Robert Southey: Poetical Works 1793–1810; Joan Of

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THE PICKERING MASTERS

Robert Southey: Poetical Works 1793–1810

General Editor: Lynda Pratt Southey 1-prelim.fm Page ii Tuesday, April 6, 2004 1:37 PM

Robert Southey: Poetical Works 1793–1810

Volume 1: Joan of Arc, ed. Lynda Pratt Volume 2: Madoc, ed. Lynda Pratt Volume 3: Thalaba the Destroyer, ed. Tim Fulford Volume 4: The Curse of Kehama, ed. Daniel Sanjiv Roberts Volume 5: Selected Shorter Poems c. 1793–1810, ed. Lynda Pratt Southey 1-prelim.fm Page iii Tuesday, April 6, 2004 1:37 PM

Robert Southey: Poetical Works 1793–1810

General Editor: Lynda Pratt

Volume 1 Joan of Arc

Edited by Lynda Pratt Southey 1-prelim.fm Page iv Tuesday, April 6, 2004 1:37 PM

First published 2004 by Pickering & Chatto (Publishers) Limited

Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA

Routledge is an imprint of the Taylor & Francis Group, an informa business

All rights reserved, including those of translation into foreign languages. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

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BRITISH LIBRARY CATALOGUING IN PUBLICATION DATA Southey, Robert, 1774–1843 Robert Southey : poetical works 1793–1810. – (The Pickering masters) 1. Southey, Robert, 1774–1843 – Criticism and interpretation I. Title II. Pratt, Lynda III. Fulford, Tim IV. Roberts, Daniel 821.7

LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Southey, Robert, 1774–1843. [Poems. Selections] Robert Southey : poetical works, 1793–1810. p. cm. – (The Pickering masters) Includes bibliographical references and index.

I. Title: Poetical works, 1793–1810. II. Pratt, Lynda, 1964– III. Fulford, Tim, 1962– IV. Roberts, Daniel Sanjiv. V. Title. VI. Series. PR5462 2004 821'. 7–dc22 2004000292

ISBN-13: 978-1-85196-731-5 (set)

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CONTENTS

Acknowledgements vii List of Abbreviations ix Chronology xiii Manuscript Conventions xix General Introduction xxi Introduction xxxv Extant Manuscripts of Joan of Arc xlix Joan of Arc 1796 1 Preface 4 Book the First 9 Book the Second 23 Book the Third 42 Book the Fourth 56 Book the Fifth 70 Book the Sixth 84 Book the Seventh 96 Book the Eighth 113 Book the Ninth 136 Book the Tenth 160 Southey’s Notes 179

Joan of Arc 1798 195 Preface 200 The First Book 234 The Second Book 252 The Third Book 263 The Fourth Book 282 The Fifth Book 299 The Sixth Book 314 The Seventh Book 330 The Eighth Book 352 The Ninth Book 374 The Tenth Book 388 Southey’s Notes 409 MSS Drafts of Joan of Arc 481 Editor’s Notes 497 v

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ACKNOWLEDGEMENTS

My work on this edition was only made possible by the generosity of a number of institutions and individuals. I am deeply grateful to the British Academy for the award of a British Academy/ Leverhulme Trust Senior Research Fellowship (2001–) and also for three Small Research Grants; to the Modern Humanities Research Association for the award of a Research Associateship (2002–3), which funded the employment of a research assistant; and to the Beinecke Library, Yale University for the H. D. Fellowship in English and American Literature (2001). My thanks also to Queen’s University, Belfast and to the School of English for providing a semester’s study leave in the academic year 2000–1. I would particularly like to thank Malcolm Andrew, Brian Caraher and John Thomson for their support during my time at Queen’s. I also thank Daniel Roberts for his collegial- ity, past and present, and for his contributions to this edition. I am extremely grateful to the staff of the following libraries for their invaluable help with numerous queries: the Bodleian Library, Oxford; the British Library, London; the National Library of Scotland; the National Library of Wales; the Keswick Museum and Art Gallery, Keswick; the Wordsworth Trust, Grasmere; the New York Public Library, especially the staff of the Berg and the Pforzheimer Collections; the Bristol Public Library, Bristol; the West Sussex Record Office; the Hampshire Record Office; the National Art Library, London; the Wisbech Museum, Wisbech; the Cambridge University Library; Rush Rhees Library, University of Rochester; Cornell University Library; the Houghton Library, Harvard University; the Pierpont Morgan Library; the Saffron Walden Museum. I would like to thank the following libraries for permission to quote from manuscripts in their collections: the British Library, London; Houghton Library, Harvard University; University of Reading, Longman Archive; Manchester City Library, Local Studies Unit; Bodleian Library, Oxford; Pierpont Morgan Library; Duke University Library; New York Public Library, Berg Collection and Pforzheimer Collection; Cumbria County Library, Carlisle; Boston Public Library; Beinecke Library, Yale University; National Library of Wales; Cornell University Library; Bristol University Library; Keswick Musuem and Art Gal- lery; Brotherton Library, University of Leeds; Huntington Library; Newcastle Society of Antiquaries; Victoria University Library, Toronto; Rush Rhees Library, University of Rochester.

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Robert Southey: Poetical Works 1793–1810 – Volume 1

This edition has benefited immeasurably from the scholarship, enthusiasm and sheer good will of a number of individuals, to all of whom I am extremely grateful: Katie Attwood, John and Florence Boland-Lee, Richard Butterwick, Fiona Clarke, Mary-Ann Constantine, Simon Davies, Anne Dymitr, Caroline Franklin, Michael Franklin, Peter Jupp, Christina Lee, Grevel Lindop, Vincent Newey, Paul Rankin, Nicholas Roe, Nicola Royan, Gabriel Sanchez-Espinosa, Bill Speck, Mark Storey, Thorlac Turville-Petre, Damien Walford Davies, Cordelia Warr and Nick Wilshere. I also thank my colleagues and students in the School of English at Nottingham for providing a supportive and congenial environment in which to complete this project. I am also very grateful to Mark Pollard and Julie Wilson at Pickering & Chatto for their hard work, support and patience. Carol Bolton, Tim Fulford and Paul Jarman have been nothing but encouraging and enthusiastic. My work on this edition has benefited immeasurably from their tremendous expertise and dedication. My family, particularly my mother and my late father, my sisters, and May and John Packer have been nothing but helpful and encouraging over a number of years. Rumple Packer has been, as ever, herself. A number of friends not mentioned above, particularly Britta Mischek and Christoph Muller, Sarah McCleave, Shona Potts and Torquil Buxton, and Fiona Palmer have also contributed in innumerable ways. I am particularly grateful to Beth Swan and Tim Brooke for their generosity and hospitality over a number of years. In this project, as in all things, my greatest debt is to Ian Packer. Without his unceasing and selfless support nothing would have been possible. Volumes one, two and five of this edition are, therefore, dedicated to him with much love and as small recompense.

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LIST OF ABBREVIATIONS

Annual Anthology R. Southey (ed.), The Annual Anthology (London, 1799 and 1800) AR Annual Review ASC Amos Simon Cottle BC British Critic BL British Library BL Add. MS British Library Additional Manuscript Cabral Robert Southey: Journals of a Residence in Portugal 1800–1, ed. A. Cabral (Oxford, 1960) Carnall Geoffrey Carnall, Robert Southey and His Age: The development of a conservative mind (Oxford, 1960) CB Caroline Bowles (later CS: Caroline Southey) CB Southey’s Common-Place Book, ed. J. W. Warter, 4 series (Lon- don, 1849–50) CC The Collected Works of Samuel Taylor Coleridge, gen. ed. Kath- leen Coburn, Bollingen Series 75 (London and Princeton, 1969–2001) CC, 1795 S. T. Coleridge, Lectures 1795: On Politics and Religion, eds L. Patton and P. Mann (London and Princeton, 1971), Vol. 1 of CC CC, CPW S. T. Coleridge, Poetical Works, ed. J. C. C. Mays, 3 parts, 6 vols (London and Princeton, 2001), Vol. 16 of CC CCS Charles Cuthbert Southey CD Charles Danvers CL Charles Lamb CL Collected Letters of Samuel Taylor Coleridge, ed. E. L Griggs, 6 vols (Oxford, 1956–71) CLl Charles Lloyd CS Caroline Southey (née Bowles) CSMP The Contributions of Robert Southey to the ‘Morning Post’, ed. K. Curry (Alabama, 1984) CW Charles Watkin Williams Wynn

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Robert Southey: Poetical Works 1793–1810 – Volume 1

Davy Fragmentary Remains Literary and Scientific of Sir Humphry Davy, Bart., With a Sketch of his Life and Selections from his Corre- spondence, ed. J. Davy (London, 1858) DS Daniel Stuart DW Dorothy Wordsworth ELH English Literary History Eng. Lett. Bodleian Library, Oxford, MS Eng. Lett. ER Edinburgh Review ERR European Romantic Review ES Edith Southey (née Fricker) EY The Letters of William and Dorothy Wordsworth: the Early Years, 1787–1805, ed. E. de Selincourt, rev. C. L. Shaver, 2nd edn (Oxford, 1967) GCB Grosvenor Charles Bedford HD Humphry Davy HWB Horace Walpole Bedford JC Joseph Cottle JM John May Joan (1796) R. Southey, Joan of Arc, An Epic Poem (Bristol, 1796) Joan (1798) R. Southey, Joan of Arc, 2 vols (London, 1798) JR John Rickman KESMG Keswick Museum and Art Gallery Kirkpatrick R. G. Kirkpatrick, ‘The Letters of Robert Southey to Mary Barker from 1800 to 1826’ (unpublished PhD thesis, Harvard, 1967) L&C C. C. Southey (ed.), Life and Correspondence of the Late Robert Southey, 6 vols (London, 1849–50) Letters (1797) R. Southey, Letters written during a short residence in Spain and Portugal (Bristol, 1797) Letters (1799) R. Southey, Letters written during a short residence in Spain and Portugal, 2nd edn (London, 1799) LLP Letters from the Lake Poets to Daniel Stuart, ed. E. H. Coleridge (London, 1889) Madden Lionel Madden (ed.), Robert Southey: The Critical Heritage, (London, 1972) Marrs The Letters of Charles and Mary Anne Lamb 1796–1817, ed. E. W. Marrs Jr., 3 vols (Ithaca, New York and London, 1975–8) Metrical Ta l e s R. Southey, Metrical Tales (London, 1805) Minor Poems The Minor Poems of Robert Southey, 3 vols (London, 1815 and 1823) MP Morning Post MR Monthly Review (or Literary Journal) N&Q Notes and Queries

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Abbreviations

NAL MS National Art Library Manuscript NL New Letters of Robert Southey, ed. K. Curry, 2 vols (New York and London, 1965) NLWJ National Library of Wales Journal NLW MS National Library of Wales Manuscript NYPL New York Public Library PML Pierpont Morgan Library PMLA Publications of the Modern Language Association of America Poems (1795) R. Lovell and R. Southey, Poems (Bath, 1795) Poems (1797) R. Southey, Poems (Bristol, 1797) Poems (2nd edn, 1797) R. Southey, Poems, 2nd edn (Bristol, 1797) Poems (1799) R. Southey, Poems, 2 vols (Bristol and London, 1799) Poems (1806) R. Southey, Poems, 2 vols (London, 1806) PQ Philological Quarterly PW The Poetical Works of Robert Southey, Collected by Himself, 10 vols (London, 1837–8) QR Quarterly Review Ramos The Letters of Robert Southey to John May: 1797–1838, ed. C. Ramos (Austin, Texas, 1976) RES The Review of English Studies RL Robert Lovell Robberds J. W. Robberds, A Memoir of the Life and Writings of the Late William Taylor of Norwich, 2 vols (London, 1843) RS Robert Southey Simmons Jack Simmons, Southey (London, 1945) STC Samuel Taylor Coleridge Storey Mark Storey, Robert Southey. A Life (Oxford, 1997) SWL Saffron Walden Library TCK The Curse of Kehama TCR The Critical Review TER The Eclectic Review TMM The Monthly Mirror TS Thomas Southey Warter J. W. Warter (ed.), Selections from the Letters of Robert Southey, 4 vols (London, 1856) WC The Wordsworth Circle WS Walter Scott WSL Walter Savage Landor WT William Taylor WW William Wordsworth

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ROBERT SOUTHEY: A SELECTIVE CHRONOLOGY

The following chronology deals only with works included in this edition. There is a complete listing of Southey’s published volumes (poetry and prose) in Sto- rey, pp. 385–7. There is, however, no complete listing of his contributions to newspapers and magazines. Details of reviews of individual works can be found in: Antonia Forster’s Index to Book Reviews in England 1775–1800 (London, 1997); William S. Ward, Literary Reviews in British Periodicals 1798–1820, 2 vols (New York and London, 1972); and Literary Reviews in British Periodicals 1789–1797 (New York and Lon- don, 1979).

1774 12 August: born in Bristol. As a child, he develops ambition to be a poet and produces vast quantity of juvenile verse

c. 1789 whilst at Westminster School, writes an outline of Prince Madoc’s history, starts and abandons two prose versions of the story

1792 April: expelled from Westminster for publishing an essay describing flogging as the invention of the devil in The Flagellant, a magazine founded by himself and a group of school friends November: matriculates at Balliol College, Oxford, leaves in 1794 without taking a degree

1793 July: prepares an outline of epic poem, Joan of Arc, collects source materials and writes part of Book I of the first version 13 August–late September: completes twelve book version of Joan whilst staying in Brixton with GCB and his family c. 7 November–22 December: makes a fair copy of the MS of Joan, incorporating a few changes and notes. He also sorts through his literary papers, destroying many early works although preserving and copying others

1794 early: with RL plans two jointly authored volumes of poetry (‘Val- entine’ and ‘Orson’, and ‘Bion’ and ‘Moschus’) June: RS meets STC in Oxford

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Robert Southey: Poetical Works 1793–1810 – Volume 1

July 19: with RL visits the Bath publisher Richard Cruttwell. He agrees to publish Poems (1795) and Joan by subscription summer: collects subscribers for Joan and probably revises it with RL; possibly begins work on one-and-a-half-book Madoc September: publishes two poems in the Morning Chronicle November: JC offers to publish Joan, negotiations continue until early 1795 December: Poems (1795) published by Cruttwell

1795 before May: works on one-and-a-half-book Madoc May: begins complete revision of Joan, which continues until October-November. Helped by STC in Books I–IV 14 November: marries Edith Fricker and on following day leaves for visit to Spain and Portugal, gives a MS of Joan to JC December: first edition of Joan published by JC

1796 26 February: declares intention to revise second edition of Joan 12 June: by this date RS has begun to plan and note down changes to Joan (1796), but the work does not advance very far July: begins to contribute to the Monthly Magazine (until April 1800) 31 July: plans poem on ‘Destruction of the Dom Daniel’ (later Thalaba, the Destroyer) December: Poems (1797) published by JC

1797 publishes Letters (1797) and second edition of Poems (1797) 22 February: begins work on new version of Madoc, originally intended to be in twenty books; this is eventually amended to fifteen. Starts by revising one-and-a-half-book Madoc of 1794–5 2 May: engaged in ‘much labour’ in revising Joan, after JC calls for a second edition c. 4 May: JC asks for second edition of Poems, RS makes some changes and the volume appears later in the year 25 May: James Losh sees MS of Madoc, probably Books I–II of the 1797–9 version 28 June: receives a copy of Chapelain’s Pucelle from JM to help in recasting Joan (1796) 19 July: by this date RS decided to remove Joan (1796), Book IX, which he eventually reworks into separate poem, ‘Vision of the Maid of Orleans’. Asks his friends to search out new notes for the poem 20 October: by this date most of the revisions to Joan complete 2 November: second edition of Joan at press

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Chronology

1798 January: begins to contribute poems to the Morning Post (until December 1799 and then from September–December 1801 and February–December 1803) before 28 April: corrects final proofs of second, heavily revised edition of Joan, which appears shortly afterwards 15 August: plans poem on the ‘Garden of Irem’ (Thalaba, Book I) 29 August: outline of ‘Dom Daniel’ almost complete summer–autumn: plans Annual Anthology 3 December: working on 1797–9 Madoc, Book IX

1799 publishes revised and expanded Poems (third edition of Vol. I and first of Vol. II), Letters (1799) and first volume of Annual Anthology 11 July: finishes fifteen-book version of Madoc, but does not plan to publish it immediately. Copy sent to TS and poem circulates in Bristol 13 July: begins Thalaba at CD’s house in Bristol July–August: reconciliation with STC leads to collaboration on ‘The Devil’s Thoughts’ and ‘Mohammed’ 6 September–23 October: completes Thalaba, Book II and writes Books III and IV, original title of ‘Dom Daniel’ dropped by 22 September, when RS is in Exeter gutting local libraries for oriental sources 24 October: begins Thalaba, Book V 29 November: RS tells JM he will soon begin correcting Madoc (1797–9) 21 December: finishes Thalaba, Book V 23 December: Thalaba, Book VI begun 27 December: notes for Thalaba completed by this date. RS asks STC to help find a publisher for the poem

