Robert Southey

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A contemporary of the great poets Samuel Taylor Coleridge and William Wordsworth, Robert Southey (1774-1843) is one of the best known of the unread poets; that is, his name is better known than the work he produced. While his work leans towards the introspection, skepticism, and symbolism that characterize the period, Southey never fully came to fruition as a Romantic poet.

While Southey may not have been a potential Wordsworth or Coleridge, the talent he did posses was not given the concentration of time and energy poetry demands to mature. Because of Southey's financial and personal commitments to his family, he chose to write articles, pamphlets, tales, and light pieces as well as poetry, all within very constricting time limits: "verse took turn and turn about with history, politics, and reviewing: the four last epics were almost entirely written before breakfast, " quips Simmons in his 1948 biography of Southey. This versatility did, however, foster the development of a distinct and admirable prose style.

Comments on His Work

Southey's poetry was first published in 1795 in Poems; containing The Retrospect, Odes, Sonnets, Elegies, &c. By Robert Lovell and Robert Southey, of Balliol College, Oxford, which included 21 poems by Southey and 11 by Lovell. His first poem of merit, "Joan of Arc, " was published in 1796. The fresh style had a strong appeal to the prevailing Romantic tastes, but to this day is not considered a great work. According to Simmons' bio, Wordsworth once opined that Southey's poetry "does not give anything which impresses the mind strongly and is recollected in solitude." Nonetheless, Southey enjoyed a viable public career as a poet which led to his appointment as Poet Laureate in 1813.

The practice of writing poetry, combined with the time constraints of production, engendered Southey's concise style of prose which has been described as vigorous, direct, unassuming, crisp, and as Simmons quotes one critic, "the style of a man who writes swiftly and voluminously, and who has discovered the true economy of a clear mind and a clean pen." Southey himself is quoted by Simmons as saying, "[t]o write poetry is the best preparation for writing prose. The versemaker gets the habit of weighing the meanings and qualities of words, until he comes to know, as if by intuition, what particular word will best fit into the sentence." Consequently, Southey played a great part in loosening up the English language. At the end of the eighteenth century, the imitators of Burke, Gibbon, and Johnson had twisted the language into elaborate, superfluous styles. Southey's prose offered elegant precision. This fresh voice suited the newly industrialized England, and his work, though sometimes politically challenging, was well received. He gained a respectable reputation in his time and many scholars and critics believe he is certainly worth examining as a contemporary study.

Unfortunately, Southey is often remembered because of his association with Wordsworth and Coleridge or as the ardent young reformer who is corrupted and turns conservative in Byron's "Vision of Judgment." His works are still read but often without knowing who wrote them. The Story of the Three Bears is one of his more popular tales. The Battle of Blenheim and The Inchcape Rock are almost considered mere folklore. His Life of Nelson is still is known but not for the vitality of the writing. Other works of Southey include: Book of the Church, a popular ecclesiastical history of England published in 1824, The History of Brazil, published in three volumes, A Tale of Paraguay, Lives of the British Admirals, and many collections of poetry. He is also known for his letters.

Early Life

Robert Southey was born on the 12th of August, 1774 in Bristol, England. Though both his parents had descended from respectable families of the county of Somerset, his father was unsuccessful in business as a linen draper in the city of Bristol. At the age of two, young Southey was sent to live in Bath with his mother's unmarried half-sister, Elizabeth Tyler. Tyler is often characterized as a strong-willed woman who dominated Southey's parents as effectively as she dominated him. Not only strict but also eccentric, his aunt prohibited her young ward from playing outside lest he dirty himself or his clothing. Luckily, he was occasionally afforded the opportunity to escape to his grandmother's farm in Bedminster where he was allowed to play in the garden.

