But Southey could not rest. “I had rather leave off eating than poetizing,” he had said; and now the words seemed coming true, for he still poetized, and had almost ceased to eat. “Yesterday I finished Madoc, thank God! and thoroughly to my own satisfaction; but I have resolved on one great, laborious, and radical alteration. It was my design to identify Madoc with Mango Capac, the legislator of Peru: in this I have totally failed; therefore Mango Capac is to be the hero of another poem.” There is something charming in the logic of Southey’s “therefore;” so excellent an epic hero must not go to waste; but when, on the following morning, he rose early, it was to put on paper the first hundred lines, not of Mango Capac, but of the Dom Daniel poem which we know as Thalaba. A Mohammed, to be written in hexameters, was also on the stocks; and Coleridge had promised the half of this. Southey, who remembered a certain quarto volume on Pantisocracy and other great unwritten works, including the last—a Life of Lessing, by Samuel Taylor Coleridge—knew the worth of his collaborateur’s promises. However, it matters little; “the only inconvenience that his dereliction can occasion will be that I shall write the poem in fragments, and have to seam them together at last.” “My Mohammed will be what I believe the Arabian was in the beginning of his career—sincere in enthusiasm; and it would puzzle a casuist to distinguish between the belief of inspiration and actual enthusiasm.” A short fragment of the Mohammed was actually written by Coleridge, and a short fragment by Southey, which, dating from 1799, have an interest in connexion with the history of the English hexameter. Last among these many projects, Southey has made up his mind to undertake one great historical work—the History of Portugal. This was no dream-project; Mango Capac never descended from his father the Sun to appear in Southey’s poem; Mohammed never emerged from the cavern where the spider had spread his net; but the work which was meant to rival Gibbon’s great history was in part achieved. It is a fact more pathetic than many others which make appeal for tears, that this most ambitious and most cherished design of Southey’s life, conceived at the age of twenty-six, and kept constantly in view through all his days of toil, was not yet half wrought out when, forty years later, the pen dropped from his hand, and the worn-out brain could think no more.
The deal shavings had hardly been cleared out of the twin cottages at Burton, when Southey was prostrated by a nervous fever; on recovering, he moved to Bristol, still weak, with strange pains about the heart, and sudden seizures of the head. An entire change of scene was obviously desirable. The sound of the brook that ran beside his uncle’s door at Cintra, the scent of the lemon-groves, the grandeur of the Arrabida, haunted his memory; there were books and manuscripts to be found in Portugal which were essential in the preparation of his great history of that country. Mr. Hill invited him; his good friend Elmsley, an old schoolfellow, offered him a hundred pounds. From every point of view it seemed right and prudent to go. Ailing and unsettled as he was, he yet found strength and time to put his hand to a good work before leaving Bristol. Chatterton always interested Southey deeply; they had this much at least in common, that both had often listened to the chimes of St. Mary Redcliffe, that both were lovers of antiquity, both were rich in store of verse, and lacked all other riches. Chatterton’s sister, Mrs. Newton, and her child were needy and neglected. It occurred to Southey and Cottle that an edition of her brother’s poems might be published for her benefit. Subscribers came in slowly, and the plan underwent some alterations; but in the end the charitable thought bore fruit, and the sister and niece of the great unhappy boy were lifted into security and comfort. To have done something to appease the moody and indignant spirit of a dead poet, was well; to have rescued from want a poor woman and her daughter, was perhaps even better.
Early in April, 1800, Southey was once more on his way from Bristol, by Falmouth, to the Continent, accompanied by his wife, now about to be welcomed to Portugal by the fatherly uncle whose prudence she had once alarmed. The wind was adverse, and while the travellers were detained Southey strolled along the beach, caught soldier-crabs, and observed those sea-anemones which blossom anew in the verse of Thalaba. For reading on the voyage, he had brought Burns, Coleridge’s poems, the Lyrical Ballads, and a poem, with “miraculous beauties,” called Gebir, “written by God knows who.” But when the ship lost sight of England, Southey, with swimming head, had little spirit left for wrestling with the intractable thews of Landor’s early verse; he could just grunt out some crooked pun or quaint phrase in answer to inquiries as to how he did. Suddenly, on the fourth morning, came the announcement that a French cutter was bearing down upon them. Southey leaped to his feet, hurriedly removed his wife to a place of safety, and, musket in hand, took his post upon the quarter-deck. The smoke from the enemy’s matches could be seen. She was hailed, answered in broken English, and passed on. A moment more, and the suspense was over; she was English, manned from Guernsey. “You will easily imagine,” says Southey, “that my sensations at the ending of the business were very definable—one honest, simple joy that I was in a whole skin!” Two mornings more, and the sun rose behind the Berlings; the heights of Cintra became visible, and nearer, the silver dust of the breakers, with sea-gulls sporting over them; a pilot’s boat, with puffed and flapping sail, ran out; they passed thankfully our Lady of the Guide, and soon dropped anchor in the Tagus. An absence of four years had freshened every object to Southey’s sense of seeing, and now he had the joy of viewing all familiar things as strange through so dear a companion’s eyes.
