Complete Poetical Works of Robert Southey
Page 200
QUEEN ORRACA, AND THE FIVE MARTYRS OF MOROCCO.
THE OLD WOMAN OF BERKELEY, A BALLAD, SHEWING HOW AN OLD WOMAN RODE DOUBLE, AND WHO RODE BEFORE HER.
THE SURGEON’S WARNING.
HENRY THE HERMIT.
ST. GUALBERTO. ADDRESSED TO GEORGE BURNETT.
THE MARCH TO MOSCOW.
BROUGH BELLS.
QUEEN MARY’S CHRISTENING.
ROPRECHT THE ROBBER.
THE YOUNG DRAGON.
A TALE OF PARAGUAY. DEDICATION TO EDITH MAY SOUTHEY.
A TALE OF PARAGUAY. PROEM.
A TALE OF PARAGUAY. CANTO I.
A TALE OF PARAGUAY. CANTO II.
A TALE OF PARAGUAY. CANTO III.
A TALE OF PARAGUAY. CANTO IV.
ALL FOR LOVE.
THE PILGRIM TO COMPOSTELLA.
THE PILGRIM TO COMPOSTELLA: PRELUDE.
THE PILGRIM TO COMPOSTELLA: INTRODUCTION.
THE PILGRIM TO COMPOSTELLA. PART I.
THE PILGRIM TO COMPOSTELLA: PART II.
THE PILGRIM TO COMPOSTELLA: PART III.
THE PILGRIM TO COMPOSTELLA: PART IV.
THE CURSE OF KEHAMA
RODERICK, THE LAST OF THE GOTHS.
THE POET’S PILGRIMAGE TO WATERLOO.
CARMEN NUPTIALE. PROEM.
CARMEN NUPTIALE. THE DREAM.
CARMEN NUPTIALE. EPILOGUE.
CARMEN NUPTIALE. L’ENVOY.
FUNERAL ODE FOR THE DEATH OF THE PRINCESS CHARLOTTE
A VISION OF JUDGMENT
OLIVER NEWMAN.
FRAGMENTARY THOUGHTS OCCASIONED BY HIS SON’S DEATH.
SHORT PASSAGES OF SCRIPTURE, RHYTHMICALLY ARRANGED OR PARAPHRASED.
LITTLE BOOK, IN GREEN AND GOLD.
LINES WRITTEN IN THE ALBUM OF ROTHA Q.
IMAGINATION AND REALITY.
MADRIGAL, TRANSLATED FROM LUIS MARTIN.
MOHAMMED; A FRAGMENT, WRITTEN IN 1799.
LIST OF POEMS IN ALPHABETICAL ORDER
A-D E-H I-L M-O P-S T-V W-Z
A TALE OF PARAGUAY. CANTO I.
A TALE OF PARAGUAY. CANTO II.
A TALE OF PARAGUAY. CANTO III.
A TALE OF PARAGUAY. CANTO IV.
A TALE OF PARAGUAY. DEDICATION TO EDITH MAY SOUTHEY.
A TALE OF PARAGUAY. PROEM.
A TRUE BALLAD OF ST. ANTIDIUS, THE POPE, AND THE DEVIL.
A VISION OF JUDGMENT
ALL FOR LOVE.
AUTUMN.
BISHOP BRUNO.
BROUGH BELLS.
CARMEN NUPTIALE. EPILOGUE.
CARMEN NUPTIALE. L’ENVOY.
CARMEN NUPTIALE. PROEM.
CARMEN NUPTIALE. THE DREAM.
CARMEN TRIUMPHALE.
CARMINA AULICA
COOL REFLECTIONS DURING A MIDSUMMER WALK FROM WARMINSTER TO SHAFTESBURY. 1799.
CORNELIUS AGRIPPA
DEDICATIOM OF THE AUTHOR’S COLLOQUIES ON THE PROGRESS AND PROSPECTS OF SOCIETY.
DELIA AT PLAY.
DONICA.
ELEGY I. THE POET RELATES HOW HE OBTAINED DELIA’S POCKET-HANDKERCHIEF.
ELEGY II. THE POET INVOKES THE SPIRITS OF THE ELEMENTS TO APPROACH DELIA.
