“POETS and POESY I SING” 1. Felsenstein and Scrivener Co

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INTRODUCTION: “POETS AND POESY I SING”

1. Felsenstein and Scrivener co-edited and published Incle and Yarico and The Incas: Two Plays by John Thelwall in 2006; Selected Political Writings of John Thelwall, co-edited by Lamb and Wagner, was published in 2008; Thelwall’s Jacobin novel The Daughter of Adoption, co-edited by Scrivener, Solomonescu, and Thompson, appeared in 2013. 2. Thelwall misquotes slightly from Charles Churchill’s satiric “Apology addressed to the Critical Reviewers,” (92). 3. One of Thelwall’s favorite causes, the Humane Society, founded in 1774 by his medical mentor William Hawes (1736–1808), was devoted to the resusci- tation of persons apparently dead from drowning. 4. On Thelwall’s skirmish with Jeffrey, see Thompson, The Silenced Partner 163–70. 5. One wonders how many of Wordsworth’s blooms may in turn have been picked from Thelwall’s “Nosegay.” 6. See Thompson, “Citizen Juan,” 89–94. 7. For information on Cecil, I am indebted to the research of Patty O’Boyle, some of which has been published in “A Son of John Thelwall.” 8. Although there is some evidence that Thelwall’s became more religious in later years, he did not convert upon his marriage; his support of the Catholic cause should be taken as a sign of his lifelong religious open-mindedness, often labeled as atheist, a label he always wore with pride, whether or not it accurately reflected his religious opinions. 9. Esterhammer comments on the love song, “To Maga,” that he wrote upon this betrayal. 10. On the former, see Crabb Robinson ; on the latter, letters to M. Maury Duval, Wellcome Institute. 11. Thelwall probably met the Spanish General Francisco Espoz y Mina (1781– 1836) during the latter’s exile in London in 1823–30. I am indebted to Arvanitakis Dimitris for information regarding the correspondence of the Greek poet Andrea Calvos (1792–1869), indicating that he was acquainted with Thelwall while living in London 1816–20; Calvos’s friendship with the Italian “citizen poet” Foscolo (1778–1827), who lived in England for ten years before his death in 1827, opens the possibility that Thelwall knew him too. 12. The child of Thelwall’s old age, Weymouth Birkbeck was born in 1831. See O’Boyle for the strange-but-true story of his life. 13. Wordsworth, Letters 329. 276 N OTES

14. E. P. Thompson discusses the fate of the Thelwall archive (The Romantics 218–20); the Derby MS fortunately escaped the fate of the Cestre manuscripts, and was probably auctioned at another time, or came by some other networks into the Derby Local Studies collection. 15. Thelwall no doubt knew Blake through the Joseph Johnson circle, though there is no evidence of personal acquaintance. 16. Correspondence between Thelwall and George Birkbeck in 1804 suggests a common point of origin for Thelwall’s elocutionary Institute and Birkbeck’s Mechanics Institutes. 17. On the connection between Romantic-era theater and elocution, see my “Romantic Oratory.” 18. Derby MS annotations suggest that Thelwall collaborated with the Italian composer and singing teacher Gesualdo Lanza (1779–1859) in 1816. 19. Angela Esterhammer has begun to investigate some of these connections. 20. For an interpretation of this transfer of allegiance in comparison with Wordsworth’s (from whose “Michael” I take the quoted phrase [225]), see my “A Shadow in Profile.” 21. Both Romantic Interactions and Wolfson’s earlier Borderlines offer fruitful directions for future Thelwall Studies, as does Lau’s Fellow Romantics. 22. The Rights of Nature was the title of Thelwall’s 1796 response to Burke. 23. On the importance of marking, and Thelwall’s prosodic system in general, see Carlson and Gravil. 24. The reviews of Thelwall’s final lectures in Bristol, 1834, offer some of the most detailed and accessible insights into his elocutionary theory and practice. 25. Hazlitt’s essay on “The Difference between Writing and Speaking,” as well as many of the influential critical principles established in Coleridge’s lectures and Biographia Literaria, were developed in reaction to and rivalry with Thelwall’s Jacobinical materialism; even Wordsworth’s 1828–9 celebration of “The Power of Sound” {358–65] is haunted by anxieties about the “volup- tuous influence” and political dangers of the ear. 26. Thelwall’s “gass” is roughly equivalent to Orwell’s “cuttlefish ink” a century later. 27. See, for example, Smith, Gilmartin, Epstein, and Keach, as well as Scrivener. 28. Scrivener’s book remains the best introduction to the scope and relevance of Thelwall’s theory and practice of seditious allegory; see also Davies’s “Capital Crimes.” 29. According to Blake’s comments upon his own “A Vision of the Last Judgment” (555). 30. As the prosecutors attempted to explain at Daniel Isaac Eaton’s trial for seditious libel. See Scrivener 111–18. 31. Among other important genres I might have included are elegies, pastoral and gothic romances, lyrical drama, translations, historical poems, and Sapphic odes; some examples of most of these are, however, scattered throughout this selection. 32. I am still unsure why it would be “obvious” that anacreontics begin the collection; perhaps these are instructions to Cecil, who would understand. 33. The 125 poems I have chosen comprise barely one-quarter of Thelwall’s total poetic oeuvre, which is still being uncovered; others are equally good, and will, I trust, be published in future editions. I have also been necessarily selec- tive with Thelwall’s essays, particularly in excluding the important (but very N OTES 277

long) “Essay on Rhythmus.” I have used footnotes to note significant variants among published and manuscript versions of several key poems, though here too I have used my judgment, as this is not a complete scholarly edition.

2 POEMS PASTORAL AND PERIPATETIC

1. For the importance of towns like Kendal in Thelwall’s career, see my “A Shadow in Profile.” 2. So Wordsworth responded to Keats’s “Hymn to Pan,” in a letter to Benjamin Haydon (Matthews 43). 3. The surgeon John Ring (1752–1821) published A Translation of the Works of Virgil: Partly Original and Partly Altered from Dryden and Pitt in 1820. The popular arcadian Pastorals (1709) of Alexander Pope (1688–1744) were translated by the Swiss poet Salomon Gessner (1730–88), whose own pastoral Idyllen (1756–72) were in turn translated into English. 4. The Eclogues of the Roman poet Virgil (70–19 BC) established the Arcadian ideal of pastoral poetry by drawing on the bucolic idylls of the Greek writer Theocritus (fl. C. 370 BC). 5. A likely allusion to Coleridge’s theory of poetic faith as a “willing suspension of disbelief for the moment” (Biographia Literaria, chapter 14, 314) 6. The Gentle Shepherd (1725) was a popular comic pastoral musical drama by Allan Ramsay (1684–1758), whose vernacular realism influenced Gay, Thomson, and Burns. 7. Greek statues were made of marble from the island of Paros. 8. The fields that originally surrounded St. Giles’ Cathedral had long disappeared by the date of this essay. 9. Habbies Howe, a glen on the river Esk outside Edinburgh, is the setting of Ramsay’s Gentle Shepherd. 10. The “Ettrick Shepherd” James Hogg (1770–1835) and his now better-known countryman Robert Burns (1759–96) were self-educated Scottish peasant- poets famous for their earthy, vernacular pastorals. 11. These are all characters in Homer’s Iliad. Carlton House in London was the mansion of the Prince Regent before he became king in 1820. 12. Thelwall’s criticism of the manners and language of the “hedge-cockney” allies him with Coleridge’s critique of Wordsworth’s “real language of men” in Biographia Literaria (chapter 17, 333–45) as seen also in his annotations to that volume. 13. John Gay (1685–1732) published The Shepherd’s Week in 1714 in a high- profile battle with Ambrose Phillips over the role and nature of the pastoral (DNB). 14. Another instance of Thelwall’s alliance with Coleridge against Wordsworth. 15. Thelwall’s Poems on Various Subjects (1787) contains two pastoral eclogues imitating Gay, whose “proem” likely also influenced the choice of the same title for the introductory “Proem” (p. 252) of Thelwall’s unpublished Poems Chiefly Suggested by the Scenery of Nature. 16. The opening stanza is quoted from “The Nosegay” (p. 27). 17. In the Poems on Various Subjects, the stanza about the blossoms as “moral- izers on the plain” appears here, but it is removed in the Derby MS, where the stanza has already been quoted in “Nature’s Lesson.” The original also ends with three stanzas addressing Melissa, whose approval will revive and give a 278 N OTES

“second life” to the poet’s words; the later revision substitutes “Fate’s eternal doom.” 18. Roslin Castle, on the river Esk in Scotland, is famed for its association with Mary, Queen of Scots, and battles between England and Scotland (such as the one between Thelwall and the Edinburgh Review at the time of composition). 19. Stella was Thelwall’s poetic name for his wife Susan. 20. Thelwall called it a sonnet in a letter to Coleridge, who replied “being a free- born Briton, who shall prevent you from calling twenty-five blank verse lines a sonnet, if you have taken a bloody resolution so to do” (CLSTC I. 348). This politically tinged experimentalism links “The Woodbine” with Thelwall’s other sonnets (see chapter 4). 21. Near Oakham, in northeast England, where Thelwall met his first wife Susan (“Stella”). 22. While the seasonal trope is conventional enough, these lines seem almost to foresee Maria’s death, of the croup, two years after they were written. 23. Cf. Coleridge “Sonnet to the River Otter” and “Reflections on Having Left a Place of Retirement.” 24. The subtitle appears only in MS, where it is crossed out. 25. Edmund Spenser (1552–99), The Shephearde’s Calendar, “Februarie.” The oak and brier allegory was frequently revisited and adapted by later poets for political purposes (Radcliffe). 26. The original title was Tales of the Zephyrs; it was changed in MS. 27. Ariel is derived from Shakespeare’s airy, magical sprite in The Tempest; Amato is a common surname of Italian origins, meaning lover or sweetheart. 28. “In this stanza the character of the rhythm is changed, or rather lost” [JT’s note]. 29. In the Derby manuscript there are several versions of this poem fully marked up with various versions of Thelwall’s idiosyncratic elocutionary notation, including musical notes. 30. James Beattie (1735–1803), The Minstrel 1.76. 31. The Lark [JT’s note]. 32. A river in ancient Greece, associated homonymically if not historically with the ancient Greek odic poet Pindar (518–438 BC). 33. “Mary Stewart, Queen of Scots,” a dramatic poem by James Grahame (1765– 1811), with whom Thelwall became acquainted in Glasgow in 1804, when “The Lark” was written. 34. A jess is a thin leather strap used in falconry to tether and control the bird; bells are attached to the falcon’s legs; a light hood keeps it calm in training. Saye is a type of woolen cloth produced in medieval England. 35. Boulogne is a town on the English channel in France. 36. A tarsel (more commonly tercel) is a male falcon or hawk (OED). 37. A mew is a common seagull (OED). 38. A parrot. Of Norman derivation, the word connotes heraldry, pageantry, and French foppery (OED). 39. A village on the banks of the Calder River, in the borough of Kirklees, West Yorkshire, Mirfield expanded and industrialized with the construction of a canal and textile mills in the eighteenth century. 40. Thelwall may have been hosted by the family of William Pilling, master of the Mirfield free grammar school, with whom he probably became acquainted N OTES 279

through James Montgomery, publisher of the radical Sheffield Iris, who came from Mirfield (Mirfield Memories).

3 COMIC BALLADS, SATIRES, AND SEDITIOUS ALLEGORIES

1. In “Capital Crimes,” Davies elaborates upon Scrivener’s discussion, show- ing the multi-layered sophistication of Thelwall’s manipulations of the Chaunticlere tale. 2. Stamford and Oakham are towns in the tiny borough of Rutlandshire, north of Peterborough, England. Thelwall’s first wife, Susanna Vellum, came from Oakham, and they were married there in July 1791. Davies’ “Capital Crimes” explores this context for the poem. 3. John Gilpin was the hero of a popular ballad by William Cowper, “John Gilpin’s Ride,” which Thelwall often performed during his lectures, and with whom he identified. 4. Thelwall alludes at once to Cowper’s “John Gilpin’s Ride,” Shakespeare’s Hamlet and Burns’s “Tam o’Shanter.” 5. One of Thelwall’s ubiquitous puns, foolscap signifies both a type of long paper used for legal documents, and a dunce’s or jester’s cap, the first in a proto-Seussical array of hat motifs in the poem. 6. Surgeon and apothecary & a distinguish’d member of the Loyal Association of Oakhamites [JT’s note]. 7. A legal term for a formal order brought to procure the reversal of a judgment on the grounds of procedural error (OED). Thelwall’s legal training inclined him to satire on such terms. 8. A sheriff’s staff, hence the sheriff himself. 9. A legal order of arrest authorizing a body to be taken (OED). From the Latin; Thelwall exploits the homonymic connection with his “cap” metaphor. 10. A reference to Cowper’s poem, which turns on a runaway horse who frus- trates its master Gilpin’s desperate attempt to reach Edmonton in time for his anniversary dinner. 11. A lane and disreputable London neighborhood, near Fleet Street and the ancient legal Inns of Chancery. 12. It is a curious circumstance that not a soul in Oakham could ever get a single word of information from tradition or record—by hook or by crook, upon the important subject who the parents of this most special Attorney were, or whether he ever had either father or mother, till the fact was thus poetically revealed [JT’s note]. 13. William Pitt (1759–1806) was the prime minister who imposed the Gagging Acts and system of spies and informers that Thelwall satirizes. 14. Solicitor to the Downing Street Inquisitor [JT’s note]. He was present at Thelwall’s trial for treason. 15. In his lectures, Thelwall frequently used statistics gathered from his peripatetic excursions to make his point about government corruption and the state of the economy. 16. Consistent with the bawdy tone of popular ballads like Burns’s “Tam O’Shanter.” 17. Gotham is the name of a village proverbial for the folly of its residents; a Gothamite is therefore a blunderer or simpleton (OED). 18. Drawing on his medical training, Thelwall refers to eighteenth-century pre- scriptions and therapies. A bolus is a large pill; a draught is a dose of liquid 280 N OTES

medicine; a blister is a medicine applied to raise a blister; a clyster is an enema. 19. A woodcock is an easily snared bird that idiomatically denotes a simpleton, dupe, or gullible person (OED). Its bawdy meaning here, common in folk ballads, probably alludes to the religious satire in the partridge-hunting scene of Fielding’s Tom Jones. 20. Two other loyal Rev’rends of Oakham, the latter Master of the foundation school [JT’s note]. 21. An allusion to the Bible, Numbers 22:27, in which Balaam hits his donkey with a stick, whereupon the Lord opens the mouth of the donkey to teach Balaam a lesson about power, vanity, and bribery. Such Biblical parables resemble seditious allegory in that their meaning may be interpreted in more than one way. 22. Subject to excessive, extortionate rents (OED). 23. Reflecting both Thelwall’s legal training and his experience in the treason trials, this virtuosic cadenza satirizes legal jargon, especially related to delay and obstruction of justice. A capias is a writ of arrest; alias and plurias are secondary writs issued when the first has proven ineffectual; the next five terms are traditional forms of pleading and reply in British common law, following the traditional order of memorization; the next three are writs relating to but also obstructive of the fundamental democratic principle of habeas corpus (the right to trial) suspended in 1794; equally obstructive of justice are the flaws (invalidating defects) and inflating fees. On Thelwall and law, see Bindman. 24. In Greek myth, the golden fleece was a symbol of royal authority sought by Jason and his Argonauts. 25. A duffer or simpleton; a person easily taken in or fooled (OED). 26. That is, leave with a sexually transmitted disease. 27. Derogatory name for poor and working-class republicans in revolutionary France, so named because they did not wear the more genteel knee- breeches. 28. “First read in the Lecture Room at Kendal the evening after the accident described” [JT’s note]. 29. A summary of the action of Cowper’s popular poem “John Gilpin’s Ride,” which Thelwall also performed frequently at his elocutionary lectures. 30. A slang term meaning citizen, in the sense of tradesman or member of the bourgeoisie. 31. “Halloo” is the call to hounds during a fox hunt—therefore evidence of Thelwall’s continuing awareness of himself as a Jacobin fox. 32. Samuel Butler (1613–80), Hudibras Canto I. 27–28. 33. An Irish bull is a logically, grammatically absurd or incongruous phrase or sen- tence (OED), often used intentionally for satiric purposes and as such, related to seditious allegory. 34. A hackney, or hack, is a horse or carriage kept for hire—hence a hireling writer or employer of tired-out, trite language. 35. An allusion to Coleridge, who was dishonorably dismissed from his regiment after running away to become a soldier in 1793–4, and who began his career as a journalist (what some called a hack-writer) for the Morning Post in 1799. Coleridge’s abject failure as a soldier was due largely to his poor horseman- ship. See Holmes 53–4, 254–7. 36. All types of light, one-horse two-wheeled carriages. N OTES 281

