William Hazlitt - The Spirit of the Age Contemporary Portraits (Mr. Southey) lyrics

Mr. Southey Mr. Southey, as we formerly remember to have seen him, had a hectic flush upon his cheek, a roving fire in his eye, a falcon glance, a look at once aspiring and dejected—it was the look that had been impressed upon his face by the events that marked the outset of his life, it was the dawn of Liberty that still tinged his cheek, a smile betwixt hope and sadness that still played upon his quivering lip. Mr. Southey's mind is essentially sanguine, even to over-weeningness. It is prophetic of good; it cordially embraces it; it casts a longing, lingering look after it, even when it is gone for ever. He cannot bear to give up the thought of happiness, his confidence in his fellow-man, when all else despair. It is the very element, "where he must live or have no life at all." While he supposed it possible that a better form of society could be introduced than any that had hitherto existed, while the light of the French Revolution beamed into his soul (and long after, it was seen reflected on his brow, like the light of setting suns on the peak of some high mountain, or lonely range of clouds, floating in purer ether!) while he had this hope, this faith in man left, he cherished it with child-like simplicity, he clung to it with the fondness of a lover, he was an enthusiast, a fanatic, a leveller; he stuck at nothing that he thought would banish all pain and misery from the world—in his impatience of the smallest error or injustice, he would have sacrificed himself and the existing generation (a holocaust) to his devotion to the right cause. But when he once believed after many staggering doubts and painful struggles, that this was no longer possible, when his chimeras and golden dreams of human perfectibility vanished from him, he turned suddenly round, and maintained that "whatever is, is right." Mr. Southey has not fortitude of mind, has not patience to think that evil is inseparable from the nature of things. His irritable sense rejects the alternative altogether, as a weak stomach rejects the food that is distasteful to it. He hopes on against hope, he believes in all unbelief. He must either repose on actual or on imaginary good. He missed his way in Utopia, he has found it at Old Sarum— "His generous ardour no cold medium knows:" his eagerness admits of no doubt or delay. He is ever in extremes, and ever in the wrong! The reason is, that not truth, but self-opinion is the ruling principle of Mr. Southey's mind. The charm of novelty, the applause of the multitude, the sanction of power, the venerableness of antiquity, pique, resentment, the spirit of contradiction have a good deal to do with his preferences. His inquiries are partial and hasty: his conclusions raw and unconcocted, and with a considerable infusion of whim and humour and a monkish spleen. His opinions are like certain wines, warm and generous when new; but they will not keep, and soon turn flat or sour, for want of a stronger spirit of the understanding to give a body to them. He wooed Liberty as a youthful lover, but it was perhaps more as a mistress than a bride; and he has since wedded with an elderly and not very reputable lady, called Legitimacy. A wilful man, according to the Scotch proverb, must have his way. If it were the cause to which he was sincerely attached, he would adhere to it through good report and evil report; but it is himself to whom he does homage, and would have others do so; and he therefore changes sides, rather than submit to apparent defeat or temporary mortification. Abstract principle has no rule but the understood distinction between right and wrong; the indulgence of vanity, of caprice, or prejudice is regulated by the convenience or bias of the moment. The temperament of our politician's mind is poetical, not philosophical. He is more the creature of impulse, than he is of reflection. He invents the unreal, he embellishes the false with the glosses of fancy, but pays little attention to "the words of truth and soberness." His impressions are accidental, immediate, personal, instead of being permanent and universal. Of all mortals he is surely the most impatient of contradiction, even when he has completely turned the tables on himself. Is not this very inconsistency the reason? Is he not tenacious of his opinions, in proportion as they are brittle and hastily formed? Is he not jealous of the grounds of his belief, because he fears they will not bear inspection, or is conscious he has shifted them? Does he not confine others to the strict line of orthodoxy, because he has himself taken every liberty? Is he not afraid to look to the right or the left, lest he should see the ghosts of his former extravagances staring him in the face? Does he not refuse to tolerate the smallest shade of difference in others, because he feels that he wants the utmost latitude of construction for differing so widely from himself? Is he not captious, dogmatical, petulant in delivering his sentiments, according as he has been inconsistent, rash, and fanciful in adopting them? He maintains that there can be no possible ground for differing from him, because he looks