ELEGY III. THE POET EXPATIATES ON THE BEAUTY OF DELIA’S HAIR
ELEGY IV. THE POET RELATES HOW HE STOLE A LOCK OF DELIA’S HAIR, AND HER ANGER.
ELINOR.
EPISTLE TO ALLAN CUNNINGHAM.
EPITAPH IN BUTLEIGH CHURCH.
EPITAPH.
FOR A CAVERN THAT OVERLOOKS THE RIVER AVON.
FOR A COLUMN AT NEWBURY.
FOR A MONUMENT AT SILBURY-HILL.
FOR A MONUMENT IN THE NEW FOREST.
FOR A TABLET AT GODSTOW NUNNERY.
FOR A TABLET ON THE BANKS OF A STREAM.
FOR THE APARTMENT IN CHEPSTOW-CASTLE WHERE HENRY MARTEN THE REGICIDE WAS IMPRISONED THIRTY YEARS.
FOR THE CENOTAPH AT ERMENONVILLE.
FRAGMENTARY THOUGHTS OCCASIONED BY HIS SON’S DEATH.
FREDERIC.
FUNERAL ODE FOR THE DEATH OF THE PRINCESS CHARLOTTE
GARCI FERRANDEZ.
GOD’S JUDGEMENT ON A WICKED BISHOP.
GONZALO HERMIGUEZ.
GOOSEBERRY-PIE.
HANNAH.
HE PROVES THE EXISTENCE OF A SOUL FROM HIS LOVE FOR DELIA.
HENRY THE HERMIT.
HISTORY.
HUMPHREY AND WILLIAM.
HYMN TO THE PENATES.
IMAGINATION AND REALITY.
IMITATED FROM THE PERSIAN.
INSCRIPTIONS
INSCRIPTIONS FOR THE CALEDONIAN CANAL
JASPAR.
JOAN OF ARC. THE EIGHTH BOOK.
JOAN OF ARC. THE FIFTH BOOK.
JOAN OF ARC. THE FIRST BOOK.
JOAN OF ARC. THE FOURTH BOOK.
JOAN OF ARC. THE NINTH BOOK.
JOAN OF ARC. THE SECOND BOOK.
JOAN OF ARC. THE SEVENTH BOOK.
JOAN OF ARC. THE SIXTH BOOK.
JOAN OF ARC. THE TENTH BOOK.
JOAN OF ARC. THE THIRD BOOK.
JOHN, SAMUEL, & RICHARD.
KING CHARLEMAIN.
KING HENRY V. AND THE HERMIT OF DREUX.
KING RAMIRO.
LA CABA.
LINES WRITTEN IN THE ALBUM OF ROTHA Q.
LITTLE BOOK, IN GREEN AND GOLD.
LORD WILLIAM.
LUCRETIA.
MADOC IN AZTLAN. PART II.
MADOC IN WALES. PART I.
MADRIGAL, TRANSLATED FROM LUIS MARTIN.
MARY, THE MAID OF THE INN.
MOHAMMED; A FRAGMENT, WRITTEN IN 1799.
MY DAYS AMONG THE DEAD ARE PAST
NOTES ON THE FIRST PART.
NOTES ON THE SECOND PART.
ODE FOR ST. GEORGE’S DAY.
ODE ON THE DEATH OF QUEEN CHARLOTTE.
ODE ON THE PORTRAIT OF BISHOP HEBER.
ODE TO HIS IMPERIAL MAJESTY, ALEXANDER THE FIRST, EMPEROR OF ALL THE RUSSIAS.
ODE TO HIS MAJESTY, FREDERICK WILLIAM THE FOURTH, KING OF PRUSSIA.
ODE TO HIS ROYAL HIGHNESS THE PRINCE REGENT OF THE UNITED KINGDOM OF GREAT BRITAIN AND IRELAND.
ODE WRITTEN AFTER THE KING’S VISIT TO IRELAND.
ODE WRITTEN AFTER THE KING’S VISIT TO SCOTLAND.
ODE, WRITTEN DURING THE NEGOTIATIONS WITH BONAPARTE, IN JANUARY, 1814.
ODE, WRITTEN DURING THE WAR WITH AMERICA 1814.