37. A grotesque puppet, who appeared with his shrewish wife (usually Judy, sometimes Joan) in traditional British puppet shows. 38. Pegasus was the traditional winged horse-god of Greek myth, associated with the Muses and hence poetry, as was Apollo, god of the sun and of music, who drove a chariot of fire. 39. Always a crucial motif in Thelwall’s epic rivalry with Wordsworth and Coleridge, these rivers neatly delineate the route of Thelwall’s “new peripatetic” elocutionary lectures between 1801 and 1806, starting on the Wye (Vaga) in Llyswen, Wales, then to Manchester and Liverpool (Mersey), Grimsby, Leeds, and Barton (Humber), leaving the Lake District (Solway) via Selkirk (Tweed) to Glasgow (Clyde) and finally Edinburgh (Forth) where he clashed with the “Critics” (Jeffrey and his friends at the Edinburgh Review.) 40. Blue devils: feelings of melancholy or depression; vapors: ditto, with connotations of hysteria and hypochondria. 41. Kirkby Lonsdale, near Kendal, is the site of a scenic medieval stone bridge over the aptly named Lune river. 42. Dr. Peter Crompton, a mutual friend of Thelwall and Coleridge, visited Southey in Keswick in August 1804. 43. Those readers who do not happen to be acquainted with the local history of the famous vale of the Lune will, perhaps, be entertained with a topographical anecdote, to the authenticity of which many an old woman is still to be found in Lancashire, who would bear the most unequivocal testimony. In days of yore his Satanical highness (being much inconvenienced, we suppose, by the necessity of fording the Lune, in his frequent visits to Kirby Lonsdale) determined to build a bridge over that river; and hewed, for that purpose, an enormous quantity of stones, from a distant quarry. Unfortunately, however, as he was carrying these to their place of destination, the apron, in which he held them, gave way, and a part of the stones were spilt: so that when he came to execute his design, he found that his materials were deficient; which occasioned the very obvious, but picturesque irregularity, in the existing structure of that bridge. In further confirmation of this very extraordinary story, the stones that Satan dropped are to be seen, to this very day, upon one of the neighboring hills [JT’s note]. 44. A Phaeton (named after a Greek mythic character who tried to drive the chariot of the sun) was a showy open four-seater carriage, a post-chaise was a four- seater, closed traveling carriage, such as the one taken by John Gilpin’s family, who “went on before” in Cowper’s poem. 45. In northern dialect “canty” is cheerful, lively, gladsome; “nappy” means heady, like strong ale; hence exhilarated or intoxicated (OED). 46. In Roman myth Bacchus is god of wine; Venus the goddess of love. 47. The archetypal wife; see note 35 above. 48. Demosthenes was a Greek orator famed for having overcome a speech impediment. 49. Greek god of medicine and healing—hence, the “joke-loving” Dr. Crompton above. 50. These occupations refer acronymically to Wordsworth (WW) and Coleridge (Co); drafts is a three-way pun referring to Thelwall’s unpublished but probably fully drafted Poems, Chiefly Suggested by the Scenery of Nature. 51. Thalaba the Destroyer (1801) and The Curse of Kehama (1810) were epic poems by Robert Southey. The first in particular was mocked in Francis Jeffrey’s defamation of the Lake Poets, in the Edinburgh Review. 282 N OTES

52. Parnassus is the mountain sacred to Apollo and the muses in Greek myth. Thelwall’s mock-epic allusions here, especially in proximity to Southey, recall the parody of his own disastrous ambitions in “Pegasus O’erladen” (p. 62). 53. Many of the details in this passage (fern, adder-tongue, ash, alcove) recall both Thelwall’s “sequester’d” dingle at Llyswen and the “wild romantic dell” at Alfoxden upon which it was based, as per Coleridge’s description in “This Lime Tree Bower” (Oxford Authors, pp. 38–40). 54. Another allusion to Thelwall’s hermitage at Llyswen, where he composed The Fairy of the Lake. 55. Young fish (OED). 56. All common breeds of small, freshwater fish. 57. The vigilant and cautious observation of circumstances (OED). Thelwall used the same word in his political lectures, to cultivate strategies to counteract the “moral tendency of a system of spies and informers.” 58. Isaiah 7:20: “In the same day shall the Lord shave with a razor that is hired.” 59. “You cannot be a rhetorician, a grammarian, a school-master, / a Cynic, or Stoic philosopher, nor can you / Sell your voice to the people of Sicily, or your applause to theatres. / All that remains for you, Cinnamus, is to become a barber again.” Martial Epigrams 7.64. The Latin epigram is highly strate- gic, given Jeffrey’s mockery of Thelwall’s nonclassical education, and raises the question, still unresolved, of the extent of Thelwall’s later knowledge of Latin. 60. Thelwall’s 1801 Poems was lambasted as “tradesman’s” poetry in the Edin- burgh Review for April 1803; Southey’s Thalaba, Wordsworth and Coleridge’s Lyrical Ballads, and the “new” lake school were condemned as dangerously democratic in October 1802. 61. A hone is a whetstone used to sharpen razors (OED). In his Reply to Jeffrey, Thelwall proudly upholds his “tradesman’s” origins and accuses Jeffrey of hypocrisy since “your uncle and your grandfather . . . shave[d] the chins of greasy porters and dress[ed] wigs, in Glasgow, or in Edinborough, for a penny” (Reply, p. 186). 62. A boadle was the smallest Scottish coin at the time, worth a tiny fraction of an English penny. Thelwall’s point here, as in his Reply, is that Jeffrey is both a hypocrite and a sellout: he “takes, also, (for his amusement!) a salary of £200 a year, as Editor” (Reply, p. 186). 63. Priscian (fl. 500) was a Latin grammarian; noddle is slang for the head; these references, high and low, capture Thelwall’s point with the auto- didact defensiveness about classical education seen throughout his pam- phlets to Jeffrey. 64. A pilgarlic is a bald man (like a pulled garlic); a pig-tail is a single braid or queue of hair, often worn by soldiers and sailors at the time (OED). A crop is a short unwigged, unpowdered haircut, associated with French revolutionary style (and the language of decapitation) (Scrivener 126). 65. Henry Brougham (1778–1868) was one of the founders of the Edinburgh Review, here treated as Jeffrey’s apprentice or flunkey. 66. That is, dressing-down; a drubbing or chastisement (OED). 67. A prig is an intrusively conceited, self-important person. A Tartar is a native of Mongolia—hence fierce and intractable; to catch a Tartar is to tackle someone who cannot be controlled or gotten rid of (OED). In the Letter to Jeffrey, N OTES 283

Thelwall coined and conjugated the verb “to Jeff” as a synonym for various forms of lying (Letter, pp. 115–121). 68. Sawney was a colloquial Scots diminutive for “Alexander”; Thelwall probably had in mind Sawney and Jockey, the Scottish shepherd protagonists of Prophecy of Famine (1763), a mock-pastoral political satire by Charles Churchill (1731–64) (Patterson 126–7). 69. See Noble 1–33. 70. Archeologica Scotica: Transactions of the Society of Antiquaries of Scotland began publication in 1792, and continues today, under a slightly different title. 71. Richard Gough (1735–1809), director of the Society of Antiquaries of London, published and was often mentioned in the Gentleman’s Magazine. 72. Sheffield was a renowned center for the production of knives, and the site of Thelwall’s return to public life and lecturing in 1801. 73. After the Act of Union (1603), the term South Briton signified a resident of England; among independence-minded Scots, it was a derogatory term for a Scot who served the English, thereby effacing his identity and accent. 74. Crowdy, a Scottish term for porridge or gruel; also called “spoonmeat” (OED). It was a staple food of peasants and the lower classes. 75. As a noun, buff was a slang term meaning dull, common fellows; blows or buf- fets; and naked skins (OED). But as an adjective, the color was class-coded: buff was a fashionable color for gentlemen’s breeches, whereas brown was a common color of homespun cloth. 76. Thelwall uses diminutives to treat respected eighteenth-century writers as equals: Alexander Pope (1688–1744), Jonathan Swift (1667–1745), Joseph Addison (1672–1719), and Matthew Prior (1664–1721). 77. Like “The Critical Shaver,” this verse paragraph seems aimed at the social pretensions of Jeffrey and his fellow critic-wits at the Edinburgh Review, several of whom were lawyers, and who had attacked Thelwall as a “tradesman.” That it is an epic simile underlines the contrast between their social-climbing façades and lowly origins. 78. Derived from the French, Ton signifies the world of fashion (OED). 79. Scots word meaning “much,” “big,” or “great” (DSL). 80. To “cross the Tweed” (a river that forms part of the border between England and Scotland) means to go south, with connotations of betrayal of one’s nation for “better feed”; this may be aimed less at Jeffrey than other Scottish servants of Pitt’s government, notably Henry Dundas, the Home Secretary, in which case the “amputation” is connected to implementation of the Gagging Acts. Bleethsome is Thelwall’s mock-Scots, mock-archaic variation upon “blithe- some,” that is, happy. 81. An allusion to stereotypical Scottish frugality, with double-edged connotations of folly and hardheartedness. 82. The Royal Society of Arts, founded 1754, based in London. 83. Glasbury is a village in Wales, near Thelwall’s home at Llyswen. 84. Since the Renaissance, the green curtains had been a virtual synonym for the theater, always associated with strolling players, obscure theaters and houses of ill repute (Ostovich 79–87). 85. Talgarth is another village near Llyswen. 86. The speaker’s suspicions reflect widespread hysteria in 1798 about the threat of a French invasion, made ridiculous because Brecon (a market town near 284 N OTES

Llyswen) is deep in the Welsh mountains, more than 50 miles from the ocean along the unnavigable river Usk. Nevertheless, poets who explored rivers (like Thelwall in Wales, and Coleridge and Wordsworth in Somerset) were suspected of being French collaborators. 87. Old Nick is colloquial English name for the devil. 88. In his Letter to Henry Cline, Thelwall recalls that his peripatetic oratory made his neighbors believe “(for such was the superstition of that enlightened neighbourhood) that I was a bit of a conjuror” (Cline 10). 89. Dobbin, that is, a plow horse. 90. An improvisation upon the opening of Virgil’s Aeneid in Dryden’s 1697 translation: “Arms and the man I sing.” 91. A reference to the increasing dominance of style over substance in the literary marketplace in the late eighteenth century, and especially the production of luxury editions and literary-themed prints, paintings, furniture, and acces- sories sold in emporia like Boydell’s Shakespeare Gallery and Ackermann’s Repository of Arts (which ironically took over the premises vacated by Thelwall in 1796). 92. Vauxhall was an extensive, crowded, fashionable pleasure garden south of the Thames, site of both outdoor spectacles and shady assignations. 93. Chiswell Street was the location of the type foundry operated by the Caslon family from 1720 to 1819; fashionable Pall Mall the site of the Royal Academy. 94. John Hampden (1595–1643), Algernon Sydney (1623–83), and William Russell (1639–83) were English republican heroes, martyred for their opposition to monarchical power. 95. The reference here, and through the rest of this paragraph, is to the apostasy of Edmund Burke (1729–97) who turned against the reformist cause he had once supported. 96. Burke’s friend Charles James Fox (1749–1806) shed tears in Parliament upon Burke’s betrayal of the Whig cause they had once shared. See O’Quinn. 97. Burke’s An Enquiry into the Origin of our Ideas of the Sublime and the Beautiful was published in 1757. 98. Burke was notorious for the hyperbolic portrayal in his Reflections on the Revolution in France (1790) of Queen Marie Antoinette as “glittering like a morning star . . . just above the horizon” (p. 446). British gossip suspected the Duke of Dorset John Sackville (1745–99), a notorious womanizer and British Ambassador to France in the 1780s, of fathering Marie Antoinette’s son Louis Charles. 99. Connecting Chiswell St. to the poorer neighborhood of Moorfields, Grub Street was a haven for impoverished poets, hack-writers, and small printers and booksellers. 100. A reference (one of several in the original Peripatetic text) to “mad” King George III (1738–1820); in the Derby MS transcription, probably made after 1820, this was changed to the more neutral “till some loftier dome the title claim.” 101. Cyclops is the one-eyed monster in Homer’s Odyssey; Alphabeta’s one eye may be a symbol of narrowness or neutrality, or both at once. 102. Though this passage in The Peripatetic (1793) predates the notorious “Gagging Acts” of 1795, Thelwall saw which way the wind was blowing, N OTES 285

and here anticipates his more detailed analysis of the effect of repression on language developed in his lecture on spies and informers. 103. As in “John Gilpin’s Ghost” and elsewhere in The Peripatetic, Thelwall pays pragmatic attention to the means of production, combining them with mythic machinery in a manner comparable to Blake in The Marriage of Heaven and Hell. 104. Here Thelwall notes a book of “very pretty poetry” recently published by a lawyer named Henry Neele. 105. In his notes Thelwall points out that “the poetic & the legal act do not, in reality, appear so irreconcilable as might at first glance be imagined” as the Law deals “almost as largely in fictions (tho of a less harmonious description) as poetry itself”; he then commends the poetry of both William Blackstone (1723–80) and Thomas Erskine (1750–1823), to whose able defense in the Treason trials Thelwall owed his freedom, returning the favor by praising the “exquisite taste & sweetness” of Erskine’s “amatory Ode to Naera.” 106. Thelwall praises the reciprocal beauties of the poetry and oratory of the Irish barrister Charles Phillips (1787–1859), noting that in the prose of one of his published defenses “there is a succession of almost twenty lines of complete & perfect blank verse.” He then suggests (perhaps only partly tongue in cheek, given the scope of the poem and its place in his career) that in the absence of long-awaited reforms to “our National Jurisprudence,” perhaps the only hope is in “the all-powerful Muses.” 107. Year Books are law reports, published to establish legal precedents. The Book of Numbers is part of the Old Testament, dealing with Moses; Thelwall also plays on his own prophetic authority regarding poetic numbers, or prosody. 108. In his footnote Thelwall criticizes fellow radical William Cobbett (1763– 1835) for the disharmony of both his meters and his opinions: “equally omnipotent in the creation of facts & the induction of conclusions from them, he strides a Colossus among Logicians; but the Muses absolutely disown him.” 109. Alexander Pope “Epistle to Arbuthnot”: “I lisp’d in numbers, for the numbers came” [JT’s note]. 110. A note here refers to “the poetical advertisements put forth by the manufactur- ers of Day & Martin’s Blacking, Packwood’s Razor Strops & c.” as well as “a certain manufacturer—importer & vender I should say, of French Wines.” 111. Billingsgate was the London fishmarket; a nereid is sea-nymph in Greek mythology. 112. The cry of a chimney sweep seeking business in the streets. Poetical transcriptions of London street cries were a popular subgenre in turn-of-the- century England; Thelwall, like Wilde, looks forward to the day when life imitates art. 113. Thelwall’s name for the east end of London inhabited by Cockneys, defined as the area within the sound of the bells of St.-Mary-Le-Bow church. 114. From Pope “An Essay on Criticism,” writing about Longinus (213–73 BC), the Greek theorist of the sublime. Aristarchus (310–230 BC) was a math- ematician who placed the sun at the center of the universe. 115. Great poets were honored with bay wreaths in ancient Greece; holly is a native British plant, green and strong in the midst of winter, an apt symbol of fertility, protection, and survival for Thelwall’s old-age newborn muse. 286 N OTES

116. In a note here, Thelwall distinguishes his claim to a tenth muse from other pretenders to the name, including the visionary Joanna Southcott (1750–1814) and the reactionary Hannah More (1745–1833), whom he disparages as a lady of “certain playwriting, play-reprobating & ultimately super-sanctified novel writing . . . pretensions.” 117. Fashionable roads in London. Thelwall gives this line a lengthy comical footnote on the relative poeticality of various streets. 118. After this point, in 14 short lines, Thelwall names 11 writers, each of whom is given a footnote with commentary, some of it quite extensive, including an evaluation of Joanna Baillie’s Plays on the Passions, a critique of Jeremiah Wiffen’s translation of Tasso, with remarks on the differences between Italian vs. English prosody, and an essay on distinctions of merit vs. class in peer and peasant poets (Byron and Thurlow vs. Burns and Hogg). 119. That is, Wordsworth might be the equal of John Milton (1608–74), epic poet and champion of liberty; high praise indeed, given Thelwall’s devotion to Milton, but consistent with the view of Coleridge, who likewise mourned Wordsworth’s lower, “loitering” lyrics. 120. Urania is the Greek “heavenly muse” of astronomy, also invoked by Milton (by way of the Holy Spirit) in Paradise Lost. 121. The Organ is not only the musical instrument but the bodily organs that produce sound, to which the “shell” (ear) must tune itself, and the “roof” (of the mouth) resound, according to Thelwall’s elocutionary poetics. By the time this was written, Thelwall had engaged in detailed study and scan- sion of Wordsworth’s prosody. 122. A comment upon Wordsworth’s increasing conservatism and particularly his support for the Lowther interest in the Westmorland election of 1819, though there is nothing even in the virulent anti-Jacobinism of Wordsworth’s Two Addresses to the Voters of Westmorland to warrant Thelwall’s attack in the last four lines, which are comparable to Shelley’s “The Masque of Anarchy.” 123. Paternoster Row, just north of St. Paul’s Cathedral, was the centre of the publishing trade and literary London.