only at his own side of the question! He sets up his own favourite notions as the standard of reason and honesty, because he has changed from one extreme to another! He treats his opponents with contempt, because he is himself afraid of meeting with disrespect! He says that "a Reformer is a worse character than a house-breaker," in order to stifle the recollection that he himself once was one! We must say that "we relish Mr. Southey more in the Reformer" than in his lately acquired, but by no means natural or becoming character of poet-laureat and courtier. He may rest a**ured that a garland of wild flowers suits him better than the laureat-wreath: that his pastoral odes and popular inscriptions were far more adapted to his genius than his presentation-poems. He is nothing akin to birth-day suits and drawing-room fopperies. "He is nothing, if not fantastical." In his figure, in his movements, in his sentiments, he is sharp and angular, quaint and eccentric. Mr. Southey is not of the court, courtly. Every thing of him and about him is from the people. He is not cla**ical, he is not legitimate. He is not a man cast in the mould of other men's opinions: he is not shaped on any model: he bows to no authority: he yields only to his own wayward peculiarities. He is wild, irregular, singular, extreme. He is no formalist, not he! All is crude and chaotic, self-opinionated, vain. He wants proportion, keeping, system, standard rules. He is not teres et rotundus. Mr. Southey walks with his chin erect through the streets of London, and with an umbrella sticking out under his arm, in the finest weather. He has not sacrificed to the Graces, nor studied decorum. With him every thing is projecting, starting from its place, an episode, a digression, a poetic license. He does not move in any given orbit, but like a falling star, shoots from his sphere. He is pragmatical, restless, unfixed, full of experiments, beginning every thing a-new, wiser than his betters, judging for himself, dictating to others. He is decidedly revolutionary. He may have given up the reform of the State: but depend upon it, he has some other hobby of the same kind. Does he not dedicate to his present Majesty that extraordinary poem on the d**h of his father, called The Vision of Judgment, as a specimen of what might be done in English hexameters? In a court-poem all should be trite and on an approved model. He might as well have presented himself at the levee in a fancy or masquerade dress. Mr. Southey was not to try conclusions with Majesty—still less on such an occasion. The extreme freedoms with departed greatness, the party-petulance carried to the Throne of Grace, the unchecked indulgence of private humour, the a**umption of infallibility and even of the voice of Heaven in this poem, are pointed instances of what we have said. They shew the singular state of over-excitement of Mr. Southey's mind, and the force of old habits of independent and unbridled thinking, which cannot be kept down even in addressing his Sovereign! Look at Mr. Southey's larger poems, his Kehama, his Thalaba, his Madoc, his Roderic. Who will deny the spirit, the scope, the splendid imagery, the hurried and startling interest that pervades them? Who will say that they are not sustained on fictions wilder than his own Glendoveer, that they are not the daring creations of a mind curbed by no law, tamed by no fear, that they are not rather like the trances than the waking dreams of genius, that they are not the very paradoxes of poetry? All this is very well, very intelligible, and very harmless, if we regard the rank excrescences of Mr. Southey's poetry, like the red and blue flowers in corn, as the unweeded growth of a luxuriant and wandering fancy; or if we allow the yeasty workings of an ardent spirit to ferment and boil over—the variety, the boldness, the lively stimulus given to the mind may then atone for the violation of rules and the offences to bed-rid authority; but not if our poetic libertine sets up for a law-giver and judge, or an apprehender of vagrants in the regions either of taste or opinion. Our motley gentleman deserves the strait-waistcoat, if he is for setting others in the stocks of servility, or condemning them to the pillory for a new mode of rhyme or reason. Or if a composer of sacred Dramas on cla**ic models, or a translator of an old Latin author (that will hardly bear translation) or a vamper-up of vapid cantos and Odes set to music, were to turn pander to prescription and palliater of every dull, incorrigible abuse, it would not be much to be wondered at or even regretted. But in Mr. Southey it was a lamentable falling-off. It is indeed to be deplored, it is a stain on genius, a blow to humanity, that the author of Joan of Arc—that work in which the love of Liberty is exhaled like the breath of spring, mild, balmy, heaven-born, that is full of tears and virgin-sighs, and yearnings of affection after truth and good, gushing warm and crimsoned from the heart—should ever after turn to folly, or become the advocate of a rotten cause. After giving up his heart to that subject, he ought not (whatever others might do) ever to have set his foot within the threshold of a court. He might