    what they wanted for consumptions seems to be found in the fox glove
                        tincture.<note n="5" place="foot" resp="editors">For Thomas Beddoes’s
                        advocacy of the use of fox-glove see his <title>Essay on the Causes, Early
                            Signs, and Prevention of Pulmonary Consumption for the Use of Parents
                            and Preceptors</title> (Bristol, 1799), pp. 265–271.</note> another
                    stimulant for the absorbents they have found in the gazeous oxyd of azote – at
                    least such it appears to be from the feelings of the few who have yet breathed
                        it.<note n="6" place="foot" resp="editors">For their experiments with
                        nitrous oxide, see Thomas Beddoes, <title>Notice of Some Observations Made
                            at the Medical Pneumatic Institution</title> (1799) and Humphry Davy,
                            <title>Researches, Chemical and Philosophical, Chiefly Concerning
                            Nitrous Oxide, or Dephlogisticated Nitrous Air, and its
                            Respiration</title> (1800).</note>
<ref target="people.html#DavyHumphry">Davy</ref> has made a curious botanical
                    discovery, he has detected a coating of flint on all canes &amp; grasses. a boy
                    playing with two canes struck fire from them, &amp; this led to the
                        discovery.<note n="7" place="foot" resp="editors">The ‘boy’ was a son of
                        William Coates (dates unknown). The incident is described in Joseph Cottle,
                            <title>Reminiscences of Samuel Taylor Coleridge and Robert
                            Southey</title> (London, 1847), p. 271. Davy’s findings were published
                        in William Nicholson (1753–1815; <title>DNB</title>) (ed.), <title>A Journal
                            of Natural Philosophy, Chemistry, and the Arts</title>, 3 (May 1800), 56–59.</note> If <ref target="people.html#BurnettGeorge">Burnett</ref>
                    had enough previous knowledge of medicine he might profit more here than by any
                    clinical lectures in Europe.</p>
<p rend="indent1"> My brother <ref target="people.html#SoutheyTom">Tom</ref> is with
                    me on his way to London to pass for a Lieutenancy. he has been helping me to cut
                    up Madocs ships &amp; build <del rend="strikethrough">xxx</del> galleys with
                    them. There is a marine on board the Mars who persuaded his father to murder his
                    mother, &amp; then turnd Kings evidence &amp; brought his father to the
                        gallows.<note n="8" place="foot" resp="editors">For Southey’s outline of the
                        story see <title>Common-Place Book</title>, ed. John Wood Warter, 4 series
                        (London, 1849–1850), IV, p. 193. He did not work it up into a ballad.</note>
                    by the help of the devil I think of working up this mans history with a ballad.
                    by the by Ferriar of Manchester has abused you for using the word
                        hurry-skurry<note n="9" place="foot" resp="editors">The Manchester-based
                        physician and writer John Ferriar (1761–1815; <title>DNB</title>),
                            <title>Illustrations of Sterne, with other Essays and Verses</title>
                        (London, 1798), p. 306. William Taylor had used the phrase ‘hurry-skurry’ in
                        his translation of Gottfried August Bürger (1748–1794), ‘Lenora’ in the
                            <title>Monthly Magazine</title>, 1 (March 1796), 135–137.</note> – it
                    struck me that you had possibly placed it for some German phrase of a like
                    nature. is this the case? for I have his book to review.<note n="10" place="foot" resp="editors">If Southey wrote this review, it was not
                        published.</note>
</p>
<p rend="indent1"> Barker is painting a picture from Mary the Maid of the Inn, but
                    from what part of the story I have not learnt.<note n="11" place="foot" resp="editors">Thomas Barker (1767–1847; <title>DNB</title>). Barker was
                        painting a picture based on ‘Mary’, first published in Southey’s
                            <title>Poems</title> (Bristol, 1797), pp. [159]–182.</note> he might
                    have found better subjects in my better pieces.</p>
<p rend="indent1"> My S<hi rend="sup">t</hi> Anthony<note n="12" place="foot" resp="editors">‘The Devil &amp; St Anthony’; see Southey to William Taylor,
                        18 March 1799, Letter 391.</note> has no morality at all. sophistry may be
                    expected from the Devil whose object in arguing is to puzzle his adversary. the
                    Eclogue was written before <ref target="people.html#LloydCharles">Lloyds</ref>
                    Lines on the Fast, &amp; Letter to the Anti-Jacobine<note n="13" place="foot" resp="editors">Charles Lloyd’s <title>Lines Suggested by the Fast, Appointed
                            on Wednesday, February 27, 1799</title> (1799) and <title>A Letter to
                            the Anti-Jacobin Reviewers</title> (1799).</note> had reached me – but
                    Satan defends himself exactly upon the same principle that <ref target="people.html#LloydCharles">Charles Lloyd</ref> defends existing
                    establishments. <ref target="people.html#LloydCharles">Lloyd</ref> is wasting
                    great talents in crude &amp; hasty productions. he wants to print the play<note n="14" place="foot" resp="editors">Taylor had been shown an early version of
                        Lloyd’s <title>The Duke d’Ormond</title> (1822); see William Taylor to
                        Robert 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, pp. 226–227.</note> you saw – &amp; in the incorrect
                    state in which you saw it. I have attempted to dissuade &amp; I hope with
                    success. </p>
<p rend="indent1"> I am looking with some impatience for your life of Burger.