1800 publishes revised Poems, second edition of Vol. II, and second volume of Annual Anthology 1 January: offers to send copy of Thalaba to STC 2–21 January: finishes Thalaba, Book VI and works on Books VII–VIII 27 January: Thalaba expanded to twelve rather than the original plan for ten books late January–19 April: break in RS’s work on Thalaba 14 April: leaves Bristol en route for Portugal (where he stays until June 1801). Copy of Thalaba, Books I–VIII left with CD, as is copy of Madoc. Takes with him a MS of Madoc and immediately recommences work on Thalaba, beginning with Book IX

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Robert Southey: Poetical Works 1793–1810 – Volume 1

28 May–10 July: finishes Thalaba, Book IX and works on Books X–XII, also revises early parts of the poem 23 July: by this date Thalaba complete and undergoing revision October: sends MS of Thalaba to JR, who is to negotiate with Longman over its publication. Further copies sent to CW and TS 30 December: redrafted version of Thalaba, Books XI–XII sent to CW

1801 publishes revised Poems, fourth edition of Vol. I and offers Long- man chance to publish one of Madoc or TCK 15 February: further redrafting of Thalaba, Books XI and XII sent to CW 28 March: Thalaba at press, printing being overseen by CD 1 May: begins TCK, originally titled ‘Curse of Keradou’ 6 June: sketches new ideas for Part II of Madoc c. July: first edition of Thalaba published 29 October: by this date RS is revising Madoc, has rewritten Book I and part of Book II

1802 October: begins to send drafts of TCK to GCB

1803 September: moves to Greta Hall, Keswick, after death of his daughter, Margaret. It will remain his home for rest of his life. Is ‘out of humour’ with TCK October: continues work on revisions to Madoc November: contributes poetry to Norwich newspaper The Iris (until July 1804)

1804 resumes work on TCK February: Longman agrees to publish Madoc. 22 July: Madoc at press by this date, although RS’s revisions continue 29 October: completes poetic text of Madoc 23 November: notes and preliminary ‘exordium’ to Madoc still incomplete

1805 Metrical Tales published 8 February: finishes work on proofs of Madoc March–April: first edition of Madoc published, RS dissatisfied with it 24 March: informs CW that TCK ‘very much altered – and rhyme very frequently introduced’ early May: sends CW a new draft of TCK Book I, ‘berhymed’ 12 May: seeks GCB’s opinion of the draft sent to CW

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Chronology

25 August: begins to plan series of unrealised changes to Madoc

1806 third edition of Joan published, with some revisions. Also publishes revised third edition of Poems, Vol. II 27 June–8 July: RS sends copies of TCK, Books I–IV to WT

1807 publishes second, two-volume, edition of Madoc, with minor revisions April: contributes sonnet on Lord Percy to The Courier

1808 publishes revised fifth edition of Poems, Vol. I and third edition of Letters April: meeting with WSL in Bristol rekindles RS’s enthusiasm for TCK, which has stalled 17 May: begins TCK, Book VII. Work on the poem continues through 1808 and 1809 29 June: RS admits that he has only made profits of £25 from Thalaba 12 October: first edition of Thalaba sold out by this date. Long- man calls for a second 18–29 October: sends CW drafts of TCK, Books VII–VIII 29 December: writes to Anna Seward including a draft of TCK, Book I

1809 second, revised, reformatted edition of Thalaba published May: agrees to write the historical section of the newly-founded Edinburgh Annual Register for £400pa, he also contributes poetry to it (until 1811) 25 November: finishes first twenty-four-book MS of TCK

1810 29 January: receives first proofs of TCK 26 March: TCK ‘half-printed’, but the remaining half still needs to be corrected December: TCK published, RS notes a number of printing errors

1811 publishes second edition of TCK

1812 fourth edition of Joan published: analysis of Chapelain’s Pucelle removed and extensive new notes from Johnes’s translation of Monstrellet added. Publishes third editions of Madoc and TCK

1813 October: appointed Poet Laureate

1814 publishes revised third edition of Thalaba

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Robert Southey: Poetical Works 1793–1810 – Volume 1

1815 publishes fourth edition of Madoc with minor revisions. Collects and reorganises a selection of his shorter poems, published in three volumes as Minor Poems, includes only three previously unpublished pieces

1817 fifth edition of Joan published

1818 publishes fourth edition of TCK

1821 publishes fourth edition of Thalaba

1823 publishes second edition of Minor Poems

1825 publishes fifth edition of Madoc

1837 September: sixth, much revised, edition of Joan published in PW, Vol . I 16 November: death of wife, ES November–December: revised versions of selected shorter poems published in PW, Vols II–III

1838 January: revised fifth edition of Thalaba published as PW, Vol. IV February: revised sixth edition of Madoc published as PW, Vol. V March: revised versions of further selected shorter poems published as PW, Vol. VI May: revised fifth edition of TCK published as PW, Vol. VIII

1839 June: marries CB. RS’s health starts to fail

1843 21 March: dies after long illness

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MANUSCRIPT CONVENTIONS

Unless selection is specified, manuscripts selected for transcription are provided in full. Folio numbers and indication of verso (abbreviated as ‘v.’) or recto (abbreviated as ‘r.’) are provided by the editor in square brackets at the head of each manuscript page. Hence [1r.] would represent the recto side of the first leaf and [1v.] would represent the verso of the same. No attempt is made to reproduce the arrangement of text on the page but folios may be divided into sections depending on Southey’s use of columns (abbreviated as ‘c.’) or transverse sections (abbreviated as ‘t.’) of the page. The following diagram represents some typical sectioning of pages:

[1c.] [2c.] [1t.] [1c.1t.] [2c.1t.]

[2t.] [2t.]

[3t.] [3t.]

Where legible, readings of cancelled matter are provided. These are shown as scored through with a single line thus: cancelled matter. No attempt is made to represent the nature, emphatic or otherwise, of Southey’s cancellations, which are sometimes lightly scored out and at others more heavily scratched out. Where a limited number of characters are illegible these are indicated in bold let- tering by xxx, each bold x denoting an illegible character.

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Robert Southey: Poetical Works 1793–1810 – Volume 1

Two or more illegible words or other illegible material are indicated thus {[Five illegible words/ Illegible line heavily scored out etc.]}. A stain, tear or other damage completely obliterating text is indicated thus {[stain/tear etc.]}. Insertions are indicated by enclosure in curly brackets thus { }. Readings deemed to be probable are given in angle brackets thus < >. Line endings for textual and manuscript variants shown below the reading text are indicated by a single oblique slash thus /; stanza endings by doubles slashes thus //. Any editorial comments or additions are signalled in square brackets thus [ ].

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GENERAL INTRODUCTION

Amongst the Dead? Southey’s Reputation

In 1818 the controversial Poet Laureate, Robert Southey, observed that most of his time was spent in his library surrounded by the works of dead authors:

1 My days among the Dead are past; Around me I behold, Where’er these casual eyes are cast, The mighty minds of old; My never-failing friends are they, With whom I converse day by day. 2 With them I take delight in weal, And seek relief in woe; And while I understand and feel How much to them I owe, My cheeks have often been bedew’d With tears of thoughtful gratitude. 3 My thoughts are with the Dead, with them I live in long-past years, Their virtues, their faults condemn, Partake their hopes and fears, And from their lessons seek and find Instruction with an humble mind. 4 My hopes are with the Dead, anon My place with them will be, And I with them shall travel on Through all Futurity; Yet leaving here a name, I trust, 1 That will not perish in the dust.

Whilst for Southey the dead provided unfailing companionship and moral exem- plar, ‘My days among the Dead are past’ could be seen as an unconsciously ironic commentary on his own posthumous fate. Southey was born in Bristol in 1774 xxi Southey 1- Gen Intro.fm Page xxii Tuesday, April 6, 2004 1:41 PM

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2 and died in Keswick in 1843. To his contemporaries, he was a major figure, a writer who was involved in many of the key disputes of the period, as the leader of the radical ‘New School’ of the late-1790s and later as a key member of the ‘Lake School’, as a bastion of the Tory Quarterly Review from 1809 and as Poet Laureate from 1813. The subject of numerous parodies and attacks, he was an author of literary and political significance whom contemporary writers, reviewers and readers of poetry and prose, literature and history, travel writing and 3 biography found it difficult to ignore. Yet although he was described by Byron, probably not without irony, as ‘the only existing entire man of letters’, Southey’s reputation has not endured the 4 vicissitudes of literary history and literary fashion. Excluded from the romantic canon, the contrast between his contemporaneous and posthumous fame is stark. From being seen in his own lifetime as on a par with his direct contemporaries Wordsworth and Coleridge and as an important influence on a rising generation of ambitious writers which included Shelley and Byron, Southey became and still essentially remains the least well known of the ‘Lake School’. Inevitably, lack of interest in his writings also impacted on the actual texts of those works. As the last lifetime edition went out of print in the closing decades of the nineteenth century, his poetry became increasingly inaccessible and the true extent and range of his writings forgotten. Matters did not improve in the twentieth century, which saw only one detailed and significant attempt to rethink the Southey 5 canon. It was a depressing situation summed up by Michael Rossington: The lack of a modern scholarly edition of the complete poetical works of Southey makes for a profoundly frustrating state of affairs for the reader 6 who seeks to understand the significance of the work in its time. Rossington is correct in noting the impact of editorial neglect on Southey’s reputation, both now and in the past one hundred or so years. With collected editions of his poetry out of print and no freshly edited ones forthcoming, he was for most of the twentieth century virtually dead as an author, known only for a handful of lyrics (including ‘My days among the Dead’), a controversial review of Lyrical Ballads (1798), his Life of Nelson (1813), one admonitory letter to the 7 young Charlotte Brontë and the nursery tale ‘The Three Bears’. Moreover, although he was never entirely forgotten, he increasingly came to occupy an unenviable place in the margins of romantic period literary history: condemned as a political turncoat, dismissed as a writer deficient in imagination and portrayed as the very antithesis of the high romanticism endorsed and embodied by contemporaries such as Coleridge and Wordsworth. This combination of critical animus and partial neglect and the literary-political motivations that lay behind it was summed up by Kenneth Curry as long ago as 1966: ‘Southey has often been the target for depreciatory criticism whose purpose has been to enhance at his 8 expense another author or group of authors’. Fortunately, this is no longer the case. Within recent years, debates about the content, formation and politics of the romantic canon have begun to have a dra- xxii Southey 1- Gen Intro.fm Page xxiii Tuesday, April 6, 2004 1:41 PM

General Introduction

matic impact upon the critical reputation of the most neglected member of the ‘Lake School’. It has long been recognised that Southey was something of a hybrid. He was simultaneously like and unlike his canonical contemporaries. For example, he shared Wordsworth and Coleridge’s youthful radical politics and their interest in generic and linguistic experimentation but failed to produce a high romantic manifesto in either poetry or prose along the lines of the ‘Prefaces’ to Lyrical Ballads or the Biographia Literaria (1817). The expansion of the canon has brought with it both acknowledgement of the diversity of writing in the late- eighteenth and early-mid-nineteenth centuries and the critical vocabularies with which the radical difference between canonical and non-canonical authors can be accommodated. The revival of interest in neglected writers has seen Southey transformed into an author worth reading. Moreover, increasingly viewed as a bridge between these old and new versions of romanticism, as someone who united elite and mass market cultures (epic with popular ballads, history with revelatory biographies), he has become potentially an important figure. As the work of Marilyn Butler, Tim Fulford, Nigel Leask, Nicholas Roe and Mark Sto- rey demonstrates, the richness and complexity of his own productions and his ability to complicate and reconfigure more conventional versions of English 9 romanticism and of national literary history in general are being acknowledged. With, however, the caveat that so far critical attention has largely focused on his two oriental romances, Thalaba and Kehama, and his problematic epic, Madoc. Yet although critical interest in Southey – and his significance for a reconsideration of romantic period writing – continues to increase, it is still bedevilled by lack of materials to work with and lack of knowledge of the development of his works. Indeed, he continues to exemplify Butler’s observation that ‘if you are a 10 dead author and not in the canon you are probably not in print’. Whereas his immediate canonical and non-canonical, male and female contemporaries have attracted the attention of modern scholarly editors, the growing number of students of Southey have been forced to rely on the heavily revised, self-canonising Poetical Works (1837–8) or on the earlier editions found only in major research libraries. Lacking the editorial apparatus of a critical edition, these inhibit work on important issues such as Southey’s revisions or on his sources. Moreover, current research has yet to engage in an extended fashion with the fact that many of Southey’s poems were heavily revised before publication, let alone after it, and that these earlier, unpublished versions still exist in manuscript form. Nor does it sufficiently allow for the existence of a number of poems either published by him but not included in the collected edition of 1837–8 or not previously attributed to him. The lack of a modern critical edition has, therefore, seriously hampered work on the development of individual poems, of Southey’s poetry as a whole and of his intersections with his contemporaries. At present, although increasingly recognised as an important writer, he is a kind of ‘missing link’ in contemporary romantic studies. This edition helps to transform this situation, restoring him to his rightful prominence as a poet and allowing a fresh assessment of his achievements.

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It is important to remember that Southey’s reputation amongst his contemporaries was founded on his prolific output. Between 1795 and 1810 he published nine new individual poems or collections of verse. All but one of these went into 11 a later edition. Further poems appeared in newspapers and periodicals or in volumes issued by Southey’s friends and were never collected by him. If we add to this new poems published after 1810 and also his prose writings, the scale of 12 his endeavours becomes apparent. Yet although there was a great deal of it, Southey’s work, like that of his fellow ‘Lake poets’, never rivalled the best-selling status of Byron or Scott. Indeed, during his lifetime, sales of his poetical works were characterised by their inconsistency. To take three of the poems included in this edition, Kehama significantly outsold the earlier oriental romance Thalaba, whilst Madoc sold poorly in comparison to a prose work such as Letters from Eng- 13 land. This pattern continued into the latter half of his career. A topical poem 14 such as The Poet’s Pilgrimage to Waterloo sold quickly. All of the 2,000 copies (a large print run for a poem by Southey) were sold within a month or so of their publication in April 1816, making the Laureate a tidy profit of £215, 17s and 4d. Roderick, the Last of the Goths, his fifth and final long poem, also sold well. The 500 copies of the quarto first edition of September 1814 sold out within months, and the poem went through three further editions (of 1,500, 2,000 and 2,000 copies respectively) between April 1815 and February 1816. In contrast, even Byron’s coruscating satire did not assist the sales of A Vision of Judgment and, of the 500 copies printed by Longman in March 1821, some 103 were still 15 unsold in June 1829. A prolific, but patchily selling, poet, Southey was also conscious of his own posterity. In the final years of his long writing life he made one last attempt to review his poems and to set his literary house in order by issuing a collected edition of his Poetical Works. As he explained to Mrs Hodson in a letter of 1 March 1837: In preparing this collective edition I am doing for myself, what no one could so well have done for me hereafter. It is in some degree like setting one’s house in order, and brings in review before me the greater portion of my life (NL, Vol. II, p. 466). The edition was notable for what it excluded as well as for what it published. It concentrated on works which had appeared in previous collections, thus largely overlooking his newspaper and periodical verse and contributions to works by friends, such as the Cottle brothers. Moreover, although it included the controversial play Wa t Ty l e r, probably because its notoriety meant that it was not safe to exclude, the edition omitted early political poems such as ‘To the Exiled Patriots’. Published by Longman in ten duodecimo volumes, the last lifetime edition of Southey’s poetry appeared between September 1837 and July 1838. In fact, as Fig. 1 illustrates, it sold slightly better than either author or publisher expected,

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with reprints of the earliest volumes called for within months of their appearance and with the print runs of the later ones being increased accordingly.

Fig. 1 Print runs for Poetical Works, 10 vols (1837–8) 1837–54.

Source: University of Reading, Longman Archive, Impression Books, vols 10–12.