be sure that he would not gain forgiveness or favour by it, nor obtain a single cordial smile from greatness. All that Mr. Southey is or that he does best, is independent, spontaneous, free as the vital air he draws—when he affects the courtier or the sophist, he is obliged to put a constraint upon himself, to hold in his breath, he loses his genius, and offers a violence to his nature. His characteristic faults are the excess of a lively, unguarded temperament:—oh! let them not degenerate into cold-blooded, heartless vices! If we speak or have ever spoken of Mr. Southey with severity, it is with "the malice of old friends," for we count ourselves among his sincerest and heartiest well-wishers. But while he himself is anomalous, incalculable, eccentric, from youth to age (the Wat Tyler and the Vision of Judgment are the Alpha and Omega of his disjointed career) full of sallies of humour, of ebullitions of spleen, making jets-d'eaux, cascades, fountains, and water-works of his idle opinions, he would shut up the wits of others in leaden cisterns, to stagnate and corrupt, or bury them under ground— "Far from the sun and summer gale!" He would suppress the freedom of wit and humour, of which he has set the example, and claim a privilege for playing antics. He would introduce an uniformity of intellectual weights and measures, of irregular metres and settled opinions, and enforce it with a high hand. This has been judged hard by some, and has brought down a severity of recrimination, perhaps disproportioned to the injury done. "Because he is virtuous," (it has been asked,) "are there to be no more cakes and ale?" Because he is loyal, are we to take all our notions from the Quarterly Review? Because he is orthodox, are we to do nothing but read the Book of the Church? We declare we think his former poetical scepticism was not only more amiable, but had more of the spirit of religion in it, implied a more heartfelt trust in nature and providence than his present bigotry. We are at the same time free to declare that we think his articles in the Quarterly Review, notwithstanding their virulence and the talent they display, have a tendency to qualify its most pernicious effects. They have redeeming traits in them. "A little leaven leaveneth the whole lump:" and the spirit of humanity (thanks to Mr. Southey) is not quite expelled from the Quarterly Review. At the corner of his pen, "there hangs a vapourous drop profound" of independence and liberality, which falls upon its pages, and oozes out through the pores of the public mind. There is a fortunate difference between writers whose hearts are naturally callous to truth, and whose understandings are hermetically sealed against all impressions but those of self-interest, and a man like Mr. Southey. Once a philanthropist and always a philanthropist. No man can entirely baulk his nature: it breaks out in spite of him. In all those questions, where the spirit of contradiction does not interfere, on which he is not sore from old bruises, or sick from the extravagance of youthful intoxication, as from a last night's debauch, our "laureate" is still bold, free, candid, open to conviction, a reformist without knowing it. He does not advocate the slave-trade, he does not arm Mr. Malthus's revolting ratios with his authority, he does not strain hard to deluge Ireland with blood. On such points, where humanity has not become obnoxious, where liberty has not pa**ed into a by-word, Mr. Southey is still liberal and humane. The elasticity of his spirit is unbroken: the bow recoils to its old position. He still stands convicted of his early pa**ion for inquiry and improvement. He was not regularly articled as a Government-tool!—Perhaps the most pleasing and striking of all Mr. Southey's poems are not his triumphant taunts hurled against oppression, are not his glowing effusions to Liberty, but those in which, with a mild melancholy, he seems conscious of his own infirmities of temper, and to feel a wish to correct by thought and time the precocity and sharpness of his disposition. May the quaint but affecting aspiration expressed in one of these be fulfilled, that as he mellows into maturer age, all such asperities may wear off, and he himself become "Like the high leaves upon the holly-tree!" Mr. Southey's prose-style can scarcely be too much praised. It is plain, clear, pointed, familiar, perfectly modern in its texture, but with a grave and sparkling admixture of archaisms in its ornaments and occasional phraseology. He is the best and most natural prose-writer of any poet of the day; we mean that he is far better than Lord Byron, Mr. Wordsworth, or Mr. Coleridge, for instance. The manner is perhaps superior to the matter, that is, in his Essays and Reviews. There is rather a want of originality and even of impetus: but there is no want of playful or biting satire, of ingenuity, of casuistry, of learning and of information. He is "full of wise saws and modern" (as well as ancient) "instances." Mr. Southey may not always convince his opponents; but he seldom fails to stagger, never to gall them. In a word, we may describe his style by saying that it has not the body or thickness of port wine, but is like clear sherry with kernels of old authors thrown into it!