Analysis
Robert Southey’s journey as a poet was marked by a continuous struggle between his creative impulses and financial necessities. Initially, his output was driven by the need to support himself and others, resulting in many ballads and metrical tales written for newspapers and magazines. Over time, while his desire to create something enduring clashed with economic realities, Southey’s identity shifted from that of a poet to a historian.
The Early Years: Creative Tensions and Financial Needs
In the early stages of his career, Robert Southey wrote numerous ballads and metrical tales for the Morning Post, often motivated by financial necessity rather than creative inspiration. This was a reflection of his broader struggle to balance personal artistic desires with the demands of earning a livelihood. Southey's poetic ventures were frequently driven by economic pressures, such as the need to support both his family and that of his friend Samuel Taylor Coleridge. His workload included writing reviews and articles for magazines and penning verses for newspapers, highlighting a constant tension between creative pursuits and financial obligations.
During his career, Southey made significant efforts to preserve time for his literary endeavors, which he deemed more worthy of his talents. As long as he could maintain this division between meaningful poetry and what he considered 'hackwork,' he felt he could continue without humiliation. However, over time, the energy required for this balancing act diminished, and by 1820, he considered himself more a historian than a poet, as the commercial viability of his poems waned.
The Last Collected Edition and Self-Assessment
In 1837, shortly before illness incapacitated him, Southey prepared the last collected edition of his poems. This task allowed him to reflect on his body of work and critically assess it. He regarded Joan of Arc, written at nineteen, as lacking in merit but acknowledged it as the beginning of his poetic development. Conversely, he saw Thalaba the Destroyer as a turning point where he matured poetically, choosing to let his imagination roam freely, resulting in a work with varied rhythmic structures and spontaneous melody.
In Thalaba the Destroyer, Southey used blank verse that defied traditional structures, allowing the rhythm to follow the natural flow of his imagination. He disrupted typical iambic patterns with sudden shifts to trochaic or dactylic rhythms, exemplifying his experimental spirit. Lines like "Lo! underneath the broadleaved sycamore/ With lids half closed he lies,/ Dreaming of days to come," illustrate this innovative approach.
Religious Epics and Poetic Ambitions
As a schoolboy, Southey aspired to write epic poems based on the world's major religions, which he viewed as mythologies. Thalaba the Destroyer explored Islam, while The Curse of Kehama delved into Hinduism. The latter work saw a return to rhymed verse, marking a compromise between the unstructured blank verse of Thalaba and the symmetry of traditional English epics.
Among Southey’s other epic endeavors was Madoc, initiated before The Curse of Kehama but delayed due to his belief in its significance. Published in 1805, Madoc featured a pleasing melody and fluent narrative style, though it received the least favorable reception of his long poems.
Roderick, the Last of the Goths: A Triumph of Structure and Theme
Despite Madoc's lackluster reception, Southey continued his epic ambitions with Roderick, the Last of the Goths, which succeeded due to the harmony of its versification and theme. The poem examined themes of subjugation, moral grandeur, and tragedy, captivating contemporary readers with its narrative of a virtuous monarch's downfall due to a momentary sin.
The narrative detailed the consequences of the king's sin—a brutal battle lasting eight days, his escape and...
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assumed death, and his eventual quest for redemption. Southey skillfully sustained the narrative while developing the character of Roderick, who, disguised as a priest, reclaims his kingdom.
Southey enhanced the poem's rhythm using names from Spanish, Moorish, and Gothic dialects, echoing Milton's technique in Paradise Lost. This linguistic diversity enriched the narrative, supported by vivid descriptions of natural scenery that provided respite from the poem's emotional intensity.
Occasional Poetry: Eloquence and Emotion
Southey's occasional poetry, though often criticized, contains moments of eloquence where his emotions shine through. His "Ode, Written during the Negotiations with Buonaparte, in January 1814," exemplifies this, channeling his disdain for Napoleon into a powerful moral and political critique.
Conversely, Southey’s "Funeral Ode on the Death of the Princess Charlotte" demonstrates sensitivity and serenity, reflecting on the burial grounds at Windsor with historical and personal depth. Despite the historical roll call, the poem maintains its focus on the tragedy of Princess Charlotte’s untimely death, capturing the loss with poignant clarity.
Southey’s Legacy: A Classical Poet in a Romantic Age
Ultimately, Southey was a product of the Augustan Age, contributing little to the Romantic movement. His association with Wordsworth and Coleridge was more personal than artistic, and he maintained a classical approach to poetry throughout his life. In his poetic declaration of independence, he distanced himself from the trends of pre-Victorian literature, preferring a solitary life devoted to literary pursuits.
Southey believed in the teachings of the poetic masters and sought to refine the craft of poetry rather than embracing the evolving art form. While he lacked the innovative spirit of his contemporaries, Southey’s rigorous craft, moral strength, and dedication to diverse literary forms earned him the title of Poet Laureate, a testament to his enduring contributions to literature.