Poems, 1799 — Themes and Context

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Southey, Robert, 1774-1843 Project Gutenberg 2005 Not confirmed
Poetry Readers of public-domain and historical texts
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Words 28,633
Reading time 125 min
Text sections 24

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Robert Southey's 1799 collection blends visionary epic, ballad, and eclogue. The excerpts show a poet preoccupied with guilt, poverty, and supernatural justice, using stark landscapes and psychological torment rather than patriotic celebration.
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ns was hush’d in sleep. Stretch’d on her couch The delegated Maiden lay: with toil Exhausted and sore anguish, soon she closed Her heavy eye-lids; not reposing then, For busy Phantasy, in other scenes Awakened. Whether that superior powers, By wise permission, prompt the midnight dream, Instructing so the passive faculty;[1] Or that the soul, escaped its fleshly clog, Flies free, and soars amid the invisible world, And all things _are_ that _seem_.[2] Along a moor, Barren, and wide, and drear, and desolate, She roam’d a wanderer thro’ the cheerless night. Far thro’ the silence of the unbroken plain The bittern’s boom was heard, hoarse, heavy, deep, It made most fitting music to the scene. Black clouds, driven fast before the stormy wind, Swept shadowing; thro’ their broken folds the moon Struggled sometimes with transitory ray, And made the moving darkness visible. And now arrived beside a fenny lake She stands: amid its stagnate waters, hoarse The long sedge rustled to the gales of night. An age-worn bark receives the Maid, impell’d By powers unseen; then did the moon display Where thro’ the crazy vessel’s yawning side The muddy wave oozed in: a female guides, And spreads the sail before the wind, that moan’d As melancholy mournful to her ear, As ever by the dungeon’d wretch was heard Howling at evening round the embattled towers Of that hell-house[3] of France, ere yet sublime The almighty people from their tyrant’s hand Dash’d down the iron rod. Intent the Maid Gazed on the pilot’s form, and as she gazed Shiver’d, for wan her face was, and her eyes Hollow, and her sunk cheeks were furrowed deep, Channell’d by tears; a few grey locks hung down Beneath her hood: then thro’ the Maiden’s veins Chill crept the blood, for, as the night-breeze pass’d, Lifting her tattcr’d mantle, coil’d around She saw a serpent gnawing at her heart. The plumeless bat with short shrill note flits by, And the night-raven’s scream came fitfully, Borne on the hollow blast. Eager the Maid Look’d to the shore, and now upon the bank Leaps, joyful to escape, yet trembling still In recollection. There, a mouldering pile Stretch’d its wide ruins, o’er the plain below Casting a gloomy shade, save where the moon Shone thro’ its fretted windows: the dark Yew, Withering with age, branched there its naked roots, And there the melancholy Cypress rear’d Its head; the earth was heav’d with many a mound, And here and there a half-demolish’d tomb. And now, amid the ruin’s darkest shade, The Virgin’s eye beheld where pale blue flames Rose wavering, now just gleaming from the earth, And now in darkness drown’d. An aged man Sat near, seated on what in long-past days Had been some sculptur’d monument, now fallen And half-obscured by moss, and gathered heaps Of withered yew-leaves and earth-mouldering bones; And shining in the ray was seen the track Of slimy snail obscene. Composed his look, His eye was large and rayless, and fix’d full Upon the Maid; the blue flames on his face Stream’d a pale light; his face was of the hue Of death; his limbs were mantled in a shroud. Then with a deep heart-terrifying voice, Exclaim’d the Spectre, “Welcome to these realms, These regions of Despair! O thou whose steps By Grief conducted to these sad abodes Have pierced; welcome, welcome to this gloom Eternal, to this everlasting night, Where never morning darts the enlivening ray, Where never shines the sun, but all is dark, Dark as the bosom of their gloomy King.” So saying he arose, and by the hand The Virgin seized with such a death-cold touch As froze her very heart; and drawing on, Her, to the abbey’s inner ruin, led Resistless. Thro’ the broken roof the moon Glimmer’d a scatter’d ray; the ivy twined Round the dismantled column; imaged forms Of Saints and warlike Chiefs, moss-canker’d now And mutilate, lay strewn upon the ground, With crumbled fragments, crucifixes fallen, And rusted trophies; and amid the heap Some monument’s defaced legend spake All human glory vain.