Tyler, who had a great passion for plays and actors, took her nephew first to the theater when he was four and often thereafter. Perhaps the greatest gift Tyler gave to Southey was this early indoctrination to the arts. The Bristol stage was frequently honored by great actors of the day, and they often became visitors at Tyler's home. When in public or receiving guests, Tyler's appearance and manners were those of the well-bred lady. Otherwise, she spent most of her time in the kitchen wearing only rags or bedclothes. She did encourage Southey to read and provided him with the complete set of fashionable children's books published by John Newberry. By the time he was eight, he had even read Shakespeare.

Southey's writing endeavors began as early as the age of nine with a continuation of Ariosto's Orlando, written in heroic couplets. Soon after, however, a reading of Bysshe's Art of Poetry introduced him to the versatility of blank verse. Continuing his poetic interests, he had by the time he was 15 written three cantos continuing Spencer's Faerie Queen.

School and the Conception of Pantisocracy

When Southey was 13, his maternal uncle, the Reverend Herbert Hill, decided to fund the education of his promising nephew. On April 1, 1788, Southey was entered at Westminster, with an eye towards Christ Church College at Oxford, since Hill thought Southey might become a minister. Westminster was then still one of the two leading public schools in England, rivaled only by Eton.

The rivalry included competing satirical newspapers. The publishers of The Microcosm from Eton were countered by a group at Westminster with a paper called The Trifler. Southey made an attempt to contribute to The Trifler, sending in a poem on the death of his infant sister, but this was rejected. In 1792 he and his friends started a second Westminster paper, to emulate The Trifler. He didn't actually contribute to their new publication, entitled The Flagellant, until its fifth issue, when he wrote an attack on corporal punishment in the school under the pseudonym "Gualbertus." In the article, Southey asserted that "whosoever floggeth, that is, performeth the will of Satan, committeth an abomination; to him therefore [and] to all the consumers of birch as to priests of Lucifer." School officials found the subversive attitude of the article outside the parameters of tolerance as "it advertised to the world that forces of anarchy and irreligion had secured a foothold." Southey was consequently expelled.

In 1793, the Reverend Hill again attempted to provide for Southey's education by entering him at Balliol College, Oxford. A year later, his friend Robert Allen introduced Southey to Coleridge. These young idealists shared political opinions which questioned the ethics of the Church and Christianity, as well as the established social order of England. Together with Burnett, Seward, and Robert Lovell, they conceptualized a plan to start a settlement in America run on egalitarian principles which they coined a "pantisocratic" society. Southey felt that the university system was out of date and merely perpetuated established opinions rather than educating its students. At the end of summer term in 1794, he returned to Bristol, without finishing his degree.

In Bristol, Southey and Coleridge began publishing and holding public lectures to earn money for the impending emigration. The Southey family were close friends to the Fricker family and during this time in Bristol, Southey became engaged to Edith Fricker. Lovell had already married her sister, Mary, and Coleridge married a third sister, Sara. When Southey's aunt heard of his engagement and his plans for a Pantisocracy, she rejected him for the rest of her life. Increased financial obligations and ideological differences eventually led the young group of Pantisocrats to abandon their plans.

Settling Into a Life of Letters and Family

In 1795, the Reverend Hill invited Southey to accompany him to Portugal. His uncle was hoping to distract Southey's interest from Edith Fricker, to give him time away from his angry aunt, and to convince Southey to enter the ministry. Southey accepted the invitation to please his family and to pass time until he had enough money to provide for a wife. However, Southey secretly married Edith the morning he and his uncle began their trip.

While in Portugal, Southey developed a life-long interest in Portuguese and Spanish History. He also developed a contempt for the Roman Catholic Church upon seeing the social inequities and the morals of the ruling class in Lisbon. And, though he still disliked government, he came to appreciate the benefits of being English when compared to the squalor that he experienced abroad. After six months in Lisbon, he returned to Bristol and to his wife, and then went on to London to study law with the blessing and funding of his uncle, but never finished his studies.