4 SONNETS

1. For Thelwall’s sonnet dialogue with Wordsworth, see my Silenced Partner chapter 9. 2. For Smith, Seward, and Thelwall’s place in the debate, see Daniel Robinson. 3. Charlotte Turner Smith (1749–1806), poet and novelist, initiated the Romantic sonnet revival with the publication of her popular and influential Elegiac Sonnets in1784. 4. Shakespeare, Hamlet 1.4. 5. William Hayley, An Essay on History I.49 (p. 5). 6. Here and throughout his essay, Thelwall enters into debate with Mr. T. H. White, author of a 1786 letter in the Gentleman’s Magazine that praises the sonnet of a Rev. Mr. Stevens published in an earlier issue of the magazine. 7. Thelwall refers here not to the sonnet, but to the Spenserian stanza of the Faerie Queene (ababbcbcc), adopted also by James Beattie (1735–1803) for The Minstrel (1771–4). N OTES 287

8. Here I skip over the middle of the essay, in which Thelwall continues the debate by quoting lengthy counter-examples from Smith or Milton for every quotation given by his critical opponent. 9. The eighteenth-century equivalent of a Camaro, a whiskey is a two-wheeled, one-horse carriage; the tall steeple bonnet was its female equivalent as a showy fashion accessory. 10. Much admired by Thelwall, Pindar (c. 522–443 BC) was an ancient Theban lyric poet. 11. Maia was the classical goddess of spring. 12. In Roman mythology, Ceres was the goddess of agriculture. 13. Albion is an archaic patriotic and poetic name for Britain. 14. Thomas Muir (1765–99) was the first of the “Scottish martyrs” who fell victim to Pitt’s “Reign of Alarm” following attempts to mobilize reform societies in 1792–3. Sentenced to transportation, he was shipped to Australia in 1794. Despite the rumor that occasioned this poem, Muir did not die on board, but survived, escaped, and died in exile in France in 1799 (DNB). 15. On this date Thelwall was transferred from the Tower to Newgate prison, where he was kept in the “common charnel-house,” where the bodies of dead inmates were stored before burial. 16. The shoemaker Thomas Hardy (1752–1832), one of the founders of the London Corresponding Society, was the first of 12 defendants of the treason trials acquitted in November 1794. 17. A reference to Hardy’s wife, who died in childbirth during his imprisonment, having been attacked by a mob; the term honors her with connotations of nobility. 18. The original Phocion (402–318 BC) was an Athenian statesman renowned for virtue and frugality; the reference here is to a pseudonym used by a correspon- dent in the Morning Chronicle newspaper. 19. The pseudonymous author of a renowned series of Letters of Junius, published 1769–72 to warn Englishmen against government infringement of their constitutional rights and liberties, took the name from Lucius Junius Brutus (d. 509 BC), the Roman republican patriot. 20. From Lovers’ Progress 5.1, by Renaissance dramatic collaborators Frances Beaumont (1584–1616) and John Fletcher (1579–1625). 21. Written on the morning of Thelwall’s trial, the last of the treason trials before all remaining prisoners were acquitted. 22. “Composed while I was traveling over the mountains between Hawick and Selkirk in my way to Edinburgh” [JT’s note]. The poems of Ossian were forg- eries by James Macpherson (1736–96), who both exploited and influenced the popularity of bardic nationalism and antiquarianism by publishing his “translations” of a “newly-discovered” ancient epic (Mulholland). 23. An infamous duel between George Canning (1770–1827) and Viscount Castlereagh (1769–1822) on Wimbledon Common in 1809 connected the two men who figured centrally in the repression of Thelwall, Canning the instrument of Pitt’s “Reign of Alarm” as editor of the Anti-Jacobin in1790s, and Castlereagh as mouthpiece of Sidmouth’s Six Acts in 1819. 24. Through the 1820s, Lord Holland was selling off parcels of his extensive estates in Lambeth (site of the family retreat of Thelwall’s childhood) for suburban redevelopment. This involved covering the river (BHO Lambeth). 288 N OTES

5 ODES I: PUBLIC AND PINDARIC

1. Abraham Cowley (1618–67), Second Olympique Ode of Pindar, lines 1–2 2. An 1810 epic by Robert Southey (1774–1843; Thelwall’s criticism of its musicality, consistent with his poetic theory, recalls his effort to defend and distinguish himself from the “irregularity” of the Lake School in his 1804 pamphlet war with Francis Jeffrey, who had criticized Southey’s Thalaba in similar terms. 3. “We are not to learn that even prose is sometimes set to music, but the genius of Handel himself could never reconcile us, in any single instance, to so monstrous an incongruity” [JT’s note]. 4. Tyrtaeus (c. 650 BC) was a Spartan poet known for political elegies and war songs. 5. A stanza associated with the Greek poet Sappho, consisting of three eleven- syllable lines with a shorter five-syllable fourth line. 6. In Greco-Roman mythology, Bacchus (Dionysius) was the god of wine, women, and song; Cyprus was the birthplace of Aphrodite, goddess of love. 7. William Congreve (1670–1729) was a Restoration poet and playwright. 8. Alexander’s Feast; or the Power of Music is an ode by John Dryden (1631– 1700). Its celebration of the power of voice and music to control emotions made it a centerpiece of Thelwall’s lectures, recitations, and anthologies. 9. The Passions. An Ode for Music by William Collins (1721–59) was another in Thelwall’s canon of performance pieces, along with an alternative ending he wrote for it, titled the “Song of Eros” (p. 179). 10. Thelwall refers to Coleridge’s lectures on literature, undertaken in rivalry with his own, though this comment on Dryden does not appear in published reviews and transcriptions of Coleridge’s lectures. 11. “The reputation of Collins stands almost exclusively upon his Odes. Armstrong, whose didactic poem, “The Pleasures of Imagination,” breathes in many parts so fine and noble an enthusiasm, in his Odes is coldness itself. As for that Chaos of Cacophony, Pope’s “Ode on St. Cecilia’s Day,” it is below all Criticism” [JT’s note]. In two paragraphs that follow, not included here, Thelwall comments approvingly on Campbell’s lyrical genius, and Scotland’s mastery of lyric verse. 12. I have cut the final paragraph of the essay, in which Thelwall comments on unsuccessful attempts at the Pindaric by Mason and Gray, preferring instead the latter’s Odes of “less lofty pretensions” and “simple monostrophic measures.” 13. Sandgate is a village on the English channel near the steeper, spectacular cliffs at Dover. This refrain, variations of which introduce the strophes and antistrophes in the Derby MS version of the poem, does not appear in The Peripatetic. 14. 1793: “visual.” 15. 1793: “yonder shatter’d.” 16. 1793: “all isolate.” 17. 1793: “the little ripples that adorn),” closing brackets that began with “(Whose mountain . . . ” 18. 1793: “That the warm sun.” 19. The lark, as addressed elsewhere in The Peripatetic (p. 41). N OTES 289

20. 1793: “friendly.” 21. 1793: “may no bleak disaster sudden rise.” 22. 1793: “to steep in hopeless tears the virgins eye.” 23. 1793: “from the stony beach / views the slow bark.” 24. 1793: “Yet see!—the anxious eye, /Straining with eager rapture, dim descries / At yonder point.” 25. 1793: “her.” 26. 1793: “To close the misty prospect, / The darkening cloud.” 27. 1793: “upon the bounded wave, / That, lull’d, oblivious, by the opiate weight / Gleams like a polish’d mirror. / Auspicious gales the gloomy sign avert!—.” 28. 1793: “Is it, ye fiends of storm, / Some gloomy tempest from the Ocean caves /Rising, sublime, to cleave . . . ” In the later version, Thelwall has incor- porated references to Norse mythology derived from his research for The Fairy of the Lake, according to whose notes Nocca is “Niord . . . God of the Sea” (Retirement 204). 29. 1793: “Ah, no! no mists belch’d forth from Ocean caves, Brooding the rocking Earthquake, swell to view; Nor dense aerial vapour’s sable folds Shroud the dread storm, That soon with loud-destroying rage shall burst, Big the blue concave flame with sudden wrath, And with mad vengeance rend the forest oak And whelm the exulting bark!” 30. 1793: ‘hovering mists.” 31. 1793: “with gaudy titles deck’d.” 32. 1793: “that now no woes.” 33. Thelwall refers both to the growing influence of incendiary popular leaders in France, and to their mirror images in England, as in his lecture comparing Pitt to Robespierre (Claeys 116–37), including Burke (as suggested by the dagger image). 34. 1793: “Kingly.” 35. Jove’s war against the Titans in Greek mythology. 36. 1793: “their fatal.” 37. 1793: “To lift the puppet Idols to the skies, / With mimic lightning’s arm their frantic hands,/ With fulsome flattery fan their crimes, and feed / Their pestilential pride.” The original lines reflect the confusion and uncertainty of events in France in 1792; the later revisions offer a more balanced retrospec- tive summary. 38. 1793: “Oh, God!: “ does not appear. 39. Milton, Paradise Lost I. 48. 40. 1793: “yon frowning.” 41. 1793: the explicit comparison to Prometheus is not present. In insisting upon the mutuality of revolutionary Anarchy and Tyranny, Thelwall’s promethean- ism seems more Blakean than Shelleyan. 42. 1793: “of mad Ambition and Anarchic rage.” 43. 1793: “and bid the shuddering mariners attend.” 44. This line is not present in 1793. 45. 1793: “Patriot Virtue.” 290 N OTES

46. 1793: “royal.” 47. 1793: “To check fair Freedom’s course; but see in us “The living monuments of sacred wrath; “And yield to Man his ravish’d rights; — “To Heav’n its worship’d sway!” 48. Thelwall’s abolitionist sympathies, extending to the Haitian Revolution, were also expressed in his novel The Daughter of Adoption, and his ode “The Negro’s Prayer.” 49. In Greek myth, Apollo’s lyre was made from a tortoise shell; according to eighteenth-century antiquarians, ancient Irish and Scottish tribes used conch shells for an instrument called the blaosg (Walker 91–2). 50. A reference to the Greco-Persian Wars (c. 499–449 BC) between the allied forces of Athens (Attica) and Sparta, and Persian forces led by the successive despots Cyrus, Darius, and Xerxes. 51. In this concise prospectus of his Roman History lectures, Thelwall celebrates two great republican heroes: the first Brutus, Lucius Junius (c. 509 BC), who founded the Roman Republic by overthrowing King Tarquin, whose son raped his kinswoman Lucretia; and his direct descendant the second Brutus, Marcus Junius (85–42 BC), who assassinated Julius Caesar in a vain attempt to prevent the descent of republic into empire. The phrase “he, in turn” is critical to Thelwall’s elocutionary pedagogy, which was founded upon the process of emulation through elocution that is enacted here. 52. Spenser’s monsters of the Nile crossed with the spawn of Milton’s swollen Sin. 53. In Greek mythology Lacedaemon was the mythical founder king of Sparta. 54. Achaia was a prosperous and peaceful region of Rome, comprising part of Greece. 55. A phrase repeatedly echoed in the work of Wordsworth and Coleridge. 56. Among stanzas that resonate profoundly with Milton’s Comus, Paradise Lost and Samson Agonistes, these lines also register Thelwall’s more immediate experience of the Newgate charnel house, and rumors of the deaths of the “Scottish martyrs” as a result of fetid conditions on the prison ships transporting them to Australia. 57. Thelwall invokes English republican heroes: the barons who forced King John to sign the Magna Carta; John Hampden, killed in the Civil War against Charles I; and Lord William Russell and Algernon Sidney, executed in opposition to Charles II. 58. Lucius Junius Brutus, the first Consul of the Roman Republic, put his own sons to death for conspiring against the Republic. 59. Thelwall’s formal subtitle here reads “first delivered at the Free Mason’s Tavern, London, On Saint James’ Day—25th July, 1808” and a note adds that this Ode was “intended to accompany the Poem and Oration on the Death of Lord Nelson,.” 60. In Greek mythology, Astrea was the goddess of justice. Thelwall looks back to the heady hopes of the Peace of Amiens in 1801–3, briefly renewed after the victory at Trafalgar in late 1805 before Napoleon defeated Britain’s allies and invaded Spain, precipitating the Peninsular War. 61. Thelwall’s changeling Demon and Herculean infant recall Blake’s Orc. 62. Chariots fitted with whirling scythe blades were introduced by the ancient Persians in their wars against the Greeks. N OTES 291

63. A sirocco is a hot, dry, powerful wind that usually blows dust from the Sahara over the Mediterranean into southern Europe (OED). 64. Napoleon’s victories between 1806 and 1808 covered most of central and western Europe. 65. Incorporating colonies in Indochina, South and North America (Columbia), the Napoleonic Empire was global in its scope. 66. One of Napoleon’s greatest betrayals, for abolitionists like Thelwall, was his execution of his erstwhile ally Toussaint L’Ouverture (1743–1803), freed slave and leader of the Haitian Revolution. He also executed two innocent men, the Bourbon Duc D’Enghien (1772–1804) and the German publisher Johann Jakob Palm (1750–1806) on trumped-up charges (Lockhart 279). 67. A bundle of rods with an axe head, used as a symbol of a magistrate’s power in ancient Rome (OED). 68. Bellona was the ancient Roman goddess of war; in Greek mythology, Gorgons were female monsters whose hair was made of snakes. 69. Ostrich, referring to feathers increasing the height of a military helmet; “plume” is used as a transitive verb. 70. An ironic simile, given its proximity to the Peterloo massacre, in which women and children were cut down and trampled by war horses ridden by uncurbed hussars. 71. Hernán Cortés (1485–1547) vanquished the Aztecs and brought Mexico under Spanish rule in 1521. Usually seen as a figure of colonial rapacity and duplicity, Cortés was portrayed as an orator-hero in romanticized accounts that may have influenced Thelwall (Carman). 72. At the battle of Thermopylae (480 BC), a small force of allied Greek states held off invading Persians for seven days. 73. Whitehall in 1825 was already the site of numerous government buildings and hence a synecdoche for the British state. 74. In spite of (OED). 75. One of the fallen angels in Paradise Lost, whose facile eloquence covers up sloth and corruption, Belial personifies a generation of erstwhile radicals and literary men whose ideals and eloquence have been numbed and betrayed. 76. Gas lighting in London began in 1807 and was widespread by 1820. Thelwall’s layered Miltonic style exploits the colloquial associations of the word to impli- cate the nation in its shower of physical flatulence, verbal bombast, moral stupor, and artificial enlightenment. 77. As with the “joy” of line 18, Thelwall’s “glory” resonates deeply and ironically with the odes of Wordsworth and Coleridge. 78. This unidentified voice, god of both colloquy and music, resembles the spirit celebrated in the “Song of Eros” (p. 179) 79. The language of dream and stars recalls Wordsworth’s “Yarrow Visited” and The Prelude 13.343; “vaulting brow” and “seraphic eye” are Coleridgean facial features; they also allude to Milton’s Satan, as indeed this entire speech is shot though with the language of Paradise Lost, Book 1. 80. From falconry: to restore or improve flight by grafting feathers in a bird’s wing (OED). 81. The Battles of Trafalgar in 1805 and Maida in 1806 were decisive British victories against larger French forces. 82. Cf. the speeches of Shakespeare’s Brutus and Antony over the body of Caesar, in Julius Caesar 3.2. 292 N OTES

83. Here Thelwall recalls, and performs the role of, Fox’s famous parliamentary breakdown in 1791 when, overwhelmed by the Burke’s betrayal of their friendship and the cause of reform, he was silenced by his own tears (O’Quinn). 84. Thelwall here evokes both his earlier epic effusion on Nelson, and his epic The Hope of Albion, which would remain unfinished, in part because the hopes for reform that it sought to celebrate were dashed with the death of Fox. 85. The addressee of these lines remains strategically open, as in “The Star: A Night Walk” and “Visions of Philosophy”; Sheridan is named at last at line 144. 86. Thelwall speaks to the reputations of both himself and Fox. 87. This passage measures a change in Thelwall’s fiery hostility to Burke which is reflected also in the inclusion of Burke’s speeches in his elocutionary Selections. Following the rhetoric of Julius Caesar, he seeks to unite enemies and heal divisions in death. 88. Fox died of dropsy, a liver disease exacerbated by his dissipated, hard-drink- ing lifestyle (DNB). 89. The playwright Richard Brinsley Sheridan (1751–1816) was Fox’s fellow Whig parliamentary orator and longtime friend (though their friendship had cooled by the time of Fox’s death). 90. Originating in 1215, the Lord Mayor’s annual parade through the streets of London became ever more elaborate in its pageantry, including the traditional guilds and liveries represented here. 91. In this it resembles his mock-medieval comic ballad The Black Bowle of Eboracum (York 1802), which was too long to include in this volume. 92. Neighborhoods of London identified with churches: St. Paul’s (central London), Crutched Friars (near the Tower), and St. Mary-le-Bow (Cheapside). 93. The traditional entry point into London from Westminster, Temple Bar was a symbol of municipal power, patriotism, and trade. At the other end of old London, near the Tower, the parish of the Minories is the site of an ancient abbey. 94. A cockney is a resident of the City of London, born within the sound of Bow-bells. 95. The name of the original Theban Pindar, identified with the ode, was taken as a pseudonym by John Wolcot (1738–1819), a physician and satirist who inspired Thelwall. 96. Another name for Apollo, god of the sun, poetry, and healing, among others. 97. Giants identified with antiquarian myths of British classical origins. 98. Fitly, aptly, neatly (OED). 99. A punch made with arrack (the juice of a coconut palm) served in a turtle shell (OED). 100. Wines, associated with Germany, Portugal, France, and Hungary, respectively.