—He also excels as an historian and prose-translator. His histories abound in information, and exhibit proofs of the most indefatigable patience and industry. By no uncommon process of the mind, Mr. Southey seems willing to steady the extreme levity of his opinions and feelings by an appeal to facts. His translations of the Spanish and French romances are also executed con amore, and with the literal fidelity and care of a mere linguist. That of the Cid, in particular, is a masterpiece. Not a word could be altered for the better, in the old scriptural style which it adopts in conformity to the original. It is no less interesting in itself, or as a record of high and chivalrous feelings and manners, than it is worthy of perusal as a literary curiosity. Mr. Southey's conversation has a little resemblance to a common-place book; his habitual deportment to a piece of clock-work. He is not remarkable either as a reasoner or an observer: but he is quick, unaffected, replete with anecdote, various and retentive in his reading, and exceedingly happy in his play upon words, as most scholars are who give their minds this sportive turn. We have chiefly seen Mr. Southey in company where few people appear to advantage, we mean in that of Mr. Coleridge. He has not certainly the same range of speculation, nor the same flow of sounding words, but he makes up by the details of knowledge, and by a scrupulous correctness of statement for what he wants in originality of thought, or impetuous declamation. The tones of Mr. Coleridge's voice are eloquence: those of Mr. Southey are meagre, shrill, and dry. Mr. Coleridge's forte is conversation, and he is conscious of this: Mr. Southey evidently considers writing as his strong-hold, and if gravelled in an argument, or at a loss for an explanation, refers to something he has written on the subject, or brings out his port-folio, doubled down in dog-ears, in confirmation of some fact. He is scholastic and professional in his ideas. He sets more value on what he writes than on what he says: he is perhaps prouder of his library than of his own productions—themselves a library! He is more simple in his manners than his friend Mr. Coleridge; but at the same time less cordial or conciliating. He is less vain, or has less hope of pleasing, and therefore lays himself less out to please. There is an air of condescension in his civility. With a tall, loose figure, a peaked austerity of countenance, and no inclination to embonpoint, you would say he has something puritanical, something ascetic in his appearance. He answers to Mandeville's description of Addison, "a parson in a tye-wig." He is not a boon companion, nor does he indulge in the pleasures of the table, nor in any other vice; nor are we aware that Mr. Southey is chargeable with any human frailty but—want of charity! Having fewer errors to plead guilty to, he is less lenient to those of others. He was born an age too late. Had he lived a century or two ago, he would have been a happy as well as blameless character. But the distraction of the time has unsettled him, and the multiplicity of his pretensions have jostled with each other. No man in our day (at least no man of genius) has led so uniformly and entirely the life of a scholar from boyhood to the present hour, devoting himself to learning with the enthusiasm of an early love, with the severity and constancy of a religious vow—and well would it have been for him if he had confined himself to this, and not undertaken to pull down or to patch up the State! However irregular in his opinions, Mr. Southey is constant, unremitting, mechanical in his studies, and the performance of his duties. There is nothing Pindaric or Shandean here. In all the relations and charities of private life, he is correct, exemplary, generous, just. We never heard a single impropriety laid to his charge; and if he has many enemies, few men can boast more numerous or stauncher friends.—The variety and piquancy of his writings form a striking contrast to the mode in which they are produced. He rises early, and writes or reads till breakfast-time. He writes or reads after breakfast till dinner, after dinner till tea, and from tea till bed-time— "And follows so the ever-running year With profitable labour to his grave—" on Derwent's banks, beneath the foot of Skiddaw. Study serves him for business, exercise, recreation. He pa**es from verse to prose, from history to poetry, from reading to writing, by a stop-watch. He writes a fair hand, without blots, sitting upright in his chair, leaves off when he comes to the bottom of the page, and changes the subject for another, as opposite as the Antipodes. His mind is after all rather the recipient and transmitter of knowledge, than the originator of it. He has hardly grasp of thought enough to arrive at any great leading truth. His pa**ions do not amount to more than irritability. With some gall in his pen, and coldness in his manner, he has a great deal of kindness in his heart. Rash in his opinions, he is steady in his attachments—and is a man, in many particulars admirable, in all respectable—his political inconsistency alone excepted!