Southey went to Portugal again in 1800 hoping the climate would improve his and Edith's poor health. He took advantage of the time to collect information and begin writing the History of Portugal. Upon returning to England in 1801, he obtained an appointment of Private Secretary to the Chancellor of the Exchequer in Ireland, which would divide his time between London and Ireland. He was not satisfied with the position and began to feel the need to settle down: his mother had recently died; Edith was pregnant with their first child; and Coleridge was soliciting advice on his failing marriage. Southey resigned from his new position within a few months and redirected himself towards his family.

The Coleridges had rented an estate named Greta Hall and, in 1803, Southey and Edith joined them. The household also included their landlord, the widowed Mrs. Lovell, the three Coleridge children, and their nurse. Fortunately, Joan of Arc was giving Southey something of a literary reputation and he got enough of his writing published that he was able to provide for his large and growing family. By 1810, Southey had fully converted from young revolutionary poet to embrace the established order as an outspoken Tory. He felt that the industrial revolution had made people callously inhumane and he was firmly opposed to children working in factories, which he likened to a form of slavery. Southey was honored, in 1813, with the appointment of Poet Laureate on the recommendation of Sir Walter Scott, who had declined the Laureateship.

Southey spent 30 pleasant years with Edith at Greta Hall, but was greatly distressed when she suffered a nervous breakdown. She went to an asylum, returned home, fell ill, and died in 1837. Two years later, at age 65, Southey married Caroline Anne Bowles, a poet 12 years his junior who enjoyed some renown. Within a month of their marriage, his own mental faculties began to deteriorate. He continued to read and contentedly participate in daily activities, but persistent bouts of confusion prevented him from writing. He failed to recognize his friends and neglected to reply to their letters. In February 1843, Southey suffered an apoplectic seizure and died just over a month later on March 21, 1843. He was buried in Crosswaithe Churchyard, where Edith and the three children who had preceded him had been buried.

Further Reading

Bernhardt-Kabisch, Ernest, Robert Southey, Twayne Publishers, 1977.

Carnall, Geoffrey, Robert Southey, Longmans, Green & Co., Ltd., 1964.

Cottle, Joseph, Reminiscences of Samuel Taylor Coleridge and Robert Southey, Wiley and Putnam, 1847.

Simmons, Jack, Southey, Yale University Press, 1948.

Southey, Robert, The Poetical Works of Robert Southey with a Memoir, Thomas Y. Crowell & Co., c. 1845

Southey, Robert (1774-1843). Southey had a strange career, moving from extreme radicalism in the 1790s to a gloomy conservatism by the 1810s. Born in Bristol, he was educated at Westminster and Balliol College, Oxford, where he met Coleridge and planned a liberated American settlement, Pantisocracy, on the banks of the Susquehanna. In 1794 he joined with Coleridge in a drama, The Fall of Robespierre. An annuity enabled him to settle at Greta Hall (Keswick), with Coleridge and Wordsworth nearby. He was made poet laureate in 1813 and from 1835 received a pension of £300 p.a. from the government. Of greatest historical interest was his Life of Nelson (1813), the History of the Peninsular War (1823-32), his essays for the Quarterly Review, and the curious Colloquies on the Progress and Prospects of Society (1829).

Southey, Robert (sou'THē, sŭTH'ē), 1774-1843, English author. Primarily a poet, he was numbered among the so-called Lake poets. While at Oxford he formed (1794) a friendship with Coleridge and joined with him in a plan for an American utopia along the Susquehanna River that was never actualized. Southey married in 1795, made several trips to Portugal, and in 1803 settled with his wife and the Coleridges near Keswick in the Lake District. A prolific writer, he enjoyed great popularity and renown in his day and was made poet laureate in 1813. Today, however, his reputation as a poet rests upon his friendships with Coleridge and Wordsworth and a handful of short poems, notably "The Battle of Blenheim," "The Holly Tree," and the epic Vision of Judgment (1821). As a prose writer, however, his reputation has increased. Included among his prose works are biographies of Nelson (1813) and Wesley (1820), several histories, ecclesiastical writings, and translations from the French and Spanish.