6 ODES II: CONVERSATIONS AND EFFUSIONS

1. Abraham Cowley (1618–67), Second Olympique Ode of Pindar, 1–2. N OTES 293

2. Henry Neele (1798–1828) was a lawyer-poet and rival London lecturer and editor. See Musalogia (p. 285). 3. Dr. Robert Paley (1780–1859) was a nephew of the deist William Paley. 4. Like leaves, the enigmatic prophecies of the ancient Greek female oracles were notoriously fragmentary and ephemeral. 5. Aesculapius was the Greek god of medicine and healing. 6. The world of fashion; from “Rotten Row” in Hyde Park, where members of the upper class rode out to see and be seen. 7. The other experimental, also composed in 1803, was “Inscribed on the Fan of Mrs. G” (p. 192). 8. Thelwall looks back to Milton in his disdain for the “mere jingle” of rhyme, shares a taste for enjambement with Wordsworth, and anticipates the responsive aural developments of nineteenth-century poets like Tennyson, Swinburne, and Hopkins. 9. In subverting the laureate odes, Thelwall follows the example of Burns’s “Birthday Ode,” addressed to the exiled Bonnie Prince Charlie at New Year’s 1787 (Poems, pp. 299–301). 10. In this concatenation of reciprocal poison imagery, Shakespearean allusions (to Richard II and King Lear) combine with the early Christian myth of the pelican who fed her children with her own blood (see “The Lark” [p. 41]). 11. A name given to the Greek poet Homer, who was a native of Maeonia. 12. Thelwall uses common stage phrasing for “banditti” characters to satirize Pitt’s regime. 13. This phrase, which echoes through and structures both this poem and all the Horatian conversations between Thelwall and Coleridge, originates with Milton’s Paradise Lost (9.909). 14. Sara Fricker (1770–1845) was Coleridge’s wife; Susan(na) Vellum (1774?- 1816) was Thelwall’s wife. Alfoxden’s tenant was William Wordsworth (1770–1850) with his sister Dorothy (1771–1855). 15. Thomas Poole (1765–1837) was a friend from whom Coleridge rented his cottage in rustic (hence Arcadian) Nether Stowey, Somerset. 16. John Chester (1765–1842) was a friend of Coleridge, to whom Thelwall gives the name of his own Peripatetic persona, Sylvanus Theophrastus. The description of Julia as a “Dryad of the groves” recalls the “gentle maid” in Coleridge’s “The Nightingale,” while her sister “Fairy of the brooks” anticipates Thelwall’s dramatic romance The Fairy of the Lake. Both may have been connected to another Stowey friend of Coleridge’s, John Cruikshank, son of the agent of the earl of Egmont, whose castle they explored during Thelwall’s visit (Lawrence 4). 17. This allusion combines a misquotation from Pope’s Essay on Man (4.335–98) with a linchpin line in Coleridge’s “Reflections on Having Left a Place of Retirement” (Oxford Authors, pp. 29–31) 18. A symbol of ignorance, after a region of Greece regarded as primitive by Athenians. 19. William Shenstone (1714–63) wrote pastoral elegies and moral tales, one of which was an “Elegy to Jesse.” 20. Thelwall satirizes his narrow-minded relatives in the character of Traffic Incle, the opportunistic, monomaniacally capitalist father in his 1787 farce Incle and Yarico. 21. A tare is the seed of a vetch, a weed found commonly in corn fields (OED). 294 N OTES

22. Horace, Epistles I.16: “Whom does false honor delight, or lying calumny ter- rify / Except the vicious and sickly-minded?” (pp. 238–39) 23. Vecta was the name given by invading Romans to the Isle of Wight, off the south coast of England. 24. Apley was a wooded clifftop estate built by a successful eighteenth-century smuggler (Vision of Britain). Thelwall exploits the irony in the dominant position of this smuggler’s den overlooking the British navy anchored below, as part of the pattern of alternation that structures the poem. 25. The narrow strait of the Solent, between the Isle of Wight and the mainland ports of Southampton and Portsmouth, was an important naval stronghold during the French Revolutionary Wars. 26. Chale is a village on the Isle of Wight, Blackgang a deep wooded chine or coastal ravine along Chale Bay, often used by smugglers, now the site of a historic theme park. 27. Impregnated. 28. A valley in Rutlandshire, home of Susan Thelwall’s family. 29. Thelwall’s eldest son, Algernon Sidney, was born in September 1795. 30. A type of kingfisher mythically said to build a nest on the sea during the winter solstice, charming wind and waves to calmness (OED). 31. An accurate summary of Thelwall’s early poems. 32. The Greek goddess of mischief, rashness, and ruin (OED), Ate is invoked by Mark Antony to avenge the death of Caesar in Shakespeare’s Julius Caesar. 33. A compact account of Thelwall’s progress from abolitionism to French Revolutionary principles. 34. Sylvan: relating to woods (OED); associated with Thelwall’s Sylvanus Theophrastus, hero of The Peripatetic. 35. Chalford and Stroud are small towns in the scenic Frome Valley of the Cotswold Hills, known in the eighteenth century for its cottage industry and small woolen mills. 36. An echo of the end of Milton’s Paradise Lost (XII.646–49). 37. Coleridge would echo this farewell in “The Nightingale.” 38. Thelwall’s hosts were clothiers and mill owners: Thomas Newcombe and John Partridge in Stroud; and James and Elizabeth Norton in Nailsworth (BHO Stroud, Nailsworth). This industrious triad complements the bardic triad of Meonides, Milton and Shakespeare in “Lines Written at Bridgwater” (p. 140). The attention to the physiological prosody of affec- tion reflects the concurrent origins of Thelwall’s elocutionary theories. 39. Thelwall’s second-born son was named for the seventeenth-century republican patriot John Hampden. 40. “The following thought originated in one of those infantile endearments, to which the parental heart cannot—perhaps, ought not to be insensible. It occurred, and was hastily committed to paper, during the bustle and prepara- tion for the author’s removal, with his family, from Derby to Llys-Wen. It is, perhaps, somewhat more tinctured with political sentiment, than is entirely consistent with the general tenour and object of this Publication: but an interest of another sort forbad its suppression. It forms a natural prologue to the Tragedy that follows; and, on that account, the sensibility of the reader, whatever his opinions may happen to be, will readily excuse the insertion [JT’s note]. 41. A triumvirate of patriots: parliamentary hero John Hampden, republican martyr Algernon Sidney, and brother-tribunes Tiberius and Gaius Gracchi, who N OTES 295

were assassinated for promoting land reform and plebeian rights in second- century Rome. 42. Corinthians 15: 55–7. 43. See Davies 210–40 for close analysis of these echoes. 44. The legal stenographer Joseph Gurney (1744–1815) and his lawyer son John (1768–1845), both of whom recorded Thelwall’s political lectures in short- hand as protection from prosecution, appear to have been among the loyal friends who subsidized his ill-fated Welsh farming venture. 45. In Thelwall’s epic The Hope of Albion, this demon is personified in the character Meribah, the “Angel of Discord,” adapted from the Valkyries of Norse myth (p. 221). 46. The harvests of 1798 and 1799 were disastrous; as Thelwall wrote in a letter of September 20, 1799, “I am almost harassed & tormented to death by the perverseness of the season; & likely to suffer incalculable injury from the Torrents of rain that are deluging our fields & destroying the most valuable part of our crops” (Rickword letters, see Corfield). 47. Like Hamlet (“Seems, Madam?” I.2), Thelwall ponders suicide in the excess of grief. 48. An abbreviation of “bereft.” 49. At this time, Thelwall did considerable research into Norse rituals and mythol- ogies for his dramatic romance The Fairy of the Lake. 50. These images of false dawn and “spring no more” echo Charlotte Smith and look forward to Wordsworth. 51. Thelwall raises similar points regarding gender and emotion in the Odes in Confinement (p. 115) and “Maria: A Fragment” (p. 152). 52. A seedling, embryo, initial source or beginning (OED). This concept, for which Thelwall often uses the term “embrion,” would become increasingly important in his later amatory odes, especially as related to the instruction of young daughter figures, for example, “Song of Eros” (p. 179). 53. Vaga (meaning wandering) is the Latin name for the Wye river, the boundary of England and Wales which Thelwall’s cottage at Llyswen overlooks. 54. The Taff River (from the Brythonic meaning “dark”) forms one of the indus- trial valleys of south Wales, famed for coal mining. 55. Cambria was the Roman name for Wales (Cymru). 56. This, the shortest of Thelwall’s elegiac effusions, mirrors “The Woodbine” and is echoed in Wordsworth’s “Intimations Ode.” 57. To thrid: an archaism for to thread, or pass a thread through something like the eye of a needle (OED). 58. Having never been baptized, Maria was buried in an unmarked grave. 59. Here Thelwall strikes a note taken up in Wordsworth’s “Intimations Ode.” 60. Thelwall echoes Coleridge “The Nightingale” (13), quoting Milton’s “Il Penseroso” (62) (Oxford Authors p. 99). 61. As in “The Woodbine” (p. 35). 62. Echoing in this conventional elegiac phrase are Ophelia’s mad song in Shakespeare’s Hamlet 4:5, Milton’s Lycidas 37–8, and possibly Wordsworth’s “She Dwelt Among th’ Untrodden Ways” 11. 63. Merthyr Tydfil, chief town of the Taff valley, was an early center of the indus- trial revolution (and working-class consciousness) whose ironworks supplied cannon for the British navy. 64. Thelwall’s anglicization of Frycheiniog, the Welsh name for Brecknockshire, the mountainous county surrounding his home at Llyswen. 296 N OTES

65. The evening star. 66. The conventional elegiac “ubi sunt” (where are they?) motif complements medieval references here and elsewhere in the sequence. 67. Hereford is a city on the English side of the Wye to which the Thelwall family relocated in 1800. 68. Thelwall echoes the opening of Coleridge’s “This Lime-Tree Bower,” and the situation of his own “To Stella in the Country,” though reversed. 69. Of or relating to Vulcan, the Roman god of fire and metalworking (OED). Thelwall refers here to his visits to, and activism among, the ironworkers in Merthyr Tydfil, as well as to the “devious” rhetoric of seditious allegory (e.g., the pun on “writing”). 70. Anxious, fretting, grieving (OED). 71. Milton, “Lycidas” 11. 72. Returning to work on his epic The Hope of Albion is a step on the road to consolation. 73. The title of the drawing that Thelwall used as the frontispiece to the Poems in Retirement volume. Einon Glyd was a medieval lord; the standing stone at Pen Heol Enion (the head or end of Enion’s road) on the open moor above Llyswen is noted in Theophilus Jones’s 1809 History of the County of Brecknock (317) as either a tomb or a boundary marker. It has long since disappeared. 74. The heights above Llyswen are scattered with ancient monuments; Thelwall regularly used recycled ruins for social commentary in his peripatetic pastoral. 75. Not a typo but a pun. 76. The river Kent borders the English Lake District; Thelwall settled in Kendal in 1803. 77. Thelwall’s wife and five children remained in Kendal until some time in 1805. 78. “Qy The Platonist” [JT’s note]. “Qy” is a standard proof mark for “query.” 79. Coleridge, “France: An Ode” (Oxford Authors, pp. 89–92) 80. Echoes of “The Star: A Night Walk” in this image suggest a similar date of composition. 81. Shakespeare, A Midsummer Night’s Dream 5.1. 82. The astronomical imagery, not present in the earlier version of the poem, con- nects with “The Star. A Night Walk.” 83. By the time the poem was revised and expanded, its original invocation of Plato’s academy had been overwritten with the “Academus of Stowey” described in Thelwall’s enthusiastic letter of 1797, where he, Coleridge, and Wordsworth, a “literary and political triumvirate, . . . philosophized our minds” (Davies 296). 84. Here, as in “The Star. A Night Walk” 64–70, the facial features are those of Coleridge. At this point the three-line tribute to Plato in the first version of the poem is revised into almost 200 lines of recapitulation, reassessment, and reconcilation of Thelwall’s lifelong debate with Coleridge. 85. Here “excursive” is written over “enquiring.” 86. An apt summary of Platonic ideas and Coleridgean lectures. 87. Another reminiscence of the “wild romantic dell” in Somerset and its “kindly interchange” of “Metaphysic and of Ethic lore,” as in “Lines Written at N OTES 297

Bridgewater,” whose river and waterfall are also recalled through the lines that follow. 88. Young fish, whose fins (sometimes called oars, in archaic usage) divide the water. While the conceit seems strained, Thelwall’s attention to underwater life and perception here recalls both his “Ode to the Cliffs” (p. 107) and his seditious fable “The Trout” (p. 65), while the thundering oppositions of the waterfall recall Wordsworth’s Ravine of Gondo, and the scientific Platonism looks forward to Shelley. 89. Another key statement of Thelwall’s philosophy, in reciprocal syntax. 90. We find in these passages the same argument (and agreement) with, and cor- rective modification of, Coleridgean metaphysics that are evident in Thelwall’s extensive annotations to Biographia Literaria: for example, on the discussion of body and spirit in chapter 8: “that is to say [body and spirit] may be considered as different modifications of our continuous essence . . . one dense engross & therefore confined to locality, form & motion; the other infinitely rare & subtle & therefore capable of pervading all space & substances. Of this subtile specie of materiality let us suppose seperability, or identilified portions, & we have the souls of Men (& of Brutes)—or let us admit (in which there would be no incongruity) constantaneous omnipresence, & we have God, the universally pervading consciousness, the source of all volition, order, creation—the soul of the universe: but if this be not materialism, materialism & immaterialism are but a strife of words. JT.” 91. Thelwall here merges Plato’s outspoken intervention in the dissolute court of Dionysius of Syracuse (in Trinacria or Sicily) with the radical political lectures of Coleridge (and himself) celebrated in Coleridge’s “Ode to the Departing Year” (Oxford Authors, pp. 31–36). 92. In a story that resonated with Thelwall’s experience, and relationship with Coleridge, Plato’s freedom of speech is said to have so angered Dionysius of Syracuse, that he had him imprisoned and enslaved, until he was eventually ransomed and set free by a stranger (Riginos 87–8). 93. Thelwall originally wrote “the martyr Socrates.” From the time of his earliest political lectures, Thelwall identified himself with Socrates, whom he regarded as the “first democratical lecturer in history” teaching the rights of men “in the workshop & mechanic’s stall” (Rights 400); here, in imagining the philosopher’s death, he stoically accepts his own fate. 94. Cf. Thelwall’s use of the cup image in his “Hope Deferred” (p. 187). 95. An echo of Wordsworth, “Intimations Ode,” lines 154, 166 (Oxford Authors, pp. 297–302).