ODE. THE BATTLE OF ALGIERS.
OLD CHRISTOVAL’S ADVICE, AND THE REASON WHY HE GAVE IT.
OLIVER NEWMAN.
ON A LANDSCAPE OF GASPAR POUSSIN.
ON A PICTURE BY J. M. WRIGHT, ESQ.
ON MY OWN MINIATURE PICTURE TAKEN AT TWO YEARS OF AGE.
ON THE DEATH OF A FAVORITE OLD SPANIEL.
OP EENE VERZAMELING VAN MIJNE
POEMS ON THE SLAVE TRADE - SONNET I
POEMS ON THE SLAVE TRADE - SONNET II
POEMS ON THE SLAVE TRADE - SONNET III
POEMS ON THE SLAVE TRADE - SONNET IV
POEMS ON THE SLAVE TRADE - SONNET V
POEMS ON THE SLAVE TRADE - SONNET VI
QUEEN MARY’S CHRISTENING.
QUEEN ORRACA, AND THE FIVE MARTYRS OF MOROCCO.
RECOLLECTIONS OF A DAY’S JOURNEY IN SPAIN.
REMEMBRANCE.
ROBERT THE RHYMER’S TRUE AND PARTICULAR ACCOUNT OF HIMSELF.
RODERICK, THE LAST OF THE GOTHS.
ROPRECHT THE ROBBER.
RUDIGER.
SAPPHO.
SHORT PASSAGES OF SCRIPTURE, RHYTHMICALLY ARRANGED OR PARAPHRASED.
SNUFF.
SONG OF THE ARAUCANS DURING A THUNDER-STORM.
SONG OF THE CHIKKASAH WIDOW
SONNET I.
SONNET II.
SONNET III.
SONNET IV.
SONNET IX.
SONNET V.
SONNET VI
SONNET VII.
SONNET VIII.
SONNET X.
ST. BARTHOLOMEW’S DAY.
ST. GUALBERTO. ADDRESSE
D TO GEORGE BURNETT.
ST. MICHAEL’S CHAIR.
ST. PATRICK’S PURGATORY.
ST. ROMUALD.
STANZAS ADDRESSED TO W. R. TURNER, ESQ., R. A., ON HIS VIEW OF THE LAGO MAGGIORE FROM THE TOWN OF ARONA.
STANZAS WRITTEN IN LADY LONSDALE’S ALBUM, AT LOWTHER CASTLE, OCTOBER 13, 1821.
THALABA THE DESTROYER. BOOK I.
THALABA THE DESTROYER. BOOK II.
THALABA THE DESTROYER. BOOK III.
THALABA THE DESTROYER. BOOK IV.
THALABA THE DESTROYER. BOOK IX.
THALABA THE DESTROYER. BOOK V.
THALABA THE DESTROYER. BOOK VI.
THALABA THE DESTROYER. BOOK VII.
THALABA THE DESTROYER. BOOK VIII.
THALABA THE DESTROYER. BOOK X.
THALABA THE DESTROYER. BOOK XI.
THALABA THE DESTROYER. BOOK XII.
THANKSGIVING FOR VICTORY.
THE ALDERMAN’S FUNERAL
THE BATTLE OF BLENHEIM.
THE BATTLE OF PULTOWA.
THE CATARACT OF LODORE.
THE CHAPEL BELL.
THE COMPLAINTS OF THE POOR
THE CONVENT OF ARRABIDA
THE CROSS ROADS.
THE CURSE OF KEHAMA
THE DANCING BEAR.
THE DEAD FRIEND.
THE DEATH OF WALLACE.
THE DESTRUCTION OF JERUSALEM
THE DEVIL’S WALK.
THE EBB TIDE.
THE FILBERT.
THE FUNERAL.
THE GRANDMOTHERS TALE.
THE HOLLY-TREE.
THE HURON’S ADDRESS TO THE DEAD.
THE INCHCAPE ROCK.
THE KING OF THE CROCODILES.
THE LAST OF THE FAMILY
THE LOVER’S ROCK.
THE MARCH TO MOSCOW.
THE OAK OF OUR FATHERS.
