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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="edition">letterEEd.26.491</idno>
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<date when="2011-08-15">August 15, 2011</date>
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<p>Huntington Library, HM 4827 .  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.
                        334–338 [in part].</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
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											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="491" type="letter">
<head>491. Robert Southey to <ref target="people.html#TaylorWilliam">William Taylor</ref>,
                        <date when="1800-02-20">20 February 1800</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/>Postmark: BRISTOL/ FEB 20
                        1800<lb/>Endorsement: Ans<hi rend="sup">d</hi> 1
                        Mar<lb/>MS: Huntington Library, HM 4827 <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.
                        334–338 [in part].</note>
</head>
<p rend="indent1"> Your Epigrammatic Index<note n="1" place="foot" resp="editors">Taylor had written humorous
                        epigrams on all the poems in <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, pp. 332–334). Southey mentions the following
                        epigrams (page references are to <title>Annual
                            Anthology</title> [Bristol, 1799]): ‘Musings on the
                        Wig of a Scare-Crow’ by Southey, pp. 29–30; ‘To a Young
                        Man, Who Considered the Perfection of Human Nature as
                        Consisting in the Vigor and Indulgence of the More
                        Boisterous passions’, by Charles Lloyd, pp. 33–35; ‘To
                        Mr. Opie, On His Having Painted For Me the Picture of
                        Mrs Twiss’ by Amelia Opie, p. 38; ‘Chimalpoca’ by
                        Southey, pp. 54–57; ‘Inscription I, For the Banks of the
                        Hampshire Avon’ by Southey, pp. 67–68; ‘Inscription II,
                        For a Monument at Oxford, Opposite Balliol Gate-way’ by
                        Southey, p. 69; ‘Stanzas, Written on the Sea-Shore, in
                        1792’ by Amelia Opie, pp. 77–78; ‘The Song of Pleasure’,
                        pp. 120–125 and ‘The Sons of Genius’ by Humphry Davy,
                        pp. 93–99; ‘Ellen’ by Joseph Cottle, pp. 102–104; ‘To a
                        College Cat’ by Southey, pp. 115–117; ‘The Lover’s Rock’
                        by Southey, pp. 209–213; ‘Elegy IV. The Poet Relates How
                        He Stole a Lock of Delia’s Hair, and Her Anger’ by
                        Southey, pp. 224–226; ‘The Old Man’s Comforts’ by
                        Southey, pp. 227–228; ‘On Reading Major Cartwright’s
                        Appeal &amp;c.’ by George Dyer, pp. 249–252; ‘The
                        Traveller’s Return’ by Southey, pp. 253–254; ‘Extract
                        From an unfinished Poem on Mounts-Bay’ by Humphry Davy,
                        pp. 281–286.</note> I should much like to insert. for
                    the most part it is very good – but some of the epigrams are
                    obtuse – or else my comprehension is. As far as 29 all is
                    fair satire &amp; well executed. 33 I do not like. the bull
                    contained in these lines &amp; the flat conclusion do not
                    characterize the poem – which inaccurate as it is in
                    thought, is the work of no ordinary talents. 38. I do not
                    well understand – unless it mean that you like &amp; yet
                    dislike the lines. 54 is a misrepresentation. it was the
                    Acolhuan who would not fight. 67 is an excellent analysis of
                    an inane poem. 69 would be better if only its conclusion
                    were preserved. <del rend="strikethrough">77. I know
                        not</del>. Selene is too long. I wonder at your praise
                    of the Song of Pleasure. the latter Stanzas of the Sons of
                    Genius from Thus the pale moon – to scorn the lunar ray –
                    appear to me worth a myriad of such poems. it has luxury of
                    language – but nought else. I have burnt piles of such
                    poetry. 102. merely an argument of the poem – no epigram.
                    115. What is Quernos laurel? ignoramus.<note n="2" place="foot" resp="editors">Camillo Querno (fl. 1514), a
                        notoriously bad poet from Apulia who was made Archpoet
                        to Leo X (1475–1521; Pope 1513–1521).</note> the Sonnets
                    are delectably catalogued. all good to 102. where I do not
                    see the propriety of the poor quatrain. 210 Excellent. 224 –
                    you <del rend="strikethrough">xxxxxx</del> would serve
                    poetry as the philosopher would the world who wanted it
                    squeezed into a nut shell. I do not quite like the
                    compression in either case. 227 I cannot make any thing of.
                    249, Rare puns. 253. too coarse a translation of meaning!
