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§ 7. Southey's literary activity was prodigious. writings, published under his own name, amounts to one hundred and nine volumes. In addition to these he contributed to the Annual Review fifty-two articles, to the Foreign Quarterly three, to the Quarterly ninety-four. The composition of these works was a small part of the labor they involved: they are all, even to his poems, books of research, which obliged him to turn over numerous volumes for the production of one.

Joan of Arc, the earliest of his long poems, was a juvenile production published in 1795. It was received with favor by most of the critical journals on account of the republican doctrines which it espoused. The critics praised the poetry for the sake of the principles, and the public, who rejected the principles, accepted the verdict. Madoc, which was completed in 1799, was not given to the world till 1805. Upon this poem he was contented to rest his fame. It is founded on one of the most absurd legends connected with the early history of America. Madoc is a Welsh prince of the twelfth century, who is represented as making the discovery of the Western world; and his contests with the Mexicans, and ultimate conversion of that people from their cruel idolatry, form the main action of the poem, which, like Joan of Arc, is written in blank verse. The poet thus had at his disposal the rich store of picturesque scenery, manners, and wonderful adventure to be found in the Spanish narratives of the exploits of Columbus, Pizarro, Cortes, and the Conquestadors. But the victories which are so wonderful, when related as gained over the Mexicans by the comparatively well-armed Spaniards of the fifteenth and sixteenth centuries, are perfectly incredible when attributed to a band of savages little superior in civilization and the art of war to the people they invaded. Though the poem is crowded with scenes of more than possible splendor — of more than human cruelty, courage, and superstition - the effect is singularly languid; and the exaggeration of prowess and suffering produces the same effect upon the mind as the extravagance of fiction in the two Oriental poems which we shall next notice.

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Thalaba was published in 1801, and the Curse of Kehama in 1810. Both these poems are, in their subjects, wild, extravagant, unearthly, full of supernatural machinery, but of a kind as difficult to manage with effect as at first sight splendid and attractive. Thalaba is a tale of Arabian enchantment, full of magicians, dragons, hippogriffs, and monsters. In Kehama the poet has selected for his groundwork the still more unmanageable mythology of the Hindoos a vast, incoherent, and clumsy structure of superstition, more hopelessly unadapted to the purposes of poetry than even the Fetishism of the savages of Africa. The poems are written in an irregular and wandering species of rhythm—the Thalaba altogether without rhyme; and the language abounds in an affected simplicity and perpetual obtrusion of vulgar and puerile phraseology. The works have a most painful air of laxity, and a want of intellectual bone and muscle. There are many passages of gorgeous description, and many proofs of powerful fancy and

imagination; but the persons and adventures are so supernatural, so completely out of the circle of human sympathies, both in their triumphs and sufferings, and they are so scrupulously divested of all the passions and circumstances of humanity, that these gorgeous and ambitious works produce on us the impression of a splendid but unsubstantial nightmare: they are the vast disjointed visions of fever and delirium. In Thalaba we have a series of adventures, encountered by an Arabian hero who fights with demons and enchanters, and finally overthrows the dominion of the powers of evil in the Domdaniel caverns, "under the roots of the ocean." It is more extravagant than anything in the "Thousand and One Nights:" indeed it is nothing but a quintessence of all the puerile and monstrous fictions of Arabian fancy. In the Oriental legends these extravagances are pardonable, and even characteristic; for in them we take into account the childish and wonder-loving character of the audience to which such fantastic inventions were addressed, and we remember that they are scattered, in the books of the East, over a much greater surface, so to speak, whereas here we have them all consolidated into one mass of incoherent monstrosity. We miss, too, the exquisite glimpses afforded us by those tales of the common and domestic life of the East. These poems, like everything of Southey's, exhibit an incredible amount of multifarious learning; but it is learning generally rather curious than valuable, and it is not vivified by any truly genial, harmonizing power of originality.

In the volume of metrical tales, which appeared in the interval between the publication of these poems, as in general in his minor poems, Southey exhibits a degree of vigor and originality of thought for which we look in vain in his longer works. Some of his legends, translated from the Spanish and Portuguese (in which languages Southey was a proficient), or from the obscurer stores of the Latin chronicles of the Middle Ages, or the monkish legends of the saints, are very vigorous and characteristically written. The author's spirit was strongly legendary; and he has caught the true accent, not of heroic and chivalric tradition, but of the religious enthusiasm of monastic times. Some of his minor original poems have great tenderness and simple dignity of thought, though often injured by a studied meanness and creepingness of expression; for the fatal error of the school to which he belonged was, as we have already shown, a theory that the real every-day phraseology of the common people was better adapted to the purposes of poetry than the language of cultivated and educated men.