THE OLD CHIKKASAH TO HIS GRANDSON
THE OLD MAN’S COMFORTS AND HOW HE GAINED THEM.
THE OLD MANSION-HOUSE.
THE OLD WOMAN OF BERKELEY, A BALLAD, SHEWING HOW AN OLD WOMAN RODE DOUBLE, AND WHO RODE BEFORE HER.
THE PAUPER’S FUNERAL.
THE PERUVIAN’S DIRGE OVER THE BODY OF HIS FATHER.
THE PIG.
THE PILGRIM TO COMPOSTELLA.
THE PILGRIM TO COMPOSTELLA. PART I.
THE PILGRIM TO COMPOSTELLA: INTRODUCTION.
THE PILGRIM TO COMPOSTELLA: PART II.
THE PILGRIM TO COMPOSTELLA: PART III.
THE PILGRIM TO COMPOSTELLA: PART IV.
THE PILGRIM TO COMPOSTELLA: PRELUDE.
THE PIOUS PAINTER.
THE POET EXPRESSES HIS FEELINGS RESPECTING A PORTRAIT IN DELIA’S PARLOR.
THE POET’S PILGRIMAGE TO WATERLOO.
THE RACE OF BANQUO.
THE RETROSPECT.
THE ROSE.
THE RUINED COTTAGE.
THE SAILOR, WHO HAD SERVED IN THE SLAVE TRADE
THE SAILOR’S MOTHER.
THE SOLDIER’S FUNERAL.
THE SOLDIER’S WIFE.
THE SPANISH ARMADA.
THE SPEECH OF ROBERT EMMET
THE SURGEON’S WARNING.
THE TRAVELLER’S RETURN.
THE TRIUMPH OF WOMAN
THE VICTORY.
THE VISION OF THE MAID OF ORLEANS. THE FIRST BOOK.
THE VISION OF THE MAID OF ORLEANS. THE SECOND BOOK.
THE VISION OF THE MAID OF ORLEANS. THE THIRD BOOK.
THE WARNING VOICE. ODE I.
THE WARNING VOICE. ODE II.
THE WEDDING
THE WELL OF ST. KEYNE.
THE WIDOW.
THE WIFE OF FERGUS.
THE WITCH.
THE YOUNG DRAGON.
TO A BEE.
TO A FRIEND, INQUIRING IF I WOULD LIVE OVER MY YOUTH AGAIN.
TO A FRIEND.
TO A PAINTER ATTEMPTING DELIA’S PORTRAIT.
TO A SPIDER.
TO CONTEMPLATION.
TO HORROR.
TO HYMEN.
TO MARGARET HILL.
TO MARY.
TO RECOVERY.
TO THE GENIUS OF AFRICA
TRANSLATION OF A GREEK ODE ON ASTRONOMY WRITTEN BY S. T. COLERIDGE, FOR THE PRIZE AT CAMBRIDGE, 1793.
VERSES SPOKEN IN THE THEATRE AT OXFORD, UPON THE INSTALLATION OF LORD GRENVILLE
VERY PITHY AND PROFITABLE.
WAT TYLER - ACT I
WAT TYLER - ACT II
WAT TYLER - ACT III
WRITTEN IN ALENTEJO, JANUARY 23, 1796.
WRITTEN ON CHRISTMAS DAY, 1795.
WRITTEN ON SUNDAY MORNING.
WRITTEN ON THE FIRST OF DECEMBER.
WRITTEN ON THE FIRST OF JANUARY.
WRITTEN THE WINTER AFTER THE INSTALLATION AT OXFORD. 1793.
XIMALPOCA.
YOUTH AND AGE.
The Play
Southey married Edith Fricker, the sister of Colerdige’s wife, at St. Mary Redcliffe, Bristol, on 14 November 1795.
THE FALL OF ROBESPIERRE
AN HISTORIC DRAMA
This play was written by Southey and Samuel Taylor Coleridge in 1794. It follows the events in France after the downfall of Maximilien Robespierre, who is portrayed as a tyrant, though Southey’s contributions praise him as a destroyer of despotism. Written as a closet drama, the play is, according to Coleridge, “my sole aim to imitate the impassioned and highly figurative language of the French Orators and develop the characters of the chief actors on a vast stage of horrors.”