The loud blast roar’d Amid the pile; and from the tower the owl Scream’d as the tempest shook her secret nest. He, silent, led her on, and often paus’d, And pointed, that her eye might contemplate At leisure the drear scene. He dragged her on Thro’ a low iron door, down broken stairs; Then a cold horror thro’ the Maiden’s frame Crept, for she stood amid a vault, and saw, By the sepulchral lamp’s dim glaring light, The fragments of the dead. “Look here!” he cried, “Damsel, look here! survey this house of Death; O soon to tenant it! soon to increase These trophies of mortality! for hence Is no return. Gaze here! behold this skull, These eyeless sockets, and these unflesh’d jaws, That with their ghastly grinning, seem to mock Thy perishable charms; for thus thy cheek Must moulder. Child of Grief! shrinks not thy soul, Viewing these horrors? trembles not thy heart At the dread thought, that here its life’s-blood soon Now warm in life and feeling, mingle soon With the cold clod? a thought most horrible! So only dreadful, for reality Is none of suffering here; here all is peace; No nerve will throb to anguish in the grave. Dreadful it is to think of losing life; But having lost, knowledge of loss is not, Therefore no ill. Haste, Maiden, to repose; Probe deep the seat of life.” So spake Despair The vaulted roof echoed his hollow voice, And all again was silence. Quick her heart Panted. He drew a dagger from his breast, And cried again, “Haste Damsel to repose! One blow, and rest for ever!” On the Fiend Dark scowl’d the Virgin with indignant eye, And dash’d the dagger down. He next his heart Replaced the murderous steel, and drew the Maid Along the downward vault. The damp earth gave A dim sound as they pass’d: the tainted air Was cold, and heavy with unwholesome dews. “Behold!” the fiend exclaim’d, “how gradual here The fleshly burden of mortality Moulders to clay!” then fixing his broad eye Full on her face, he pointed where a corpse Lay livid; she beheld with loathing look, The spectacle abhorr’d by living man.

“Look here!” Despair pursued, “this loathsome mass Was once as lovely, and as full of life As, Damsel! thou art now. Those deep-sunk eyes Once beam’d the mild light of intelligence, And where thou seest the pamper’d flesh-worm trail, Once the white bosom heaved. She fondly thought That at the hallowed altar, soon the Priest Should bless her coming union, and the torch Its joyful lustre o’er the hall of joy, Cast on her nuptial evening: earth to earth That Priest consign’d her, and the funeral lamp Glares on her cold face; for her lover went By glory lur’d to war, and perish’d there; Nor she endur’d to live. Ha! fades thy cheek? Dost thou then, Maiden, tremble at the tale? Look here! behold the youthful paramour! The self-devoted hero!” Fearfully The Maid look’d down, and saw the well known face Of Theodore! in thoughts unspeakable, Convulsed with horror, o’er her face she clasp’d Her cold damp hands: “Shrink not,” the Phantom cried, “Gaze on! for ever gaze!” more firm he grasp’d Her quivering arm: “this lifeless mouldering clay, As well thou know’st, was warm with all the glow Of Youth and Love; this is the arm that cleaved Salisbury’s proud crest, now motionless in death, Unable to protect the ravaged frame From the foul Offspring of Mortality That feed on heroes. Tho’ long years were thine, Yet never more would life reanimate This murdered man; murdered by thee! for thou Didst lead him to the battle from his home, Else living there in peace to good old age: In thy defence he died: strike deep! destroy Remorse with Life.” The Maid stood motionless, And, wistless what she did, with trembling hand Received the dagger. Starting then, she cried, “Avaunt Despair! Eternal Wisdom deals Or peace to man, or misery, for his good Alike design’d; and shall the Creature cry, Why hast thou done this? and with impious pride Destroy the life God gave?” The Fiend rejoin’d, “And thou dost deem it impious to destroy The life God gave? What, Maiden, is the lot Assigned to mortal man? born but to drag, Thro’ life’s long pilgrimage, the wearying load Of being; care corroded at the heart; Assail’d by all the numerous train of ills That flesh inherits; till at length worn out, This is his consummation!—think again! What, Maiden, canst thou hope from lengthen’d life But lengthen’d sorrow? If protracted long, Till on the bed of death thy feeble limbs Outstretch their languid length, oh think what thoughts, What agonizing woes, in that dread hour, Assail the sinking heart! slow beats the pulse, Dim grows the eye, and clammy drops bedew The shuddering frame; then in its mightiest force, Mightiest in impotence, the love of life Seizes the throbbing heart, the faltering lips Pour out the impious prayer, that fain would change The unchangeable’s decree, surrounding friends Sob round the sufferer, wet his cheek with tears, And all he loved in life embitters death!