7 SONGS OF LOVE

1. In this, Thelwall looks forward to Berthold Brecht, whose “surprisingly erotic poetry” has recently been translated and reviewed as integral to his fierce politics (Giraldi). 2. From Ralph Tomlinson’s “To Anacreon in Heaven” (1778), official song of the Anacreontic Club. 3. Abraham Cowley (1618–67), Second Olympique Ode of Pindar, 1–2. 298 N OTES

4. Thomas D’Urfey (1653–1723) was a Restoration wit, parodist, and songwriter (DNB). 5. Comus (1634) is a masque and “L’Allegro” is a pastoral (1645), both by John Milton. 6. See notes 6 and 10, p. 277. 7. Thelwall refers to the pastoral lyrics that decorated the fashionable annu- als, gift books, and magazines of the later Romantic period, typified by the Literary Gazette, founded in 1817. Delia and Strephon are conventional pastoral characters. 8. Thomas Moore (1779–1852) was an Irish poet and songwriter, best known for his anacreontics and Irish melodies (DNB). 9. A tyro is a novice, beginner or learner (OED). 10. The dramatist and novelist Thomas Holcroft (1745–1809) was Thelwall’s theatrical friend, mentor, and fellow defendant in the treason trials. This anecdote does not appear in any copies of Holcroft’s 1816 Memoir that I have consulted; the “Birks of Endermay” appeared in collections of Scottish songs in the early eighteenth century and is now attributed to William Mallet. 11. Holcroft’s friend William Shield (1748–1829) was a musician and composer of opera and comic theater (DNB). 12. Thelwall’s feelings for Holcroft, as for their mutual friend William Godwin, seem to have soured over the years. 13. William Shenstone (1714–63) was a writer of pastoral ballads, songs, satires, and comic works, and a noted landscape gardener (DNB). 14. Originally referring to an ancient Greek dialect and style of art and architec- ture considered simpler and more rustic than the Athenian, Doric was often applied to lower-class and northern Scots dialect, which was likewise con- trasted to the Anglicized speech of upper-class Edinburgh. 15. William Collins (1721–59), The Passions. An Ode 90–94. After this passage, Thelwall substitutes his 70 lines in place of Collins’s final 23 lines. 16. Caliph Haroun al-Rashid (c. 766–809) was the renowned and progressive ruler of what is now Iraq; Thelwall refers to a popular story in which the musician “Isaac Almousely” (see below) intervened to resolve an argument between the caliph and his mistress. 17. A poeticized description of Thelwall’s elocutionary theory, in which “responsive vibrations” in “resounding organs” are compared to musical instruments (“Rhythmus” xxxii). 18. This passage appears to describe Botticelli’s famous Birth of Venus. Although this seems unlikely, because Botticelli was not yet well known in England, it is not impossible: in 1805, Thelwall, who was always interested in painting, became acquainted with William Roscoe, the leading British scholar and col- lector of Italian Renaissance art, who was familiar with Botticelli’s work. 19. (A) being or entity; essence (OED). 20. In Greek mythology, the state or abode of the blessed after death (OED). 21. Helen of Troy, in the Iliad of the Greek epic poet Homer. 22. The Roman poet Ovid (43 BC–17 AD) wrote erotic elegies, epistles, and an epic of mythological Metamorphoses. 23. The naturalist, inventor, physician, philosopher, and poet Erasmus Darwin (1731–1802) was an “other Ovid” because his The Botanic Garden (1791) imitated Ovid’s Metamorphoses in anthropomorphizing plants, popularizing botany by versifying “The Loves of the Plants.” His house in Derby backed on the river Derwent (DNB). N OTES 299

24. Consistent with his feminism, Thelwall highlights not the victimization but the heroic (and outspoken) agency of the Sabine women, focusing (like contemporary painter Jacques Louis David) on the figure of Hersilia, who intervened between the armies of her Sabine father and Roman husband (Romulus, founder of Rome), forcing a reconciliation. 25. Timotheus was a Greek musician renowned for his power over Alexander the Great, alternately rousing to action and soothing his breast, as celebrated in John Dryden’s “Alexander’s Feast,” another of Thelwall’s popular elocution pieces. 26. Known for her angelic voice and virginity, Cecilia was a Roman martyr and the patron saint of music. 27. As noted above, Isaac Almousely (Ishaq al-Mawsili 767–850) was a poet and musician in the court of Haroun al Rashid in Baghdad, whose power over the Caliph was popularized in Carlyle’s Specimens of Arabian Poetry (1796). 28. Teos was an ancient Greek city, and the birthplace of Anacreon. 29. Chariot, poetic vehicle; like Moore, Thelwall is careful to distinguish his anaecrontics from those classical precursors who celebrated homoerotic pedophilia. 30. A marginal note in the Derby MS reads “1st & 3d stanza to Lanza.” The name is that of the singing teacher Gesualdo Lanza (1779–1859); similar notes dated July 1816 are found on Anacreontics II and IV. 31. Pieria is the region of Greece that contains Mt. Olympus, home of the Muses—hence poetic. 32. Paphos is an island sacred to Aphrodite, goddess of love, and beauty in Greek mythology. 33. Though it is now known through Alexandre Dumas’s The Three Musketeers (1844), the saying originates with Heraclitus. 34. “The 1st six stanzas to Lanza 19 July” [MS note]. 35. This is the title under which this paphiade (without the final two stanzas) was published, although a shorter revised version was published immediately following it in the Poetical Recreations as a “song without a sibilant,” under the title “The Empire of the Mind.” That version, explicitly intended for singing, uses imagery of twining entrapment and focuses more upon the speaker’s response. 36. The name may be generic, or may be related to the addressee of “To Miss Bannatine” (p. 197), as are some of the images (especially the eye). 37. To expose or reveal, usually in a malignant sense (OED). 38. Titian (1488–1576) was an influential Italian painter, known for his use of color. 39. A fine linen fabric (OED). 40. Only the first four stanzas appear in Poetical Recreations and the final two are crossed out in the Derby MS. 41. In classical myth, Philomela was a nymph who was turned into a nightingale in consolation for her rape and silencing at the hands of her sister’s husband, who cut out her tongue to prevent discovery. 42. The final stanza is missing in the Poetical Recreations. 43. Reward (OED). 44. Captive, wretched, miserable (OED). 45. Fulvia (83–40 BC) was a Roman writer and the wife of Mark Antony (83–30 BC), renowned for her political activism and ambition. 46. Vecta is the Roman name for the Isle of Wight, a popular vacation spot (see “A Patriot’s Feeling” p. 144). 300 N OTES

47. Margate, at the mouth of the Thames, was a popular seaside resort. 48. Epping, northeast of London, was the site of a protected royal forest. 49. Under the subtitle in the manuscript, a hand (possibly Thelwall’s own, possibly his wife’s) has written “a taste of this is quite enough.” 50. All above here is crossed out in MS. 51. From here to line 54 is crossed out in MS. 52. Possibly “mistresses”; the line is heavily crossed out. 53. Poems composed by Thelwall in Glasgow in spring 1804 revolve around residents and guests at White-Hill, home of the lawyer and reformer Robert Grahame. The Miss Geddes mentioned here was likely related to his wife, Helen Geddes (View 528–9). 54. This Anna Grahame is probably the “Hannah” celebrated in “Hannah’s Eye” (p. 31). 55. First 4 to Lanza 19 Jul/16 [JT note]. 56. Rhudland is a castle in Wales; Anna is probably playing the popular folk mel- ody “The Marsh of Rhudland,” about the defeat of the Welsh by the Saxons in 795 (the “Battle of Bangor” dramatized by Thelwall in a passage from The Hope of Albion that he frequently performed at his lectures). 57. The reference to “White-hill” suggests that Miss Bannatine is another member of the Grahame circle; her first name may actually have been Mary; or that may have been a generic name, as in the paphiades above. 58. Another reference to the “Edinburgh Controversy,” and the lingering effects of the reform battles of the 1790s. 59. The effort to turn hurtful divisions into pleasing diversities of national character and politics is embodied in these archaic place names for Scotland, Wales, the Isle of Wight, and Southern England, which also resonate with Thelwall’s epic poem, another likely topic of their conversation. 60. It may be “affliction,” but the unusual coinage fits the parallel structure. 61. The “common friend” is probably Dr. George Birkbeck (1776–1841), pro- fessor of natural philosophy at the Anderson Institution in Glasgow, where he laid the foundation for working-class education through his “mechanics classes.” He was a close and lifelong friend of Thelwall, who named the son of his old age, Weymouth Birkbeck, after him. 62. Thomas Vaux, Baron of Harrowden (1509–56), was a Renaissance courtier and poet, friend of Wyatt and Surrey; among several of his love songs were set to music is “The Aged Lover Renounceth Love,” to which Thelwall replies here (DNB). 63. Written during a visit at Dr. Warwick’s of Rotherham [JT note]. Dr. Thomas O. Warwick (1771–1852) was a dissenting minister, physician, and scientific lecturer, part of the many-minded practical culture of improvement and learn- ing within which Thelwall thrived. His wife was named Mary. 64. Yellow is the color of jealousy; beyond this, Thelwall is alluding to the character of the puritanical buffoon Malvolio in Shakespeare’s Twelfth Night, victim of a practical joke involving the yellow stockings he wears in his vain courtship of the beautiful Olivia. 65. Lover, sweetheart, wife. Archaic (OED). 66. A variant of sic or swic, archaic and northern regional dialect for “such.” 67. Fortunatus was a legendary hero who was given (or stole) a hat which had the power of transporting him to any place he desired to go. N OTES 301

68. The testing and mockery of suitors by young ladies recalls comedies by Joanna Baillie and Hannah Cowley.. 69. The name is of Thelwall’s own coinage, probably a variation upon Pandora, whose curiosity brought evil into the world in classical mythology. This is one of several Sapphic odes written by Thelwall, most of them amatory odes addressed to daughter figures. 70. The title is in Thelwall’s hand in the ms. 71. The name appears to be constructed from Greek roots associated with duplicity, pliability, equivocality, and inversion, from Metis, the first wife of Zeus (D’Etienne & Vernant). The French root “dolor” signifying pain and grief also suits his character. 72. This reference to the King of the Fairies in Shakespeare’s A Midsummer Night’s Dream puts Pandolia in the position of Titania, at odds with her husband in a battle of voice, trickery, and transformation. 73. Pandolia is a mistress of “affect” in the sense of both emotion and action, a combination central to Thelwall’s elocutionary pedagogy. 74. Another double name, from a Greek root, “soph,” signifying both wisdom through speech instruction, and falsity through rhetorical manipulation. 75. The famous words of Julius Caesar upon conquering Pontus: “I came, I saw, I conquered.” 76. While all of the above (with the exception of a few words) is in Cecil’s hand, Thelwall has added this line, along with lines 14, 19, 21, and 22, thus making of these lines another Sapphic ode. 77. Sappho (c. 620–570 BC) was the best (only)-known female Greek poet. The name is also identified with Mary Robinson (like Cecil a famous ingénue actress) and later given by Thelwall to Letitia Landon. 78. If based on Greek etymology, the name suggests (by analogy with King Midas) a foolish love of gold and insensivity to music; according to Germanic etymology, it is a lover of being in the middle. 79. Lines 48–51 are Thelwall’s, more melodic than Cecil’s; so are the more satiric (and self-mocking) lines 52–3. 80. This may read “attitude”; the hand is Thelwall’s, writing over an indistinct line of hers. 81. While the image of the trout is hers, lines 66–7 are in his hand, reminiscent of “The Trout” (p. 65). 82. The name of this philosopher suggests both multiplicity and narrowness (cf. Polyphemus, the one-eyed Cyclops in Homer’s Odyssey). 83. A deliberate misspelling of quietus, meaning a release or respite, payment or discharge (OED). 84. The Georgics of the Roman poet Virgil (70–19 BC) teach farming; Homer’s epics may be seen as teaching prayer (to pagan gods). Seneca (54 BC–39 AD) was a Roman orator, Socrates (470–399 BC) a founder of Greek philosophy. Ovid (43 BC–17 AD) wrote racy love poetry, and metamorphic epic. 85. Brimmed hats and square shoes were associated with the plain dress of Puritans. 86. Lines 88–9, by Thelwall, replace two lines in Cecil’s hand that echo Puck’s “What fools these mortals be” in A Midsummer Night’s Dream. He also crosses out a comment from Dolometis at the end of this passage “Most cogent proofs of [y]our inferior wit.” 302 N OTES

87. A birdbolt is a short blunt arrow used in hunting birds (OED); it is a favorite metaphor in Shakespeare’s arsenal of the war between the sexes, for example, used by Beatrice of Benedick in Much Ado about Nothing I.i. 88. A camel (OED). 89. “Mete” (deal out) would make more sense here; but “mate” (in Thelwall’s hand) seems intentional. 90. Priestess of Apollo at Delphi (OED). 91. Roman goddess of the hearth and household. 92. A Greek word meaning lion-hearted. 93. Roman god of War. 94. A warlike woman, after the mythical race of female warriors (OED). 95. Greek sea god (OED)—hence metamorphic, mutable, flexible, versatile. 96. A self-quotation from “Age and Youth,” Thelwall’s poetic reply to Walter Raleigh’s “Now What Is Love”: “It is a yea, it is a nay.” 97. The youngest of the Destinies, but the most awful. She presides over the future [JT note]. 98. Reward [OED]. 99. General term for a number of crystalline minerals, more or less lustrous in appearance (OED). 100. Cwrw is the Welsh word for ale. Consistent with both the anacreontic tradition and Thelwall’s technique of seditious allegory, Cwrw plays as important a role in the play as the other charms, and Tristram spends considerable time “spelling” it out, playing upon it and ultimately triumphing by means of it. 101. To dub a contemporary woman poet by the name of the great Greek Sappho was a sign of respect, but also consistent with Thelwall’s attempt to wean Landon from easy sentimentalism to a more disciplined, classical practice of poetry. 102. This viciously funny Byronic satire on Landon’s mentor, publisher (and reputed lover) William Jerdan is consistent with Thelwall’s attacks upon him in the Champion and Panoramic Miscellany, and the general tone and theme of the Musalogia (see p. 81). Jerdan’s Literary Gazette was a direct (and more successful) rival of Thelwall’s ill-fated periodical ventures between 1819 and 1826. 103. A street in the Moorfields district of London, famed for its high concentra- tion of hack-writers, impoverished poets, small presses, and sellers of low- end print materials. 104. A small child, a brat (OED). 105. I have been unable to find specific originals for these generic examples of bad couplets, which recall the “ready-made commodity” Della Cruscanisms sati- rized as part of Typopictoromania (“The Epic Poem”) in The Peripatetic. 106. An alternate version of this couplet in the MS makes Thelwall’s rivalry with Jerdan explicit: “And wishes that the petted child / Had been his care ere she was spoiled.” 107. This reference to Landon’s The Improvisatrice (1824) registers Thelwall’s critique of the contemporary fashion for Italian extempore poetry, whose loose, effusive spontaneity was at the opposite extreme from the strict prosodic and performative discipline that he advocated in his lectures and teaching, as summarized in the passage that follows. 108. Iris was the Greek goddess of the rainbow. N OTES 303

109. These are titles of collections of comical poetry by George Colman the Younger (1762–1826), playwright, manager of the Haymarket theater, and government censor, who raised Thelwall’s ire by (as he claimed) stealing the manuscript of his farce “Inkle and Yarico” and producing it as his own (Felsenstein and Scrivener 21–35). 110. Isaac Pocock (1782–1835) was a painter and writer of farces and melodra- mas; John Smith (1662–1717) wrote farce, theatrical prologues and epi- logues, and light verse including a “Rhapsody upon a Lobster”; Theodore Hook (1788–1841) was a playboy playwright, improvisator, financial fraud- ster, and founder of the genre of the Silver Fork novel (DNB). 111. Charles Mathews (1776–1835) was a comic actor and mimic, famed for one-man shows in which he took on multiple voices and personalities; John Liston (1776–1846) was a comic actor often identified with his roles (DNB). 112. A Buffo is an actor or singer in a comic opera; from the Italian word for burlesque (OED). 113. Orpheus was a powerfully oracular musician and poet in Greek myth. 114. This passage repeats central points of Thelwall’s theory and practice, as out- lined in his Introductory Essay on the Study of English Rhythmus (1812). 115. A group of poets attacked by Blackwood’s Magazine in 1818 for their vulgar style and dangerously democratic politics. Though the poetry of Thelwall (who was in fact a Cockney) was attacked on similar grounds by the Edinburgh Review in 1803, he had by the mid-1820s grown more con- servative, at least aesthetically, and set out to correct “drawling” Cockney pronunciation in his Institute. 116. Members of the Cockney school: Barry Cornwall was the pen name of Bryan Procter (1787–1874); Leigh Hunt (1784–59) was the influential editor, critic, poet, and essayist at the center of the Cockney school (DNB). 117. North-star or guiding light—a center of attraction or admiration (OED).

