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Robert Southey: Poetical Works 1793-1810; Madoc

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Robert Southey: Poetical Works 1793-1810; Madoc Southey 2-prelim.fm Page i Wednesday, April 7, 2004 1:32 PM THE PICKERING MASTERS Robert Southey: Poetical Works 1793–1810 General Editor: Lynda Pratt Southey 2-prelim.fm Page ii Wednesday, April 7, 2004 1:32 PM Robert Southey: Poetical Works 1793–1810 Volume 1: Joan of Arc, ed. Lynda Pratt Volume 2: Madoc, ed. Lynda Pratt Volume 3: Thalaba the Destroyer, ed. Tim Fulford Volume 4: The Curse of Kehama, ed. Daniel Sanjiv Roberts Volume 5: Selected Shorter Poems c. 1793–1810, ed. Lynda Pratt Southey 2-prelim.fm Page iii Wednesday, April 7, 2004 1:32 PM Robert Southey: Poetical Works 1793–1810 General Editor: Lynda Pratt Volume 2 Madoc Edited by Lynda Pratt with the assistance of Carol Bolton and Paul Jarman Southey 2-prelim.fm Page iv Wednesday, April 7, 2004 1:32 PM First published 2004 by Pickering & Chatto (Publishers) Limited Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © Taylor & Francis 2004 All rights reserved, including those of translation into foreign languages. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. BRITISH LIBRARY CATALOGUING IN PUBLICATION DATA Southey, Robert, 1774–1843 Robert Southey : poetical works 1793–1810. – (The Pickering masters) 1. Southey, Robert, 1774–1843 – Criticism and interpretation I. Title II. Pratt, Lynda III. Fulford, Tim IV. Roberts, Daniel 821.7 LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Southey, Robert, 1774–1843. [Poems. Selections] Robert Southey : poetical works, 1793–1810. p. cm. – (The Pickering masters) Includes bibliographical references and index. I. Title: Poetical works, 1793–1810. II. Pratt, Lynda, 1964– III. Fulford, Tim, 1962– IV. Roberts, Daniel Sanjiv. V. Title. VI. Series. PR5462 2004 821'. 7–dc22 2004000292 ISBN-13: 978-1-85196-731-5 (set) Typeset by P&C Southey 2-prelim.fm Page v Wednesday, April 7, 2004 1:32 PM CONTENTS Introduction vii Extant Manuscripts of Madoc xxii Madoc 1805 1 Preface 3 Part 1 – Madoc in Wales Book I – Madoc’s return to Wales 9 Book II – The Marriage Feast 16 Book III – Cadwallon 22 Book IV – The Voyage 31 Book V – Lincoya 38 Book VI – Erillyab. Coanocotzin 44 Book VII – The Battle 52 Book VIII – The Peace 58 Book IX – Emma 66 Book X – Mathraval 69 Book XI – The Gorsedd 75 Book XII – Dinevawr 81 Book XIII – Bardsey. Llewelyn 86 Book XIV – Llaian 94 Book XV – The Excommunication 101 Book XVI – David 109 Book XVII – The Departure 112 Book XVIII – Rodri 118 Part 2 – Madoc in Aztlan Book I – The Return 121 Book II – The Tidings 125 Book III – Neolin 132 Book IV – Amalahta 137 Book V – War Denounced 142 Book VI – The Festival of the Dead 145 Book VII – The Snake God 153 Book VIII – Conversion of the Hoamen 160 Book IX – Tlalala 164 Book X – The Arrival of the Gods 170 Book XI – The Capture 176 v Southey 2-prelim.fm Page vi Wednesday, April 7, 2004 1:32 PM Robert Southey: Poetical Works 1793–1810 – Volume 2 Book XII – Hoel 181 Book XIII – Coatel 186 Book XIV – The Combat 190 Book XV – The Battle 199 Book XVI – Goervyl 204 Book XVII – The Deliverance 212 Book XVIII – The Victory 218 Book XIX – Funeral. Coronation 225 Book XX – Death of Coatel 230 Book XXI – The Sports. Mexitli 234 Book XXII – Death of Lincoya 238 Book XXIII – Caradoc 242 Book XXIV – The Embassy 245 Book XXV – The Lake Fight 249 Book XXVI – The Close of the Century 254 Book XXVII – The Migration 263 Southey’s Notes 275 MSS Drafts of Madoc 355 Editor’s Notes 573 vi Southey 2-intro.fm Page vii Wednesday, April 7, 2004 1:33 PM INTRODUCTION Madoc, the son of Owen Gwynedd, it is stated in the bardic Triads, went to sea with 300 men, in ten ships, to avoid the dissentions of his brothers respecting the throne of Gwynedd, or North Wales. No tidings were ever heard of this expedition; but a multitude of evidence has been collected by Dr. Pughe, E. Williams (the bard of Glamorgan), and others, to prove that Madoc must have reached the American continent (300 years before the time of Columbus,) for the descendants of him and his followers exist there as a nation to this day; and the present position of which is on the southern banks of the Missouri river, under the appellation of Padoucas, 1 or white and civilized Indians. Thrice happy shall that man be esteemed, who, standing up among them, and holding the Bible in his hands, shall cry in the British tongue, ‘I am come from Madoc’s country to read and explain to you this holy book of 2 God, and to preach among you the unsearchable riches of Christ.’ The legend of the Welsh prince who sailed to America and established a colony there was a fashionable one in the late eighteenth and early nineteenth centuries, generating a pamphlet literature of its own and eventually an expedition to 3 attempt to locate any surviving descendants of the ‘Welsh Indians’. Moreover, Madoc’s usefulness to writers of the late eighteenth and early nineteenth centu- ries was not restricted to narratives of travel, antiquarianism, ethnography and religion. ‘He [who] from the tumults of a Crown/ Sought shelter in a world unknown’ attracted the attention of Welsh bards such as Edward Williams (Iolo 4 Morgannwg) and their English contemporaries. Indeed, as Robert Southey was to demonstrate, in a society interested in heroes and heroism, Madoc was a suita- ble subject for a long poem. Pre-publication History Although Madoc has the longest and most complex genesis of all of Southey’s 5 poems, its pre-publication history has been neglected. As its author explained in an unused draft of the preface to the first edition of 1805, there were in fact six- teen years between the poem’s conception and its eventual publication. Its origins lay in Southey’s school days at Westminster and in his conversations with vii Southey 2-intro.fm Page viii Wednesday, April 7, 2004 1:33 PM Robert Southey: Poetical Works 1793–1810 – Volume 2 his future patron Charles Watkin Williams Wynn, younger son of a Welsh land- owner and also a putative descendant of Madoc’s brother Rodri: So long ago as the year 1789 the adventures of Prince Madoc impressed me deeply as forming a fit groundwork for some fictitious narrative – a rude & indistinct outline was soon traced, & it became the subject of con- versation & correspondence with the schoolfellow, to whom the poem is now after 15 years inscribed. Twice the story was begun, & tho the immediate prospectus was abandoned, it still remained a settled purpose which induced me to seize & peruse with diligence whatever books bore 6 any relation to the subject. Southey’s earliest drafts of his version of the Madoc story, now lost, were in prose. It was not until 1794, by this time the author of two drafts of a second epic, Joan of Arc, and more confident in his ‘facility of versification’, that he decided to return to Madoc, producing 722 lines of blank verse between summer 7 1794 and summer 1795. Southey’s newly burgeoning career as a published and publishing poet meant that this work was ‘interrupted by the necessity of attend- ing to Joan of Arc which went to press in the spring’ of 1795 and it was not resumed for some two years (WC429/KESMG, unfoliated). The project was not, however, entirely forgotten and in July 1796 ‘My epic poem, in twenty books, of Madoc’ was listed amongst Southey’s future projects (RS to GCB, 31 July 1796, L&C, Vol. I, p. 287). By the time Southey was ready to return to it in early 1797, the poem’s increasingly important status in his personal pantheon was reflected in his obser- vation to Joseph Cottle that all his other ‘literary pursuits’ would now be postponed until Madoc, the ‘greatest’ of all his works was complete (RS to JC, [before 21 February 1797], L&C, Vol. I, pp. 303–4). The rewriting of the poem began on 22 February 1797, the same day that Southey reluctantly began his legal studies at Gray’s Inn. He noted both events in his Commonplace Book, accompanying them with some lines originally written for the poem’s ‘commenc- ment’ but which he now thought ‘must conclude’ it: SPIRIT OF SONG! It is no worthless breast That thou hast filled, with husht and holy awe, I felt thy visitation. Blessed power, I have obeyed, and from the many cares That chain me to this sordid selfish world Winning brief respites, hallowed that repose To thee, and pour’d the song of better things. Nor vainly may the song of better things Live to the unborn days; so shall my soul In the hour of death feel comfort, and rejoice. (CB, Vol. IV, p. 45) Although stylistically akin to proclamations of his ambitions for his own poster- ity in Madoc (1794–5), the lines were not taken from that version of the poem. Nor, despite his intentions, were they to find a place in the new draft that he pro- viii Southey 2-intro.fm Page ix Wednesday, April 7, 2004 1:33 PM Introduction 8 duced over the following twenty-nine months.
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