PW, Vol. no.: Date of publication No. of copies printed I September 1837 1,500 November 1837 750 January 1841 250 August 1843 250 November 1846 250 May 1852 250 August 1853 250 May 1855 250 II November 1837 1,500 April 1838 500 October 1840 250 August 1843 250 June 1847 250 June 1853 250 December 1853 250 III December 1837 1,500 April 1838 500 January 1841 250 May 1844 250 December 1848 250 August 1853 250 December 1853 250 IV January 1838 1,500 April 1838 500 October 1840 250 April 1842 250 March 1846 250 August 1849 250 May 1852 250 December 1853 250 V February 1838 1,500 August 1838 500 January 1841 250 August 1843 250 xxv Southey 1- Gen Intro.fm Page xxvi Tuesday, April 6, 2004 1:41 PM

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January 1844 250 March 1846 250 January 1851 250 December 1853 250 September 1854 250 VI March 1838 1,500 November 1841 250 May 1844 250 December 1853 500 VII April 1838 1,500 April 1842 250 June 1850 250 December 1853 250 VIII May 1838 2,000 October 1840 250 April 1842 250 May 1844 250 June 1846 250 June 1850 250 December 1853 500 IX June 1838 2,000 October 1840 250 April 1842 250 August 1843 250 October 1845 250 May 1848 250 May 1851 250 December 1853 250 March 1854 250 X July 1838 2,000 September 1842 250 October 1845 250 May 1851 250 March 1854 250

In 1844, a year after Southey’s death, Longman produced a one-volume reprint of the Poetical Works, and in 1845 followed this with an entirely new collection, which included his incomplete ‘New England’ poem, ‘Oliver Newman’, and a 16 selection of other posthumous remains. Its editor was Herbert Hill, Southey’s first cousin and son-in-law, and the volume was dedicated to William and Mary 17 Wordsworth. Longman printed 1,000 copies, of which 338 were sold and 29 18 dispatched to the editor, subscribers and journals between 1845–7. ‘Oliver

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Newman’, along with the rest of the collection, was rapidly incorporated into an expanded one-volume edition of the Poetical Works which appeared in 1847, with 19 reprints in 1850, 1853 and 1873. It was not the only posthumous volume to appear in the 1840s. The feud over Southey’s second marriage to the writer Caroline Bowles resulted in the Edinburgh firm of Blackwoods producing another, ‘rival’ edition to the Longman one – Robin Hood and Other Poems – in 20 1847. The collection, edited by Southey’s widow, contained three works by him (his contributions to the romance ‘Robin Hood’, ‘The Three Spaniards’, and ‘March’, the latter having already appeared in the Morning Post on 5 March 1798); the remaining 220 pages of the volume were by Bowles. Moreover, undoubtedly because of issues concerning their legal ownership and copyright, these poems were never incorporated into any other collection of his works. The competing posthumous editions, neither of which sold especially well, 21 indicate a fragmentation of Southey’s posterity. This was also reflected in other editions of the late-nineteenth and early-twentieth centuries. Certainly, collections of Southey’s poetry continued to appear, their texts based on that of the last lifetime edition. However, these were always heavily selected. For example, Joan of Arc, Ballads, Lyrics and Minor Poems, published in the 1870s in Routledge’s ‘British Poets’ series, printed the ten books of blank verse from Joan in full, along with a good selection of the pieces included in volumes two, three and six of the 1837–8 edition, but excluded Madoc, Thalaba, Kehama and Roder- 22 ick, the Last of the Goths. It did at least make some attempt to reproduce Southey’s notes to Joan, though it reprinted these in part, excluding foreign language materials and concentrating on notes which explained historical features in the poem such as weapons and battles. Other late-nineteenth-century editions did not follow this example, printing extracts from the longer poems without 23 Southey’s notes to them, thus fundamentally altering the text. An increasingly fragmented and impoverished textual situation was exacerbated by the fact that by the end of the century the collected edition of 1837–8 and the one-volume reprints were out of print and their replacement, Maurice Fitzgerald’s still widely-used edition of 1909, did not substantially advance knowledge of 24 Southey’s texts. It lacked the notes to the longer poems, and relied upon the 1837–8 edition for its copy text. It omitted Joan entirely, acknowledging the difficulties of presenting a reading text that did justice to Southey’s first major 25 publication. Moreover, it did not depart from the canon established in the 26 1837–8 Poetical Works.

This Edition: Copy Text, Variants and Manuscripts

This edition addresses 150 years of editorial neglect of Southey. Centring on the period 1793–1810, when his reputation as a poet and controversialist was established, it constructs for the first time an accurate corpus and offers freshly

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edited, annotated reading texts of his poetry from this crucial stage of his career. The five volumes cover both his longer and shorter works, ranging from his first publication, a newspaper sonnet ‘To the Nettle’, to the oriental extrav- gancies of Kehana and the epic revisionism of Madoc. The first modern critical edition of Southey, it is also the first major collection of his poetry to appear since Fitzgerald’s and the first multi-volume edition since his own ten-volume collected Poetical Works (1837–8). Fortunately, Southey personally supervised the publication of the majority of his works. On rare occasions, as with Thal- aba, he delegated the supervisory role to trusted lieutenants. This means that he does not present the same issues of textual authority which confront editors of writers such as John Clare and Percy Bysshe Shelley. Moreover, the lack of previous interest in Southey means that the modern editor does not have to deal with poems encrusted with layers of earlier editorial intervention. How- ever, this does not mean that the choice of copy text is automatic or without problems. Southey was, as this edition demonstrates, a dedicated reviser of his poetry. Indeed, it is fair to say that his earlier works (e.g., Joan of Arc and some of the shorter poems) were extensively, sometimes repeatedly, rewritten. For example, Joan was altered substantially three times after its first publication in 1796. All posthumous editions of Southey have reproduced texts from the final, authorised lifetime edition of 1837–8, although more often than not the longer poems, Joan, Thalaba, Madoc and Kehama, were reprinted without their notes. The problem is that this reliance upon the last lifetime edition has obscured the processes of change and development that occurred before 1837– 8 and which often rendered earlier versions of individual poems substantially different from later ones. In turn, this lack of awareness of the development of individual texts has inevitably hampered criticism of Southey. It is, after all, not advisable when talking about Joan’s relationship to Southey’s radical views of the mid-1790s to rely on the massively rewritten version of 1837. Although facsimile editions of the first editions of some of the poems covered by this edition may seem to resolve this problem, they still leave an unfilled, but important, gap between the first and the last editions. How, for example, does Joan change between 1796 and 1837, when do those changes occur and what do they tell us? In order to facilitate work on the entirety of Southey’s career and to assist future scholars to address such questions, this edition has chosen to base copy texts on the first, authorised published edition of an individual poem. This has then been collated against all subsequent authorised lifetime editions (up to and including the Poetical Works of 1837–8) and also against surviving manuscripts. All textual variants have been recorded at the bottom of the page. The edition has not noted variants in accidentals (spelling and punctuation). Southey did not punctuate the manuscripts he supplied to the printers carefully, clearly expecting them to supply punctuation as appropriate. Southey and his printers were not consistent in providing line numbers to his poems (for example, they are found

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in the first edition of Joan but not in the second). Therefore, the only other editorial intervention to the poetic text is to supply line numbers. The only exception to the principles for copy text set out above is Joan, where the poem’s complex textual history, as well as the collaborative nature of the first edition, has made it necessary to provide two reading texts. This has the advantage of clarifying two key stages in the poem’s development and also allowing 27 them to be read in conjunction with one another for the first time. Copy text for the first reading text is based on the first edition of 1796, and the second on the next edition of 1798. However, in its treatment of variants, accidentals and Southey’s notes, Joan follows the principles laid out in this introduction. One of the major features of this edition is its inclusion of Southey’s notes to his poems, though it should be remembered that he only supplied a relatively small number of his shorter works with annotations. Southey was inconsistent – even between editions of individual poems and not just between different works – as to where these notes were placed. For example, those to Joan were sited at the bottom of the page in the 1796, 1798 and 1806 editions, but at the end of the poem in all subsequent ones. Conversely, the notes to Thalaba started life at the bottom of the page before migrating to the end of each book in the 1809 and all later editions. The main deviation from copy text in this edition has been to regularise this placement, putting all of Southey’s notes at the back of the poem (in the case of the shorter poems, where relatively few annotations are involved, at the end of the relevant section of the volume). This has the important advantage of separating the notes from textual variants, allowing for the development of the poem and of its notes to be seen both separately and also against one another. The results of this are frequently illuminating, revealing that at different stages of an individual poem’s history, Southey was capable of concentrating on separate sections of it, adapting notes as well as verse as he felt necessary. For example, the most extensive changes made to Joan in 1812 were the addition of numerous notes, thus taking into account contemporary developments in scholarship on the Maid of Orleans. Southey was not consistent in how his notes were keyed into the poetic text, at times expecting the reader to refer to a page number, at others to a stanza number. This edition has regularised this by referencing all Southey’s notes to the relevant line number within the poetic text. Southey’s oeuvre consists of more than the authorised lifetime editions. Sev- eral of his poems have also survived in manuscript and each volume of this edition contains information on and makes use of all relevant manuscripts. In certain cases there is a direct relationship between a surviving manuscript and a published version. For example, between the manuscript of Joan produced by Southey and Coleridge in 1795 and the poem published by Cottle at the end of that year, or between the surviving annotated copies of the 1796 and 1798 editions of Joan and the editions of 1798 and 1806 respectively. In these cases, manuscripts have been collated against the copy text and variants recorded as noted above. xxix Southey 1- Gen Intro.fm Page xxx Tuesday, April 6, 2004 1:41 PM

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This relationship is not, however, as obvious or direct in the case of all manuscripts. As this edition makes clear for the first time, some of the surviving manuscripts demonstrate that individual poems underwent massive changes before their initial publication. These changes are important for a fuller understanding of the development both of individual works and of their place in and relationship to Southey’s career as a whole. For example, Madoc started out as a (now lost) prose outline and went through one-and-a-half-book (1794–5) and fifteen-book (1797–9) incarnations before it appeared in 1805, whilst Kehama began life in 1801 as the fragmentary ‘The Curse of Keradou’. Whereas knowledge and discussion of variant manuscripts is standard in work on some romantic period writers, such as Wordsworth, this is not true of Southey. Indeed, this edition provides the first extensive and extended engagement with the manuscript histories of the poems he wrote and published in the first two decades of his literary career. In order to facilitate future scholarship on these it also supplies transcripts of either entire manuscripts (see for example ‘The Curse of Keradou’ (Volume 4, pp. 273–321) and the 1794–5 and 1797–9 versions of Madoc (Vol- ume 2, pp. 355–572)) or of relevant sections from manuscripts (see Volume 3, pp. 301–29). Further details about the treatment and presentation of manuscripts are found in The ‘Conventions for Manuscript Transcription’ (this volume, pp. xix–xx). As we have already seen in his handling of his notes, Southey was consistently inconsistent. His practice as a writer was marked by diversity, even within an individual poem. Any problems or issues that relate only to a specific published poem or manuscript and are not a general feature of his work (for example his handling of stanza breaks in Kehama) are dealt with in detail in the ‘Introduction’ to the appropriate volume.

Editorial Matter

The editorial matter in each volume includes an essay setting individual works within their literary, historical and critical contexts, headnotes, and editorial notes. The ‘Introductions’ to each volume outline the compositional and publication histories of individual poems, provide further information about their reception by both contemporary and later critics, and explore the implications of the new edition for future scholarship. Headnotes are used to provide further information on the development of the shorter poems and of more complex manuscripts. This edition is the first to pay detailed attention to Southey’s notes, a significant feature of his work, particularly of his longer poems. Critical debate about Southey’s poetry, especially the epics and romances, has been seriously impeded by the fact that neither he nor later scholars accurately identified his sources. This edition is the first to accord these notes the serious scholarly attention they merit. The editorial notes to each volume trace Southey’s annotations back to their sources, wherever possible referencing them to the volumes he actually read and indicating any adaptations he made of the original. A gifted linguist and an expert on the literature of the Iberian xxx Southey 1- Gen Intro.fm Page xxxi Tuesday, April 6, 2004 1:41 PM

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peninsula, Southey frequently included notes in other languages (e.g, Latin, Greek, French, Spanish and Portuguese) in his poems. This edition is the first to provide translations of these, thus allowing for a more complete understanding of their meaning and their place within his other annotations. The editorial notes therefore disclose the range and extent of Southey’s reading and the ways in which this impacted directly on his writing of poetry. The uncovering and documenting of his sources will also facilitate future scholarship on individual works and on their place in romantic period interest in the annotated poem (a fashion which Southey both reflected and helped to shape) and encourage a fuller understanding of romantic period engagements with narratives of travel and conquest, orientalism, history, religion, literature and politics to name but a few.

The Paradoxical Poet

The poems included in this edition cover a crucial period for Southey’s own career and for the foundation of romantic period culture. The edition’s five volumes will facilitate future work on the forgotten member of the ‘Lake School’ and on his intersections with the period which produced him and which he helped to shape. As well as helping to establish a Southey canon, they will allow for further explora- tion of his complex relationships with his contemporaries and of his revisionism in poetry and politics. Their revelation of Southey’s controversial and continuous experimentation with genres will assist further consideration of the diversity and complexity of romantic period engagements with ideas of poetic form, while the very different contexts in which the poems included here first appeared – in handsome quartos, but also in metropolitan newspapers and provincial magazines – highlights the diversity of romantic period print culture. Southey’s long writing life (his publishing career spanned 1794–1838) opens a window onto the world of the professional romantic-period writer. He was an author who negotiated increasingly tough deals with his publishers (including Cot- tle and Longman) and printers and was from the earliest days of his career conscious of, and subject to, the caprices of the literary marketplace. He was the consummate literary professional, able, as De Quincey so memorably observed, to 28 ‘find time for everything’. Yet his famed ability to allocate different parts of the day to separate literary tasks – rising at 5 am, reading Spanish from 6–8 am, French from 8–9 am and Portuguese from 9–9.30 am, writing poetry for two hours, then prose for two more and dealing with his voluminous correspondence after dinner – also allowed him to be many different kinds of writer at the same time. The result is that Southey blurs boundaries, especially those between the author and the critic, the writer and the reader. Moreover, he does so in ways which draw attention to the complexities and ambivalences of romantic period culture as a whole. There is no doubt that his refusal to be either one thing or the other – poet or critic, historian or mythographer – was deeply disturbing to many of Southey’s contemporaries. As John Ferriar mused in a review of his magnum opus Madoc (1805): xxxi Southey 1- Gen Intro.fm Page xxxii Tuesday, April 6, 2004 1:41 PM

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It has fallen to the lot of this writer to puzzle our critical discernment more than once. In the Annual Anthology, we had reason to complain that it was difficult to distinguish his jocular from his serious poetry; and sometimes indeed to know his poetry from prose. He has now contrived to manufac- ture a large quarto, which he has styled a poem, but of what description it is no easy matter to decide … The poem of Madoc is not didactic, nor ele- giac, nor classical, in any respect. Neither is it Macphersonic, nor Klopstockian, nor Darwinian, – we beg pardon, we mean Brookian. To conclude, according to a phrase of the last century, which was applied to ladies 29 of ambiguous character, it is what it is. Ferriar’s description applies equally well to Southey as it does to Madoc. He is what he is: a poet who overstepped conventional limits and seemed able to change his generic and political allegiances at will, a poet whose indeterminacy was puz- zling. Yet although Southey’s instability and refusal to be pigeonholed have often been seen as a serious flaw, this need no longer be the case. As the works included in this edition demonstrate, his indeterminacy and ability to cross boundaries is one of his greatest strengths. He was a major literary figure, deeply immersed in the literary culture of his day, who tried his hand at many different genres (from lyric to epic, ballad to oriental romance) and made use of a wide range of subject matter. Southey, through his experimentalism, eclecticism and intellectual cosmo- politanism, therefore opens up a culture characterised by curiosity, variety, conflict and hybridity – a world in which fascination with the domestic jostled with the exotic and the familiar co-existed with the bizarre.