Mr. Hill was presently on board with kindly greeting; he had hired a tiny house for them, perched well above the river, its little rooms cool with many doors and windows. Manuel the barber, brisk as Figaro, would be their factotum, and Mrs. Southey could also see a new maid—Maria Rosa. Maria by-and-by came to be looked at, in powder, straw-coloured gloves, fan, pink-ribands, muslin petticoat, green satin sleeves; she was “not one of the folk who sleep on straw mattresses;” withal she was young and clean. Mrs. Southey, who had liked little the prospect of being thrown abroad upon the world, was beginning to be reconciled to Portugal; roses and oranges and green peas in early May were pleasant things. Then the streets were an unending spectacle; now a negro going by with Christ in a glass case, to be kissed for a petty alms; now some picturesque, venerable beggar; now the little Emperor of the Holy Ghost, strutting it from Easter till Whitsuntide, a six-year-old mannikin with silk stockings, buckles, cocked hat, and sword, his gentlemen ushers attending, and his servants receiving donations on silver salvers. News of an assassination, from time to time, did not much disturb the tranquil tenor of ordinary life. There were old gardens to loiter in along vine-trellised walks, or in sunshine where the grey lizards glanced and gleamed. And eastward from the city were lovely by-lanes amid blossoming olive-trees or market-gardens, veined by tiny aqueducts and musical with the creak of water-wheels, which told of cool refreshment. There was also the vast public aqueduct to visit; Edith Southey, holding her husband’s hand, looked down, hardly discovering the diminished figures below of women washing in the brook of Alcantara. If the sultry noon in Lisbon was hard to endure, evening made amends; then strong sea-winds swept the narrowest alley, and rolled their current down every avenue. And later, it was pure content to look down upon the moonlighted river, with Almada stretching its black isthmus into the waters that shone like midnight snow.
Before moving to Cintra, they wished to witness the procession of the Body of God—Southey likes the English words as exposing “the naked nonsense of the blasphemy”—those of St. Anthony, and the Heart of Jesus, and the first bull-fight. Everything had grown into one insufferable glare; the very dust was bleached; the light was like the quivering of a furnace fire. Every man and beast was asleep; the stone-cutter slept with his head upon the stone; the dog slept under the very cart-wheels; the bells alone slept not, nor ceased from their importunate clamour. At length—it was near mid-June—a marvellous cleaning of streets took place, the houses were hung with crimson damask, soldiers came and lined the ways, windows and balconies filled with impatient watchers—not a jewel in Lisbon but was on show. With blare of music the procession began; first, the banners of the city and its trades, the clumsy bearers crab-sidling along; an armed champion carrying a flag; wooden St. George held painfully on horseback; led horses, their saddles covered with rich escutcheons; all the brotherhoods, an immense train of men in red or grey cloaks; the knights of the orders superbly dressed; the whole patriarchal church in glorious robes; and then, amid a shower of rose-leaves fluttering from the windows, the Pix, and after the Pix, the Prince. On a broiling Sunday, the amusement being cool and devout, was celebrated the bull-feast. The first wound sickened Edith; Southey himself, not without an effort, looked on and saw “the death-sweat darkening the dun hide”—a circumstance borne in mind for his Thalaba. “I am not quite sure,” he writes, “that my curiosity in once going was perfectly justifiable, but the pain inflicted by the sight was expiation enough.”
After this it was high time to take refuge from the sun among the lemon-groves at Cintra. Here, if ever in his life, Southey for a brief season believed that the grasshopper is wiser than the ant; a true Portuguese indolence overpowered him. “I have spent my mornings half naked in a wet room dozing upon the bed, my right hand not daring to touch my left.” Such glorious indolence could only be a brief possession with Southey. More often he would wander by the streams to those spots where purple crocuses carpeted the ground, and there rest and read. Sometimes seated sideways on one of the sure-footed burros, with a boy to beat and guide the brute, he would jog lazily on, while Edith, now skilled in “ass-womanship,” would jog along on a brother donkey. Once and again a fog—not unwelcome—came rolling in from the ocean, one huge mass of mist, marching through the valley like a victorious army, approaching, blotting the brightness, but leaving all dank and fresh. And always the evenings were delightful, when fireflies sparkled under the trees, or in July and August, as their light went out, when the grillo began his song. “I eat oranges, figs, and delicious pears—drink Colares wine, a sort of half-way excellence between port and claret—read all I can lay my hands on—dream of poem after poem, and play after play—take a siesta of two hours, and am as happy as if life were but one everlasting today, and that tomorrow was not to be provided for.”