In order to raise money, Southey and Coleridge began collaborating in August 1794 on a play that would deal with the beheading of Robespierre in July 1794. Their source was news articles that described the final moments of a dispute within the National Assembly. During composition, they were able to write 800 lines in just two days. When they turned to Joseph Cottle to publish the work, he refused and Coleridge had to search for another publisher. He took the manuscript to Cambridge, revising and improving his own contribution. Eventually, the drama was published in October 1794 by Benjamin Flower. Five hundred copies were printed and circulated in Bath, Cambridge, and London, bringing the writers fame, though their personal relationship grew tense.
The events that inspired the work involve Robespierre’s taking over of the National Assembly and removing the moderate members. During this time, he also allowed the executions of many individuals and became the centre of power during the summer of 1793. The next summer, 28 July 1794, he was executed by guillotine with twenty-one of his followers.
An anonymous review in the November 1794 Critical Review argued that the subject matter would have been appropriate for a tragedy, but the events happened too soon to allow for it to be dealt with in an appropriate manner. However, the review did praise aspects of the poem: “By these free remarks, we mean not to under-rate Mr. Coleridge’s historical drama. It affords ample testimony, that the writer is a genuine votary of the Muse, and several parts of it will afford much pleasure to those who can relish the beauties of poetry. Indeed a writer who could produce so much beauty in so little time, must possess powers that are capable of raising him to a distinguished place among the English poets.” In the British Critic, an anonymous reviewer argued that, “The sentiments in many instances are naturally, though boldly conceived, and expressed in language, which gives us reason to think the Author might, after some probation, become no unsuccessful wooer of the tragic muse.”
Maximilien Robespierre (1758–1794) was a French lawyer, politician and one of the best-known and most influential figures of the French Revolution.
CONTENTS
ACT I
ACT II
ACT III
Samuel Taylor Coleridge (1772-1834) was to become a founder of the Romantic Movement in England and a member of the Lake Poets, as well as a great source of inspiration to Southey in his early years as a poet.
TO
H. MARTIN, ESQ.
OF
JESUS COLLEGE
CAMBRIDGE
DE
AR SIR,
Accept, as a small testimony of my grateful attachment, the following
Dramatic Poem, in which I have endeavoured to detail, in an interesting
form, the fall of a man, whose great bad actions have cast a disastrous
lustre on his name. In the execution of the work, as intricacy of plot
could not have been attempted without a gross violation of recent facts,
it has been my sole aim to imitate the empassioned and highly figurative
language of the French orators, and to develope the characters of the
chief actors on a vast stage of horrors.
Yours fraternally,
S. T. COLERIDGE.
JESUS COLLEGE, September 22, 1794.
ACT I
SCENE — The Thuilleries.
Barrere. The tempest gathers — be it mine to seek
A friendly shelter, ere it bursts upon him.
But where? and how? I fear the Tyrant’s soul —
Sudden in action, fertile in resource,
And rising awful ‘mid impending ruins; 5
In splendor gloomy, as the midnight meteor,
That fearless thwarts the elemental war.
When last in secret conference we met,
He scowl’d upon me with suspicious rage,
Making his eye the inmate of my bosom. 10
I know he scorns me — and I feel, I hate him —
Yet there is in him that which makes me tremble! [Exit.
Enter TALLIEN and LEGENDRE.
Tallien. It was Barrere, Legendre! didst thou mark him?
Abrupt he turn’d, yet linger’d as he went,
And towards us cast a look of doubtful meaning. 15
Legendre. I mark’d him well. I met his eye’s last glance;
It menac’d not so proudly as of yore.
Methought he would have spoke — but that he dar’d not —
Such agitation darken’d on his brow.
Tallien. ’Twas all-distrusting guilt that kept from bursting 20
Th’ imprison’d secret struggling in the face:
E’en as the sudden breeze upstarting onwards
Hurries the thundercloud, that pois’d awhile
Hung in mid air, red with its mutinous burthen.
Legendre. Perfidious Traitor! — still afraid to bask 25
In the full blaze of power, the rustling serpent
Lurks in the thicket of the Tyrant’s greatness,
Ever prepared to sting who shelters him.