Certain it is that Southwell was largely read by the generation that immediately succeeded him. Many years ago, Ellis[27] said: “The very few copies of his works which are now known to exist are the remnant of at least seventeen different editions, of which eleven were printed between 1593 and 1600”; and at a later period, Drake, in his Shakespeare and his Times, says:[28] “Both the poetry and the prose of Southwell possess the most decided merit; the former, which is almost entirely restricted to moral and religious subjects, flows in a vein of great harmony, perspicuity, and elegance, and breathes a fascination resulting from the subject and the pathetic mode of treating it which fixes and deeply interests the reader.”
A valuable tribute of admiration to Southwell’s poetic talent is that of Ben Jonson, who said: “that Southwell was hanged; yet so he (Jonson) had written that piece of his, ‘The Burning Babe,’ he would have been content to destroy many of his.”[29] Our readers, we are sure, will thank us for giving it here, although we strongly suspect that Mr. Grosart will not approve of its modern orthography.
As I in hoary winter’s night stood shivering in the snow,
Surprised I was with sudden heat, which made my heart to glow;
And lifting up a fearful eye to view what fire was near,
A pretty Babe all burning bright did in the air appear,
Who, scorched with excessive heat, such floods of tears did shed,
As though his floods should quench his flames which with his tears were fed;
Alas! quoth he, but newly born, in fiery heats I frye,
Yet none approach to warm their hearts or feel my fire but I!
My faultless breast the furnace is, the fuel wounding thorns,
Love is the fire, and sighs the smoke, the ashes shame and scornes;
The fuel Justice layeth on, and Mercy blows the coals,
The metal in this furnace wrought are men’s defiled souls,
For which, as now, on fire I am, to work them to their good,
So will I melt into a bath to washe them in my blood:
With this he vanished out of sight, and swiftly shrunk away,
And straight I called unto mind that it was Christmas day.
Our limits will permit but slight citation from the body of Southwell’s poetry. He is most widely known by his chief poem “S. Peter’s Complaint,” consisting of one hundred and thirty-six stanzas (six-line). But his most attractive pieces are his shorter poems—“Times go by Turns,” “Content and Rich,”[30] “Life is but Loss,” “Look Home,” “Love’s servile Lot,” and the whole series on our Saviour and his Mother; and, making some allowance for the enthusiasm of our editor, no true lover of poetry who reads these productions of Southwell will seriously dissent from Mr. Grosart’s estimate of them. “The hastiest reader will come on ‘thinking’ and ‘feeling’ that are as musical as Apollo’s lute, and as fresh as a spring budding spray; and the wording of all (excepting over-alliteration and inversion occasionally), is throughout of the ‘pure well of English undefiled.’ When you take some of the Myrtæ and Mæoniæ pieces, and read and re-read them, you are struck with their condensation, their concinnity, their polish, their élan, their memorableness. Holiness is in them not as scent on love-locks, but as fragrance in the great Gardener’s flowers of fragrance. His tears are pure and white as the ‘dew of the morning.’ His smiles—for he has humor, even wit, that must have lurked in the burdened eyes and corners o’ mouth—are sunny as sunshine. As a whole, his poetry is healthy and strong, and, I think, has been more potential in our literature than appears on the surface. I do not think it would be hard to show that others of whom more is heard drew light from him, as well early as more recent, from Burns to Thomas Hood. For example, limiting as to the latter, I believe every reader who will compare the two deliberately will see in the ‘Vale of Tears’ the source of the latter’s immortal ‘Haunted House’—dim, faint, weak beside it, as the earth-hid bulb compared with the lovely blossom of hyacinth or tulip or lily, nevertheless really carrying in it the original of the mightier after-poem.”
