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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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<resp>General Editor, </resp>
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<date>2011-08-15</date>
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<idno type="nines">rce753</idno>
<idno type="edition">letterEEd.26.744</idno>
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<date when="2011-08-15">August 15, 2011</date>
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<sourceDesc>
<p>Houghton
                        Library, bMS Eng 265.1 (6).  Not previously published.</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
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											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="744" type="letter">
<head>744. Robert Southey to <ref target="people.html#BedfordGrosvenorCharles">Grosvenor Charles Bedford</ref>, <date when="1802-12-21">21 December
                        1802</date>
<note place="foot" resp="editors" type="headnote">Address: To/ G
                        C Bedford Esq<hi rend="sup">r</hi>/ Exchequer/ Westminster/ Single
                        <lb/>Postmarks: [partial] 122/ DEC; B/ DEC 22/ 1802<lb/>MS: Houghton
                        Library, bMS Eng 265.1 (6)<lb/>Unpublished.</note>
</head>
<p rend="center"> Kehamiana 2<hi rend="sup">d</hi>
</p>
<p rend="center"> ____</p>
<p rend="indent1"> Invent me a name instead of Book<note n="1" place="foot" resp="editors">This letter is a response to Grosvenor Bedford’s criticism of
                        the final part of Book 1 of an early version of the <title>Curse of
                            Kehama</title> (1810), which Southey had sent to him on [c. 30 November
                        1802], Letter 738. Bedford’s critique has not survived.</note> – or Canto.
                    instead of 10 – or 12 books I shall find it convenient to divide the poem into
                    shorter portions. Scene will not do, because progression from one scene to
                    another is often part of the poem. Chapter &amp; Section are ugly words. &amp;
                    Song – which else were the best of all – is abused for what was never intended
                    to be sung. Fit &amp; Rhapsody are affected &amp; loathsome. Part. is good
                    English but I likes it not. Canticle would be better than Canto – but then you
                    know the Song of Songs<note n="2" place="foot" resp="editors">The Book of the
                        Old Testament usually known as the <title>Song of Songs</title>. It is
                        sometimes called the Canticle, a shortened version of the Latin Canticum
                        Canticorum. The alleged author is Solomon (c. 1011-c. 932 BC, King of Israel
                        971-932 BC).</note> has but that modest title, &amp; it would not be modest
                    to imitate Solomon.</p>
<p rend="indent1"> However I object to Fit – by fits the poem will be written –
                    &amp; I am glad to feel a fit coming on. weak eyes will force me to poetry, yet
                    in truth a certain dissatisfaction at what I have done has been the main cause
                    why Kehama has lain so long on hand. there is a piece-meal-ness of plot – it is
                    federal plot instead of being one &amp; indivisible – &amp; unity is my creed in
                    all things. I have planned how to make the Curse operate <del rend="strikethrough">in each &amp; every part</del> to Kalyals preservation
                        <del rend="strikethrough">xx</del> as it relates to Water – Fire &amp;
                    Death. that with respect to food &amp; sleep it should not quadrate is no fault.
                    it need not fit like your </p>
<p rend="center">[Southey draws a mock, scrawled signature]</p>
<lb/>
<p>upon a bankers check or a Consuls testimonial.</p>
<p rend="center"> ___</p>
<p rend="indent1"> Your first objection – to ‘obedient to the call’ – is not valid –
                    have the goodness to all my is’s &amp; is nots – to affix an I think or an in my
                    opinion subintellecto modestiæ gratia?<note n="3" place="foot" resp="editors">The Latin translates as ‘unintelligently for the sake of modesty’.</note> a
                    man goes to the gallows obediently, for &lt;then&gt; as the learned Prelate<note n="4" place="foot" resp="editors">Possibly Richard Watson (1737–1816;
                            <title>DNB</title>), Bishop of Llandaff.</note> who is about as orthodox
                    in his politics as his religion observes – he has nothing to do with the law
                        <del rend="strikethrough">than</del> but to obey it. Shrieking – I cannot
                    judge of that for blockhead like I forgot to correct my own copy by yours &amp;
                    that passage was altered –but I see you would drive my poor metre mad by putting
                    shrieking at the end of a line &amp; make it no metre at all. sprung – clung –
                    hung – the rhymes have a merit, &amp; one might fancy in them a sameness of
                    feeling &amp; action. Of the passage you have written you will see lines &amp;
                    phrases whenever I recopy the book. but its too apostrophical. that note of
                    interrogation must be sparingly handled, it is playing with an edge tool to use
                    it too often. I reverse the as if despair &amp; –. scratch out ‘the crime is
                    his’ &amp; Laderlad speaks to your feeling &amp; quite enough for mine. Kehamas
                    eye must not fascinate – you will see why at the end of the second book. the
                    Kehama reigns below is but rhyme &amp; shall go out – I want however a rhyme or
                    two in his place – they ought to ding-dong in a curse till the ears ring
                    again.</p>
<p rend="indent1"> You do not make out At fits to short convulsive starts was stung
                    – it is the pain &amp; shooting thrill of recovery in a dead limb. the pain of
                    drowning is nothing, except when wilful and accompanied with strong mental
                    agitation: recovery on the contrary is very painful, I knew a man who had
                    experience &amp; told me this. Laderlad could not bear a hand on his head
                    because it was throbbing in a high fever. – did you ever come near your fathers
                    hand when it was gouty?</p>
<p rend="indent1"> And now for the rest of the poem you may have it in what shape
                    you will – but in truth I think letters better – because if you think proper to
                    bind the whole the letters may come in as interludes between the acts, being all
                    of one size – &amp; so you will have the hints &amp; the poem &amp; the
                    criticism – the meat &amp; the sauce, the egg &amp; the chicken all together.