8 EPIC: THE HOPE OF ALBION

1. The same ambivalence is seen in the portrayal of Arthur as a vacillating and ineffectual hero in The Fairy of the Lake, written in tandem with The Hope of Albion, and seen by Thelwall as its gothic mirror image (Thompson, Silenced Partner 70–1). 2. The seven kingdoms in the Anglo-Saxon Heptarchy were Northumbria, Mercia, East Anglia, Essex, Kent, Sussex, and Wessex. 3. The religious tolerance that marks this invocation, and Thelwall’s career, looks back to The Peripatetic’s discussion of epic machinery, and its assertion (pace Dryden) that “all enlightened men, in every age and country, share the same religion” (303). 4. The West-Saxon Kings Ine (reign 688–726) and Alfred (reign 871–99) were known for instituting codes of law, and patronage of education. 5. Formative, creative, procreative (OED). 6. Thelwall’s equal attention to Edwin’s sister Acca is consistent with his portrayal of strong female antagonists elsewhere (e.g., Meribah below, and Rowenna in his Arthurian The Fairy of the Lake). 304 N OTES

7. According to Bede, Bamburgh Castle is said to have been named after Bebba, possibly the first wife of Adelfrith, in whose kingdom of Bernicia it was located (Zeigler). 8. This suggests that some version of the shipwreck scene (p. 228) was probably among the material Thelwall had written before 1801. 9. Deganwy Castle in North Wales (Cambria) was an ancient seat of the kings of Gwynedd. According to Geoffrey of Monmouth (one of Thelwall’s sources), one of these kings may have sheltered Edwin as a child, as did Raedwald of East Anglia (where the epic is set). Edwin’s travels through Erin (Ireland, identified with ancient Scythian or Eurasian tribes on the authority of another source, Paul de Rapin) seem to be Thelwall’s fabrication, probably based on his desire to create a parallel with his own time, and his own travels as lecturer and exile. 10. This character is named elsewhere as Albert. 11. This tutelary angel is named Moseroth in the shipwreck scene. 12. A characterization consistent with both Thelwall’s sources and his own experience of radical sympathizers who retreated in the face of persecution. 13. In 1798, when Thelwall probably wrote these lines, it had been one year since he fled to Coleridge for refuge. 14. Thelwall’s interest in Irish affairs intensified with his marriage to Cecil Boyle and tour of Ireland in 1817; there are several addresses to Ireland in the Derby MS. 15. Edwin’s companion and tutor is given the same name as the faithful fra- ternal alter-ego of the villainous Osorio in Coleridge’s play of betrayed brotherhood. 16. Noise, rumor, tidings (OED). 17. The Uffingan (or Wuffingan) dynasty ruled East Anglia until 749. Uffa was the grandfather of Raedwald (Yorke). 18. A relativist form of reasoning, often implying moral evasion; sophistry (OED). 19. The Hebrew name denotes rebellion, controversy, or quarrel. In 70 lines excluded here the presiding demon of the poem is described by association with a “goblin rout” and “venomous brood” of demons from a wide variety of literary, mythic, and religious traditions, including Milton’s Sin. 20. This adjective, meaning “similar,” refers to the previous paragraph describing the clamor raised in Heaven by Meribah and other “Apostate” angels. 21. In his notes for The Fairy of the Lake, Thelwall identified these Norse gods as Hertha, or the Earth. The mother of all the Gods. The Goddess also of fertility” and “Ymer (or Augelmer). He seems to be, alternately considered as the Son of Chaos, and as Chaos itself [JT note]. 22. A Biblical demon whose name means “worthless”; in Paradise Lost (2. 227) he is the smooth-talking fallen angel whose apparently rational counsel conceals “ignoble ease and peaceful sloth.” 23. A tor is a pile of rocks or rocky peak; a carn is a heap or sacred monument of stones (OED). 24. Thelwall’s notes identify Frea as The Goddess of Beauty (Daughter of Niord, or Nocca, God of the Sea, her husband Woden as the Scandinavian God of War— the Chief and Father of all the other Gods,” and Thor as “The God of Thunder, or of the Air: Son of Woden and Frea. N OTES 305

25. septemviral: pertaining to one of a body of seven men associated in an office or commission (OED). 26. In its full form, this speech translates Thelwall’s Roman history lectures and Milton’s debate in Hell into a dialogue keyed to current events and debates regarding alliances and divisions, both internal and international, during the revolutionary wars, the Reigns of Terror abroad and Alarm at home. 27. There follows a 50-line narrative of “The Massacre at Bangor,” which Thelwall often performed in his lectures and included in his Selections. 28. Here the speaker is Ossa, one of Adelfrith’s envoys. 29. A short stabbing weapon; a dagger (OED). 30. Cestria is the Latin name for Chester, site of Adelfrith’s decisive victory over the combined Welsh forces, shortly after his massacre of praying monks at Bangor (Koch 317–8). 31. Symbols of British liberty, the Iceni were a powerful tribe who inhabited East Anglia before the arrival of the Romans, whose tyranny they resisted under their famous queen, Boudicaa, in AD 60; by the time of Saxon settlement, they had dwindled into a mere memory of the tradition, and potential threat to tyranny, of ancient British valor—hence the boastful language here (Aldhouse- Green). 32. Thelwall’s epic simile reflects his longtime interest in animal vitality and contemporary experiments with electricity, here perceptively applied as a principle of rhetoric with a knowledge of crowd psychology. 33. A large number of victims prepared for ritual sacrifice (OED), with ironic echoes of Thelwall’s “Sheep-Sheering Song” (p. 60). 34. A short sword or dagger (OED). 35. The name of a peak in the Lake District (Cumberland) associated with Coleridge gives a personal resonance to Thelwall’s image of a way-wearied traveler in a houseless waste. 36. Published in the Poetical Recreations. 37. Thelwall’s translation of the Anglo-Saxon “bretwalda,” meaning overlord, or King of the Saxons (attributed to the Northumbrian kings by the Welsh). 38. See “The Hope Deferred” (p. 187). 39. The echo of Wordsworth’s Prelude 1.291 resonates with Thelwall’s “Proem/ Sylvanus” (p. 252). 40. The published fragment “In Sight of Shore” continues for 40 lines overlap- ping with the “The Shipwreck,” with some minor variants. 41. The land’s end in Cornwall. The south-western extremity of Britain was originally inhabited by the Dumnoni: or, by the tribe so denominated by Caesar and Tacitus [JT note]. The Orknies are a group of islands about 15 km north of mainland Scotland. 42. The subterranean Cave, or interior of Fairy Hill, in the Isle of Man, supposed to communicate with the secret chamber in Douglas Castle. The reader will not be surprised, that, in such a Cavern, the Hero of an Epic Poem should have seen strange sights, and have drank deeply of prophetic inspiration; or that there he should have conversed with the giant necromancer Manan Mac Leir, the some- time monarch of the island whose potent spells could “call up spirits from the vastly deep,” and cover the whole island, at his will, with impenetrable mists, rendering it invisible to the curous or the hostile mariner [JT note]. Monaeda (Moneta) is the Roman goddess of memory,. The appearance of this unusual 306 N OTES

figure, albeit briefly, in a poem first published in 1820 raises questions about its possible connections with the same figure in Keats’s The Fall of Hyperion (1820). 43. Here the “In Sight of Shore” excerpt, differently phrased, ends. 44. Of several Irish and Scottish kings and saints by this name, Thelwall may intend Conall mac Comgaill (558–74), whose reign preceded that of Aedann, whose death in battle against Adelfrith is described in another epic fragment in the Derby MS. 45. Cf. Milton, Paradise Lost 1. 423–24: “for spirits when they please / Can either sex assume, or both.” 46. This painterly attention to the physiology of the seraph, the breast in particular, anticipates the Edwin’s invitation of martyrdom in Book Five (p. 239), and is consistent with Thelwall’s elocutionary theory. 47. A Hebrew place name, from a root meaning “bond.” 48. Ancient Norse poet; bard (OED). 49. Fenrir. The Wolf. Another of the monster brood of Lok. Asgardian. Asgard is the heaven of the Scandinavians [JT note]. In Norse myth, Surtur is a dark giant with a flaming sword involved in the apocalyptic Ragnarok (Simek). 50. The Staples are part of the Farne islands, an archipelago lying off the coast of Northumbria, approximately 10 km east of Bamburgh Castle (Bebba’s tower). 51. Without help or remedy (OED). 52. The Yare is a river in Norfolk, part of Redowald’s East Anglian kingdom. This passage alludes to Thelwall’s experience at Yarmouth in 1796, when he was attacked by a press gang, and forced to flee with pistols drawn (Account). Caistor St. Edmund, near Norwich, is associated both with Boudicaa’s resistance, and with the friends who helped Thelwall escape and are dramatized in Lilla, a historical figure, the loyal servant who foiled Edwin’s assassination by sacrificing his own life (Hume 33). 53. Here Reynier sounds very like Coleridge, using a name (Emma) that recalls both Thelwall’s early pastoral romances (one of which is titled “Edwin and Anna”) and Wordsworth’s poems to his sister. Later, Thelwall substituted a more Saxon name, Alfwina, for Edwin’s love interest (p. 244). 54. A young rabbit (OED). 55. Stolen property, trash, worthless person (OED). 56. With deliberate dramatic irony, Reynier echoes the seductive charm of Rowenna in The Fairy of the Lake (p. 205). 57. The Humber River, south of York, formed the boundary between Raedwald’s kingdom of East Anglia, and the kingdom of Northumbria that Adelfrith has usurped from Edwin. A hygre (or eagre) is a wave formed by the tide rush- ing up the mouth of a river; it is applied to the Humber by Michael Drayton (1563–1631) in Polyolbion, which is no doubt Thelwall’s source here, and in much of his landscape description. 58. The Tyne River, at Newcastle, was a boundary between the two kingdoms of Northumbria, Deira and Bernicia. 59. An echo of the great Anglo-Saxon poem “The Wanderer,” reflecting Thelwall’s antiquarian interests. 60. An allusion to Wordsworth’s “Tintern Abbey” 107–8 (Oxford Authors, pp. 131–35) that forebodes Shelley’s Prometheus Unbound (“hope that cre- ates from its own wreck” IV.573–74; p. 313). N OTES 307

61. Reculver is a seaside village near Margate in Kent. 62. Exposed or revealed (OED). 63. Milton Paradise Lost 12.649. 64. A thrust or push with a pointed weapon, or a wound made by such a stroke (OED). 65. A piece of armor for the throat (OED). 66. Undismayed, unflinching (OED). 67. That is, shieling: a rough hut used by shepherds, especially in Scotland (OED). 68. Edwin’s invitation to martyrdom looks back to the rhetoric of Thelwall’s political lectures, and forward to Shelley. 69. See note 45 on the physiological symbolism of the breast. 70. Wittena-Gemot: The assembly of the Witan, the national council of Anglo- Saxon times (OED). In his lectures Thelwall laid great emphasis upon this as the founding democratic institution of British law. 71. A character by the same name appears in the Fairy of the Lake, as one of the minions of the evil Saxon Queen, Rowenna. 72. Mythic Greek king and character in Homer’s Iliad, renowned for his eloquence, advice, and leadership, even though he is too old to engage in battle himself. Alwin may be identified with various elder statesmen of Thelwall’s time, who retained their radical principles but were no longer able to carry the day, including Fox. 73. A bundle of twigs, sticks, or branches used as fuel (OED). 74. Hydrassil. The sacred Ash of Asgard. The court of the Gods in ordinarily kept under a great ash-tree; and there they distribute justice [JT note]. 75. Hela. The Goddess of Death; or Queen of the infernal regions [JT note]. 76. This Miltonic passage alludes to none of the fallen angels in particular, but suggests all of them. 77. A rejected Episode from an unpublished Poem [JT note]. Alfwina is a later version of the love interest named Emma in earlier books. 78. Matthew 6.2.

9 AUTOBIOGRAPHIES

1. Thelwall remained profoundly influenced by the associationist philosophy of David Hartley (1705–57), which emphasized the interdependence of physiological and psychological phenomena, unlike Coleridge, who rejected his early associationism in favor of Kantian metaphysics. This essay contributes to their lifelong philosophical debate. See “Visions of Philosophy” (p. 167). 2. These shop-odors are redolent of Chapter 10 of Coleridge’s Biographia Literaria (Oxford Authors, pp. 245–47), in which both tobacco and a mem- orable tallow-chandler are enlisted to assist Coleridge’s virulently comical disavowal of (Thelwall’s) Jacobinism. This in turn adds point to Thelwall’s meditation upon the poetics of absence, and the effect of being “shut out” from his pastoral dreams. 3. Merging “Tintern Abbey” 98–100 (Oxford Authors, p. 134)and The Excursion 9.611 (Poetical Works, p. 696), Thelwall shifts the terms of debate from Coleridgean ideas of mind to Wordsworthian ideas of nature, and restates his own principles as a poet of nature. 308 N OTES

4. Popular scenic regions of Britain that Thelwall had toured on foot. 5. The essay is signed “Champion Cottage,” the retreat in then-rural Brixton to which Thelwall “retired” in 1821. 6. Thelwall is referring to The Peripatetic, and to the subsequent project under- way since 1805, of revising its sketches into Poems Chiefly Suggested by the Scenery of Nature. 7. Wordsworth had announced in 1814, in the preface to The Excursion, that he had written a poem on “the origin and progress of his own powers” (Poetical Works, p. 589), but The Prelude; or the Growth of a Poet’s Mind was not published until 1850. 8. Vibratory or quivering flashes of light (OED). 9. A large, fancy marble, streaked, or variegated, for the schoolboy’s game (OED). 10. A fit of melancholy or depression (OED); with an echo of the “squabbling imps” of Beattie’s The Minstrel. 11. The 1793 and 1805 versions of the poem begin here, with the “yet unpractis’d ear” of the “infant”s mind being wooed by an “inspiring Muse,” and taught by “mute instructors of the groves.” 12. An important aspect of Thelwall’s philosophy of correspondence not found in his sources or contemporaries. 13. Alludes to “The Nosegay” (p. 27) as a source of Thelwall’s poetics of voice. 14. Confirms the importance of history, verse romance, and antiquarianism to Thelwall’s poetic development. 15. At this point, after an introduction largely added for the 1822 text, the three versions of the poem come together, though 1793 and 1805 use the first- person pronoun. This line, and the paragraph that follows, draw heavily upon Beattie’s The Minstrel. 16. In 1793 this passage continues with a meditation upon the transience of “Sublunary Greatness, and the fall / Of high aspiring Virtue.” 17. Revisions to lines 110–20 between 1793 and 1822 measure the increasing role of sound, voice (especially of women), and music in the progress of the poet’s mind, registering the influence of Coleridge’s “Kubla Khan” (by changing the description of the “lorn cadence of some fretted stream” from “winding” in 1793 to “wailing” in 1805) and moving from a Cowperian or Wordsworthian “mutter’d spell uncouth, to thrill the soul” on a “winter’s night” to this proto-Shelleyian “Naiad’s . . . song.” 18. A light blue color (OED); the Coleridgean allusion (to the village of Watchet near Stowey) complements other images of oriental deity (lotus, urn, flashing eyes, wavy hair) that echo “Kubla Khan” (Oxford Authors, pp. 102–04) and “Osorio.” Lines 118–45 do not appear in 1793 or 1805. 19. Wordsworth, “Tintern Abbey” 73–6. 20. The lines on Memory in 1805 and 1822 replace the influence of “Superstition’s self” and “antic Mysticism” in 1793. 21. 1793 ends here. 22. This verse paragraph does not appear in either 1793 or 1805; in 1822, Thelwall appends a note: “These lines were originally intended to have been printed as the Proem or Introduction to a Volume of ‘Poems Chiefly Suggested by the Scenery of Nature’.” 23. In 1805, Thelwall used the first-person pronoun for both instances of “trace” and “uninstructed”; the 1822 revision presumably reflects his pedagogical experience and rhetorical aims. N OTES 309