Such, Maiden, are the pangs that wait the hour Of calmest dissolution! yet weak man Dares, in his timid piety, to live; And veiling Fear in Superstition’s garb, He calls her Resignation! Coward wretch! Fond Coward! thus to make his Reason war Against his Reason! Insect as he is, This sport of Chance, this being of a day, Whose whole existence the next cloud may blast, Believes himself the care of heavenly powers, That God regards Man, miserable Man, And preaching thus of Power and Providence, Will crush the reptile that may cross his path!

Fool that thou art! the Being that permits Existence, _gives_ to man the worthless boon: A goodly gift to those who, fortune-blest, Bask in the sunshine of Prosperity, And such do well to keep it. But to one Sick at the heart with misery, and sore With many a hard unmerited affliction, It is a hair that chains to wretchedness The slave who dares not burst it! Thinkest thou, The parent, if his child should unrecall’d Return and fall upon his neck, and cry, Oh! the wide world is comfortless, and full Of vacant joys and heart-consuming cares, I can be only happy in my home With thee—my friend!—my father! Thinkest thou, That he would thrust him as an outcast forth? Oh I he would clasp the truant to his heart, And love the trespass.” Whilst he spake, his eye Dwelt on the Maiden’s cheek, and read her soul Struggling within. In trembling doubt she stood, Even as the wretch, whose famish’d entrails crave Supply, before him sees the poison’d food In greedy horror. Yet not long the Maid Debated, “Cease thy dangerous sophistry, Eloquent tempter!” cried she. “Gloomy one! What tho’ affliction be my portion here, Think’st thou I do not feel high thoughts of joy. Of heart-ennobling joy, when I look back Upon a life of duty well perform’d, Then lift mine eyes to Heaven, and there in faith Know my reward? I grant, were this life all, Was there no morning to the tomb’s long night, If man did mingle with the senseless clod, Himself as senseless, then wert thou indeed A wise and friendly comforter! But, Fiend! There is a morning to the tomb’s long night, A dawn of glory, a reward in Heaven, He shall not gain who never merited. If thou didst know the worth of one good deed In life’s last hour, thou would’st not bid me lose The power to benefit; if I but save A drowning fly, I shall not live in vain. I have great duties, Fiend! me France expects, Her heaven-doom’d Champion.” “Maiden, thou hast done Thy mission here,” the unbaffled Fiend replied: “The foes are fled from Orleans: thou, perchance Exulting in the pride of victory, Forgettest him who perish’d! yet albeit Thy harden’d heart forget the gallant youth; That hour allotted canst thou not escape, That dreadful hour, when Contumely and Shame Shall sojourn in thy dungeon. Wretched Maid! Destined to drain the cup of bitterness, Even to its dregs! England’s inhuman Chiefs Shall scoff thy sorrows, black thy spotless fame, Wit-wanton it with lewd barbarity, And force such burning blushes to the cheek Of Virgin modesty, that thou shalt wish The earth might cover thee! in that last hour, When thy bruis’d breast shall heave beneath the chains That link thee to the stake; when o’er thy form, Exposed unmantled, the brute multitude Shall gaze, and thou shalt hear the ribald taunt, More painful than the circling flames that scorch Each quivering member; wilt thou not in vain Then wish my friendly aid? then wish thine ear Had drank my words of comfort? that thy hand Had grasp’d the dagger, and in death preserved Insulted modesty?” Her glowing cheek Blush’d crimson; her wide eye on vacancy Was fix’d; her breath short panted. The cold Fiend, Grasping her hand, exclaim’d, “too-timid Maid, So long repugnant to the healing aid My friendship proffers, now shalt thou behold The allotted length of life.” He stamp’d the earth, And dragging a huge coffin as his car, Two Gouls came on, of form more fearful-foul Than ever palsied in her wildest dream Hag-ridden Superstition. Then Despair Seiz’d on the Maid whose curdling blood stood still. And placed her in the seat; and on they pass’d Adown the deep descent. A meteor light Shot from the Daemons, as they dragg’d along The unwelcome load, and mark’d their brethren glut On carcasses. Below the vault dilates Its ample bulk. “Look here!”—Despair addrest The shuddering Virgin, “see the dome of Death!” It was a spacious cavern, hewn amid The entrails of the earth, as tho’ to form The grave of all mankind: no eye could reach, Tho’ gifted with the Eagle’s ample ken, Its distant bounds. There, thron’d in darkness, dwelt The unseen Power of Death. Here stopt the Gouls, Reaching the destin’d spot. The Fiend leapt out, And from the coffin, as he led the Maid, Exclaim’d, “Where never yet stood mortal man, Thou standest: look around this boundless vault; Observe the dole that Nature deals to man, And learn to know thy friend.” She not replied, Observing where the Fates their several tasks Plied ceaseless. “Mark how short the longest web Allowed to man! he cried; observe how soon, Twin’d round yon never-resting wheel, they change Their snowy hue, darkening thro’ many a shade, Till Atropos relentless shuts the sheers!”