Our warmest tribute of praise can render but scant justice to the intelligence, the industry, the erudition, the keen poetic sense, and the enthusiasm which the editor of the volume before us has devoted to what has evidently been to him a labor of love. Mr. Grosart is well known in the literary world as the editor of Crashawe and of Vaughan, as also of the forthcoming editions of Marvell, Donne, and Sidney. His laboriously corrected version of our martyr-poet’s legacy has, it may be said, restored Southwell to us, so obscured had he become by mistakes, misprints, and false readings. Indeed Mr. Grosart’s somewhat jealous love of his subject betrays him into apparently harsh judgment on the efforts of others, when, for instance, he declares himself “vexed by the travesties on editing and mere carelessness of Walter earlier (1817) and Turnbull later (1856) in their so-called editions of the poems of Father Southwell,” adding: “Turnbull said contemptuously, ‘I refrain from criticism on Mr. Walter’s text’—severe but not undeserved, only his own is scarcely one whit better, and in places worse.”
There is one passage at the close of Mr. Grosart’s interesting preface which has a special interest for us as Americans. We mean his reference to the verdict pronounced on Father Southwell’s poetry by Prof. James Russell Lowell in his charming book My Study Windows. “It seems to me,” says Mr. Grosart, “harsh to brutality on the man (meet follower of him ‘the first true gentleman that ever breathed’); while on the poetry it rests on self-evidently the most superficial acquaintance and the hastiest generalization. To pronounce ‘S. Peter’s Complaint’ a ‘drawl’ of thirty pages of ‘maudlin repentance, in which the distinctions between the north and northeast sides of a (sic) sentimentality are worthy of Duns Scotus,’ shows about as much knowledge—that is, ignorance—of the poem as of the schoolman, and as another remark does of S. Peter; for, with admitted tedium, S. Peter’s complaint sounds depths of penitence and remorse, and utters out emotion that flames into passion very unforgettably, while there are felicities of metaphor, daintinesses of word-painting, brilliancies of inner-portraiture, scarcely to be matched in contemporary verse. The ‘paraphrase’ of David (to wit, ‘David’s Peccavi’) is a single short piece, and the ‘punning’ conceit, ‘fears are my feres,’ is common to some of England’s finest wits, and in the meaning of ‘fere’ not at all to be pronounced against. If we on this side of the Atlantic valued less the opinion of such a unique genius as Prof. Lowell’s, if we did not take him to our innermost love, we should less grieve over such a vulgar affront offered to a venerable name as his whole paragraph to Southwell. I shall indulge the hope of our edition reaching the ‘Study,’ and persuading to a real ‘study’ of these poems, and, if so, I do not despair of a voluntary reversal of the first judgment.”
ARIS WILMOTT
pronounced Southwell to be the Goldsmith of our early poets; and ‘Content and Rich,’ and, ‘Dyer’s phansie turned to a Sinner’s Complaint’ warrant the great praise. But beneath the manner recalling Goldsmith, there is a purity and richness of thought, a naturalness, a fineness of expression, a harmony of versification, and occasionally a tide-flow of high-toned feeling, not to be met with in him.
“Nor will Prof. Lowell deem his (I fear) hasty (mis)judgment’s reconsideration too much to count on, after the present Archbishop of Dublin’s well-weighed words in his notes to his Household Book of English Poetry (1868):
“‘Hallam thinks that Southwell has been of late praised at least as much as he deserves. This may be so; yet, taking into account the finished beauty of such poems as this (“Lewd Love is Loss”) and No. 2 (“Times go by Turns”) of this collection, poems which, as far as they go, leave nothing to be desired, he has scarcely been praised more than he deserves. How in earlier times he was rated, the fact that there were twenty-four editions of his poems will sufficiently testify; though probably the creed be professed, and the death which he died, may have had something to do with this. Robert Southwell was a seminary priest, and was executed at Tyburn in the reign of Queen Elizabeth, in conformity with a law, which even the persistent plottings of too many of these at once against the life of the sovereign and the life of the state must altogether fail to justify or excuse’ (pp. 391-392).