Endnotes

1. PW, Vol. II, pp. 257–8. According to CCS, WW claimed that the poem ‘possessed a peculiar interest as a most true and touching representation of my father’s character’, L&C, Vol. V, p. 110 n. 2. The most recent biography is Storey. 3. For RS’s views on Francis Jeffrey, from 1802 one of his harshest critics, and his refusal to accept Walter Scott’s invitation to contribute to the Edinburgh Review, ‘chusing my own books, & expressing my own opinions’, see RS to STC, 9 December 1807, Houghton Library, Harvard, Autograph File. 4. Byron, entry in Journal, 22 November 1813, quoted in Madden, p. 157. Mad- den provides the most complete and accessible collection of contemporary and later nineteenth-century reactions to RS. 5. Curry’s CSMP added a significant number of new poems to the canon by identi- fying RS’s contributions to Daniel Stuart’s newspaper. Volume 5 of this edition attributes four new Morning Post poems to RS and firms up some of Curry’s con- jectural attributions. In addition, it attributes five new poems, all published in the Monthly Magazine, to RS. 6. Michael Rossington, ‘Poetry by Burns, Cowper, Crabbe, and Southey and other male authors’ in M. O’Neill, Literature of the Romantic Period: a bibliographical guide (Oxford, 1998), p. 200. xxxii Southey 1- Gen Intro.fm Page xxxiii Tuesday, April 6, 2004 1:41 PM

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7. The lyric was one of the most anthologised of RS’s poems in the late-nineteenth and twentieth centuries. RS’s review of [S. T. Coleridge and W. Wordsworth], Lyrical Ballads (London, 1798), was published in TCR, 24 (1798), pp. 197– 204. His The Life of Nelson, 2 vols (London, 1813), was one of his most success- ful publications. For RS’s advice to Brontë see his letter to CB, Easter Monday, 1837 in E. Dowden (ed.), The Correspondence of Robert Southey with Caroline Bowles (Dublin, 1881), p. 348. RS’s version of ‘The Three Bears’ was included in his hybridised novel The Doctor, 7 vols (1834–7). 8. K. Curry, ‘Robert Southey’ in C. W. Houtchens and L. H. Houtchens (eds), The English Romantic Poets and Essayists: A Review of Research and Criticism, 2nd rev. edn (New York, 1966), p. 173. 9. See for example, Marilyn Butler, ‘Repossessing the past: the case for an open literary history’ in Marjorie Levinson, Marilyn Butler, Jerome McGann and Paul Hamilton (eds), Rethinking Historicism: Critical Readings in Romantic History (Oxford, 1989), pp. 64–84; and ‘Plotting the Revolution. The Political Narra- tives of Romantic Poetry and Criticism’ in Kenneth Johnston, Gilbert Chaitin, Karen Hanson and Herbert Marks (eds), Romantic Revolutions: Criticism and Theory (Bloomington and Indianapolis, 1990), pp. 133–57; Nigel Leask, British Romantic Writers and the East: Anxieties of Empire (Cambridge, 1992); Storey’s biography of RS; Nicholas Roe, ‘Robert Southey, Pantisocracy and the Poet’s Myth’ in The Politics of Nature, 2nd edn (Basingstoke, 2002), pp. 43–67; Tim Fulford, ‘Poetic Hells and Pacific Edens’ in Lynda Pratt (ed.), ‘Robert Southey, Writing and Romanticism’, special issue of Romanticism on the Net (forthcoming). 10. Butler, ‘Repossessing the Past’, p. 70. There are, indeed, no collected editions of RS’s letters or prose works. 11. Poems (1795); Joan of Arc (six editions); Poems (five editions of the first volume and four of the second); The Annual Anthology (two editions); Thalaba the Destroyer (five editions); Madoc (six editions); Metrical Tales (one edition); The Curse of Kehama (five editions); and Minor Poems (three editions). These figures include the poems’ publication in PW (1837–8). 12. For a listing of RS’s later works see Storey, pp. 386–7. 13. Of the 500 copies of TCK published in 1810, only eighty-six remained unsold by June 1811, University of Reading, Longman Archive, Joint Commission and Divide Ledgers, D1, p. 274. For the sales of Thalaba see Volume 3, ‘Introduc- tion’, pp. xx–xxi and Madoc and Letters from England, 3 vols (London, 1807) see Volume 2, ‘Introduction’, pp. xxiv–xxv. 14. RS, The Poet’s Pilgrimage to Waterloo (London, 1816). 15. RS, A Vision of Judgement (London, 1821). All figures for Vision and Poet’s Pil- grimage are taken from the Longman Archive, Joint Commission and Divide Ledgers. 16. RS, Oliver Newman: A New–England Tale (Unfinished): with Other Poetical Remains (London, 1845). ‘Oliver Newman’ tells the story of the emigration of Oliver (son of the English regicide Colonel Goffe) to New England and his involvement in King Philip’s War (1675–6). RS’s ‘New England’ work (originally called ‘Oliver Goffe’) had a long history. Projected in 1809–11, he had drafted an outline of it by late 1814, begun writing early in 1815 and worked on it intermittently until September 1829, NL, Vol. II, p. 5 and n. 2; Warter, Vol. II,

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pp. 387–90, 392. Although he had intended to complete and publish it in his own lifetime, it remained unfinished at the time of his death, with just over nine books of the planned twenty-one finished. The volume also included ‘Moham- med’ (see Volume 5, pp. 474–7), album verses to Bertha Southey and Rotha Quillinan, metrical arrangements of scripture, a translation from Luis Martin, ‘Imagination and Reality’, and a series of ‘Fragmentary Thoughts’ occasioned by the death of RS’s son Herbert in 1816. John Wood Warter, who was married to Southey’s eldest daughter, Edith May, objected to the inclusion of these ‘minor Poems’ on the grounds that they had been ‘purposely excluded from the Col- lected Edition by the Author himself ’, J. W. Warter to John May, 29 December 1845, Bodleian Library, Oxford, Eng. Lett. c. 290, f. 143. 17. Hill’s father was RS’s uncle, Herbert Hill, and his wife RS’s daughter, Bertha. For the dedication see, Oliver Newman [unpaginated]. 18. Longman Archive, Joint Commission and Divide Ledgers, 4D, p. 531. 19. RS, Poetical Works, Complete in One Volume (London, 1847). 20. Caroline Southey and RS, Robin Hood, A Fragment; and Other Poems (London, 1847). Blackwoods printed 1,000 copies of Robin Hood and by 1856 some 671 of these remained unsold (National Library of Scotland, Blackwood Archive, MS 30857, Publication Ledger 11, p. 169). ‘Robin Hood’ originated in RS’s plan for a ‘pastoral epic’, CB, Vol. IV, pp. 11, 17. It later became a collaborative project shared between him and CB, though eventually abandoned, Robin Hood, pp. [vii]–ix. 21. For a discussion of the editions and their impact on RS’s reputation, see Lynda Pratt, ‘Family Misfortunes: the Posthumous Editing of Robert Southey’ in Lynda Pratt (ed.), Robert Southey and the Contexts of English Romanticism (forthcoming). 22. RS, Joan of Arc, Ballads, Lyrics, and Minor Poems (London, undated c. 1874). 23. See for example, The Poets of Lakeland. Southey. Containing the Curse of Kehama, Minor Poems, and Extracts. With a Memoir of the Author by Herman Prior (Lon- don and Windermere, 1872); Selections from the Poems of Roberts Southey. Edited, with Biographical and Critical introduction by Sidney R. Thompson (London, 1888). 24. Maurice Fitzgerald (ed.), Poems of Robert Southey (Oxford, 1909). 25. Ibid., p. ix. 26. Fitzgerald did, however, list the poems published in Robin Hood amongst the works not included in his own edition (Fitzgerald, p. 744). 27. For the significance of this, see Rossington, p. 200. 28. Thomas De Quincey, ‘Lake Reminiscences, From 1807 to 1830. By the English Opium-Eater: no. iv, William Wordsworth and Robert Southey’, Tait’s Edinburgh Magazine, 6 (1839), quoted in Madden, p. 411. 29. MR, n.s. 48 (1805), quoted in Madden, pp. 102–3.

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INTRODUCTION

Virgin of Orleans, oft thy minstrels eye Has loved thy course thro fields of blood to trace, When waved the lillied flag in conquest high And thy fallen foes retreated with disgrace Ill-fated heroine round that lovely frame That breast too firm in fortitude to fear, The hangman reard around the unwilling flame And sternly softened to a maiden tear. Yet heaved not then her bosom with the sigh Nor faultered then the maidens parting breath But pleasd in Freedoms glorious cause to die She saved her country & she smild at Death. Oft oer thy lovely form the Bard shall bend. 1 Whilst Memorys grateful hour recalls the absent friend.

In an unpublished sonnet, Southey recorded his attraction to the story of Joan of Arc, the warrior-heroine who saved France from English invaders but was eventually captured and, in 1431, burned at the stake by her enemies. His preoccupation with the ‘Maid of Orleans’ was generated by the radical politics of his early youth, his discontent with the machinations of the British state and his support for the revolution in France. Joan was the subject of the epic poem with which Southey made his name in 1796 and to which he was to return through- out the remainder of his working life, remoulding and revising it until its final inclusion in his Poetical Works in 1837–8. It was a work which – for good or ill – helped to shape his writing life.

Composition and Publication History

Southey began work on what was to become his first major publication in July 1793, inspired by his conversations with an ‘intimate friend’, Grosvenor Charles Bedford. His conviction that ‘the adventures of this extraordinary woman’ were ‘well adapted for an Epic Poem’, provided the chance of fulfilling a childhood ambition to enter ‘the Elysium of the Poets’, especially ‘that more sacred part … in which Homer, Virgil, Tasso, Spenser, Camoens, and Milton were assembled’

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(RS to JM, 29 June, 1824, L&C, Vol. I, p. 120). Indeed, although only eighteen years old when he started Joan, Southey was an old hand at the epic. He had already dabbled with a series of heroic subjects from British history (Brutus, Richard III and Egbert, King of Wessex) and had formulated a plan to write about the legendary Welsh prince Madoc, a project which was eventually to result in his problematic ‘magnum opus’ (L&C,Vol. I, pp. 118–19; see Volume 2 of this edition). Joan was, however, to mark a radical departure; rejecting the male, royal, British heroes of his earliest productions in favour of a female, labouring class, and above all French, subject. As he explained to Bedford, his intention in this new work was to ‘allot the Genius of Liberty to defend the French from Ambition – Hatred – Slaughter and England’ (RS to GCB, 14 July 1793, NL, Vol. I, p. 28). By mid July 1793 Southey had completed the ‘most tiresome part’ of his labours, ‘collecting and arranging materials’, and was confident in his ability to write blank verse and to handle what he saw as the machinery necessary in an epic; to ‘people the airy vast with unembodied sprites’ (NL, Vol. I, p. 28). He also sent Bedford a ‘sketch’ of the poem: Dunois after his defeat by Fastolffe is carried off much wounded by his horse. Joan (what a poetical name!) heals him. Account of her mission. As they journey to Charles Dunois relates the transactions of the war. Meeting of the friendly fiends of England. Danger of the travellers. Tem- ple of Liberty. Vision of days unborn. Interview with Charles. Doctors of Theology examine her. Miracles at the tomb of Orlando. Consecration of her banner etc. The dreadful situation of Orleans related by a female fugitive. Joan enters Orleans in triumph. Strong sallies. Death of Salisbury and the Talbots. Joan wounded. Story of Theodore her lover. The Genii send Love to annoy Joan. Love of Dunois. Theodore slain in defending her. Fastolffes defeat. Talbot slain. Coronation at Rheims (NL, Vol. I, p. 28). Delayed by a vacation in Herefordshire and Worcestershire, by early August, when he arrived at the Bedfords’ home in Brixton for an extended visit, he had 2 written only 379 lines of the first book. Work resumed in earnest on the thirteenth of that month, the day after his nineteenth birthday, and by the time he 3 left Brixton some six weeks later the twelve-book first draft of Joan was finished. Its language and extensive use of supernatural machinery indicate that this first version of Joan is more closely allied to Southey’s juvenilia than to the period post-1794, when he began to develop his more mature voice. However, there is no doubt that it was a considerable achievement, demonstrating its author’s ability to sustain a narrative and his determination to make a name for himself by challenging literary convention. Yet whilst he was satisfied with this first draft, Southey made no attempt to publish it, explaining that it was after all 4 merely ‘the amusement’ of his leisure hours and never ‘design’d for publication’. Instead, between 7 November and 22 December, he made a fair copy of the 5 poem, along with all the rest of his ‘verses that appear worth the trouble’. He

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incorporated into the new manuscript a prefatory ‘Argument’ to each of the twelve books, a number of notes (drawn from historical and literary sources, including David Hume, Edmund Spenser, William Chamberlayne and Raphael Holinshed) and a number of brief and lengthier emendations. In January 1794 Southey returned to his studies in Oxford and his still unpublished epic lay dor- mant – though not forgotten – until July of that year. By then, Southey’s ambitions for Joan were starting to take shape, perhaps catalysed by his meeting with another aspiring poet, Robert Lovell. On 19 July, having returned to Bath from Oxford, he paid a call on Richard Cruttwell. His reasons for choosing a local rather than a metropolitan publisher combined senti- ment and pragmatism. Cruttwell had issued the sonnets of William Lisle Bowles, one of Southey’s current literary heroes, and was also conveniently geographi- cally sited for an unknown provincial author whose stamping ground was Bath and Bristol. The ostensible purpose behind the visit was to persuade the publisher to take on his and Robert Lovell’s joint collection, Poems (1795). Another, entirely Southeyan, project was also discussed and Cruttwell agreed to publish ‘by Subscription, JOAN OF ARC, AN EPIC POEM, By ROBERT SOUTHEY, Of 6 Balliol College, Oxford’. Southey lost no time in canvassing potential buyers. By 1 August 1794 he had some fourteen names on his list, and in early September he asked an old friend to drum up further interest in the volume (RS to HWB, 1 7 August 1794, NL, Vol. I, pp. 65–6). Moreover, Southey was confident enough about the poem’s prospects to revise it. As he explained to Horace Walpole Bedford: Joan of Arc … occupies much of my time. Duppa will execute a vignette and frontispiece for me … [The volume] shall make a very handsome appearance, wove paper, hotpressed, frontispiece, vignette, dedication perhaps in sonnet, preface and notes. The poem will be very correct. I have taken infinite trouble, and it undergoes several revisions afterwards with Lovell. I am about to hymn the tale of Eustace St. Pierre at Charles’s court in the sixth book (NL, Vol. I, pp. 65–6). It is not clear if any revisions Southey and Lovell made to the poem in summer 1794 have survived (see Extant Manuscripts, pp. xlix–liii). But, within months, the former’s preoccupation with making it an aesthetically pleasing and also visu- ally impressive object led to a dramatic reconsideration of the terms under which it would be published, and indeed the publisher who would assume responsibil- ity for its appearance. In late 1794 Lovell introduced Southey to the poet and would-be Bristol publisher Joseph Cottle. The latter was smitten and, having heard Southey read ‘several books’ of Joan, immediately offered to publish it in a 8 quarto edition, paying him ‘fifty guineas’ and ‘fifty copies’ for his friends. Southey was in negotiations with Cottle by late November and although terms, which included purchase of the copyright, had not been finally agreed by early December, by the time an advert for the subscription edition appeared in Poems 9 (1795) later in the month, Cruttwell had been displaced. It was planned that

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printing would start in spring 1795 and take three months (RS to TS, [12 May 1795], NL, Vol. I, p. 94). Cottle was not to be outdone by his provincial rival. Joan would ‘want no luxury of type and paper’, with a new font of type being ordered especially (NL, Vol. I, p. 94). The plan was to produce ‘the handsomest book that Bristol had ever yet sent forth’ (PW, Vol. I, p. xix). Yet, as the date for printing loomed, Southey realised that he had done ‘nothing … toward preparing the poem for the press’ apart from making a ‘few verbal alterations’ (PW, Vol. I, p. xix). He also began to express doubts about its quality, wishing that it was as ‘faultless’ as the new type and ‘excellent’ paper bought in by Cottle (NL, Vol. I, p. 94). Seeing first proofs of the early part of Joan con- vinced him of its deficiencies and by c. 24 May he had embarked on a full-scale revision. It was a process which took several months and which resulted in the poem being so completely ‘alterd & amended’ that there were substantially less than ‘1000 lines’ in common between the published and unpublished versions (RS to GCB, c. 21 August 1795, Eng. Lett. c. 22, ff. 158–9). Joan was cut from twelve to ten books, much of the supernatural machinery so predominant in the drafts of 1793 was excised, and an entirely new character, the French warrior Conrade, was added. In the early stages (Books I–IV), Southey was helped by a more recent friend and collaborator Samuel Taylor Coleridge, though the latter’s 10 work was probably complete by c. 10 August. His own labours continued until well into the autumn, and by 23 October he still had some 900 lines of the poem to write and was composing the ‘Preface’ (RS to GCB, 23 October 1795, L&C, Vol. I, p. 252). The volume was, however, finished by the time Southey left home for Portugal on 15 November. The demands of a tight publication sched- ule inevitably impacted on Southey’s experience of writing and rewriting. From its inception in May, the poem had been ‘re-cast and recomposed while the printing went on’, with revisions just about keeping pace with the press. Indeed as he later admitted, so piecemeal had the process been that he had ‘never seen the whole poem together’ (RS to GCB, 24 [February] 1796, L&C, Vol. I, p. 270). Joan (1796) was published by Cottle at the end of 1795, by which time its author was already travelling in Portugal with his uncle Herbert Hill: ‘far away/ 11 labouring right onward with unslackened toil,/ Along a rugged path’. Back home, Cottle anxiously marketed his protégé’s work to London publishers, informing Cadell that ‘At the time the Work came from the Press I had 168 Sub- 12 scribers to it – so highly is it rated in Bristol, of which Mr Southey is a native’. The poet’s own attitude to Joan was – and continued to be – marked by ambiva- lence. Immediately before its publication he claimed to feel ‘disengaged’, ‘satisfied’ with what he had produced but caring ‘little for its success’ (L&C, Vol. I, p. 256). By February 1796 his uncertainties remained. He informed Gros- venor Bedford that the ‘fourth book was the best’, singled out a passage in Book VII for especial praise and noted that the characters of Conrade and Theodore were ‘equally interesting’. Yet he also observed that the poem contained ‘too much fighting’ and that the battle scenes had been ‘detestable to write’ (RS to GCB, 24 February, L&C, Vol. I, p. 270). Moreover, he was already contemplat-

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ing the prospect of a second edition and the extensive further revision this would involve. He returned to Bristol in May 1796 and to the news of the death of his erstwhile collaborator Lovell. By 12 June his plans for Joan had started to take shape and Cottle was already preparing an interleaved copy of the quarto for his 13 correction. Inviting Horace Bedford to send him ‘much criticism’ of the poem, he added these are my purposed alterations, to introduce the historical fact which I discovered too late, that the English ordered the man who bore the mes- sage to their camp to be burnt. in the last book to make the court arrive before the battle of Patay. Talbot by a desperate effort to pierce to the royal tent – & there to be slain by Conrade who shall thus die in the presence of Agnes, perhaps too the detaching Burgundy from the English interest by means of the Maid might make a good book & be so interwoven as to appear essential to the main action. the whole part written by Coleridge I 14 shall expunge. Of what is to be substituted I have as yet no clear idea. Although some of his ideas eventually made their way into the second edition, Southey’s revisions to the poem did not start in earnest until 1797. They were undoubtedly delayed by his other commitments, including his projected but never completed tragedy on the ‘Martyrdom of Joan of Arc’, and by the sluggish sale in London of the quarto (RS to GCB, 29 August 1796, L&C, Vol. I, p. 15 291). By early May 1797, Cottle had finally called for a new edition, and Southey urged that this should be in ‘two volumes … a mode more elegant and more advantageous’ (RS to JC, [2 May 1797], NL, Vol. I, p. 126). Conscious of the fact that he had ‘much labor to look on to’, unsure over what to do with Book IX and stalled at first by the difficulty of getting hold of a copy of Chapelain’s La 16 Pucelle, Southey was eventually able to start work in late June. By 19 July he had determined that the ‘ninth book … will be omitted and published separately’ and that his ‘verbal alterations’ to the remainder of the poem would be ‘numerous’. He also outlined its revisionist agenda, cataloguing all the features – the ‘whole stock in trade of Chapelain, Blackmore and fifty more’ – which he had decided to prohibit both in the second edition of Joan and in his magnum opus Madoc (RS to CW, 19 July [1797], NL, Vol. I, pp. 136–7). One of the things he decided to include, however, was a lengthy analysis of Chapelain’s epic. By 15 August he was 17 using the ‘expurgatory pen with no sparing hand’. The remainder of the year was spent completing the revisions and also collecting the information for and adding very substantial numbers of new notes. The poem was at press by 24 December, although Southey complained to his brother Tom that it was ‘scandal- ously delayed … and this delay, as the book is wanted, is a serious loss’ (L&C, Vol. I, p. 327). Progress continued to be slow. Southey corrected the final proofs at the end of April 1798 and the two-volume second edition, complete with newly engraved frontispiece, was published shortly afterwards (RS to JM, before 18 1 May 1798, Ramos, p. 30). The appearance of the second edition also marked a change in Southey’s publisher from Cottle, whose generosity had led him into financial difficulties, to the London firm of T. N. Longman.