Too true he spake, for of the countless threads, Drawn from the heap, as white as unsunn’d snow, Or as the lovely lilly of the vale, Was never one beyond the little span Of infancy untainted: few there were But lightly tinged; more of deep crimson hue, Or deeper sable died.[4] Two Genii stood, Still as the web of Being was drawn forth, Sprinkling their powerful drops. From ebon urn, The one unsparing dash’d the bitter wave Of woe; and as he dash’d, his dark-brown brow Relax’d to a hard smile. The milder form Shed less profusely there his lesser store; Sometimes with tears increasing the scant boon, Mourning the lot of man; and happy he Who on his thread those precious drops receives; If it be happiness to have the pulse Throb fast with pity, and in such a world Of wretchedness, the generous heart that aches With anguish at the sight of human woe.

To her the Fiend, well hoping now success, “This is thy thread! observe how short the span, And see how copious yonder Genius pours The bitter stream of woe.” The Maiden saw Fearless. “Now gaze!” the tempter Fiend exclaim’d, And placed again the poniard in her hand, For Superstition, with sulphureal torch Stalk’d to the loom. “This, Damsel, is thy fate! The hour draws on—now drench the dagger deep! Now rush to happier worlds!” The Maid replied, “Or to prevent or change the will of Heaven, Impious I strive not: be that will perform’d!”

[1] May says of Serapis, “Erudit at placide humanam per somnia mentem, Nocturnâque quiete docet; nulloque labore Hic tantum parta est pretiosa scientia, nullo Excutitur studio verum. Mortalia corda Tunc Deus iste docet, cum sunt minus apta doceri, Cum nullum obsequium præstant, meritisque fatentur Nil sese debere suis; tunc recta scientes Cum nil scire valent. Non illo tempore sensus Humanos forsan dignatur numen inire, Cum propriis possunt per se discursibus uti, Ne forte humanâ ratio divina coiret.”—_Sup Lucani_.