But Southey’s second visit to Portugal was, on the whole, no season of repose. A week in the southern climate seemed to have restored him to health, and he assailed folio after folio in his uncle’s library, rising each morning at five, “to lay in bricks for the great Pyramid of my history.” The chronicles, the laws, the poetry of Portugal, were among these bricks. Nor did he slacken in his ardour as a writer of verse. Six books of Thalaba were in his trunk in manuscript when he sailed from Falmouth; the remaining six were of a southern birth. “I am busy,” he says, “in correcting Thalaba for the press.... It is a good job done, and so I have thought of another, and another, and another.” As with Joan of Arc, so with this maturer poem the correction was a rehandling which doubled the writer’s work. To draw the pen across six hundred lines did not cost him a pang. At length the manuscript was despatched to his friend Rickman, with instructions to make as good a bargain as he could for the first thousand copies. By Joan and the miscellaneous Poems of 1797, Southey had gained not far from a hundred and fifty pounds; he might fairly expect a hundred guineas for Thalaba. It would buy the furniture of his long-expected house. But he was concerned about the prospects of Harry, his younger brother; and now William Taylor wrote that some provincial surgeon of eminence would board and instruct the lad during four or five years for precisely a hundred guineas. “A hundred guineas!” Southey exclaims; “well, but, thank God, there is Thalaba ready, for which I ask this sum.” “Thalaba finished, all my poetry,” he writes, “instead of being wasted in rivulets and ditches, shall flow into the great Madoc Mississippi river.” One epic poem, however, he finds too little to content him; already The Curse of Kehama is in his head, and another of the mythological series which never saw the light. “I have some distant view of manufacturing a Hindoo romance, wild as Thalaba; and a nearer one of a Persian story, of which I see the germ of vitality. I take the system of the Zendavesta for my mythology, and introduce the powers of darkness persecuting a Persian, one of the hundred and fifty sons of the great king; an Athenian captive is a prominent character, and the whole warfare of the evil power ends in exalting a Persian prince into a citizen of Athens.” From which catastrophe we may infer that Southey had still something republican about his heart.
Before quitting Portugal, the Southeys, with their friend Waterhouse and a party of ladies, travelled northwards, encountering very gallantly the trials of the way; Mafra, its convent and library, had been already visited by Southey. “Do you love reading?” asked the friar who accompanied them, overhearing some remark about the books. “Yes.” “And I,” said the honest Franciscan, “love eating and drinking.” At Coimbra—that central point from which radiates the history and literature of Portugal—Southey would have agreed feelingly with the good brother of the Mafra convent; he had looked forward to precious moments of emotion in that venerable city; but air and exercise had given him a cruel appetite; if truth must be told, the ducks of the monastic poultry-yard were more to him than the precious finger of St. Anthony. “I did long,” he confesses, “to buy, beg, or steal a dinner.” The dinner must somehow have been secured before he could approach in a worthy spirit that most affecting monument at Coimbra—the Fountain of Tears. “It is the spot where Inez de Castro was accustomed to meet her husband Pedro, and weep for him in his absence. Certainly her dwelling-house was in the adjoining garden; and from there she was dragged, to be murdered at the feet of the king, her father-in-law.... I, who have long planned a tragedy upon the subject, stood upon my own scene.” While Southey and his companions gazed at the fountains and their shadowing cedar-trees, the gownsmen gathered round; the visitors were travel-stained and bronzed by the sun; perhaps the witty youths cheered for the lady with the squaw tint; whatever offence may have been given, the ladies’ protectors found them “impudent blackguards,” and with difficulty suppressed pugilistic risings.
After an excursion southwards to Algarve, Southey made ready for his return to England (1801). His wife desired it, and he had attained the main objects of his sojourn abroad. His health had never been more perfect; he had read widely; he had gathered large material for his History; he knew where to put his hand on this or that which might prove needful, whenever he should return to complete his work among the libraries of Portugal. On arriving at Bristol, a letter from Coleridge met him. It was dated from Greta Hall, Keswick; and after reminding Southey that Bristol had recently lost the miraculous young man, Davy, and adding that he, Samuel Taylor Coleridge, had experiences, sufferings, hopes, projects to impart, which would beguile much time, “were you on a desert island and I your Friday,” it went on to present the attractions of Keswick, and in particular of Greta Hall, in a way which could not be resisted. Taking all in all—the beauty of the prospect, the roominess of the house, the lowness of the rent, the unparalleled merits of the landlord, the neighbourhood of noble libraries—it united advantages not to be found together elsewhere. “In short”—the appeal wound up—“for situation and convenience—and when I mention the name of Wordsworth, for society of men of intellect—I know no place in which you and Edith would find yourselves so well suited.”