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Unlike Madoc, which had a more prolonged, more complex genesis but which changed very little after its first publication in 1805, Joan continued to benefit from Southey’s ‘expurgatory pen’. In 1805 Longman called for a third edition and 19 Southey began work. By April he was busy correcting the poem, ‘a mortifying task’ because so much of it ‘is incorrigibly bad’ (RS to GCB, 6 April 1805, NL, Vol. I, p. 380). The reasoning behind his continued attentions to it, even though his sale of the copyright to Cottle in 1795 ensured that he had ‘nothing but trouble for my pains’, emerged in a letter sent on 1 May 1805 to John Rickman. Describing his decision to weed out ‘a thousand mean and miserable parts’ he added that the poem deserved his attention purely because it ‘has paid me well in setting me up in the world, and I owe it the amends’ (Warter, Vol. I, p. 320). The revised Joan (1806) was printed in September 1805 and appeared shortly afterwards. It was in two duodecimo volumes and by ‘Longmans desire’, Southey’s ‘The Vision of the Maid of Orleans’, an extended version of material which had first been published as the ninth book of Joan (1796), was included at the end of 20 the second volume. It was to appear in all subsequent lifetime editions of Joan. The 1806 edition had sold out by 1812 when Southey produced a fourth, again in two duodecimo volumes. Claiming that this had been ‘materially improved by innumerable minor alterations’, he removed the lengthy analysis of Chapelain’s La Pucelle and also took advantage of Thomas Johnes’s recently published translation of Monstrelet’s Chronicles to add a substantial amount of new material to the notes (RS to Herbert Hill, 1 September 1812, Warter, Vol. II, p. 291). Joan 21 (1812) had sold out by January 1817 when Longman asked for a fifth edition. This appeared later in the same year and was essentially a reprint of the fourth.

Fig. 1 Joan of Arc print runs 1798–1817.

Source: University of Reading, Longman Archive, Impression Books. Figures are not available for the first edition of 1796, which was published by JC. The sixth edition of 1837 was published as part of Poetical Works (1837–8) and information about print runs for this can be found in the General Introduction, pp. xxv–xxvi. The sales figures for Joan are not available. Print runs can be compared with those of Madoc, see Volume 2, pp. xxiv–xxv.

2nd edition (1798): 1,000 copies printed* 3rd edition (1806): 500 copies printed 4th edition (1812): 750 copies printed 5th edition (1817): 500 copies printed * All copies of the 1798 edition were bought by Longman from JC, at the time when they purchased the copyright of the poem from him.

By 1836, however, Joan was out of print and on 27 June Longman approached Southey about the possibility of producing a ten-volume collected edition of his

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22 poetry. The Poet Laureate, as he was by then, eventually agreed. Deciding that a sixth edition of Joan should ‘lead the way’, he embarked on revising it for the final time. It was finished by 9 May, when he informed Cottle that the poem had undergone … almost as thorough an amendment as in the second edition. As many juvenile faults of language as were removable have been weeded out, and in other respects there is little or nothing left in it now, that my sober judgement could disapprove. I have written a new preface, giving the history of the poem (NL, Vol. II, p. 467). Southey’s revisions were the most extensive of any carried out for the 1837–8 collected edition and included amending and adding to the already extensive notes. Yet his own attitude to Joan remained ambiguous. He was unable to leave it out of any collected edition because of its formative role in his career, but yet painfully conscious of its flaws, the ‘faults enough of every kind … [which] mark it for a juvenile production’ (RS to W. L. Bowles, 25 April 1837, L&C, Vol. VI, p. 333). The sixth edition of Joan appeared in September 1837. Longman printed an initial 1,500 copies and it sold well enough for 750 further copies to be printed in November of the same year, with further reprints of 250 copies at a 23 time occurring in 1841, 1843, 1846, 1852, 1853 and 1855. The poem was also included along with the rest of the Poetical Works in a one-volume edition first published by Longman in 1844.

Reception

In the aftermath of revising the poem for the sixth and final edition, Southey recorded the key role it had played in his career. It was, he claimed, the work by which he ‘first became known to the public, and acquired … a notoriety which has never been lessened’ (NL, Vol. II, p. 467). If, for Southey, ‘notoriety’ was important, and the antagonistic, convention-challenging ‘Preface’ of Joan (1796) implies that from very early on in his writing life it was, the responses of contemporary readers, especially of the editions published in 1796 and 1798, seem to bear him out. From early on in the poem’s history Southey was interested in the reactions of his readers and he certainly either read or showed the earliest versions of Joan, the manuscripts written in 1793 and the revised materials from 1794, to friends such as Lovell and Coleridge and to would-be patrons such as Cottle. Yet the reception of the early versions of Joan was limited both by the confined nature of this audience and by his dramatic decision in spring 1795 to dismiss the early drafts as juvenilia and to recast and rewrite the entire poem. Unlike Madoc, which circulated in manuscript for several years before Southey reworked and published it, the reception history of Joan is essentially linked to its publication and post-publication history. Designed by Cottle and Southey as a kind of prod-

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igy book, one whose expensive production values and elegant, but crisp and simple, typography would act as an advertisement for provincial literary enterprise, the first edition was intended to attract attention. It succeeded, eliciting responses in both the private and public spheres. For some readers, such as Charles Lamb, its high price was an initial deter- rent, ‘a Guinea a book is somewhat exorbitant’ (CL to STC, 27 May 1796, Marrs, Vol. I, p. 3). Yet his response on obtaining and reading a copy was both surprise that Southey could have produced a ‘thing of such excellence’ and pleasure in the poem’s kinship with Cowper, one of Lamb’s personal favourites. It abounded, he noted, with ‘passages which the author of “Crazy Kate” might have written’ (CL to STC, 8–10 June, 1796, Marrs, Vol. I, p. 15). Whilst Lamb, who entertained no epic-writing ambitions of his own, expected ‘Southey one day to rival Milton’, another of his contemporaries, Coleridge, to whom these observations were somewhat mischievously sent, would not have shared or ech- oed them (CL to STC, Marrs, Vol. I, p. 16). Coleridge’s response to Joan (1796) was inevitably coloured by his contributions to the poem and by his involvement in the revisions to the first four books. It was also shaped by his quarrel with Southey in late 1795, which marked the final disintegration of Pantisocracy, and by his own literary ambitions. Writing to Southey in November 1795, as Joan (1796) was at press, he reminded him that he had written with ‘vast exertion of all my Intellect the parts in the Joan of Arc’ and cautioned him against evaluating literary labours ‘only by the number of lines written and not by the amount of thought that produced them’ (STC to RS, [13] November 1795, CL, Vol. I, p.172). Although he praised Southey to John Thelwall as the poet for the ‘Patriot’, placing him in – though at the end of – a list that included Homer, Milton and Tasso, another of his actions provided a strikingly literal example of his determination to separate himself from Southey (STC to Thelwall, 19 November 1796, CL, Vol. I, p. 258). On 17 December 1796 Coleridge sent Thelwall a copy of Joan (1796). It was, however, an incomplete copy with only the passage of my writing cut out for the Printers – as I am printing it in my second Edition, with very great alterations & an addition of four hundred lines so as to make a complete & independent Poem – entitled The Progress of Liberty – or the Visions of the maid of Orleans (CL, Vol. I, p. 285). Although Coleridge was indeed planning to expand his contributions into a new work, his dissection of Joan (1796) was also an act of critical displacement. It represented a forthright creative distancing of himself from public and private relationships with the man who was, at least in the minds of the reading and 24 reviewing public of the mid 1790s, his closest literary associate. By 31 Decem- ber 1796 Coleridge was expressing open agreement with Thelwall, who had read the mutilated, now entirely ‘Southeyan’ volume, that the ‘9th book is execrable’ and that the poem as a whole failed to display the ‘poetical’ sublime (CL, Vol. I,

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p. 293). Within months his increasing involvement with a new literary friend and potential collaborator, Wordsworth, led to yet further reappraisal of the merits of Southey and of his poem, sent to its publisher, Cottle. This time, however, Joan was used to focus objections to its author’s fluency – objections which, Col- eridge noted, were shared ones. As he explained to Cottle in early April 1797: Wordsworth complains, with justice, that Southey writes too much at his ease – that he seldom ‘feels his burthened breast Heaving beneath th’ incumbent Deity’ (CL, Vol. I, p. 320). Coleridge’s point about Southey’s lack of genius is a convoluted but effective one, made by citing Wordsworth citing Joan (1796) on the subject of inspira- 25 tion. Literally, Southey’s own lines are used against him. Whilst Coleridge had been somewhat ambivalent, Wordsworth had, indeed, been critical of Joan (1796) from its appearance. As far as he was concerned the ‘Preface’ was a ‘very conceited performance’, the poem of ‘very inferior execution’ and its author a 26 ‘coxcomb’. It is of course entirely possible that Coleridge and Wordsworth’s observations were motivated by anxiety about their own careers. As his April 1797 letter to Cottle made clear, Coleridge too harboured ambitions to write an epic poem, though he was equally keen to emphasise that his way of accomplish- ing this would be diametrically opposed to the Southeyan method (CL, Vol. I, p. 320). Yet their comments about Southey’s lack of concern for his own posterity were not unique. Indeed, they were shared by some of the 1796 volume’s reviewers. Joan (1796) was fairly widely reviewed, with notices appearing in 27 some seven periodicals. The Critical Review noted that Southey’s ‘indisputably very superior and capable’ poetical powers would result in his ‘producing a poem that will place him in the first class of English poets’. It did, however, express concern over his decision to write a second epic – Madoc – hot on the heels of 28 Joan. John Aikin, writing in the Monthly Review, went further, objecting strongly to the ‘Preface’, with its account of ‘the extreme rapidity with which’ the poem was written and denouncing as extravagant the idea of running ‘a race with 29 the press, in an epic poem’. Admitting that Southey’s ‘poetical powers’ were of a ‘very superior kind’, he also cautioned that they would produce a ‘rich harvest’ 30 only if ‘not wasted in premature and negligent exertions’. Whilst Aikin also acknowledged Joan’s acute contemporaneity, that its ‘sentiments’ were ‘less adapted to the age in which the event took place’ than to the present day, he praised it for its liberal and enlightened politics, for ‘breathing the purest spirit of 31 general benevolence and regard to the rights and claims of human kind’. Although Southey himself expressed the hope that readers of Joan (1796) would ‘favour me by forgetting that I have ever meddled too much with public concerns’, some commentators refused (RS to CW, 24 May 1796, Warter, Vol. I, p. 30). The denunciation of Joan’s radical politics – its condemnation of kings and its support for the French in their war against the English invaders – was encapsu- lated in a poem ‘Written by Anna Seward, After Reading Southey’s Joan of Arc’,

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published in the Morning Chronicle on 5 August 1797. Although Seward admired his verse, she felt nothing but contempt for Southey’s politics. As she explained: Base is the purpose of this Epic Song … Baneful its powers … Oh, unnatural Boy; Oh, beardless Paricide! – thy treacherous Muse In Comet splendour, in MEDUSA’s beauty Balefully deck’d, an impious task essays, Lab’ring to turn to deadliest Aconite The laurel wreaths of Azincour; to brand The hallow’d lustre of thy ENGLAND’S name With slavish Meanness, with rapacious Avarice, And the Wolf’s rage … O, dark of heart As luminous of fancy, quit, for shame Quit, th’ insidious pretence to Virtue – To Gospel Faith and Piety! Dry thy tears For age-past woes (they are the Crocodiles): And o’er the murder of the ROYAL VICTIMS, And o’er the Christian Faith’s apostacy, Witness’d in France, cry – ‘VIVE LA LIBERTE!’ Dip thy young hand in her ensanguin’d chalice, Brimm’d with the gore of Age, Infants, and Beauty, And, throwing her RED CAP aloft in air, 32 Laugh with the fierce Hyena! Seward’s impassioned confession that in spite of its politics, Southey’s ‘Poesy/ Wraps in reluctant ecstasy the soul’ highlights the siren song of radical verse of the 1790s. It also helps to explain the reaction of the Anti-Jacobin to the second edition of Joan. Having already marked out Southey as the leader of the ‘NEW SCHOOL’ of Jacobin bards and subjected some of his shorter poems to extensive, parodic scrutiny, the Anti-Jacobin was unable to resist attacking Joan 33 (1798). The review appeared in 1799 and exposed the thoroughly subversive nature of Southey’s endeavour, as well as the contentious vocabulary of patriotism in the late 1790s: The established rule for epic, that the subject be national, is, surely founded on true patriotism. To this rule ... [Southey] has acted in direct opposition and chosen ... the ignominious defeat of the English … Is there not a squint of malignity – a treacherous allusion in such a picture? And was it not rather a seditious rather than a poetic spirit that first con- 34 templated the Maid of Orleans, as the heroine of an English epic? Affirming the notoriety of Southey’s ‘Jacobin principles’, the reviewer went on to condemn his rejection of epic machinery and his choice of a tale already rendered ridiculous by Voltaire’s Pucelle. It cited examples from the poem to expose his attack on the ‘horrors of war, as attributable to the English’ and his portrayal of

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35 kings, and even compared the ‘Mission’d Maid’ to a Tom Paine in petticoats. It also drew attention to Southey’s radical use of simple language, accusing him of degrading his characters by ‘putting into their mouths the plainest colloquial 36 phrases’. The Anti-Jacobin’s review offers a salutory reminder of Southey’s radical credentials, credentials which Joan had helped to establish. By the time he had become both a Tory and Poet Laureate, the poem occasionally came back to haunt him, deployed in the radical shorthand of his opponents as a marker against which his apostacy should be measured: It is indeed to be deplored, it is a stain on genius, a blow to humanity, that the author of Joan of Arc – that work in which the love of Liberty is exhaled like the breath of spring, mild, balmy, heaven-born … should ever after turn to folly, or become the advocate of a rotten cause. After giving up his heart to that subject, he ought not (whatever others might do) 37 ever to have set his foot within the threshold of a court. Yet whilst the earliest editions of Joan (1796 and 1798) continued to provide his critics with ammunition, the later ones attracted little, if any, attention. Joan’s growing critical neglect was reflected in its treatment by editors. The poem was included in full in the unauthorised Galignani edition of 1829, but by the early 1830s the process of fragmentation, first seen at work in Coleridge’s dissection of a copy of the 1796 edition, was well under way. Increasingly Joan appeared in an incomplete form. It was reprinted as a series of excerpts and minus its notes in a volume of Southey’s poems published by Edward Moxon 38 ‘Chiefly for the use of Schools and Young Persons’ in 1831. Slightly different selections, again without notes, were included in the volume of Poets of Lakeland 39 devoted to Southey’s work which appeared in 1872. Inevitably, its reputation also suffered. In 1854 Charles Browne observed that what success Joan had achieved was entirely because it ‘appeared at a time when the sentiments it incul- cated were the doctrines of the nation, and it achieved a greater reputation than 40 he expected or its merits deserve’. The editor of the 1872 collection portrayed it as essentially a mid-ranking work – more interesting than Madoc but less popu- 41 lar than Thalaba and Kehama. By the end of the century this situation had worsened. The poem was excluded from Edward Dowden’s edition of 1895 and also from Maurice Fitzgerald’s of 1909, on the grounds that … no serious plea could be advanced in support of its literary excellence. Even the historical interest of Joan of Arc as it appeared in 1837, is com- paratively small. The poem was practically re-written no less than three times after its first publication, and in its final form it presents but a pale reflexion of the sentimental ardours which mark the original version of 1796. Of Southey’s longer poems, as it is the earliest, so it is from a liter- 42 ary standpoint the least worthy of publication. Although Fitzgerald added the caveat that, whilst it was not a ‘good poem’ Joan ‘heralded the dawn of the romantic school’, twentieth-century criticism was largely restricted to Coleridge’s impact upon the edition of 1796. The poem’s

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later history of Southeyan revision was totally ignored and, with the exception of Benjamin Early’s unpublished doctoral thesis, and a brief article by Mary Huth, 43 its pre-publication history was neglected. Increasingly fragmented and under- valued, Joan came to occupy an uneasy place in the margins of canonical romanticism, the 1796 version read only for the few hundred lines contributed by Coleridge, the very sections he had himself cut out of the mutilated copy sent 44 to Thelwall. Even the revival of interest in Southey which began in the 1980s has so far had relatively little to say about Joan, especially when compared to Kehama, Madoc, or Thalaba. Two of the few exceptions to this are Stuart Cur- ran’s important and suggestive account of its status as a romantic ‘epic’ and 45 Lynda Pratt’s work on the earliest versions of the poem.

