[IX]
THE LAKE SCHOOL'S ORIENTAL ROMANTICISM
This is the time to notice the man who was Byron's and Shelley's worst enemy and Coleridge's best friend, and who, inferior as his productions are to those of his friend, deserves also to have his name coupled with Coleridge's as a famous English Romanticist.
Robert Southey, born in Bristol in 1774, was the son of a linen-draper there, and to the end of his life a man who produced the impression that he had been born in narrow circumstances, in a corner of the world with a narrow spiritual horizon. After studying a short time at Oxford, he, like the other poets of the Lake School, became infected by the spirit of the Revolution. In 1794 he wrote an extremely Jacobinical poem, Wat Tyler. About the same time he composed the following inscription for the room in which Martin, the regicide, had been confined:—
"For thirty years secluded from mankind
Here Martin linger'd. Often have these walls
Echo'd his footsteps, as with even tread
He paced around his prison. Not to him
Did Nature's fair varieties exist;
He never saw the sun's delightful beams,
Save when through yon high bars he pour'd a sad
And broken splendour. Dost thou ask his crime?
He had rebell'd against the King, and sat
In judgment on him; for his ardent mind
Shaped goodliest plans of happiness on earth,
And peace and liberty. Wild dreams! but such
As Plato lov'd...."
The following rather clever parody was inserted by Mr. Canning in the Anti-Jacobin:—
"INSCRIPTION FOR THE DOOR OF THE CELL IN NEWGATE, WHERE MRS. BROWNRIGG, THE 'PRENTICE-CIDE, WAS CONFINED, PREVIOUS TO HER EXECUTION.
"For one long term, or ere her trial came,
Here Brownrigg linger'd. Often have these cells
Echo'd her blasphemies, as with shrill voice
She scream'd for fresh geneva. Not to her
Did the blithe fields of Tothill, or thy street,
St. Giles, its fair varieties expand;
Till at the last in slow-drawn cart she went
To execution. Dost thou ask her crime?
She whipp'd two female 'prentices to death,
And hid them in the coal-hole. For her mind
Shaped strictest plans of discipline. Sage schemes!
Such as Lycurgus taught...."
After Southey, too, had given up his project of emigration and won the hand of his Miss Fricker, he settled in London, in 1797. From 1807 onwards the Government granted him an annual allowance of £150, and after Pye's death he became Poet Laureate, with a salary of £300. This post, which entailed the obligation to compose a poem on the occasion of every special event in the royal family, had first been offered by the Prince Regent to Scott, who asked his friend and patron, the Duke of Buccleuch, for advice in the matter. The Duke wrote: "Only think of being chanted and recitatived by a parcel of hoarse and squeaking choristers on a birthday, for the edification of the bishops, pages, maids of honour, and gentlemen-pensioners! Oh horrible! thrice horrible!" &c., &c. Scott declined the proffered honour, and suggested Southey, a loyal and needy poet, as a fit recipient. For the greater part of his life Southey was obliged to live by his pen, and consequently often wrote under compulsion. Industrious, economical, a model of all the domestic virtues, he amassed a capital of £12,000. With him, as with the Germans, Romanticism, instead of precluding the bourgeois virtues, throve along with them. It had, after all, so little connection with real life. His respectable Philistinism did not forbid of his allowing his imagination to take the wildest Oriental flights.
During the first, the liberal-minded, stage of Southey's career, we are conscious of a sympathetic ardour in his writing. He possessed both enthusiasm and courage. His epic, Joan of Arc, published in 1797, is a poem inspired by as fervent an admiration for the heroine of France as that displayed by Schiller five years later in his Jungfrau von Orleans. Southey's work is, like Schiller's, of an exactly opposite character to Voltaire's Pucelle, which, the English poet in his preface informs his readers, is a book he has "never been guilty of looking into." In Joan of Arc Southey is not yet the Romanticist. Once or twice he projects his vision as far as his own day. In the Third Book he extols Madame Roland as "the martyred patriot," in the Tenth he refers to Lafayette's as "the name that Freedom still shall love." And in his representation of Jeanne's exploits we have not, as in Schiller, any reference to witchcraft. At a decisive moment, when the Maid is being questioned as to her beliefs, she (and through her, her poet) makes such a frank confession of her faith in nature that we feel satisfied that in Southey's case too, the Naturalism which dominates the English poetry of the day is the foundation upon which everything rests.