                    But this is as you please – &amp; the sooner you let me know the sooner you will
                    have the second book for I am now half way thro the third.</p>
<p rend="indent1"> You know the Vedas are the Brahminical bibles. now one of these
                    Vedas has been translated into French,<note n="5" place="foot" resp="editors">Guillaume de Clermont-Lodeve, Baron Sante-Croix (1746-1809),
                            <title>Ezour-Vedam</title> (1778), though this was not in fact an
                        authentic translation of a Sanskrit work.</note> &amp; if you could get it
                    for me you would be my magnus Apollo.<note n="6" place="foot" resp="editors">The
                        Latin translates as ‘great Apollo’, Publius Vergilius Maro (70-19 BC),
                            <title>Eclogue 3</title>, line 104.</note>
<ref target="people.html#BedfordHoraceWalpole">Horace</ref> will perhaps have
                    the goodness to enquire at the foreign bookseller when he goes there. The only
                    writer of late years who has at all methodised the system is Sonnerat<note n="7" place="foot" resp="editors">Pierre Sonnerat (1748-1814), <title>Voyage aux
                            Indes Orientales et a la Chine</title> (1782).</note> – from Sir W
                        Jones<note n="8" place="foot" resp="editors">Sir William Jones (1746-1794;
                            <title>DNB</title>), Britain’s foremost orientalist.</note> you learn
                    little unless you previously have read much. his information is scattered &amp;
                    execrably arranged. Some of the old Dutchmen give a far clearer account. I have
                    sent to Italy for the fullest &amp; last work the Systema Bramanicum of Fra.
                    Paolo de San Bartolomeo.<note n="9" place="foot" resp="editors">Paulinus a
                        Sancto Bartholomaeo (1748-1806), <title>Systema Brahmani, et Liturgicum
                            Mythologicum</title> (1791), no. 2143 in the sale catalogue of Southey’s
                        library.</note> with these helps I shall do something – &amp; am killing two
                    birds with one stone, for all the knowledge I acquire for Kehama will be
                    necessary for the Oriental part of my history.</p>
<p rend="indent1"> Have you seen the Scotch Review of Thalaba?<note n="10" place="foot" resp="editors">
<title>Edinburgh Review</title>, 1 (October
                        1802), 63-83, carried <ref target="people.html#JeffreyFrancis">Francis
                            Jeffrey’s</ref> hostile review of <title>Thalaba the Destroyer</title>
                        (1801).</note> of which <del rend="strikethrough">is good</del> what is good
                    is not about Thalaba, &amp; what is about Thalaba is not good. <ref target="people.html#JeffreyFrancis">the Critic</ref> says there is no
                    invention in Thalaba. now Grosvenor I will tell you what I think of the Critic –
                    to speak mildly of him – as one always should in these cases he is a damnd lying
                    Scotch son of a bitch.</p>
<p rend="indent1"> Eyes better. but I cannot have the Welsh house &amp; that is a
                    sore disappointment for I made sure of it. <ref target="people.html#SoutheyMargaretEdithdau">Margaret</ref> well. oh I had
                    almost forgot a poem</p>
<lb/>
<p rend="indent2"> Grosvenor has a dog &amp; his dogs name is Snivel</p>
<p rend="indent2"> I have a daughter &amp; <ref target="people.html#SoutheyMargaretEdithdau">my daughters</ref> name is
                    Drivel.</p>
<lb/>
<closer>
<salute rend="indent1"> Vale vale me sodali –<note n="11" place="foot" resp="editors">The Latin translates as ‘farewell, farewell, my
                            friend’.</note>
</salute>
<signed rend="indent2"> R Southey</signed>
<lb/>
<date when="1802-12-21">Tuesday 21. Dec. 1802.</date>
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