                    281 flat! flat! – now to all that I have not specified you
                    may apply as much praise as heart could wish. to sit down
                    resolutely to write epigrams upon given subjects is no <del rend="strikethrough">tas</del> easy task – &amp; you
                    have well accomplished it.</p>
<p rend="indent1"> Send me the Wortigerne.<note n="3" place="foot" resp="editors">William Taylor’s unfinished
                        play ‘Wortigerne’, in the style of Thomas Chatterton
                        (1752–1770; <title>DNB</title>). It was not included in
                            <title>Annual Anthology</title> (1800).</note>
                    eighty pages are yet to be printed – &amp; I shall be glad
                    of the matter. preface it with what ambiguity you will –
                    &amp; if I can throw in as Editor any antiquarian notes as
                    corroborations – I will do it. </p>
<p rend="indent1">
<ref target="people.html#DavyHumphry">Davy</ref> is
                    proceeding in his chemical career with the same giant
                    strides as at his outset. his book upon the nitrous
                        oxyd<note n="4" place="foot" resp="editors">Humphry
                        Davy, <title>Researches, Chemical and Philosophical,
                            Chiefly Concerning Nitrous Oxide, or
                            Dephlogisticated Nitrous Air, and its
                            Respiration</title> (1800).</note> will form an
                    epoch in the science. I never witnessed such indefatigable
                    activity in any other man – nor ardour so regulated by cool
                    judgement. But chemistry I clearly see will possess him
                    wholly &amp; too exclusively. He allows himself no time for
                    acquiring other knowledge. in poetry he will do nothing more
                    – he talks of it, &amp; that is all – nor can I in
                    conscience urge him to perform promises which are perhaps
                    better broken than kept. in his own science he will be the
                    first – &amp; the high places of poetry have long been
                    occupied. </p>
<p rend="indent1"> Your praise of Tasso<note n="5" place="foot" resp="editors">Torquato Tasso (1544–1595),
                            <title>Jerusalem Delivered</title> (1580).</note>
                    gratified me. I deem him hitherto the best of epic poets –
                    after the unequalable Homer. Of Virgil I cannot think highly
                    except as a versifier. But in Tasso except the defect as to
                    his prominent character, there is every thing to commend. if
                    you should visit me at Hampshire in the summer, as I hope,
                    you shall <del rend="strikethrough">x</del> see the first
                    outline of Madoc, which if I live some half dozen years,
                    shall be my monument. All else are the mere efforts of
                    apprenticeship.</p>
<p rend="indent1"> My departure will probably be delayed till
                    the Autumn – &amp; Lisbon the place of retreat. go I must –
                    or the worst consequences may result. still I am ailing
                    about the heart! &amp; in spite of reasoning &amp;
                    probabilities cannot but suspect whenever its irregularities
                    call my attention, that something is out of order about the
                    main spring! connected with this at times, &amp; at times
                    recurring without it, are seizures in the head – like the
                    terror that induces fainting – a rush thro all my limbs as
                    if the stroke of annihilation were passing thro. I never
                    feel this when I am interested in employment – but the mere
                    recollection &amp; fear will bring it on – this then seems
                    decidedly nervous – but it must not be trifled with, for it
                    threatens worse than the heart-pain. Should I go to Lisbon
                    my intention is to write the History of Portugal<note n="6" place="foot" resp="editors">Southey’s uncompleted
                        ‘History of Portugal’.</note> – without some employment
                    of this kind I cannot live – &amp; this would fill my wishes
                    &amp; thoughts &amp; time. &amp; this I could &amp; would
                    well execute, with all ardour &amp; with all industry of
                    research. If I go <del rend="strikethrough">to</del>
                    elsewhere it must be to Italy, &amp; Trieste the road there
                    – for a sea-voyage is to me a tremendous thing, &amp; my
                    intestines will all rise up in mutiny against it. Trieste is
                    not a place to fix at – I am recommended by <ref target="people.html#DuppaRichard">Duppa</ref> to Vicenza
                    or Padua – if that part of Italy be safe – to Vicenza for
                    its exquisite beauties of situation – to Padua for its
                    society. Tuscany is perhaps safer. somewhere I must go, for
                    removal from this climate is inevitable. &amp; unless I go
                    to the South of Europe – I may amuse myself with the idea of
                    setting out on the tour of the Universe – a journey which I
                    should rather delay.</p>
<p rend="indent1"> When I send you the Anthology<note n="7" place="foot" resp="editors">
<title>Annual
                            Anthology</title> (1800).</note> I will send with it
                    some of the proposal papers for the Chatterton
                        subscription,<note n="8" place="foot" resp="editors">Southey and Cottle’s <title>The Works of Thomas
                            Chatterton</title> (1803).</note> the which if you
                    can promote you will be doing an act of charity.</p>
<p rend="indent1"> Your hexameters have a quaint appearance, for
                    as the lon[MS torn] of the line did not suit the latitude of
                    the page – they are printed sideways.<note n="9" place="foot" resp="editors">William Taylor’s ‘The Show,
                        an English Eclogue, in Hexameters’ in <title>Annual
                            Anthology</title> (Bristol, 1800), pp.
                        200–210.</note> Is the Death of Abel written in
                        hexameters?<note n="10" place="foot" resp="editors">Salomon Gessner (1730–1788), <title>The Death of
                            Abel</title> (1758).</note> Macpherson<note n="11" place="foot" resp="editors">James Macpherson (1736–1796;
                            <title>DNB</title>), <title>The Works of
                            Ossian</title> (1765).</note> seems to have
                    practised at them for his Ossian is full of &lt;their&gt;
                    fragments [MS torn] with the frequent occurrence of whole
                    lines &amp; pentameters. the applicability of this metre to
                    our language is I think sufficiently proved. the practise of
                    two days would enable me to wield them as easily as blank
                    verse. Wordsworth made the best objection to them – the
                    beginning of the line has not enough cadence to be like
                    poetry, the end has too much. Mine is an easy, good natured
                    ear, tickled with sounds that would jar any body else’s –,
                    but I do not depend upon my own ears alone in approving
                    English Hexameters. &lt; I have no address for <ref target="people.html#BurnettGeorge">the embryo
                        Doctor</ref> but Tiviot Row. Edinburgh.&gt;</p>
<closer>
<salute rend="indent1"> God bless you</salute>
<salute rend="indent2"> yrs affectionately</salute>
<signed rend="indent3"> Robert Southey.</signed>
</closer>
<postscript>
<p>
<address>
<placeName>
<ref target="places.html#KingsdownParade">Kingsdown</ref>. Bristol.</placeName>
</address>
<date when="1800-02-20"> Feb<hi rend="sup">y</hi> 20.
                            1800</date>
</p>
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