Kehama was followed, at an interval of four years, by Roderick, the Last of the Goths, a poem in blank verse, and of a much more modest and credible character than its predecessors. The subject is the punishment and repentance of the last Gothic King of Spain, whose vices, oppressions, and in particular an insult offered to the virtue of Florinda, daughter of Count Julian, incited that noble to betray his country to the Moors. The general insurrection of the Spaniards against their Moslem oppressors, the exploits of the illustrious Pelayo, and the

reappearance of Roderick at the great battle which put an end to the infidel dominion, form the materials of the action. The King, in the disguise of a hermit, figures in most of the scenes; and his agonizing repentance for his past crimes, and humble trust in the mercy of God, are the key-note or prevailing tone of the work. Though free from the injudicious employment of supernatural machinery, and though containing some descriptions of undeniable merit, and several scenes of powerful tenderness and pathos, there is the same want of reality and human interest which characterizes his other poems.

The tone of Southey's poems in general is too uniformly ecstatic and agonizing. His personages, like his scenes, have something unreal, phantom-like, dreamy: they are often beautiful, but it is the beauty not of the earth, or even of the clouds, but of the mirage and the Fata Morgana. His robe of inspiration sits gracefully and majestically upon him, but it is too voluminous in its folds, and too heavy in its gorgeous texture, for the motion of real existence: he is never cinct for speed," and his flowing drapery obstructs and embarrasses his steps. He has power, but not force: his genius is rather passive

than active.

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On being appointed poet-laureate, Southey paid his tribute of Court adulation with an eagerness and regularity which showed how complete was his conversion from the political faith of his youthful days. A convert is generally a fanatic; and Southey's laureate odes exhibit a fierce, passionate, controversial hatred of his former liberal opinions which gives interest even to the ambitious monotony, the convulsive mediocrity, of his official lyrics. In one of them, the Vision of Judgment, he has essayed to revive the hexameter in English verse. This experiment, tried in so many languages, and with such indifferent success, had been attempted by Gabriel Harvey in the reign of Elizabeth; and the universal ridicule which hailed Southey's attempt was excited quite as much by the absurdity of the metre as by the extravagant flattery of the poem itself. The deification, or rather beatification, of George III. drew from Byron some of the severest strokes of his irresistible ridicule, and gave him the opportunity of severely revenging upon Southey some of the attacks of the laureate upon his principles and poetry.

§ 8. Southey's prose works are very numerous, and valuable on account of their learning; but the little Life of Nelson, written to furnish young seamen with a simple narrative of the exploits of England's greatest naval hero, has perhaps never been equalled for the perfection of its style. In his other works - the principal of which are The Book of the Church, The Lives of the British Admirals, The Life of Wesley, a History of Brazil, and of the Peninsular War -- we find the same admirable art of clear, vigorous English, and no less that strong prejudice, violent political and literary partiality, and a tone of haughty, acrimonious, arrogant self-confidence, which so much detract from his many excellent qualities as a writer and as a man, his sincerity, his learning, his conscientiousness, and his natural benevolence of character.

NOTES AND ILLUSTRATIONS.

OTHER POETS OF THE NINETEENTH

CENTURY.

SAMUEL ROGERS (1763-1855) was born at Newington Green, a suburb of London. After a careful private education he was placed, while yet a lad, in his father's banking-house to learn the business, in which he afterwards became a nominal partner. In the enjoyment of large wealth and ample leisure, he devoted himself to literature and to the cultivation of the society of men distinguished in politics, literature, and art. His chief works are the Pleasures of Memory, published in 1792; Human Life, in 1819; and Italy, in 1822. His poetry is highly finished, but not characterized by much power or imagination.

imitations of Wordsworth, Cobbett, Southey, Coleridge, and Crabbe; Horace, those of Scott, Moore, Monk Lewis, Fitzgerald, and Dr. Johnson.

James did little more in the way of literature, except an occasional piece in some of the monthlies. Lady Blessington said, "If James Smith had not been a wealthy man, he would have been a great man." He died on Christmas Eve, 1839, in his 65th year.

HORACE SMITH (1779-1849) was a more voluminous writer than his brother. He was the author of several novels and versés. Brambletye House, 1826, was in imitation of Scott's historical novels. Besides this he wrote Tor Hill, Walter Colyton, The Moneyed Man, The Merchant, and several others. His best performance is the Address to the Mummy, some parts of which exhibit the finest sensibility and an exquisite poetic taste.