This Edition

This volume is an attempt to address Joan’s textual and critical neglect by providing the first modern critical edition of the poem. Joan has, however, presented problems unique to itself. The poem developed over forty-four years, from 1793 to 1837, and underwent radical makeovers and revisions on at least four occasions during this period. These included recasting and rewriting in 1795, major revisions in 1798 and 1837 and the continuous expansion of its notes, so that it grew from the lightly annotated version of 1796 to the massively annotated text of 1837. As the Southeyan poem which changed most extensively and often, and which involved a collaborator (Coleridge), Joan has necessarily – though reluc- tantly – required slightly different treatment from other works included in this edition as a whole. The economics of publishing and of space have made it impossible to include all versions of the poem in this single volume. Instead this edition concentrates largely on the Joan produced during Southey’s adult publishing life, including all versions written between 1795 and 1837. In order to distinguish for the first time between the epic written with Col- eridge’s help in 1795 and the later entirely Southeyan versions and to produce a more accessible reading text, the volume is divided into two main sections. Sec- tion one reproduces Joan (1796) in full. The copy-text is based on the first edition published by Cottle and this is collated against the manuscript draft of the poem produced by Southey and Coleridge in 1795. All textual variants are listed at the bottom of the page. The punctuation of the 1796 edition, supplied by the printer, has been retained, with the exception of its inconsistent and highly confusing use of speech marks, which have been regularised. The only other deviation from the copy text relates to Southey and Coleridge’s notes. In the 1796 edition these appeared at the bottom of the page. In order to maintain con- sistency with other volumes in this edition, and to make a clear distinction between the authors’ notes and the textual variants, the notes have been moved to the end of the poem. Southey’s own policy regarding his notes to Joan was, as

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was also true with his other works, inconsistent, and from 1812–37 the notes in all editions of the poem were placed at either the end of the work, or the end of each volume in the case of the two-volume editions of 1812 and 1817. The second section deals with the later, Southeyan incarnations of the poem, reproducing the drastically revised Joan (1798) in full. The copy-text is based on the two-volume edition of 1798 and this is collated against all later published, authorised, lifetime editions (1806, 1812, 1817, 1837) and also against the surviving manuscripts from this period of the poem’s development. Textual variants are placed at the bottom of the page. As with Joan (1796) speech marks have been regularised, and line numbers, used in the 1796 but not in the 1798 edition, added. The only other deviation from copy text is to place Southey’s notes at the end of the poem. Sections one and two of this edition therefore allow readers for the first time to place the 1796 text against Joan (1798) and all subsequent versions. In so doing they allow two crucial stages of its development to be compared and contrasted, a collaborative phase of 1795–6 with a later, ‘Southeyan’ history of revision. They will facilitate a reconsideration of Coleridge’s influence on the poem and also a reappraisal of its significance within Southey’s own writing career. In all its published incarnations Joan is an important example of the romantic period annotated poem. Indeed, it is a work whose increasing number of notes could be said to act as a model of the development of the romantic annotated text. Yet, as is also true with Southey’s other long poems, critical debate about Joan has been hampered by the fact that neither he nor later scholars accurately identified his sources. Joan makes substantial use of numerous quotations from histories of England and France, of arms and armour, of travel books, and literature drawn from across European culture. This edition is the first to trace these notes back to their source in Southey’s reading. Wherever possible the editions he used have been identified, author, page and publication details given and any adaptation by Southey of the original source indicated. Foreign language quotations have also been translated. The result of this is to reveal the range and depth of Southey’s reading and the overlaps between his researches for Joan and his other literary endeavours. It will also, hopefully, allow future scholars to reap- praise his – and his contemporaries – interest in the reading, writing and shaping of history, on both a national and international stage. There are two omissions from the volume. It has been impossible, due to lack of space, to reproduce in full the earliest juvenile manuscripts, those from 1793. These are so different from the work published in 1796 as to constitute an entirely different poem and, indeed, stylistically and generically they have much more in common with the rest of Southey’s surviving juvenilia than with the writings of his adult career. However, the manuscripts have been described in detail in the listings below and are also reproduced in brief extract. It is also planned to produce an electronic edition of these. The second omission, again on grounds of lack of space, is Southey’s ‘Vision of the Maid of Orleans’, the poem which emerged from his exci- sion and revision of the ninth book of Joan (1796). The ‘Vision’ developed a life of

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its own, neither part of Joan nor one of Southey’s shorter/minor pieces. It was first published in his Poems (1799), but from 1806 it was included in all lifetime editions of Joan (1812, 1817, 1837), although Southey himself noted that this was 46 done at the insistence of his publisher, Longman, and was not his own choice. This edition is intended to facilitate future scholarship on this currently most neglected of Southeyan long poems and to help reconsideration of Joan’s place both in Southey’s career and in the wider context of literary culture in the late eighteenth and early nineteenth centuries. In the past, critics have been inclined to allow Joan merely a liminal position in accounts of romantic period culture, seeing it as significant only as a poem with which Coleridge was involved and which he later repudiated. This edition will allow for a reconsideration of this assessment and for detailed study of Southey’s annotated poem in its own right. In so doing, it will help to restore some of the lost significance and lost connections of Joan. Joan operates on many levels and these disclose the multi-facetedness of romantic period culture. Its different versions provide important, and relatively unexplored, examples of collaborative endeavour, the political alignments and realignments shared by Southey and his fellow ‘Lake’ writers, provincial enterprise, the romantic annotated poem, romantic period engagements with history, romantic representations of women and the labouring classes, and generic experimentation. It is a poem about friendship, war and patriotism written at a time of conflict on a national and international scale. Part of the revival of interest in epic prompted by William Hayley’s An Essay on Epic Poetry (1782), Joan emerged out of a culture in which the writing of national epics was becoming a desirable 47 occupation. In turn it impacted on romantic long poems such as Henry James

Pye’s Alfred (1801), John Thelwall’s ‘Hope of Albion; or, Edwin of Northum- bria’ (1801), Joseph Cottle’s Alfred (1800) and The Fall of Cambria (1809) and 48 Wordsworth’s The Prelude and ‘The Recluse’. Ye t Joan also emerged out of and into a society in which the language of patriotism was hotly contested by all sides of the political spectrum and in which national identity was shifting rather than fixed and known. This culture of debate and indeterminacy – the constant definition and redefinition of what it was to be 49 a ‘patriot’ – inevitably impacted on Southey and on Joan. The poem is an uneasy amalgam of radicalism and conservatism. In the case of the earliest versions, Southey’s oppositionist politics, his youthful support of the French Revolution and its principles, are married to a certain kind of generic conservatism; a determination to attack the epic, but to attack it from within, and therefore on its own terms, rather than from without. In its later versions, RS’s own increasingly reactionary politics are counterbalanced by a more thorough- going generic revisionism: the sloughing off of epic tropes in favour of a plainer, more culturally radical, language and mode of expression. As a patriot who knew that ‘England should be the scene of an Englishman’s poem’, but as a writer whose reputation was made by an epic on a French heroine, these ambivalencies, 50 complexities and ironies would not have been lost on Southey.

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As is also the case with Madoc, Joan’s complexities and inconsistencies contain the key to its importance. As the texts included in this volume make clear, the production of his epic coincides exactly with the cultural, social and political transformations of the 1790s. Its development reflects the negotiations and rene- gotiations of literary and political allegiance and practice that shaped the careers of Southey and his direct contemporaries. Moreover, his inability to abandon Joan entirely is testimony both to his belief in its importance for his career and to an almost nostalgic interest in a decade during which he and his contemporaries had begun to effect what might be seen as a ‘romantic’ revolution.

Extant Manuscripts of Joan of Arc

Manuscripts for several stages of Joan’s development survive. Unusually, these include the interleaved copies RS prepared for the printers of the 1798 and 1806 editions. The only gap in the poem’s early history is the work undertaken by Southey, with the assistance of Lovell, in summer 1794, although it is uncertain how extensive their labours were and whether they took the form of producing a new MS. The possibility does exist, however, that some of the undated revisions made to the MS in the Rush Rhees Library (see no. 2 below) belong to the period after the poem was accepted for subscription publication by Richard Cruttwell in summer 1794. Details of all MSS containing material for the poem either by or predominantly by STC can be found in CC, CPW, I.II, pp. 288-90. STC’s annotated copy of Joan (1796) is now in the NYPL, Berg Collection, see CC, CPW, I.II, p. 290 for further information. The major surviving manuscripts of the poem, in chronological order, are:

1. 1793: Houghton Library, Harvard, MS Eng 265.3. Paper; ff. 181 (351pp.), 22.5 cm x 17.5 cm. No watermarks. Bound in original russia, rehinged (with gold-stamped front and back borders and spine). Written on both recto and verso. The MS is the first draft of the poem in twelve books, begun in July and completed whilst RS was staying with the Bedford family in Brixton between 13 August and late September 1793. For RS’s later account of the poem’s composition, PW, Vol. I, pp. [xv]–xvii. It was the MS from which the fair copy (no. 2, below) was made later that year. RS originally planned to dedicate Joan (1796) to GCB, but withdrew his offer at the prompting of CW, on the grounds that it was ‘Not agreable & may be preju- dicial’ (RS to GCB, c. 22 November 1794, Eng. Letts. c. 22, f. 138–9; for CW’s disapproval of the subject of Joan, RS to Charles Collins, 30 October 1793, L&C, Vol. I, p. 188). However, he presented this MS to GCB in 1796, L&C, Vol. I, p. 267. GCB died in 1839. The MS was purchased with gifts of the Friends of the Houghton Library from Col. Henry A. Erskine, Hartley Whitney, Hants, and entered the Houghton collection on 29

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December 1949. It is reproduced in full in Benjamin W. Early, ‘Southey’s Joan of Arc: the unpublished manuscript, the first edition and a study of the later revisions’ (unpublished PhD. Thesis, Duke University, 1951). 2. 1793: University of Rochester, Rush Rhees Library, AS727. Paper; 451 leaves, 21.5 cm x 17.8 cm. No watermarks. Bound in vellum, written on the spine ‘Original Manuscript of Joan of Arc’. Bookplate of John Murray on inside front cover. Largely written on recto with some material, notes and insertions, on verso. The manuscript is the one transcribed by Southey from the Houghton MS in late 1793. The poem is in twelve books and RS claimed that he made ‘no other alterations or corrections of any kind than such as suggested themselves in the act of transcription’ (PW, Vol. I, pp. xvii– xviii). The MS does, however, contain a number of changes and also RS’s notes, taken from the following sources: Raphael Holinshed, David Hume, Edmund Spenser, William Chamberlayne and Francis Quarles. It also contains (ff. 1–8) a draft of the ‘Preface’ to Joan (1796), written by RS in late 1795. For his work on the ‘Preface’, RS to GCB, 23 October 1795, L&C, Vol. I, pp. 252 and RS to GCB, 24 [February], 1796, L&C, Vol. I, pp. 267– 8. RS was working on the MS by 7 November and had probably completed 51 his work by c. 22 December 1793. The MS was then put aside, although RS possibly returned to it in 1794 and some of the alterations may date from this period, though lack of external or internal evidence makes this impossible to ascertain. It was set aside completely when he rewrote the entire poem, with the help of STC, in spring–autumn 1795. RS presented the MS to JC before he left for his first visit to the Iberian peninsula in November 1795. In a letter to GCB, 24 February 1796, he noted that JC had ‘begged [the manuscript] with most friendly devotion, and, I believe, values [it] as much as a monk does the parings of his tutelary saint’s great toe nail’ (L&C, Vol. I, p. 267). JC died in 1853. The MS was sold to the bookseller William Skeffing- ton at a Sotheby’s sale of Cottle’s estate in 1865. At some stage it was ‘in the library of the distinguished publishing family of John Murray’ (Huth, below). For a long time the MS was thought to be lost. Certainly, Early was unable to locate it for his work on the Houghton MS (see no. 1, above). The MS was bought with a benefaction from the Wilson Fund from the Seven Gables Bookshop by the University of Rochester on 1 August 1977 and its history is outlined in Mary M. Huth, ‘Library acquires important Southey item’, Biblio Talk, 5.2 (September, 1978), unpaginated. 3. 1795: BL, BL Add. MS 28,096. Joan of Arc: a poem in ten books, by Rob- ert Southey. Autograph; with notes and corrections for the first edition by the author and Samuel Taylor Coleridge (the latter are identified and listed in full in CC, CPW, I.II, pp. 288–9). Imperfect at the beginning. Prefixed is the autograph preface to R. Southey’s Letters written during a short residence in Spain and Portugal (Bristol, 1797). Paper. No watermarks. Small quarto (18.5 cm x 23 cm). 131 leaves. Bound in red morocco. Largely written on

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recto with some material on verso. Fair copy of the ten-book poem as completely revised by RS, with help of STC, in spring–autumn 1795. For the extent of RS’s revisions, see ‘Introduction’. It formed the basis for the first edition, published by JC at the end of 1795 and was sold in the Cottle Sale at Sotheby’s, 13 March 1865, as the ‘Printer’s Copy’ of the poem. (See CC, CPW, I.II, p. 289.) The MS was purchased by the BL in 1869 from Messrs. Boone, having been sold at Puttick’s on 3 April 1869 as Lot 117. 4. 1798: NYPL, Berg Collection. A copy of R. Southey, Joan of Arc, an Epic Poem (Bristol, 1796) rebound as 27 cm, in blue morocco, gold embossed, by Stikeman & Co. The copy (incomplete), revised by Southey, comprises pp. 25–34, 65–307, 369–409, with his MS corrections, and 6 plates and 222 holograph pages, mostly interleaved. Inserted at the end are: Copy, in an unknown hand, of portion of letter from Robert Southey to W. S. Landor, Keswick [Eng.] Feb. 3 1815, 1 l. Holograph copies of two letters from R. B. Exton to Charles Cuthbert Southey, see. v. w. [Eng]. March 11 1850, 1 l., and Aug. 27 1851, 1 p. A. L. S. from C. C. Southey to [R. B. Exton] Ardleigh Vicarage, Colchester [Eng]. Aug. 12 1851, 3 p. A. L. S. from W. H. Somerton to R. B. Exton, Bristol Mercury office [Bristol, Eng] Nov. 11 1851, 3 p. The copy was once in the possession of P. A. Valentine and was later acquired by the NYPL, Berg Collection. This was the copy from which the heavily revised second edition of 1798 was set and it contains RS’s instructions to the printer, Nathaniel Biggs. It almost certainly represents the revisions RS made to Joan in 1797, after JC had called for a second edition of the poem. 5. 1806: BL, C.28.d.1. A copy of R. Southey, Joan of Arc, 2 vols (Bristol, 1798), printed by N. Biggs for T. N. Longman, containing copious MS notes and alterations in RS’s hand, some interleaved. The copy is imperfect; wanting the plate, the leaf of the advertisement and pp. 13–36 of Vol. 1 and the first four leaves of Vol. 2. With this copy are bound up pp. 1–4, 7–79 of Vol. 2 of RS’s Poems (1799), containing the ‘Vision of the Maid of Orleans’, also with copious MS corrections by RS. This is the copy from which the text of Joan (1806), the third edition of the poem, was set and it contains instructions in RS’s hand to the printer, Biggs and Co. RS was working on his revisions to the poem in 1805, see his letters to GCB, 6 April 1805, NL, Vol. I, p. 380 and 12 May 1805, NL, Vol. I, p. 383.