[2] I have met with a singular tale to illustrate this spiritual theory of dreams.

Guntram, King of the Franks, was liberal to the poor, and he himself experienced the wonderful effects of divine liberality. For one day as he was hunting in a forest he was separated from his companions and arrived at a little stream of water with only one comrade of tried and approved fidelity. Here he found himself opprest by drowsiness, and reclining his head upon the servant’s lap went to sleep. The servant witnessed a wonderful thing, for he saw a little beast (_bestiolam_) creep out of the mouth of his sleeping master, and go immediately to the streamlet, which it vainly attempted to cross. The servant drew his sword and laid it across the water, over which the little beast easily past and crept into a hole of a mountain on the opposite side; from whence it made its appearance again in an hour, and returned by the same means into the King’s mouth. The King then awakened, and told his companion that he had dreamt that he was arrived upon the bank of an immense river, which he had crossed by a bridge of iron, and from thence came to a mountain in which a great quantity of gold was concealed. When the King had concluded, the servant related what he had beheld, and they both went to examine the mountain, where upon digging they discovered an immense weight of gold.

I stumbled upon this tale in a book entitled SPHINX _Theologico-Philosophica. Authore Johanne Heidfeldio, Ecclesiaste Ebersbachiano_. 1621.

The same story is in Matthew of Westminster; it is added that Guntram applied the treasures thus found to pious uses.

For the truth of this theory there is the evidence of a Monkish miracle. When Thurcillus was about to follow St. Julian and visit the world of souls, his guide said to him, “let thy body rest in the bed for thy spirit only is about to depart with me; and lest the body should appear dead, I will send into it a vital breath.”

The body however by a strange sympathy was affected like the spirit; for when the foul and fetid smoke that arose from tithes witheld, had nearly suffocated Thurcillus, and made him cough twice, those who were near his body said that it coughed twice about the same time.

[3] The Bastille. The expression is in one of Fuller’s works, an Author from whose quaintness and ingenuity I have always found amusement, and sometimes assistance

[4] These lines strongly resemble a passage in the _Pharonnida_ of William Chamberlayne, a Poet who has told an interesting story in uncouth rhymes, and mingled sublimity of thought and beauty of expression, with the quaintest conceits, and most awkward inversions.

On a rock more high Than Nature’s common surface, she beholds The Mansion house of Fate, which thus unfolds Its sacred mysteries. A trine within A quadrate placed, both these encompast in A perfect circle was its form; but what Its matter was, for us to wonder at, Is undiscovered left. A Tower there stands At every angle, where Time’s fatal hands The impartial Parcæ dwell; i’ the first she sees Clotho the kindest of the Destinies, From immaterial essences to cull The seeds of life, and of them frame the wool For Lachesis to spin; about her flie Myriads of souls, that yet want flesh to lie Warm’d with their functions in, whose strength bestows That power by which man ripe for misery grows.

Robert Southey's Poems, 1799 opens with a visionary epic, The Vision of the Maid of Orléans, that immediately distances itself from heroic narrative. The maiden lies 'stretch'd on her couch' in exhaustion, and the poem proceeds through a dreamscape of 'barren, and wide, and drear, and desolate' moorland. Southey's note explains that this vision was originally part of his earlier Joan of Arc, now adapted—suggesting a deliberate reworking of material. The catalog subject 'Poetry' gives little hint of the collection's dark psychological focus. Across ballads and eclogues, Southey repeatedly returns to scenes of crime, poverty, and haunted consciences, using repetitive structures and stark natural settings to frame moral dilemmas.