24. “`It is the knell of my departed hours’ YOUNG” [JT’s note]. Edward Young (1681–1765), Night Thoughts 1.60. The line also echoes the famous first line of Thomas Gray’s “Elegy in a Country Churchyard.” 25. Shakespeare, Othello 1.1.136–38. 26. Beattie, The Minstrel 1.150–66. 27. Echoing Milton Paradise Lost 1.44–45 (“headlong flaming”) and Shakespeare King Lear 4.6.50 (“many fathom down precipitating”). 28. A sexually predatory demon who crouches on the breast of a sleeping woman. 29. This remarkable aporia probably points to the alienation of Thelwall’s eldest son Algernon Sidney (1795–1863), whose name had already been entered at the Temple (for studies in law) when he rebelled against his atheist father by entering the church instead. It is not clear what role Cecil may have played in the rupture between father and son. 30. See “In Sight of Shore” (p. 226). 31. A lifelong friend of Thelwall, Dr. Peter Crompton (1760–1833) was well connected in the reformist intellectual circles in Derby and Liverpool to which Thelwall also belonged. 32. This rakish tale of the pursuit of the prospective lawyer by the devilish Muse (influenced by Burns’s “Tam O’Shanter” and anticipating “Pegasus O’erladen”) contrasts with the more sentimental anecdote he gives of the same incident in The Peripatetic. 33. Souse: suddenly, without warning, with a deep plunge (OED). 34. A clyster is an enema, cholic is a violent bellyache; resurrection men are grave- robbers who supplied corpses for dissection and medical education in the eighteenth and nineteenth centuries (OED). 35. William Pitt (1759–1806) was Prime Minister and Henry Dundas (1742– 1811) was Secretary of State for War during the 1790s, when Thelwall was their antagonist as the leading orator of the radical London Corresponding Society. 36. A lawyer and politician, James Adair (1743–98) supported Pitt’s prosecution of the radicals, and attorney-general Sir John Scott (1751–1838) led the prosecution. 37. After his acquittal in the treason trials, the jubilant crowd unharnessed the horses from Thelwall’s carriage, and drew it themselves through the streets (Life 261). 38. Morehouse, Taylor & Staymaker of Stockport [JT note]. The next 5 five stanzas offer a mock-heroic version of the pivotal moment in Thelwall’s political life, the “outrages” at Kings Lynn and Yarmouth in 1796, in which his Roman History lectures were disrupted by loyalist mobs and he was physically assaulted by a press gang (Account). 39. Cincinnatus (519–430 BC) was a Roman aristocrat and statesman who became a byword for simplicity and civic virtue after he was reduced to humble circumstances as a farmer. 40. Peter Pindar was the pen name of John Wolcot (1738–1819), a physician and verse satirist whose works Thelwall included among his elocutionary readings, along with more elevated odes of the Roman poet Pindar. 41. Thelwall’s Institute was well known for choral recitations of Milton’s Comus by its speech-disabled students, proving the success of Thelwall’s elocutionary methods. 42. The daughter of H?? E. of Mayo at Exm?? [JT note]. 310 N OTES

43. Criminal Conversation was the charge brought in lawsuits for adultery. 44. Thelwall plays on positive and negative uses of the noun, the first meaning a call for financial support or united action, the second a scourge or flogging. 45. Viscount Castlereagh, Foreign Secretary and an icon and instrument of government repression at the time of the Six Acts and the Peterloo Massacre, committed suicide by slitting his own throat with a pen-knife in 1822. 46. The Brixton cottage to which Thelwall and his wife moved after his bankruptcy in 1821 was only a few miles walk from his childhood retreat in Lambeth. It fronted what is now the Effra Rd; the building no longer exists. 47. Charles Murray was a member of the Constitutional Association (or “Bridge- Street Gang”) who brought a charge of seditious libel against Thelwall in 1821, leading to his (brief) arrest and the threat of a repetition of his 1794 trial, which precipitated Thelwall’s withdrawal from The Champion, bankruptcy and second “retirement.” See Scrivener 197–203. 48. Helicon is the mountain sacred to the Muses in Greek mythology. 49. By 1822 Thelwall’s two eldest sons, Sidney and Hampden, had been ordained and his eldest daughter, Manon, was probably married. His younger daughter, Sara, and his wife Cecil, both 21, were at home. Nothing is known of his youngest son, Edwin, who would have been 18 in 1822. 50. The trial of Queen Caroline (the “injur’d woman”) for adultery in 1820 became a rallying point for reformers; in his Champion editorials Thelwall defended her, scourged legal corruption, and decried the widespread use of government spies and agents provocateurs in the agitation following Peterloo and the imposition of the Six Acts in 1819. See Scrivener 197–203. 51. Not the school,but the name of Crompton’s home in Liverpool. 52. Alternate: “the bosom,” another indication that this passage describes both the universe without and the one within. 53. Alternate: “solar.” 54. From “The Lawyer’s Prayer” by the noted lawyer, Sir William Blackstone (1723–80). In quoting this, Thelwall is recalling both his youthful legal training, and the poetic ambitions that forestalled it; the first review of his first publication, the 1787 Poems on Various Subjects, quoted the same line. 55. Alternates: “his heart’s love Poesy” and “divinest Poesy.” 56. In the MS, this looks like “mate.” B IBLIOGRAPHY

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Solomonescu, Yasmin. John Thelwall and the Materialist Imagination. Basingstoke: Palgrave-Macmillan, 2014. Taussig, Gurion. Coleridge and the Idea of Friendship, 1789–1804. University of Delaware Press, 2002. Thompson, Edward Palmer. The Making of the English Working Class. London: Victor Gollancz, 1963. ———. The Romantics: England in a Revolutionary Age. New York: The New Press, 1997. Thompson, Judith. “An Autumnal Blast, a Killing Frost: Coleridge’s Poetic Conversation with John Thelwall.” Studies in Romanticism 36 (1997): 427–56. ———. “Citizen Juan Thelwall: In the Footsteps of a Free-Range Radical.” Studies in Romanticism 48 (Spring 2009): 67–100. ———. “A Shadow in Profile: John Thelwall in the Lake District.” In Grasmere 2008: Selected Papers from the Wordsworth Summer Conference, pp. 175–207. Penrith: Humanities Ebooks LLP, 2009. ———. John Thelwall in the Wordsworth Circle: The Silenced Partner. New York: Palgrave, 2012. ———. “Romantic Oratory.” In Oxford Handbook of British Romanticism. Ed. David Duff. Oxford: Oxford University Press, 2015. Wolfson, Susan. Borderlines: The Shiftings of Gender in British Romanticism. Stanford: Stanford University Press, 2006. ——— (ed.).‘Soundings of Things Done’: The Poetry and Poetics of Sound in the Romantic Ear and Era. Romantic Circles Praxis, 2008. Web. December 6, 2014. http://www.rc.umd.edu/praxis/soundings/index.html. ———. Romantic Interactions: Social Being and the Turns of Literary Action. Baltimore, MD: Johns Hopkins University Press, 2010. Yorke, Barbara. Kings and Kingdoms of Early Anglo-Saxon England. London: Routledge, 1997. Ziegler, Michelle. “The Politics of Exile in Early Northumbria.” Heroic Age 2 (1999): n.p. Web. June 15, 2014. http://www.mun.ca/mst/heroicage/issues/2/ha2pen .htm. I NDEX

Ackermann, Rudolf, 284 Brutus, Lucius Junius, 116, 119, Adair, James, 266, 309 287, 290 Addison, Joseph, 74, 283 Brutus, Marcus Junius, 116, 290 allegory (including seditious), 4, 16–17, Bugg, John, 1, 21 36, 51–86, 94, 107, 175, 187, 190, Burke, Edmund, 72, 78–9, 129, 131, 196, 199, 201, 278, 280, 302 219, 276, 284, 289, 292 Almousely, Isaac (Ishaq al-Mawsili), An Enquiry into our Ideas of the 180, 298, 299 Sublime …, 284 Anacreontic, 12, 18, 37, 175–6, 181–6, Reflections on the Revolution in 276, 297, 302 France, 284 The Anti-Jacobin, 287 Burns, Robert, 24, 51, 177–8, 277, Anglo-Saxon, 13, 210–11, 306 279, 286, 293 “Tam O’Shanter,” 279, 309 Baillie, Joanna (Plays on the Passions), Burwick, Frederick, 12 286, 301 Butler, Marilyn, 21 ballad, 12, 16, 17, 31, 38, 52–65, 71–4, Butler, Samuel, 62, 280 105, 199 Hudibras, 280 Beattie, James (The Minstrel), 90, 253, Byron, George Gordon, 11, 13, 51, 260, 278, 286, 308, 309 249–50, 260, 263, 274, 286, 302 Beaumont and Fletcher (The Lovers’ Childe Harold, 250 Progress), 99, 287 Don Juan, 250 Bindman, Geoffrey, 280 biography/autobiography, 3, 6, 11, Calvos, Andreas, 10, 275 25, 26, 43–4, 84–6, 139–44, 147, Campbell, James Dykes, 11 154–65, 186, 188, 226, 249–74 Campbell, Thomas, 288 Birkbeck, Dr. George, 276, 300 Canning, George, 51, 287 Blackstone, William (“The Lawyer’s Carlson, Julia, 276 Prayer”), 285, 310 Carlyle, Joseph (Specimens of Arabic Blackwoods Magazine, 303 Poetry), 299 Blake, William, 11, 14, 33, 52, 94, 119, Carr, Raymond, 122 179, 179, 191, 193, 211, 249, Caslon, William, 77 276, 289, 290 Castlereagh, Viscount, 51, 270, The Marriage of Heaven and Hell, 14, 287, 310 77, 191, 285 Centlivre, Susanna (The Wonder), 200 “A Vision of the Last Judgment,” 276 Chaucer, Geoffrey, 17 Botticelli, Sandro, 298 Chester, John, 142 Boydell, John, 77, 284 Churchill, Charles, 3, 13, 275, 283 Brecht, Berthold, 297 “Apology to the Critics,” 275 Bristol Mercury, 10, 15 Prophecy of Famine, 283 Brougham, Henry, 72, 282 Claeys, Gregory, 289 318 I NDEX

Clare, John, 249–50 Cowper, William, 51, 279, 280, 281, Class, Monika, 12 308 Cobbett, William, 81, 285 “John Gilpin’s Ride,” 279, 280, 281 Cockney poets, 21, 24, 62, 93, 210, Crompton, Dr. Peter, 64, 264, 266–7, 285, 191, 303 281, 309 Coleridge, Samuel Taylor, 2, 5, 6, 7, 10, Cruikshank, George, 52 11, 12, 14, 17, 18, 35, 41, 49, 62, 88, 106, 107, 125, 129, 135–6, Darwin, Erasmus, 12, 13, 22, 27, 139, 143, 144, 147, 149, 151, 180, 298 154, 165, 167–74, 176, 212, 226, “The Botanic Garden,” 180, 298 232, 250, 258, 264, 276, 277, David, Jacques Louis, 299 278, 280, 281, 282, 284, 286, Davies, Damian Walford, 1, 276, 288, 290, 291, 293, 294, 296, 279, 295 297, 304, 305, 306, 307, 308 Della Cruscans, 12, 22, 87, 302 “The Aeolian Harp,” 147 Drayton, Michael (Poly-Olbion), 13, 306 Biographia Literaria, 276, 277, Dryden, John, 13, 21, 22, 79, 106, 297, 307 284, 288, 303 “Christabel,” 176 “Alexander’s Feast,” 106, 288, 299 “Dejection. An Ode,” 125 Dundas, Henry, 266, 283, 309 “France: An Ode,” 296 D’Urfey, Thomas, 298 “Frost at Midnight,” 147, 151 “Kubla Khan,” 308 Eaton, Daniel Isaac, 53, 276 “The Nightingale,” 149, 293, Edinburgh Review, 6, 62, 175–9, 278, 294, 295 281, 282, 283, 303 “Ode to the Departing Year,” 297 Elegy, 4, 6, 12, 129, 143, 154–65, 250, Osorio, 304, 308 257–9, 272, 276, 296 “Reflections on Having Left a Place elocution, 2, 6, 8, 10, 14, 19, 40, 62, of Retirement,” 278, 293 76, 176, 195, 196, 213, 276, 278, “Rime of the Ancient Mariner,” 14 281, 290, 294, 298, 299, 309 “Sonnet to the River Otter,” 278 epic/mock-epic, 6, 8, 11, 12, 18, 51, “Sonnets on Eminent Characters,” 88 77–84, 95, 130, 208–10, 211–47, “This Lime Tree Bower my Prison,” 286, 292 147, 282, 296 Epstein, James, 276 Coleridge, Sara, 141, 293 Eros, 7–9, 12, 37, 175, 179–81 Collins, William, 7, 106, 137, 175, Erskine, Thomas, 285 179, 288 Esterhammer, Angela, 12, 275, 276 “Ode. On The Passions,” 8, 106, 175, 179, 288, 298 Fairer, David, 1 “Ode. To Evening,” 137 “fan-club” poems, 176, 186, 190–5, Colman, George (the Younger), 303 197, 199, 208 Comedy, 23, 24, 25, 51–86, 303 Felsenstein, Frank, 275, 303 Congreve, William, 106, 288 Fielding, Henry (Tom Jones), 280 Corfield, Penny, 295 Foscolo, Ugo, 10, 275 Cornwall, Barry (Bryan Proctor), 210, 303 Fox, Charles James, 8, 12, 129–33, Cottle, Joseph (Alfred), 212 284, 292, 307 Cowley, Abraham, 106, 136 Second Olympique Ode of Pindar, 104, Gay, John, 13, 22, 277 136, 176, 288, 292, 297 The Shepherd’s Week, 277 Cowley, Hannah (The Belle’s Stratagem), The Gentleman’s Magazine, 73, 200, 301 283, 286 I NDEX 319

Gessner, Solomon, 22, 277 Jones, Steven, 51 Gifford, William, 52 Jonson, Ben, 13 Gillray, James, 52, 77 Gilmartin, Kevin, 276 Keach, William, 276 Godwin, William, 298 Keats, John, 12, 13, 22, 87, 88, 94, Goldsmith, 21 101, 276 Gracchi brothers, 153, 294 “The Fall of Hyperion,” 306 Grahame, Hannah, 31, 196, 300 “Hymn to Pan,” 276 Grahame, James (“Mary Stewart”), “On the Sonnet,” 88 43, 278 Grahame, Robert, 300 Lake poets, 21, 175, 179 Gravil, Richard, 1, 276 Lamb, Robert, 275 Gray, Thomas (“Elegy in a Country Landon, Letitia, 10, 13, 208–10, Churchyard”), 13, 21, 257, 301, 302 288, 309 The Improvisatrice, 302 Gurney, Joseph and John, 154, 295 Lanza, Gesualdo, 276, 299, 300 Lau, Beth, 276 Hampden, John, 78, 99, 118, 153, 284, lectures, 3, 175–6, 272, 279, 281, 305 290, 294 Liston, John, 209, 303 Hardy, Thomas, 98, 287 The Literary Gazette, 178, 298, 302 Hartley, David, 307 Liverpool Mercury, 36 Hawes, Dr. William, 128–9, 275 Hayley, William (“An Essay on MacPherson, James (“Ossian”), History”), 286 99, 287 Hazlitt, William, 3, 16, 276 Mallet, William, 298 Hemans, Felicia, 10 Marlowe, Christopher, 13, 21, 139 Hogg, James, 24, 277, 286 Martial, Marcus Valerius, 72, 282 Holcroft, Thomas, 178, 298 Mason, William, 288 “Gaffer Grey,” 178 Mathews, Charles, 209, 303 Memoir, 178, 298 Mathias, T. J., 52 Holland, Baron (Henry Fox), 100, 287 Mee, Jon, 1, 12 Holmes, Richard, 280 Mina, Francisco Espoz y, 10, 125, Homer (Meonides), 71, 89, 140, 180, 127, 275 203, 214, 293, 294 Milton, John, 13, 15, 21, 23, 78–9, The Iliad, 214, 277, 298, 307 87–91, 94–5, 115, 125, 135, 138, The Odyssey, 214, 284, 301 140, 154, 178, 181, 212, 215, Hook, Theodore, 209, 303 219, 272, 286, 287, 289, 290, Hopkins, Gerard Manley, 293 291, 293, 294, 305, 307 Horace/Horatian, 13, 18, 103–5, “L’Allegro” and “Il Penseroso,” 177, 135–74, 190, 197, 294 181, 295, 297 Hume, David, 210–11, 214 Comus, 15, 23, 87, 177, 268, 290, History of England, 210–11, 214 298, 309 Hunt, Leigh, 101, 210, 303 “Lycidas,” 154, 295, 296 Paradise Lost, 87, 90, 95, 219, 286, Jeffrey, Francis, 6, 62, 65, 72, 175, 195, 289, 290, 291, 293, 294, 304, 275, 281, 282, 283, 288 305, 306, 309 Jerdan, William, 209, 302 Samson Agonistes, 87, 115, 181, 290 Johnson, Samuel, 91 Mitford, Mary Russell, 10 Johnston, Kenneth, 1 Monody, 8, 129–33 Jones, El, 19 Montgomery, James (Sheffield Iris), 279 320 I NDEX