Other related MSS (not arranged chronologically): A number of very small, undated fragments of the poem survive. The endorse- ment ‘J.C.’ found on some of them indicates that they at one stage were in the possession of JC, publisher of the first edition. (JC routinely endorsed, and sometimes numbered, the MSS in his collection.) Mays, CC, I.II, p. 289 has identified 6A, 7 and 10A and B as taken from the BL Add. MS 28,096. (See no. 3)

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6. NYPL, Berg Collection: Two portions of ‘Joan of Arc’ c. 1795[?]. 6A. Autograph, two leaves, small quarto, in ink. Undated. Watermark 1794. Consisting of the ‘Argument’, six and a half lines of prose and twelve lines of blank verse from the second book of the poem; one line of verse on back of second leaf. MS of Joan (1796), Book II, ‘Argument’, ll. 1–12 and 19. Some minor emendations by STC, CC, CPW, I.II, p. 289. 6B. Autograph, one leaf. Unsigned and undated. Watermark 1794. Endorsed ‘Autograph of Robert Southey. “Joan of Arc” J.C.’, in JC’s hand. Fifteen lines, ll. 1–14 struck through, taken from Joan (1796), Book I, an early, cancelled version of ll. 266–78 and ll. 279–82 as in the first edition. Identified in CC, CPW, I.II, p. 289 as taken from BL Add. MS 28,096. 7. Houghton Library, Harvard, bMS Eng 265.2 (1): Autograph, quarter sheet, 2 leaves, watermark 1794. Endorsed on one leaf in autograph of JC: ‘(Auto- graph of Southey) Part of “Joan of Arc”. J.C.’ The MS is a transcript of Joan (1796), Book VIII, ll. 83–103, with very minor variants, possibly indicating that it represents either a slightly earlier draft, or later copy, of this section of the poem. Identified in CC, CPW, I.II, p. 289 as taken from BL Add. MS 28,096. 8. Bodleian Library, Oxford, MS Eng. Letts. c. 22, f. 154. Autograph letter. Extracts from Joan (1796), Book I, ll. 295–307, with very minor variants, and also from Joan (1796), Book I, ll. 483–99. Sent by RS to GCB in the text of a letter of [1 July 1795]. The first extract represents an early version of this section of the poem and is reproduced in full in NL, Vol. I, p. 97. 9. Bodleian Library, Oxford, MS Eng. Lett. c. 22, f. 165, Autograph letter. Extract from Joan (1796), Book IX, ll. 575–80. Sent by RS to GCB, 23 October [1795]. 10. Cornell University Library, Joseph Cottle Album, f. 17r and 19v. Both identified in CC, CPW, I.II, p. 289 as taken from BL Add. MS 28,096. 10A. 17r: one leaf. An autograph MS of Joan (1796), Book I, ll. 479–92, with very minor variants. Endorsed ‘J.C.’. Probably an early version of lines eventually published in Joan (1796), transcribed by RS c. 1795. The next entry in JC’s Album is an autograph poem from RS ‘To Mary Cottle’, endorsed ‘With a copy of Joan of Arc. 1796 on title page’, Album, f. 18 v. 10B. 19v. one leaf. Endorsed in autograph of JC, ‘Page of Southey’s Joan of Arc. J.C.’. An autograph MS of Joan (1796), Book I, ll. 359-70.

Other materials relating to the compositional history of the poem can be found in: 11. Keswick Museum and Art Gallery, WC421/KESMG. Notebook, ‘No. 18’, red leather pocketbook type (10.5 cm x 17.5 cm). Notes on Joan of Arc.

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Dated 2 January 1797 to 16 August 1790, Hereford. Pages numbered 1– 266. ‘1790’ should read ‘1798’, when RS stayed in Hereford. The notebook contains notes and related materials for RS’s work for the 1798 second edition of Joan. 12. Keswick Musuem and Art Gallery, WC435/KESMG. Preface to Joan of Arc. 4pp. No watermark. Undated. Draft of RS’s ‘Preface’ for the 1837 edition of Joan, with variants.

Endnotes

1. This sonnet, one of Southey’s earliest, was extant by early 1794, when it was included in a letter from RS to GCB, 23 March [1794], Houghton Library, Har- vard, bMSEng 265.1. 2. Houghton Library, Harvard, MS Eng 265.3, f. 15. 3. The manuscripts of the poem are described on pp. xlix–liii. 4. RS to Charles Collins, 7 November 1793, in R. Baughman, ‘Southey the Schoolboy’, Huntington Library Quarterly, 7 (1944), p. 279. 5. Ibid. 6. The subscription edition was advertised in Poems (1795), p. 131. 7. RS to CW, 3–9 September 1794, in C. Tilney, ‘An Unpublished Southey Frag- ment in the National Library’, NLWJ, 9 (1955–6), p. 52. 8. J. Cottle, Reminiscences of Samuel Taylor Coleridge and Robert Southey (London, 1847), p. 12. See also RS to GCB, c. 22 November 1793, Eng. Lett. c. 22, ff. 138–9. 9. Terms were agreed before 5 March 1795, when JC wrote to the London publishers Cadell and Davies: ‘I have purchased the Copy right of Mr Southey’s Epic Poem of Joan of Arc which I intend to have very neatly printed in Quarto price one Guinea, if it be agreeable your names shall be inserted in the proposals for taking in subscriptions … & the name of Messrs Robinsons added as the Venders in London to be inserted in the title’. He added a note that ‘Mr Southey as a Poet is very eminent. A Volume of his Poems was review’d in the Analitick Review for last Month – he has a very natural understanding tho’ xxxxx but 21. he has received a classical education & bids fair to become a great Character’ (Bodleian Library, Oxford, MS Montagu d.6., f. 462). 10. G. Whalley, ‘Coleridge, Southey and Joan of Arc’, N&Q, 99 (1954), pp. 67–8, claims that RS probably finished rewriting Joan by c. 10 August 1795. This is a reasonable dating for the end of STC’s work on the poem, but RS was still at work on it in mid-late October. 11. R. Southey, Joan of Arc, an Epic Poem (Bristol, 1796). The quotation is from his unpublished poem ‘To Mary Cottle (with a Joan of Arc)’, Bodleian Library, Oxford, Eng. Misc., c.36, f. 27. 12. JC to Messrs Cadell and Davies, 9 December [1795], MS Montagu d.4, f. 118. 13. This is almost certainly the volume now in the NYPL, Berg Collection, see manuscript descriptions, no. 4, p. li.

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14. Lynda Pratt, ‘The Pantisocratic origins of Robert Southey’s Madoc: an unpublished letter’, N&Q, 244 (1999), p. 37. 15. For RS’s plans for a ‘closet drama’ on Joan’s martyrdom see RS to GCB, 7 Janu- ary 1797, L&C, Vol. I, pp. 300–1. 16. Jean Chapelain, La Pucelle, ou la France Delivree. Poeme heroique (Paris, 1656). For details of his copy see n. 10 to Joan (1798), p. 503. 17. RS to JM, 15 August 1797, in Lynda Pratt, ‘Interaction, Reorientation, and Dis- content in the Coleridge-Southey circle, 1797: Two New Letters’, N&Q, 245 (2000), p. 320. 18. R. Southey, Joan of Arc, 2 vols (Bristol, 1798). As was common with RS’s works published in the 1790s, a small number of ‘large copies’ of Joan (1798) were prepared for his friends (Ramos, p. 30). 19. R. Southey, Joan of Arc, 2 vols (London, 1806). Further two-volume editions appeared in 1812 and 1817. 20. RS to CD, 19 [May] 1805, BL Add. MS 30928 f. 55. The ‘Vision’ had previously been published in Poems (1799). 21. Longman to RS [January 1817], University of Reading, Longman Archive, Longman I, 100, no. 58. 22. Longman to RS, 27 June 1836, Longman I, 102, no. 217G and Longman to RS, 5 July 1836, Longman I, 102, no. 218D. 23. Figures taken from Longman Archive , Joint Commission and Divide Ledgers. 24. See Lynda Pratt, ‘Patriot Poetics and the Romantic National Epic: placing and displacing Southey’s Joan of Arc’ in P. J. Kitson (ed.), Placing and Displacing Romanticism (Aldershot, 2001), p. 88 and n. 1 25. WW’s quotation is a paraphrase of Joan (1796), Book I, ll. 461–2, part of a section (ll. 461–7, 469–73) describing the divine origins of Joan’s inspiration. See Lynda Pratt, ‘Coleridge, Wordsworth, and Joan of Arc’, N&Q, 239 (1994), pp. 335–6. 26. WW to William Matthews, 21 March 1796, in EY, p. 169. 27. Reviews of Joan (1798) appeared in MR, 19 (1796), pp. 361–8, TCR, 16 (1796), p. 195 and ibid., 17 (1796), pp. 182–93, Analytical Review, 23 (1796), pp. 170–7, British Critic, 8 (1796), pp. 393–6, New Annual Register, 17 (1796), pp. 259–60, Monthly Magazine, 4 (1797), p. 120; TMM, 1 (1795–6), pp. 354– 8. Reviews of Joan (1798) appeared in MR, 28 (1799), pp. 57–62, TCR, 23 (1798), pp. 196–200, Analytical Review, n.s. 1 (1799), pp. 397–403, Anti- Jacobin Review, 3 (1799), pp. 120–8, New Annual Register, 19 (1798), p. 307, Monthly Magazine, 5 (1798), p. 506, Monthly Visitor, 5 (1798), pp. 91–3. 28. Critical Review, n.s. 17 (1796), cited in Madden, p. 45. 29. MR, n.s. 19 (1796), cited in Madden, p. 41. 30. Madden, p. 41. 31. Madden, p. 42. 32. Anna Seward, ‘Written after reading Southey’s Joan of Arc’, Morning Chronicle, 5 August 1797. For RS’s response, see RS to May, 15 August 1797, in Pratt, ‘Interaction, Reorientation, and Discontent’, p. 320. 33. See ‘Introduction’ to Volume 5 of this edition. 34. The Anti-Jacobin Review and Magazine, 3 (1799), p. 121. 35. Ibid., pp. 123–4. 36. Ibid., p. 127.

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Introduction

37. William Hazlitt, ‘Mr. Southey’, The Spirit of the Age (1825), in Madden, p. 318. 38. Selections from the Poems of Robert Southey, Esq. LL.D. Poet Laureate, &c. &c. Chiefly for the use of Schools and Young Persons (London, 1831). 39. The Poets of Lakeland. Southey. Containing the Curse of Kehama, Minor Poems, and Extracts. With a memoir of the author by Herman Prior (London and Windermere, 1872). 40. Charles T. Browne, Life of Robert Southey, L.L.D. Poet Laureate, &c. (London, 1854), p. 292. 41. Poets of Lakeland, p. 126. 42. Poems of Robert Southey, ed. Maurice Fitzgerald (London, 1909), p. ix; Poems by Robert Southey, ed. Edward Dowden (London and New York, 1895). 43. Benjamin W. Early, ‘Southey’s Joan of Arc: the unpublished manuscript, the first edition and a study of the later revisions’ (unpublished PhD. Thesis, Duke Uni- versity, 1951); Mary Huth, ‘Library acquires important Southey item’, Biblio Ta l k , 5 (1978), unpaginated. 44. See, for example, R. Sternbach, ‘Coleridge, Joan of Arc, and the Idea of Progress’, ELH, 46 (1979), pp. 248–61. 45. See Stuart Curran, Poetic Form and British Romanticism (Oxford, 1986), pp. 167– 9. Lynda Pratt, ‘Patriot Poetics’, pp. 88–105. 46. Add. MS. 30928, f. 55. 47. The epic revival is discussed in Curran, Poetic Form, pp. 161–7. 48. For the connections between RS and Cottle, see Curran, pp. 168–9; between RS and Cottle and Pye, Lynda Pratt, ‘Anglo-Saxon Attitudes: Alfred the Great and the Romantic national epic’ in D. G. Scragg and C. Weinberg (eds), Literary Appropriations of the Anglo-Saxons from the Thirteenth to the Twentieth Century (Cambridge, 2000), pp. 138–56. 49. David Eastwood, ‘Robert Southey and the Meanings of Patriotism’, Journal of British Studies, 31 (1992), pp. 265–87 uses RS’s later works to argue for his ‘piv- otal position’ in the ‘struggle for the language of patriotism’ taking place in Britain in the late eighteenth and early nineteenth centuries. 50. CB, Vol. IV, p. 17. 51. Baughman, ‘Southey the Schoolboy’, p. 279.

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JOAN OF ARC, AN EPIC POEM (BRISTOL, 1796)

This section reproduces the first published version of Joan. Text: Joan (1796), corrected against the list of errata published in the 1796 quarto and collated against British Library, BL Add. MS 28,096.

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JOAN OF ARC,

AN EPIC POEM,

BY ROBERT SOUTHEY

ΕΙΣ ΟΙΩΝΟΣ ΑΡΙΣΤΟΣ ΑΜΥΝΕΣΘΑΙ ΠΕΡΙ ΠΑΤΡΗΣ. ΟΜΗΡΟΣ 1

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PREFACE

Early in July 1793, the character of JOAN of ARC was the subject of conversa- tion between myself and an intimate friend: the adventures of this extraordinary woman appeared to me well adapted for an Epic Poem; in the course of a few days I formed the rude outlines of a plan, and wrote the first three hundred lines; the remainder of the month was employed in travelling, and I made no progress even in idea. The subject was resumed on the 13th of August, and the original poem in TWELVE books, finished in six weeks, from that time.2 My performance pleased myself, and those who had witnessed its progress and completion. A few months afterwards it was shewn to a friend, whose taste- and judgment I knew to be accurate. – ‘I am glad you have written this,’ said he, ‘it will serve you as a large collection, where you will find good passages for better poems.’ Our opinions differed, and I of course preferred my own. From this time the piece lay untouched in my desk, till the Autumn of 1794, when my intention of printing it was publicly announced.3 Still the task of correction was unperformed. Many employments intervened; and a very few verbal alterations were all I had made when the paper and types arrived from London, and the Printer was ready to begin. The first proof was brought me. I saw its faults, and immediately formed my resolution. The first 340 lines remain nearly as they were: from thence the plan of the whole has been changed, and I believe there are not 1000 lines remaining as they were originally written. The rest was composed whilst the printing went on.4 The 450 lines at the beginning of the second book, were written by S. T. COLERIDGE. But from this part must be excepted the lines 141, 142, 143; and the whole intermediate passage from 148 to 222. The lines from 266 to 272, are likewise mine, and the lines from 286 to 291.5 The general fault of Epic Poems is, that we feel little interest for the Heroes they celebrate. The national vanity of a Greek or a Roman might have been grat- ified by the renown of Achilles, or Aeneas, but to engage the unprejudiced, there must be more of human feelings than is generally to be found in the character of Warriors: from this objection the Odyssey alone may be excepted. Ulysses appears as the father and the husband, and the affections are enlisted on his side. The judgment must applaud the well-digested plan, and splendid execution of the Iliad, but the heart always bears testimony to the merit of the Odyssey: it is the poem of nature, and its personages inspire love rather than command admiration. The good herdsman Eumaeus is worth a thousand heroes! Homer is 4 Southey 1-1.fm Page 5 Tuesday, April 6, 2004 1:53 PM

Joan of Arc: 1796 – Preface

indeed the best of Poets, for he is dignified yet simple; but Pope has disguised him in fop-finery, and Cowper has stripped him naked.6 There are few readers who do not prefer Turnus to Aeneas; an emigrant, sus- pected of treason, who negligently left his wife, seduced Dido, deserted her, and then took Lavinia forcibly from her betrothed husband! What avails a man’s piety to the Gods, if in all his dealings with men he prove himself a villain? If we represent Deity as commanding a bad action, we make a Moloch God, and fur- nish arguments for the Atheist.7 The ill-chosen subjects of Lucan and Statius have prevented them from acquiring the popularity they would otherwise have merited, yet in detached parts, the former of these is perhaps unequalled, certainly unexcelled. The French Court honored the Poet of Liberty, by excluding him from the edition in Usum Delphini; perhaps, for the same reason, he may hereafter be published in Usum Reipublicae.8 I do not scruple to prefer Statius to Virgil; his images are strongly conceived, and clearly painted, and the force of his language, while it makes the reader feel, proves that the author felt himself. The power of Story is strikingly exemplified in the Italian Poets: they please universally, even in Translations. In the proportioning of his character, Tasso has generally failed. Godfrey is the hero of the poem, Rinaldo of the poet, and Tan- cred of the reader. Secondary characters should not be introduced like Gyas and Cloanthus; merely to fill a procession; neither should they be so prominent as to throw the principal into shade.9 The lawless magic of Ariosto, and the singular theme as well as the singular excellence of Milton, render all rules of epic poetry inapplicable to these authors: so likewise with Spenser, the favourite of my childhood, from whose frequent perusal I have always found increased delight.10 Against the machinery of Camoens, a heavier charge must be brought than that of profaneness or incongruity. His floating island is but a floating brothel, and no beauty can make atonement for licentiousness. The Lusiad, though excellent in parts, is uninteresting as a whole: it is read without interest, and remembered without pleasure.11 The two poems of Glover have indeed the body of poetry, but there is no ani- mating spirit: yet the Scholar must be pleased with their classical propriety, and the young heart will feel itself warmed by the struggle and success of free men.12 It has been established as a necessary rule for the Epic, that the subject be national. To this rule I have acted in direct opposition, and chosen for the subject of my poem the defeat of my country. If among my readers there be one who can wish success to injustice, because his countrymen supported it, I desire not that man’s approbation.13 The History of JOAN of ARC is one of those problems that render investiga- tion fruitless. That she believed herself inspired, few will deny: that she was inspired, no one will venture to assert; and who can believe that she herself was imposed on by Charles and Dunois?14 That she discovered the King when he disguised himself among the Courtiers to deceive her, and that, as a proof of her mission, she demanded a sword from a tomb in the church of St. Catharine, are 5 Southey 1-1.fm Page 6 Tuesday, April 6, 2004 1:53 PM