Bibliography

See his letters (ed. by J. Simmons, 1951); study by G. Carnall (1960); L. Madden, ed., Robert Southey: The Critical Heritage (1972).

Quotes:

"All deception in the course of life is indeed nothing else but a lie reduced to practice, and falsehood passing from words into things."

"It is not for man to rest in absolute contentment. He is born to hopes and aspirations as the sparks fly upward, unless he has brutalized his nature and quenched the spirit of immortality which is his portion."

"No distance of place or lapse of time can lessen the friendship of those who are thoroughly persuaded of each other's worth."

"Ambition is an idol, on whose wings great minds are carried only to extreme; to be sublimely great or to be nothing."

"Not where I breathe, but where I love, I live; Not where I love, but where I am, I die."

"How little do they see what is, who frame their hasty judgments upon that which seems."

See more famous quotes by Robert Southey

Robert Southey was a British poet and writer who was among the first to introduce the vampire theme into English literature. While attending Oxford University, he met Samuel Taylor Coleridge, who became a life-long friend, mentor, and supporter. Toward the end of the 1790's, Southey's health failed and he moved to Portugal to recuperate. While there he completed his first major work, a long poem titled Thalaba the Destroyer. Thalaba was to be the first of a series of epic poems drawing upon the mythologies of different cultures and portraying the fight of good over evil. It was in the midst of his story that he came face to face with the vampire.

Southey was inspired to write Thalaba by the Arabian Tales, which mentioned the Domdaniel, a training school for evil magicians. In the story, set in Arabia, the title character lived in exile with his mother. His father and kinspeople had been slain by the evil magicians. The magicians resided in a cavern where they kept his father's sword-which was to be the instrument of their destruction. Thalaba's life turned into a quest to find the cavern, retrieve the sword, and avenge his father.

In the midst of his quest (in Book VII of the poem), Thalaba sought shelter from the rain in the chamber of the tombs and there had a brief encounter with a vampire. The vampire was none other than his bride Oneiza, who had recently died, on their wedding day. Oneiza's body had been reanimated by an invading demonic force. Her cheeks were livid, her lips were blue, and her eyes possessed a terrible brightness. Thalaba grasped a lance and:

... through the vampire corpse He thrust his lance; it fell, And howling with the wound, Its fiendish tenant fled.

Immediately afterward, Oneiza's spirit appeared and urged Thalaba to continue his great quest.

In evoking the vampire, Southey demonstrated his awareness of the vampire tales from continental Europe. He mentioned the outbreaks of vampirism on the continent early in the eighteenth-century in his notes, especially the case of Arnold Paul in Serbia, and more recent cases in Greece . In relating the case of the vampire Oneiza, Southey assumed the Greek notion that a vampire was a corpse inhabited by an evil spirit. Equally important for Southey were the translations of the German poem "Lenore", which had been published in English by William Taylor in 1796, and adapted in a more popular form by Sir Walter Scott later that same year.

Even before finishing Thalaba, Southey wrote a ballad titled "The Old Woman of Berkeley." The title character was a witch who possessed the characteristics of a lamiai, the ancient Greek vampirelike creature who preyed upon infants. As she herself was made to say: From sleeping babes I have sucked the breath, And breaking by charms the sleep of death, I have call'd the dead from their graves.

Thus, Southey vied with Coleridge for the distinction of having introduced the vampire into English literature. Coleridge's poem, "Christabel," was published before Thalaba, and while most agree that it was a vampire poem, Coleridge never identified it as such. After Southey introduced the vampire to the English-speaking public, he did not linger over the vampire myth or further develop gothic themes. He did, however, go on to become one of England's finer writers, the author of numerous poems and prose works of history and biography. In general, his prose writing received better reviews than his poetry , although he was credited with expanding the number of metrical patterns available to poets who came after him.

Haller, William. The Early Life of Robert Southey, 1774-1803. New York: Columbia University Press, 1917. 353 pp.
Southey, Robert. The Poetical Works of Robert Southey. Paris: A. and W. Galignani, 1829. 718 pp.

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