Sept. 18, 1813.
The laurel is at length destined, unexpectedly, to circle the brows of this gentleman, where it will look almost like a civic crown. The patriot and the poet (two venerable names, which we should wish never to see disunited) is said to owe his intended elevation to the intercession of Mr. Croker, to whom, it will be recollected, he has dedicated his Life of Lord Nelson, with an appropriate motto in the title-page, from the poem of Ulm and Trafalgar. Mr. Croker having applied to the Regent in favour of his friend, the Prince is understood to have given his ready assent, observing, that Mr. Southey’s efforts in the Spanish cause alone, rendered him highly worthy of the situation. As Mr. Croker, however, was taking his leave, he was met by Lord Liverpool and the Marquis of Hertford, the latter of whom, as chamberlain, had, it seems, made an offer of the place to Mr. Walter Scott, who had signified his acceptance of it. Some little difficulty naturally arose on the occasion, but it was agreed that the two poets should settle the point of precedence between themselves. A friendly altercation, unlike that of the shepherds in Virgil, now took place between Mr. Scott and Mr. Southey, each waving his own pretensions, and giving the palm of victory to the other. But it was finally determined, that as Mr. Scott, though he would not allow himself to be the greatest, was at least the richest poet of the two, Mr. Southey, who had most need of this post of honour and of profit, should have it. So ends this important affair; and, without any ill-will to Mr. Southey, we should not have been disappointed if it had ended differently. Whatever may be the balance of poetical merit, Mr. Scott, we are quite sure, has always been a much better courtier than Mr. Southey; and we are of opinion that the honours of a Court can nowhere be so gracefully or deservedly bestowed as on its followers. His acceptance of this mark of court favour would not have broken in upon that uniformity of character, which we think no less beautiful and becoming in life than in a poem. But, perhaps, a passion for new faces extends to the intrigues of politics as well as of love; and a triumph over the scruples of delicacy enhances the value of the conquest in both cases. To have been the poet of the people, may not render Mr. Southey less a court favourite; and one of his old Sonnets to Liberty must give a peculiar zest to his new Birth-day Odes. His flaming patriotism will easily subside into the gentle glow of grateful loyalty; and the most extravagant of his plans of reform end in building castles in Spain!
MR. SOUTHEY’S NEW-YEAR’S ODE
Jan. 8, 1814.
Mr. Southey’s Ode has at length appeared—not as was announced, under the title of ‘Carmen Annuum,’ but under that of ‘Carmen Triumphale, for the Commencement of the Year 1814.’ We see no reason why the author might not have adopted the title of Horace’s Ode entire, and have called it Carmen Seculare, which would have been the best account he could give of it. We fear Mr. Southey will not form a splendid exception to the numberless instances which prove that there is something in the air of a court, not favourable to the genius of poetry. He has not deprived himself of the excuse made by one of his predecessors, of versatile memory, in extenuation of the degeneracy of his courtly lays,—‘That poets succeed best in fiction.’ The Ode is in the ballad style, peculiar to Mr. Southey and his poetical friends. It has something of the rustic simplicity of a country virgin on her first introduction at Duke’s Place, or of Pamela on the day of her marriage with Mr. B. Or rather it resembles a fancy birth-day suit, a fashionable livery worn inside out, a prince’s feather with a sprig of the tree of liberty added to it,—the academy of compliments turned into quaint Pindarics,—is a sort of methodistical rhapsody, chaunted by a gentleman-usher, and exhibits the irregular vigour of Jacobin enthusiasm suffering strange emasculation under the hands of a finical lord-chamberlain. It is romantic without interest, and tame without elegance. It is exactly such an ode as we expected Mr. Southey to compose on this occasion. We say this from our respect for the talents and character of this eminent writer. He is the last man whom we should expect to see graceful in fetters, or from whom we should look for the soul of freedom within the liberties of a court!—The commencement of the Ode is as follows, and it continues throughout much as it begins:—
‘In happy hour doth he receive
The Laurel, meed of famous bards of yore,
Which Dryden and diviner Spenser wore,
In happy hour, and well may he rejoice,
Whose earliest task must be