FELICIA DOROTHEA HEMANS (1793-1835), whose maiden name was Browne, was a native of Liverpool, and spent the early part of her life in North

REV. WILLIAM LISLE BOWLES (1762-1850) was born at King's Sutton, on the borders of Northamptonshire. He was educated at Westminster School and Trinity College, Oxford. In 1805 he obtained the valuable living of Bremhill, in Wiltshire. He occupies an important place in the history of Eng-Wales, not far from Abergele. She was not more lish literature, from the great influence which his than fifteen years of age when her first work was poetry appears to have exercised over the produc- published. In 1812 appeared the Domestic Affections of Coleridge, Wordsworth, and Southey. His tions and other poems; and in the same year Miss Sonnets, his Missionary of the Andes, and his Vil-Browne was married to Captain Hemans. She was lage Verse Book, are among the best of his

works.

REV. CHARLES WOLFE (1791-1823) was born in Ireland. He is chiefly known as the author of the celebrated lines on the death of Sir John Moore, published in 1817. His literary compositions were collected and published in 1825.

BERNARD BARTON (1784-1849) was a member of the Society of Friends, and the amount of attention which he attracted is perhaps mainly owing to the then unusual phenomenon which he presented of a Quaker poet-the title, indeed, by which he came to be commonly known. He published a volume of Metrical Effusions in 1812; Napoleon and other Poems, 1822; Poetic Vigils, 1824; Devotional Verses, 1826. Numerous other pieces appeared separately and in magazines.

His

fortunate in her competition for prizes, gaining that for the best poem on Wallace in 1819; and two years afterwards she won a prize for a poem on Dartmoor. Her dramatic attempt, the Vespers of Palermo, 1823, was not successful. Other works quickly followed: The Forest Sanctuary, 1826; Records of Women, 1828; Lays, Lyrics, &c., Songs of the Affections, 1830. Mrs. Hemans for the latter portion of her life resided at Dublin with her brother, and whilst there published in 1834 her Hymns for Childhood, and Scenes and Hymns of Life, with a few sonnets entitled Thoughts during Sickness. Mrs. Hemans's writings are extensively read. Her subjects are those which find a ready admission to the hearts of all classes. The style is graceful, but presenting, as Scott said, "too many flowers for the fruit." There is little intellectual or emotional force about her poetry, and the majority of it will soon be forgotten. A few of the smaller pieces will perhaps remain as English gems, such as The Graves of a Household, and the Homes of England.

REV. WILLIAM HERBERT (1778-1847), at first a lawyer, then Member of Parliament, finally entered the Church, and died Dean of Manchester. He is the author of several translations from the Norse, Italian, Spanish, and Portuguese-the original poems, Helga, 1815, and Attila, 1838-besides tales, sermons, and scientific treatises.

JAMES MONTGOMERY (1771-1854), educated by the Moravians at Fulneck, near Leeds, wrote many poems while yet a boy, but first attracted public attention by The Wanderer in Switzerland, published in 1806, which, though not exhibiting much power, is written in very melodious verse. subsequent poems were The West Indies (1809), The World before the Flood (1812), Greenland (1810), and The Pelican Island and other Poems (1827). JAMES SMITII (1775-1839), known best in connection with his brother Horace, wrote clever parodics and criticisms in the Picnic, the London THOMAS HAYNES BAYLY (1797-1839), a celebrated Review, and the Monthly Mirror. In the last ap-song-writer. The best known are The Soldier's peared those imitations, from his own and brother's Tear, She wore a Wreath of Roses, Td be a Butterhand, which were published in 1813 as The Rejected fly, O, no, we never mention her, and We metAddresses; one of the most successful and popular 'twas in a Crowd. works that has ever appeared. James wrote the

FRANCIS WRANGHAM (1769-1843), Archdeacon

of Chester, was author of translations from the classical poets, and other poetic and prose writings.

HENRY FRANCIS CARY (1772-1844), published in 1804 a translation of Dante's Inferno, and ten years later a translation of the Divina Commedia, in blank verse, &c.

WILLIAM STEWART ROSE (1775-1843) was also celebrated as a translator. His chief works were Amadis de Gaul, 1803, and the well-known translation of the Orlando Furioso of Ariosto, published in 1831.

WILLIAM TAYLOR (1765-1836), of Norwich, translated some of the works of Goethe, Schiller, and Lessing, and gave a great impulse to the study of German literature in England.

JAMES GRAHAME (1765-1811), a native of Glasgow, at first a barrister, then entered the English Church, where he became a well-known preacher. In 1801 he published Mary Queen of Scotland, a dramatic poem. This was followed by the Sabbath, Sabbath Walks, and other poems of a rcligious character. Grahame is not an easy, graceful poet; and though his verse is full of tender and devout feeling, it has little vigor or imagination. He has becu compared to Cowper, but wants that poet's humor, force, and depth of poetic passion.