Guilt and the Supernatural Witness

Several poems hinge on a moment when a hidden crime is exposed by supernatural means. In 'Jaspar,' the murderer's confidence that 'Nor eye below, nor eye above / Can pierce the darkness here' is immediately contradicted by 'a sudden light; / Strong as the mid-day sun.' The light reveals the scene of blood, and Jaspar is left a maniac, 'never dares to pray.' Similarly, 'Lord William' begins with the unobserved drowning of young Edmund, yet the poem's opening couplet—'No eye beheld when William plunged / Young Edmund in the stream, / No human ear but William's heard / Young Edmund's drowning scream'—creates a reader-witness. The repetition of 'No eye' and 'No human ear' ironically underscores that the crime is known to the narrative voice. Southey uses these moments to suggest that guilt cannot be hidden, even when no human observer is present.

Poverty and the Language of Despair

The ballad 'Jaspar' includes a sustained passage on the plight of Jonathan, a tenant whose landlord has seized his belongings. Jonathan's speech is direct and unadorned: 'I have a wife, said Jonathan, / And she is deadly sick. / She has no bed to lie upon, / I saw them take her bed.' The repetition of 'bed' emphasizes the loss of basic shelter. Southey gives Jonathan a stark cry: 'I would that I were in my grave / For there all troubles cease.' The tempter Jaspar exploits this despair, plying him with drink and urging vengeance. The poem does not exonerate Jonathan—he becomes complicit—but it carefully traces the economic pressures that lead to his fall. The landlord's wealth is contrasted with Jonathan's 'scanty meal,' and the line 'God be to him as merciless / As he has been to me' shows a bitterness that the poem neither endorses nor dismisses.

Repetition and the Ballad Form

Southey's ballads rely on incremental repetition to build tension and emphasize key images. In 'Jaspar,' the refrain-like lines 'The night was calm, the night was dark, / No star was in the sky' and later 'The night was calm, the air was still, / Sweet sung the nightingale' mark a shift in Jonathan's mood. The repetition of 'They sat them down beside the stream' anchors the scene, while the variation in the second instance—adding 'And never a word they said'—deepens the suspense. In 'Lord William,' the opening couplet's structure is echoed in the description of the estate: 'The ancient house of Erlingford / Stood midst a fair domain.' This formal patterning gives the ballads a folk-song quality, but Southey subverts it by introducing psychological complexity. The murderer in 'Lord William' is not pursued by human justice; the poem ends with the estate's beauty, leaving the crime unresolved.

Southey's collection resists easy categorization. The visionary epic sits alongside ballads of rural crime and eclogues of domestic sorrow. Readers attentive to the poems' formal choices—repetition, abrupt shifts in tone, and the use of natural settings as moral landscapes—will find a coherent preoccupation with the limits of human justice and the persistence of guilt. The excerpts suggest that Southey is less interested in patriotic themes than in the inner lives of the dispossessed and the damned.

I came back to the stark guilt and poverty in Southey’s 1799 poems the other evening, and found myself drifting toward another shelf entirely. The heavy silence between his lines reminded me of how Dreaming of Dreaming Poetry by Peter E. Williams — Background and Themes lingers on those same quiet spaces, where a thought barely surfaces before sinking. It felt like watching a familiar shadow stretch across two different rooms at once. Dreaming of Dreaming Poetry by Peter E. Williams — Background and Themes stays with me, even when I’m not reading it.

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    Gary Adams - 2 weeks ago
    Published in 1799, this collection offers a fascinating glimpse into the Romantic era. The poems are rich with emotion and vivid descriptions, showcasing the author's deep sensitivity. The language is refined yet accessible, and the themes of love, nature, and longing are timeless. A wonderful addition to any classic poetry library.

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    Natasha Leslie Short - 2 weeks ago
    This is a historical poetry collection that will appeal to scholars and enthusiasts of early Romanticism. The verses are well-crafted, but some poems are dense and require careful reading. The lack of notes is a minor drawback, but the authenticity of the work is commendable.

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    Julie Edwards - 2 weeks ago
    While historically interesting, these poems feel dated and lack the emotional resonance of later Romantic works. The language is overly ornate, and the themes are contrived. Modern readers may find it tedious. It's more of a curiosity than a meaningful read.


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