TO COLERIDGE.
January 5, 1797.
Sunday Morning.—You cannot surely mean to degrade the Joan of Arc into a pot-girl. [1] You are not going, I hope, to annex to that most splendid ornament of Southey's poem all this cock-and-a-bull story of Joan, the publican's daughter of Neufchâtel, with the lamentable episode of a wagoner, his wife, and six children. The texture will be most lamentably disproportionate. The first forty or fifty lines of these addenda are no doubt in their way admirable too; but many would prefer the Joan of Southey.
[1] Coleridge, in later years, indorsed Lamb's opinion of this portion of his contribution to "Joan of Arc." "I was really astonished," he said, "(1) at the schoolboy, wretched, allegoric machinery; (2) at the transmogrification of the fanatic virago into a modern novel-pawing proselyte of the "Age of Reason,"—a Tom Paine in petticoats; (3) at the utter want of all rhythm in the verse, the monotony and dead plumb-down of the pauses, and the absence of all bone, muscle, and sinew in the single lines."
"On mightiest deeds to brood
Of shadowy vastness, such as made my heart
Throb fast; anon I paused, and in a state
Of half expectance listened to the wind."
"They wondered at me, who had known me once
A cheerful, careless damsel."
"The eye,
That of the circling throng and of the visible world,
Unseeing, saw the shapes of holy phantasy."
I see nothing in your description of the Maid equal to these. There is a fine originality certainly in those lines,—
"For she had lived in this bad world
As in a place of tombs,
And touched not the pollutions of the dead;"
but your "fierce vivacity" is a faint copy of the "fierce and terrible benevolence" of Southey; added to this, that it will look like rivalship in you, and extort a comparison with Southey,—I think to your disadvantage. And the lines, considered in themselves as an addition to what you had before written (strains of a far higher mood), are but such as Madame Fancy loves in some of her more familiar moods,—at such times as she has met Noll Goldsmith, and walked and talked with him, calling him "old acquaintance." Southey certainly has no pretensions to vie with you in the sublime of poetry; but he tells a plain tale better than you. I will enumerate some woful blemishes, some of 'em sad deviations from that simplicity which was your aim. "Hailed who might be near" (the "canvas-coverture moving," by the by, is laughable); "a woman and six children" (by the way, why not nine children? It would have been just half as pathetic again); "statues of sleep they seemed;" "frost-mangled wretch;" "green putridity;" "hailed him immortal" (rather ludicrous again); "voiced a sad and simple tale" (abominable!); "unprovendered;" "such his tale;" "Ah, suffering to the height of what was sufffered" (a most insufferable line); "amazements of affright;" "The hot, sore brain attributes its own hues of ghastliness and torture" (what shocking confusion of ideas!).
In these delineations of common and natural feelings, in the familiar walks of poetry, you seem to resemble Montauban dancing with Roubigné's tenants [1], "much of his native loftiness remained in the execution."
I was reading your "Religious Musings" the other day, and sincerely I think it the noblest poem in the language next after the "Paradise Lost;" and even that was not made the vehicle of such grand truths. "There is one mind," etc., down to "Almighty's throne," are without a rival in the whole compass of my poetical reading.
"Stands in the sun, and with no partial gaze
Views all creation."
I wish I could have written those lines. I rejoice that I am able to relish them. The loftier walks of Pindus are your proper region. There you have no compeer in modern times. Leave the lowlands, unenvied, in possession of such men as Cowper and Southey. Thus am I pouring balsam into the wounds I may have been inflicting on my poor friend's vanity.
In your notice of Southey's new volume you omit to mention the most pleasing of all, the "Miniature."
"There were
Who formed high hopes and flattering ones of thee,
Young Robert!"
"Spirit of Spenser! was the wanderer wrong?"
Fairfax I have been in quest of a long time. Johnson, in his "Life of Waller," gives a most delicious specimen of him, and adds, in the true manner of that delicate critic, as well as amiable man, "It may be presumed that this old version will not be much read after the elegant translation of my friend Mr. Hoole." I endeavored—I wished to gain some idea of Tasso from this Mr. Hoole, the great boast and ornament of the India House, but soon desisted. I found him more vapid than smallest small beer "sun-vinegared." Your "Dream," down to that exquisite line,—
"I can't tell half his adventures,"
is a most happy resemblance of Chaucer. The remainder is so-so. The best line, I think, is, "He belong'd, I believe, to the witch Melancholy." By the way, when will our volume come out? Don't delay it till you have written a new "Joan of Arc." Send what letters you please by me, and in any way you choose, single or double. The India Company is better adapted to answer the cost than the generality of my friend's correspondents,—such poor and honest dogs as John Thelwall particularly. I cannot say I know Coulson,—at least intimately; I once supped with him and Austin; I think his manners very pleasing. I will not tell you what I think of Lloyd, for he may by chance come to see this letter; and that thought puts a restraint on me. I cannot think what subject would suit your epic genius,—some philosophical subject, I conjecture, in which shall be blended the sublime of poetry and of science. Your proposed "Hymns" will be a fit preparatory study wherewith "to discipline your young novitiate soul." I grow dull; I'll go walk myself out of my dulness.
Sunday Night,—You and Sara are very good to think so kindly and so favorably of poor Mary; I would to God all did so too. But I very much fear she must not think of coming home in my father's lifetime. It is very hard upon her, but our circumstances are peculiar, and we must submit to them, God be praised she is so well as she is. She bears her situation as one who has no right to complain. My poor old aunt, whom you have seen, the kindest, goodest creature to me when I was at school; who used to toddle there to bring me good things, when I, schoolboy-like, only despised her for it, and used to be ashamed to see her come and sit herself down on the old coal-hole steps as you went into the old grammar-school, and open her apron, and bring out her basin, with some nice thing she had caused to be saved for me, [2]—the good old creature is now lying on her death-bed. I cannot bear to think on her deplorable state. To the shock she received on that our evil day, from which she never completely recovered, I impute her illness. She says, poor thing, she is glad she is come home to die with me. I was always her favourite;
"No after friendship e'er can raise
The endearments of our early days;
Nor e'er the heart such fondness prove,
As when it first began to love."
[1] In Mackenzie's tale, "Julia de Roubigné."
[2] See the essay, "Christ's Hospital Five-and-Thirty Years Ago."