WILLIAM SOTHEBY (1757-1833), born in London and educated at Harrow, was for some time in the army; but retired about 1780, and devoted himself to literaturc. He was a man of great learning, and translated some classical works with much elegance and skill. His chief works were, Poetical Description of Wales, 1789; Translation of Virgil's Georgics, 1800; Constance de Castille, 1810, written after the style of Scott's romantic poems; translations of The Iliad, 1831; and The Odyssey, 1832. His translation from Wieland's Oberon has received great commendation.

JOHN HOOKHAM FRERE (1769-1846), a friend of Canning, whom he assisted in the paper called The Anti-Jacobin; was Charge d'Affaires in Spain with General Moore, and afterwards Resident at Malta, where he died, aged seventy-seven. He was the author of the once celebrated satiric poem, published in 1817, entitled Prospectus and Specimen of an intended National Work by William and Robert Whistlecraft, &c. It was written in ottava rima, and was a clever burlesque of romantic writings, with here and there a touch of real poetry. It was the model on which Byron wrote his Beppo. He was also the author of the War Song of Brunnenburg, published by Ellis as a fourteenth century production, but really written by the author when at school at Eton during the great discussion on the Rowley poems by Chatterton. Frere also made an admirable translation into English verse of the Acharnians, Knights, Birds, and Frogs of Aristophanes, which was printed at Malta.

DR. REGINALD HEBER (1783-1820) was born at Malpas, Cheshire, educated at Brasenose College, Oxford, and successively Vicar of Hodnet and Bishop of Calcutta. He died at Trichinopoly, April, 3, 1826.

He was author of the Bampton Lectures, 1815; Life of Jeremy Taylor, 1822; miscellaneous prose writings; and many poems, chiefly religious, of great beauty and feeling.

ROBERT POLLOK (1799-1827), the author of a long poem in blank verse, called the Course of

Time; a work of real value. A few passages have quite a Miltonic ring. The poem is a sketch of the life and end of man. The sentiments are Calvinistic. The tone and coloring are often too sombre. Sometimes the style becomes rather inflated. Robert Pollok was a native of Muirhouse, Renfrewshire, studied at Glasgow, and became a minister in the United Secession Church. He also wrote Tales of the Covenanters, in prose.

ROBERT BLOOMFIELD (1766-1823), the son of a tailor at Honington, near Bury St. Edmund's, worked as a shoemaker in London, where he composed his poetry, which was rejected by London booksellers, but published at Bury, at the expense of Capel Lofft, Esq. He was patronized by the Duke of Grafton, and obtained a situation in the Seal Office. He died on the 19th of August, 1823, at Shefford, Bedfordshire. The chief poems are The Farmer's Boy (1798), Rural Tales (1810), Wild Flowers, &c. His style is descriptive. The rhythm is correct, and the language choice, but the gentle flow seldom bursts into the rush of passion. He never sinks, and never soars.

JOHN LEYDEN (1775-1811), a native of Scotland, wrote a few poems and miscellaneous prose articles in the Edinburgh Magazine, entered the Church (1798), but afterwards became a surgeon in the East India Company's service (1802). In India he devoted himself to the study of the Oriental languages. He accompanied Lord Minto in the expedition against Java, where he died in 1811. His Poetical Remains were published in 1819, by Rev. James Morton. Sir Walter Scott has spoken in high terms of his poetry.

THOMAS NOON TALFOURD (1795-1854) was born at Reading, rose to distinction at the bar, and was made a judge in 1849. He died on the bench whilst addressing the Grand Jury at Stafford in 1854. IIc wrote the tragedies of Ion, The Athenian Captive, The Massacre of Glencoe, and The Castilian; and in prose, Vacation Rambles (1851), Life of Charles Lamb, and an Essay on the Greek Drama. He is best known by the tragedy of Ion, perhaps one of the most striking additions to tragic literature in modern times.

WINTHROP MACKWORTH PRAED (1802-1839), son of Mr. Serjeant Praed, entered the House of Commons, and became Secretary of the Board of Control. His early life and writings gave promise of future eminence. While at Eton he started The Etonian, and was one of the chief contributors to Knight's Quarterly Magazine. His poems, which have been recently published in a collected form, are some of the most remarkable which have appeared in modern times.

HARTLEY COLERIDGE (1796-1849) and SARA COLERIDGE (1803-1852) were the children of the great Samuel Taylor Coleridge, and themselves well known in the world of letters. The brother was author of Poems, Essays, Lives of the Northern Worthies, and other miscellaneous works. His poems were published, with a Memoir of his life, in 1851. The sister married in 1829 her cousin Henry Nelson Coleridge. The dissertations which she appended to many of her father's works, published after his death, are remarkable both for power of thought and of expression.

MRS. SOUTHEY [CAROLINE ANNE BOWLES]

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