                    excepting the two Ballads which you translated his other productions that have
                    been Englished are of no great excellence.<note n="15" place="foot" resp="editors">William Taylor’s translations of Gottfried August Bürger
                        (1748–1794), ‘Lenora’ and ‘The Lass of Fair Wone’ had been published in the
                            <title>Monthly Magazine</title>, 1 (March 1796), 135–137 and
                            <title>Monthly Magazine</title>, 1 (April 1796), 223–234.</note> the
                    Lenora indeed is enough – it cannot be surpassed &amp; will not probably be
                    equalled – yet the Parsons Daughter struck me as the finer poem. the story of
                    Lenore once conceived the execution was not difficult for a man of genius, but
                    the excellence of the other ballad arises wholly from the mode of narration –
                    &amp; tho such a tale might have occurred to a thousand poets, it is a thousand
                    to one that none of them had found out the best way of relating it. thanks to
                    the number of translators I no longer hunger &amp; thirst for the language as I
                    did some time since.</p>
<p rend="indent1"> prose plays I apprehend suffer little from translation. it is
                    only Klopstock<note n="16" place="foot" resp="editors">Friedrich Gottlieb
                        Klopstock (1724–1803), whose plays include <title>Der Tod Adams</title>
                        (1757), <title>Salomo</title> (1764), and <title>Die
                            Hermannsschlacht</title> (1769).</note> that I long to read – &amp;
                    Bodmers Noah<note n="17" place="foot" resp="editors">Johann Bodmer (1698–1783),
                            <title>Noachide</title> (1752). For Southey’s verdict, ‘a bad poem’, see
                            <title>Common-Place Book</title>, ed. John Wood Warter, 4 series
                        (London, 1849–1850), IV, p. 2.</note> on account of the subject – but the
                    book is not <del rend="strikethrough">xxxxxxxxx</del> getatable, or I should ere
                    this have poked my way thro it with a dictionary.</p>
<p rend="indent1"> My Almanach<note n="18" place="foot" resp="editors">The
                            <title>Annual Anthology</title>, the first volume of which appeared in
                        1799.</note> stands still in deference to a book of <ref target="people.html#BeddoesThomas">Beddoes</ref> on consumption.<note n="19" place="foot" resp="editors">Thomas Beddoes, <title>Essay on the Causes,
                            Early Signs, and Prevention of Pulmonary Consumption for the Use of
                            Parents and Preceptors</title> (1799).</note> a Clergyman,<note n="20" place="foot" resp="editors">Unidentified; possibly the Revd Christopher
                        Hardy Sherive (d. 1800), Rector of Bridport, who contributed to the 1800
                        edition of the <title>Annual Anthology</title>.</note> in consequence of the
                    advertisement called on <ref target="people.html#CottleJoseph">Cottle</ref>
                    &amp; promised to bring him from a friend some poems which would be “an ornament
                    to the volume.” they have not yet arrived. from <ref target="people.html#DavyHumphry">Davy</ref> I shall have some – the early
                    productions of genius.<note n="21" place="foot" resp="editors">Davy’s only
                        signed contribution to <title>Annual Anthology</title> (Bristol, 1799) was
                        ‘Extract from an unfinished Poem on Mounts-Bay’, pp. 281–286. But the
                        following poems, signed ‘D.’ were also by him: ‘The Sons of Genius’, pp.
                        93–99, ‘The Song of Pleasure’, pp. 120–125, ‘Ode to St Michael’s Mount, in
                        Cornwall’, pp. 172–176, ‘The Tempest’, pp. 179–180.</note> he is a
                    miraculous young man whose talents I can only wonder at. <ref target="people.html#LloydCharles">Lloyd</ref> among other things has sent me
                    a ballad with unlimited liberty of alteration.<note n="22" place="foot" resp="editors">This ballad was not printed in either <title>Annual
                            Anthology</title> (1799) or (1800).</note> it is so full of beauties
                    that I must <del rend="strikethrough">take</del> employ much time in clearing
                    away its faults. I shall throw in one of the unpublishd Eclogues you saw.<note n="23" place="foot" resp="editors">Southey’s ‘The Last of the Family’,
                        published in the <title>Annual Anthology</title> (Bristol, 1799), pp.
                        165–171.</note> I know not how those poems generally please. one of my
                        friends<note n="24" place="foot" resp="editors">Possibly a reference to
                        Wynn’s criticism; see Robert Southey to Charles Watkin Williams Wynn, 9
                        April 1799 (Letter 397).</note> wrote on a first reading to abuse them. he
                    read them again &amp; sent me the amende honorable.<note n="25" place="foot" resp="editors">i.e. a satisfactory apology.</note>
</p>
<p rend="indent1">
<ref target="people.html#MauriceMichael">M<hi rend="sup">r</hi> Maurice</ref>
                    writes me a good account of <ref target="people.html#SoutheyHenryHerbert">Harry</ref>. he finds him sufficiently attentive &amp; that being the case
                    he must get on rapidly. </p>
<closer>
<salute rend="indent1"> God bless you –</salute>
<salute rend="indent2"> yrs truly.</salute>
<signed rend="indent3"> Robert Southey.</signed>
</closer>
<postscript>
<p>I shall be in London on May day. if you do not write before that time direct
                        under cover to <ref target="people.html#WynnCharlesWW">C W Williams
                            Wynn</ref> Esq. Stone Buildings, Lincolns Inn. if I can find a companion
                        between the terms I shall take a walk, round Kent, or to see the wonders of
                        Derbyshire.</p>
<p>
<date when="1799-04-15">Monday. April 15. 99.</date>
</p>
</postscript>
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