CHAPTER V.
WAYS OF LIFE AT KESWICK, 1803-1839 (continued).
The texture of Southey’s life was so uniform, the round from morning till night repeated itself with so much regularity, that one day may stand as representative of a thousand. We possess his record of how the waking hours went by when he was about thirty years old, and a similar record written when he was twice that age. His surroundings had changed in the mean time, and he himself had changed; the great bare room which he used from the first as a study, fresh plastered in 1804, with the trowel-lines on the ceiling pierced by the flaws of winter, containing two chairs and a little table—“God help me!” he exclaims, “I look in it like a cock-robin in a church”—this room had received, long before 1834, its lining of comely books, its white and gold pyramids, its brackets, its cherished portraits. The occupant of the study had the same spare frame, the same aspect of lightness and of strength, the same full eyebrows shadowing the dark-brown eyes, the same variously expressive muscular mouth; the youthful wildness in his countenance had given place to a thoughtful expression, and the abundant hair still clustering over his great brow was snowy white. Whatever had changed, his habits—though never his tyrants—remained, with some variations in detail, the same. “My actions,” he writes to a friend not very long after his arrival in Keswick, “are as regular as those of St. Dunstan’s quarter-boys. Three pages of history after breakfast (equivalent to five in small quarto printing); then to transcribe and copy for the press, or to make my selections and biographies, or what else suits my humour till dinner-time; from dinner to tea I read, write letters, see the newspaper, and very often indulge in a siesta—for sleep agrees with me.... After tea I go to poetry, and correct, and rewrite, and copy till I am tired, and then turn to anything else till supper; and this is my life—which, if it be not a very merry one, is yet as happy as heart could wish.” “See how the day is disposed of!” begins the later record; “I get out of bed as the clock strikes six, and shut the house-door after me as it strikes seven.[8] After two hours with Davies, home to breakfast, after which Cuthbert engages me till about half-past ten, and when the post brings no letters that either interest or trouble me (for of the latter I have many), by eleven I have done with the newspaper, and can then set about what is properly the business of the day. But letters are often to be written, and I am liable to frequent interruptions; so that there are not many mornings in which I can command from two to three unbroken hours at the desk. At two I take my daily walk, be the weather what it may, and when the weather permits, with a book in my hand; dinner at four, read about half an hour; then take to the sofa with a different book, and after a few pages get my soundest sleep, till summoned to tea at six. My best time during the winter is by candle-light; twilight interferes with it a little; and in the season of company I can never count upon an evening’s work. Supper at half-past nine, after which I read an hour, and then to bed. The greatest part of my miscellaneous work is done in the odds and ends of time.”
It was part of Southey’s regimen to carry on several works at once; this he found to be economy of time, and he believed it necessary for the preservation of his health. Whenever one object entirely occupied his attention, it haunted him, oppressed him, troubled his dreams. The remedy was simple—to do one thing in the morning, another in the evening. To lay down poetry and presently to attack history seems feasible, and no ill policy for one who is forced to take all he can out of himself; but Southey would turn from one poetical theme to another, and could day by day advance with a pair of epics. This was a source of unfailing wonder to Landor. “When I write a poem,” he says, “my heart and all my feelings are upon it.... High poems will not admit flirtation.” Little by little was Southey’s way, and so he got on with many things. “Last night,” he writes to Bedford, “I began the Preface [to Specimens of English Poets]—huzza! And now, Grosvenor, let me tell you what I have to do. I am writing—1. The History of Portugal; 2. The Chronicle of the Cid; 3. The Curse of Kehama; 4. Espriella’s Letters. Look you, all these I am writing.... By way of interlude comes in this preface. Don’t swear, and bid me do one thing at a time. I tell you I can’t afford to do one thing at a time—no, nor two neither; and it is only by doing many things that I contrive to do so much: for I cannot work long together at anything without hurting myself, and so I do everything by heats; then, by the time I am tired of one, my inclination for another is come round.” A strong, deliberate energy, accordingly, is at the back of all Southey’s work; but not that blind creative rapture which will have its own way, and leaves its subject weak but appeased. “In the day-time I laboured,” says Landor, “and at night unburdened my soul, shedding many tears. My Tiberius has so shaken me at last that the least thing affects me violently.” Southey shrank back from such agitations. A great Elizabethan poet is described by one of his contemporaries as one standing
“Up to the chin in the Pierian flood.”
Southey did not wade so far; he stepped down calmly until the smooth waters touched his waist; dipped seven times, and returned to the bank. It was a beautiful and an elevating rite; but the waves sing with lyric lips only in the midmost stream; and he who sings with them, and is swift as they, need not wonder if he sink after a time, faint, breathless, delighted.
Authorship, it must be remembered, was Southey’s trade, the business of his life, and this, at least, he knew how to conduct well. To be a prophet and call down flame from heaven, and disappear in a whirlwind and a chariot of fire, is sublime; but prophets can go in the strength of a single meal for more days and nights than one would choose to name in this incredulous age, and, if they eat, there are ravens to bring them food. No ravens brought loaves to Greta Hall; and Southey had an unprophet-like craving for the creature comforts of beef and bread, for wine if it might be had, and at supper for one meditative tumbler of punch or black-currant rum. Besides, what ravens were ever pledged to feed a prophet’s sisters-in-law, or his nephews and nieces? Let it be praise enough for much of Southey’s performance that he did good work in workmanlike fashion. To shift knowledge into more convenient positions is to render no unimportant service to mankind. In the gathering of facts, Southey was both swift and patient in an extraordinary degree; he went often alone, and he went far; in the art of exposition he was unsurpassed; and his fine moral feeling and profound sympathy with elementary justice created, as De Quincey has observed, a soul under what else might well be denominated, Miltonically, “the ribs of death.” From the mending of his pens to the second reading aloud of his proof-sheets, attending as he read to the fall of each word upon the ear, Southey had a diligent care for everything that served to make his work right. He wrote at a moderate pace; re-wrote; wrote a third time if it seemed desirable; corrected with minute supervision. He accomplished so much, not because he produced with unexampled rapidity, but because he worked regularly, and never fell into a mood of apathy or ennui. No periods of tempestuous vacancy lay between his periods of patient labour. One work always overlapped another—thus, that first idle day, the begetter of so many idle descendants, never came. But let us hear the craftsman giving a lesson in the knack of authorship to his brother, Dr. Henry Southey, who has a notion of writing something on the Crusades:
“Now then, supposing that you will seriously set about the Crusades, I will give you such directions in the art of historical book-keeping as may save time and facilitate labour.
“Make your writing-books in foolscap quarto, and write on only one side of a leaf; draw a line down the margin, marking off space enough for your references, which should be given at the end of every paragraph; noting page, book, or chapter of the author referred to. This minuteness is now demanded, and you will yourself find it useful; for, in transcribing or in correcting proofs, it is often requisite to turn to the original authorities. Take the best author; that is to say, the one that has written most at length of all the original authors, upon the particular point of time on which you are employed, and draw up your account from him; then, on the opposite page, correct and amplify this from every other who has written on the same subject. This page should be divided into two columns, one of about two-thirds of its breadth, the other the remaining one. You are thus enabled to add to your additions.
“One of these books you should have for your geography; that is to say, for collecting descriptions of all the principal scenes of action (which must be done from books of travels), their situation, their strength, their previous history, and in the notes, their present state. [Another book—he adds in a subsequent letter—you must keep for the bibliography of your subject.]