The Monthly Magazine, 2, 10, 33, “Epistle to Arbuthnot,” 285 36, 50, 101, 125, 182, 244, “An Essay on Criticism,” 285 246–7, 263 “An Essay on Man,” 293 Moore, Thomas, 12, 176, 178, “Ode for Music on St. Cecilia’s Day,” 298, 299 288 More, Hannah, 286 Prior, Matthew, 74, 283 The Morning Chronicle, 287 prosody, 12, 14, 15, 37, 135, 177, Muir, Thomas, 97, 287 286, 294 Mulholland, James, 287 Murray, Charles, 271, 310 Radcliffe, David Hill, 278 Raleigh, Walter, 302 Neele, Henry, 137, 285, 293 Ramsay, Allan, 23, 24, 177, 178, 277 Nelson, Horatio, 8, 12, 129, 290 “The Gentle Shepherd,” 23, 24, 277 Newcombe, Thomas, 151 Robinson, Daniel, 95, 286 Noble, Andrew, 12, 283 Robinson, Henry Crabb, 275 Norton, James, 151 Robinson, Mary Darby, 13, 87, 301 Sappho and Phaon, 87 O’Boyle, Patty, 1, 275 Roe, Nicholas, 1 Ode, 5, 6, 8, 12, 14, 18, 36, Roscoe, William, 298 103–76, 192–5 Rosenmeyer, Patricia, 176 O’Quinn, Daniel, 284, 292 Rossetti, Dante Gabriel, 176 Orwell, George, 16, 276 Russell, William, 78, 118, 118, Ostovich, Helen, 283 284, 290 L’Ouverture, Toussaint, 121, 291 Ovid, 13, 180, 203, 298, 301 Sappho/Sapphic, 13, 103, 105, 133–4, 200, 201, 208, 210, 276, 288, 301 Paine, Thomas, 16 satire, 51, 71, 72, 77–84, 93, 283 Paley, Dr. Robert, 7, 137–8, 293 Scott, Sir John, 266, 309 paphiade, 8, 18, 175–6, 184–90 Scott, Walter, 10 Partridge, John, 151 Scrivener, Michael, 1, 5, 9, 17, 60, 275, pastoral, 4, 12, 21–50, 65–71, 101, 276, 279, 282, 303, 310 149, 154–65, 250, 257, 272–4, Seneca, 203, 301 277, 283, 296, 298 Seward, Anna, 89, 286 Patterson, Annabel, 21, 22, 283 Shakespeare, William, 13, 23, 78–9, 87, Phillips, Charles, 81, 285 89, 91, 129, 138, 140, 154, 178, Philomathian Society, 12 200, 212, 215, 272, 278, 279, Pilling, William, 49, 278 284, 294 Pindar/Pindaric, 18, 94, 103–34, As You Like It, 23, 200 135–6, 144, 278, 287, 288, 292 Hamlet, 279, 286, 294, 295 Pindar, Peter (John Wolcot), 292, 309 Julius Caesar, 129, 291, 292, 294 Pitt, William (the Younger), 51, 53, King Lear, 293, 309 55, 87, 266, 279, 283, 287, Macbeth, 23 289, 293, 309 A Midsummer Night’s Dream, 23, Plato, 168–73, 296, 297 201, 301 Pocock, Isaac, 209, 303 Much Ado about Nothing, 23, 302 The Poetical Register, 182, 195–6, 198 Othello, 309 Poole, Thomas, 141 Richard II, 293 Pope, Alexander, 13, 22, 23, 51, 71, 74, Romeo and Juliet, 23 77, 79, 178, 277, 283, 288 The Tempest, 23, 278 “The Dunciad,” 51 Twelfth Night, 300 I NDEX 321

Shelley, Mary, 10 Thelwall, Edwin Northumbrian, 310 Shelley, Percy Bysshe, 11, 87, 88, 193, Thelwall, Henrietta Cecil (nee Boyle) 253, 289, 297, 307, 308 (wife), 8, 9, 11, 33, 36, 44–5, 176, “The Masque of Anarchy,” 286 184, 186, 200, 208, 261, 268, “Ozymandias,” 88 276, 301, 304, 309, 310 Prometheus Unbound, 306 Thelwall, John Shenstone, William, 21, 143, 179, “Age and Youth,” 302 293, 298 “Anacreontics,” 182–4 Sheridan, Richard Brinsley, 129, “And I who Frequent from my Infant 132, 292 Years,” 259–60 Sheridan, Thomas, 12 “Auto-Biography,” 3, 84, 264–72 Siddons, Sarah, 12 “The Battle of Barnet,” 5 Sidney, Algernon, 78, 99, 153, 284, Biographical and Imperial Magazine, 290, 294 2, 4, 93, 112 Smith, Charlotte (Elegiac Sonnets), 13, “The Black Bowle of Eboracum,” 292 87–91, 94, 95, 107, 258, 286, The Champion, 2, 9, 16, 22, 31, 32, 287, 295 33, 39, 40, 43, 50, 100, 101, 122, Smith, John, 209, 303 136, 165, 176, 181–2, 186–90, Smith, Olivia, 276 196, 201, 228, 269, 302, 310 Socrates, 4, 10, 13, 17, 168, 173–4, “The Champion’s Address to Patriots 203–4, 297, 301 of Spain,” 122–4 Solomonescu, Yasmin, 1, 275 “The Cottage,” 49–50 song/music, 12, 37, 40, 43, 51, 60, “The Critical Shaver,” 11, 71–2, 283 71, 73, 99, 105–6, 175–81, 195, The Daughter of Adoption, 6, 7, 152, 199–200, 303 184, 275, 290 sonnet, 5, 9, 15–16, 18, 87–102, 105, “To Dear Old Friend Kitty Brown,” 177, 278 84–6 Southcott, Joanna, 286 Derby MS/Poems Chiefly Suggested, 2, Southey, Robert, 10, 65, 106, 212, 6, 7, 9, 10, 11, 12, 17, 18, 22, 26, 282, 288 27, 31, 32–4, 36, 37–41, 43–5, “The Curse of Kehama,” 65, 47–8, 50, 75, 77, 84, 92–3, 94, 105–6, 281 99, 101, 103, 107, 125, 133, 167, Madoc, 212 175, 179, 184, 186–96, 198–9, Thalaba the Destroyer, 65, 281, 282, 288 201, 208, 212, 244, 246, 249, Spenser, Edmund, 4, 13, 36, 90, 278, 252–3, 264, 272, 276, 277, 281, 286, 290 284, 299, 304, 308 The Fairie Queene, 286 “The Dove,” 43–4 The Shepheardes Calendar, 278 “A Dramatic Poem,” 4 Swift, Jonathan, 74, 283 “Draw your Yellow Stockings On,” Swinburne, Algernon Charles, 12, 199–200 176, 293 “Elegy VI: The Lark,” 4 “Elegy VIII: The Execration,” 4 Taussig, Gurion, 5 “Elegy X: New Year’s Night,” 257–9 Tennyson, Alfred, 12, 154, 176, 293 “Essay on Pastoral Poetry,” 22–6 In Memoriam, 154 Essay on Rhythmus, 6, 15, 277, theater (drama, performance), 3, 6, 8, 298, 303 12, 13, 23, 40, 62, 75–7, 200, “Essay on the English Sonnet,” 205–7, 276, 298, 303 88–91 Thelwall, Algernon Sidney, 261, 263, “Essay on the Influence of Nature,” 294, 309, 310 250–2 322 I NDEX

Thelwall, John—Continued “The Negro’s Prayer,” 290 Essays “On Lyrical Poetry,” 103–7, “The Ninth of November. A Sapphic 135–8, 176–9, 192 Ode,” 133–4 “The Expiring Zephyr,” 39–40 “The Nosegay,” 4, 27–31, 308 The Fairy of the Lake, 6, 205–7, 282, “Ode. Inscribed on the Fan of Mrs. 289, 293, 295, 303, 304, 306, 307 G,” 7, 18, 293 “The Falconer to his Bird,” 44–5 “Ode intended for the Humane “The Falconer to his Bird Society,” 128–9 on Wing,” 45–7 “Ode on behalf of the Spanish “A Farewell to the Dale of Patriots,” 8, 119–22 Kent,” 165–6 “Ode on the Bastille,” 5, 112 “The First Gray Hair,” 166–7, 182 “Ode on the Destruction of the “The Hamlet,” 5 Bastille,” 112–15 “Hannah’s Eye,” 7, 31–2 “Ode. To Dr. Paley,” 7, 18, 137–8, 192 “Harvey: An Apostrophe,” 143–4 “Ode to Science,” 12 “Hope Deferred,” 244, 297, 305 “Ode. To the Cliffs at Sandgate,” 14, The Hope of Albion, 6, 8, 9, 12, 18, 18, 107–12, 259, 297 187, 211–47, 252, 271, 296, “Ode to the Zephyrs,” 193–5 300, 303 “Odes in Confinement,” 115–19 The Incas, 275, 292, 295 “The Orator to his Dentist,” 52 “To the Infant Hampden,” “Pandolia Fragments,” 13, 39, 200–4 151–2, 226 The Panoramic Miscellany, 2, 10, 80, Inkle and Yarico, 275, 293, 303 208, 226, 302 “Inscription on the Fan “Paphiades,” 186–90 of Mrs. B,” 190 A Particular Account, 306, 309 Introductory Discourse, 6, 14, 17 Paternal Tears, 6, 18, 136, 149, 152, “The Jasamin,” 12, 38 154–65 “John Gilpin’s Ghost,” 16, 52–9, 285 “A Patriot’s Feeling,” 5, 144–7, 299 “The Lark,” 41–3, 44, 293 A Pedestrian Excursion, 149 “On Leaving the Bottoms of “Pegasus O’erladen,” 7–8, 11, 62–5, Glocestershire,” 49, 149–51, 165 264, 309 A Letter to Francis Jeffrey, 17, 71, 282 The Peripatetic, 2, 4, 5, 10, 16, 21, A Letter to Henry Cline, 3, 13, 284 22, 26, 27, 34, 41, 47–8, 77, Letters, 5, 264 94, 107, 143, 168, 210, 252–3, “Lines, Written at Bridgewater,” 49, 259–60, 284, 285, 288, 293, 294, 139–43, 151, 165, 250, 294, 297 302, 303, 308, 309 “Lines Written on the Fan of Mrs. “A Picturesque Contrast,” 232 Baker,” 191–2 Poems, Chiefly Written in Retirement, “The Lowly Roof,” 47 2, 6, 35, 92, 139, 143, 147, 151, “To Maga,” 275 152, 154, 205, 215–16, 219, 282, “Maria. A Fragment,” 152–4, 295 289, 296 “Mirfield,” 48–9 Poems, Written in Close Confinement, “To Miss Bannatine,” 11, 197–8, 299 2, 5, 94–9, 116, 181–2, 215, 295 “Monody on the Death of Fox,” 8, Poems on Various Subjects, 2, 4, 21, 129–33 27, 37, 91, 257, 277, 310 Musalogia, 10, 11, 13, 18, 51, 80–4, Poetical Recreations of the Champion, 191, 208–10, 272–4, 302 2, 9, 22, 31, 32, 39, 44, 48, 65, “My Sixtieth Year,” 11, 184–6 92–3, 101, 104, 122, 136, 176, “Nature’s Lesson,” 26–7, 277 184, 186–90, 196, 201, 212, 214, “The Neglected Suburb,” 48 218, 228, 250, 252, 261, 299, 305 I NDEX 323

“In Praise of Erin, a Scaldic ‘The Trout,” 65–71, 297, 301 Song,” 226 “Typopictoromania,” 11, 51, 77–80, “Prefatory Memoir,” 6 191, 302 “Proem/Sylvanus,” 7, 11, 252–7, “To Tyranny,” 12, 15–16, 95 277, 305, 308 “The Vanity of National Grandeur,” “Prologue. Written for a Company of 16, 97 Strollers,” 75–7 The Vestibule of Eloquence, 2, 8, 43, “A Remembrance,” 11, 263–4 119, 128, 166, 192, 195, 213 “Reply to a Poem of Lord Vaux,” “Visions of Philosophy,” 10, 12, 198–9 167–74, 233, 239, 292, 307 Reply to Jeffrey, 282 “The Water Lily,” 7, 32–3 The Rights of Nature, 14, 17, 21, 276 “A Winter’s Rose,” 11, 33–4 “Sawney’s Pocket Knife,” 72–5 “The Wintery Oak,” 34–5 Selections, 2, 19, 52, 62, 71, 179, “The Woodbine,” 35, 88, 278, 295 213, 292, 305 “The Woodbine and the Oak,” 36–7 “A Sheep-Sheering Song,” 60–2, 305 Thelwall, John Hampden (son), 151, “In Sight of Shore,” 309 294, 310 “Song of Erin,” 9 Thelwall, Manon Roland (daughter), “Song of Eros,” 7–9, 12, 179–81, 65, 310 199, 288, 291, 295 Thelwall, Maria (daughter), 5, 6, 7, 35, “Sonnet. Ingratitude,” 100–1 152, 278, 295 “Sonnet on a Rainy Sunday,” 12 Thelwall, Sara Maria (daughter), “Sonnet. On the Rapid Extension of 271, 310 the Suburbs,” 101 Thelwall, Susan/Stella (nee Vellam) “Sonnet. On the Suggestion,” 101–2 (wife), 4, 7, 33, 35, 43, 99–100, “Sonnet to Stella,” 88, 99–100 141, 142, 147, 164, 176, 183, “Sonnet to the Lark,” 94 198–9, 261, 265–6, 278, 279, “Sonnet to the Moon,” 91–2 293, 294 “Sonnets in Confinement,” 94–9 Thelwall, Weymouth Birkbeck (son), Sonnets “To the Nightingale,” 92–3 275, 300 “A Speech in Rhyme,” 13, 27 Theocritus, 23, 277 “On Spies and Informers,” 17 Thomas, Edward (“The Owl”), 40 “Sports of the Zephyrs,” 37–8 Thompson, E. P., 1, 276 “Stanzas on Hearing for Thompson, Judith, 2, 3, 7, 17, 18, 62, Certainty,” 181–2 275, 276, 303 “The Star. A Night Walk,” 10, 16, Thomson, James, 13, 277 88, 125–7, 135, 292, 296 Titian (Tiziano Veccelli), 186, 299 “To Stella in the Country,” 88, Tomlinson, Ralph (“To Anacreon in 147–9, 151, 190, 296 Heaven”), 297 “The Storm Without,” 40–1 Tooke, Horne, 22 “The Stranger,” 196 translation, 22, 276, 277, 284, 286 “A Subject for Euripides,” 131 “The Tear,” 195–6 Universal Magazine, 88 “The Theft,” 4, 11, 38–9 “Thoughts and Remembrances,” Vaux, Thomas (“The Aged Lover 261–3 Renounceth Love”), 198, 300 “Tranquillity,” 50 Virgil, 13, 21, 22, 23, 149, 203, 277, The Tribune, 2, 5, 52, 60, 112, 144 284, 301 “The Trident of Albion,” 8, 129, The Aeneid, 214, 284 290, 292 vox populi, 3, 16, 51 324 I NDEX

Wagner, Corinna, 275 “London, 1802,” 88 Warwick, Dr. Thomas, 300 Lyrical Ballads, 6, 82, 154, 282 Wiffen, Jeremiah, 286 “Michael,” 149 Wolfson, Susan, 12, 13, 276 “Ode. Intimations of Immortality,” Wollstonecraft, Mary, 152 10, 125, 295, 297 The Wrongs of Woman, 152 “Ode. On the Power of Sound,” 276 Wordsworth, William, 2, 5, 6, 7, 10–11, The Prelude, 253, 291, 297, 14, 16, 17, 18, 22, 35, 41, 49, 50, 305, 308 62, 82–4, 87, 88, 94, 107, 119, The Recluse, 212 125, 129, 135–6, 141, 149, 154, “She Dwelt Among th’Untrodden 165, 212, 226, 249–50, 253, 258, Ways,” 7, 35, 295 260, 275, 276, 277, 281, 284, “Tintern Abbey,” 14, 306, 307, 308 286, 290, 291, 293, 295, 296, “Yarrow Visited,” 291 297, 306, 307, 308 The Excursion, 307, 308 Yeats, W. B., 9, 33 “I Wandered Lonely as a Cloud,” 7 Young, Edward (Night Thoughts), 309