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facts in which all Historians agree: if this were done by collusion, the Maid must have known herself an imposter, and with that knowledge could not have performed the enterprise she undertook. Enthusiasm, and that of no common kind, was necessary to enable a young Maiden at once to assume the profession of arms, to lead her troops to battle, to fight among the foremost, and to subdue with an inferior force an enemy then believed invincible. One who felt herself the tool of a party, could not have performed this. The artifices of the Court could not have persuaded her that she discovered Charles in disguise; nor could they have prompted her to demand the sword they might have hidden, without dis- covering the deceit. The Maid then was not knowingly an imposter; nor could she have been the puppet of the Court: and to say that she believed herself inspired, will neither account for her singling out the King, or prophetically claiming the sword. After crowning Charles, she declared that her Mission was accomplished, and demanded leave to retire. Enthusiasm would not have ceased here; and if they who imposed on her could persuade her still to go with their armies, they could still have continued her delusion. Fuller, of quaint memory, classes her among witches. He calls her a handsome, witty, and bold Maid, about twenty years of age. ‘People found out a nest of miracles in her education, that so lion-like a spirit should be bred among sheep like David. Ever after she went in man’s cloaths, being armed cap-a-pee, and mounted on a brave steed: and, which was a wonder, when she was on horse- back, none was more bold and daring; when alighted, none more tame and meek; so that one could scarce see her for herself, she was so changed and altered, as if her spirits dismounted with her body.’ ‘Two customes had this Virago (call her now John or Joan), which can no way be defended: one was her constant going in man’s clothes, flatly against Scripture; beside she shaved her hair in the fashion of a Frier, against God’s express word: it being also a solecism in nature, all women being born votaries and the veil of their long hair minds them of their obedience they naturally owe to man: yea, without this comely ornament of hair, their most glorious beauty appears as deformed, as the sun would be prodigious without beams.’15 I have placed the death of Salisbury later, and of the Talbots earlier than these events occurred, and I believe these to be the only liberties taken with facts. The fall of the bridge at Orleans, a circumstance that the reader might deem invention, is historically true.16 The ninth book is the Original Sin of the poem. That it is a defect, I am myself sensible; but it is not uncommon at the age of twenty-one for the imagination to out-run the judgment. For the sake of variety, I thought it essential to introduce rough lines occasionally, and this I mention, lest some might suspect me of carelessness. Such as it is, the poem is before the world. I shall not witness its reception, and it will be long before the tidings will reach me in a distant part of Europe. Liberal criticism I shall attend to, and I hope profit by, in the execution of my MADOC, an Epic Poem on the discovery of America by that Prince, on which I am at present engaged.17 From line 121 to 131 in the tenth Book, of my writing, has been seen already by the public in another work; 6 Southey 1-1.fm Page 7 Tuesday, April 6, 2004 1:53 PM

Joan of Arc: 1796 – Preface

but as it is at present out of print and improbable that another edition will appear: on account of the appropriate sentiments they contained, I did not scruple to place them in their present situation.18 M. LAVERDY is now occupied in collecting whatever has been written concerning the Maid of Orleans. The result of his enquiries I anxiously expect. Of the various productions to the memory of JOAN of ARC, I have collected only a few titles, and if report may be trusted, need not fear a heavier condemnation than to be deemed equally bad. A regular Canon of St. Euverte has written un tres mauvaise poeme, intitled, The Modern Amazon. There is a prose tragedy called La Pucelle D’Orleans, variously attributed to Benserade, to Boyer, and to Menardiere. The Abbe Daubignee published a prose tragedy with the same title in 1642. In the Vatican, among the manuscripts of the Queen of Sweden, is a dramatic piece in verse, entitled, Le Mystere du Siege d’Orleans. Of my unfortu- nate predecessor Chapelain, I have been able to learn nothing but from Boileau. The Pucelle of Voltaire I have not read.19 The following account of the imprisonment and execution of the Maid, I translate from Millin’s National Antiquities of France. ‘JOAN was oppressed with outrages of all kinds: at every question they called her Joan the Heretic – the Sorceress – the Lascivious. Questions the most ridiculous were put to her; her confession was drawn from her, yet could they not find her culpable. The University of Paris assembled, and pronounced her a Heretic and Schismatic. The account of the process was read to Joan, and she complained fruitlessly, that her answers were falsified. They threatened her with the stake if she did not abjure: they read to her a passage which contained a promise to quit the habit of a man, and never again to bear arms. This writing she thought she signed, but they substituted another, in which she confessed herself an Harlot, an Idolatress, a Sorceress, Seditious, &c. &c. – She was sentenced to perpetual imprisonment.’ ‘But this was not what had been promised to the English, and to satisfy them, it was necessary to destroy the unhappy JOAN. She had promised never more to wear the habit of a man; during the night they removed her own clothes, and placed in their stead those of a man: in vain did she demand her own – they were refused – vainly did she say that death was threatened her; her prayers were unre- garded. She remained in bed till necessity obliged her to cover herself with the apparel of a man. Then was she seized, declared to have relapsed – excommuni- cated – crowned with paper upon which was written – ‘An Heretic! an Apostate! an Idolatress!’ and then reserved for punishment, guarded by an hundred and twenty armed soldiers.’ At last she was condemned to the flames. Over the stake was placed a large writing, bearing these words: – ‘JOAN, CALLING HERSELF THE MAID, IS A LIAR, A DIVINER, A BLASPHEMER OF GOD, A DISBELIEVER OF THE FAITH, AN IDOLATRESS, CRUEL, LEWD, AN INVOCATOR OF THE DEVIL, AN APOSTATE, A SCHISMATIC, AND AN HERETIC.’

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On the right and left of the stake were two scaffolds; upon the one were seen Pierre Cauchon and his clergy, on the other the Bailli of Rouen and the Assesseurs. The Theologian Nicolas Midi pronounced an hypocritical discourse, conclud- ing with these words: – ‘JOAN, go in peace, the Church abandons you to the secular justice.’ The Bailli of Rouen had not power to pronounce sentence, all he could utter was, ‘menez la – let it be.’ The preparation for death shook the firmness of JOAN: – she wept, and her tears softened the executioner, but not the Theologians. She was consumed before a numerous people, who, always late in their regret, detested the atrocity on which they had assembled to glut their eyes. The Assesseurs of Rouen abhorred their crime; and said themselves that they were dishonoured and undone. The executioner ran to throw himself at the feet of his confessor, but the Priests sung hymns for their detestable triumph. Thus perished this admirable heroine, ‘to whom’ (says Hume) ‘the more generous superstition of the ancients would have erected altars.’ On the eighth of May, the epoch of its deliverance, an annual fete is held at Orleans: and monuments have been erected to her memory. Her family was ennobled by Charles, but it should not be forgotten in the history of this monarch, that in the hour of misfortune he abandoned to her fate, the woman who had saved his kingdom.20a

a BL Add. MS omits titles, Greek epigraph and Preface

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BOOK THE FIRST

ARGUMENT.

Dunois (the Bastard of Orleans) carried away by his wounded Steed, faints with loss of blood. JOAN discovers and heals him. They proceed to the King. Narrative of the Maid. She relates the capture of Harfleur, and the expulsion of the inhabitants by Henry the 5th. Her education with Bizardo. The annunciation of her mission and subsequent life.

WAR’S varied horrors, and the train of ills That follow on Ambition’s blood-stain’d path And fill the world with woe; of France preserv’d By maiden hand, what time her chiefs subdued, Or slept in death, or lingered life in chains, 5 I sing: nor wilt thou FREEDOM scorn the song. Sunk was the sun: o’er all the expanse of air The mists of evening deepening as they rose Chill’d the still scene; when thro’ the forest gloom, Rapt on with lightning speed, in vain Dunois 10 Now check’d with weaker force the unheeded rein, Now rais’d the unheeded voice. Swift as the storm Tremendous urges o’er the dangerous cape His sweeping pinions, rush’d the steed; for deep The heavy-hanging arrow’s barbed point 15 Gor’d his red flank. Impatient of defeat Shame and Revenge boil’d in the Bastard’s breast. Adown his batter’d arms the tide of life Roll’d purpling; soon its grasp the nerveless hand Relax’d, and faint and fainter wax his limbs. 20 Dim rolls the shadowy eye – he droops – he falls. Chill drop the dews of night. The new-born sun Refulgent smiles around. From trance reviv’d In dubious life Dunois unseals his eyes, And views a Form with mildly-melting gaze 25 Hang o’er his wounds: loose to the morning breeze

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Waved her brown hair, and on her rubied cheek Hung Pity’s crystal gem. Fearful awhile Lest wandering Fancy’s unsubstantial shapes Had mock’d the vagrant sense, silent he gaz’d, 30 And gazing wonder’d; o’er his aching soul Soon Memory rush’d and woke with ruthless hand Each sleeping care. ‘O France,’ he cried, ‘my country!’ When soft as breeze that curls the summer clouds At close of day, stole on his ear a voice 35 Seraphic. ‘Son of Orleans! grieve no more. His eye not slept, tho’ long the All-Just endur’d The woes of France; at length his bar’d right arm Volleys red thunder. From his veiling clouds Rushes the storm, Ruin, and Fear, and Death. 40 Take Son of Orleans the relief of Heaven: Nor thou the wintry hour of adverse fate Deem useless: tho’ unhous’d thou roam awhile, The keen and icy wind that shivers thee Shall brace thine arm, and with stern discipline 45 Firm thy young heart for fearless enterprise. As who, through many a summer night serene Had hover’d round the fold with coward wish; Horrid with brumal ice, the fiercer wolf From his bleak mountain and his den of snows 50 Leaps terrible, and mocks the shepherd’s spear.’ So spake the delegated Maid. Meantime From many a potent herb the juice she press’d Medicinal, and touch’d with lenient hand Each gaping wound, where life as loath to fly 55 Sat trembling: not the plants Medea cull’d On Colchis’ plain, nor those ingredients dire Erichtho mingled on Pharsalia’s field, Making the soul retenant its cold corse, More potent; thro’ his frame with force divine 60 The subtle spirit ran, and every limb Fill’d with unwonted vigor; from the ground On nimble feet he sprang, and knelt, and spake.a ‘O more than mortal! thou whose powerful hand Avails to check the rapid step of Death, 65 Snatching his prey even from the open’d grave. O Powerful! O Benignant! for myself Thus saved, I thank thee; for my country, more;

a WAR’S varied horrors … spake.] BL Add. MS omits

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Joan of Arc: 1796 – Book the First

Angel of Heaven! for surely thou wilt aid My country, and mine arm nerv’d with new life 70 Shall on these proud invaders pour the war With tenfold fury.’ ‘Son of Orleans, cease;’ With loveliest smile she said, ‘nor thus misgive What Heaven alone can claim. To Heaven return The grateful prayer; to Heaven, whose bounteous will 75 Me, most unworthy, delegates to wield His thunder. Hear Dunois the tale of Her, Offspring of frail Mortality, yet doom’d To save her country. Lead me to the king, And as we journey on, these lips shall tell 80 The wonderous work of Fate.’ She paus’d: meantime As down the steep descent with many a step They urge their way, her eye with wistful gaze Views the departing scene; so his last glance High from the deck the wretched exile sends 85 To all that life holds dear; the glist’ning tear, Soften’d her eye and all the Woman reign’d. Soon the delusion dies; in distance lost Fades every spot belov’d; the hillock’s top, The oak wide-branching, and the rising smoke 90 Slow o’er the copse that floated on the breeze Melt in the morning clouds. She dried the tear, Then thus: ‘Near Harfleur’s wall, where rolls the Seine Full to the sea his congregated waves, Dwelt Albert once. – Seat of my earliest years! 95 Still busy Fancy loves with fairy touch To paint its faded scenes:a even now mine eye Darts thro’ the past its retrospective glance, And calls to view each haunt of sportive youth, Each long-lost haunt I lov’d: the woodbin’d wall, 100 The jasmine that around the straw-roof ’d cot Its fragrant branches wreath’d, beneath whose shade I wont to sit and mark the setting sun And hear the redbreast’s lay. Nor far remote As o’er the subject landskip round I gaz’d, 105 The tow’rs of Harfleur rose upon the view. A foreign master holds my father’s home! I, far away, remember the past years,

a With loveliest smile … scenes:] BL Add. MS omits

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And weep. The invader came. High o’er the waves Rides the proud armament in dreadful pomp 110 That wafted slaughter; to the pebbled shore The anxious natives throng, and gaze upon The approachinga ruin. On the fav’ring gale, The banner’d lion floats. Then might be heard, (That dreadful emblem of destruction seen,) 115 The mother’s anguish’d shriek, the old man’s groan Of deep despondence. Desolate the cot; Silent the hamlet haunts of Innocence; For the poor villagers remembering all Their grandsires told of war, fled wing’d with fear 120 To Harfleur’s shelter; thither me, yet young, (For scarce four summers o’er my head had beam’d Their radiance) bore my sire; the well barr’d gate, The massy wall, the turrets guarded strength, Too fondly wish’d, too fondly deem’d secure. 125 Firm on the battlements the natives stand, Heedless of Death that rode the iron storm. Fire-brands and darts and stones and javelins (Vainly destructive) thinn’d the hostile host.b The intrepid foe rush onward. Fourteen years 130 Young as I was, have not effac’d the scene From bleeding memory. The widow’s cry The shrieks of anguish and the yell of war And Death’s deep groan, yet vibrate on my heart, Yet wake the strings of grief! Twere long to tell 135 The vast variety of woe that fill’d Unhappy Harfleur. Long Estouteville strove, Long Gaucour’s forceful arm repell’d the foe. In vain they strove, for weak were the wide walls And few the gallant garrison, worn out 140 With days of ceaseless toil, and fearful nights Of unseen peril. O’er the wasted town The dreadful engines of destruction hurl’d Their ponderous ruin: then my father died! Spirit of Albert! bend from yon high Heaven 145 Thy head;c look down – behold thine orphan child!

a approaching] coming BL Add. MS b (Vainly … host.] In vain from an arm destructive hurld/ With fruitless fury thinn’d the hostile host BL Add. MS c head;] xxxxxlld head; BL Add. MS 12 Southey 1-1.fm Page 13 Tuesday, April 6, 2004 1:53 PM

Joan of Arc: 1796 – Book the First

She goes to fill her destiny; like thee, Leaving domestic joys, in rugged arms. To clasp her limbs; – like thee to dare the war, To die – yet not inglorious! Wild with woe 150 O’er my poor father’s shatter’d corse I lay, And kist his rigid cheek, and tore my vest To bind his mangled limbs; nor, now bereft Of him the only parent of my youth, Fear’d I the horrors that prevail’d around. 155 Suddenly all was still:a anon burst forth The shout of conquest: from their long lov’d homes Thrust forth, the unhappyb natives wander o’er The wasted plain, in want and wretchedness. Feebly I followed; one who knew and lov’d 160 My fallen father, sav’d his helplessc child. Long time he journeyed on in hopes to gain Beyond old Arden, in his sister’s home A safe asylum; and we now had reach’d The wood, with many a painful day’s hard toil, 165 When by the rankling wound that prey’d upon him Worn out, he fell. My agonizing shrieks Pierced thro’ the forest, and a holy man Drew near: he bore him to his rock-roof ’d cell, And many a precious balm, and virtuous herb 170 The aged leech applied; his earthly cares Were fruitless, for worn nature sunk to rest.d Yet of a Judge, all just, all merciful, A GOD of LOVE, inspir’d the hermit told, And solaced his departing soul with strains 175 Of sweetest piety, and bade it rise On Faith’s strong wings to Heaven. Thus, once again Bereav’d of friends, the sport of adverse fate, On his turf ’d grave I pour’d the orphan tear. Rude was Bizardo’s cell; the beetling rock 180 Frown’d o’er its ivied entrance; the hewn stone Form’d his rough seat, and on a bed of leaves The aged hermit took his nightly rest.

a all was still:] dread Silence reign all was still: BL Add. MS b unhappy] wretched {unhappy} BL Add. MS c helpless] orphan {helpless} BL Add. MS d rest.] sleep. BL Add. MS

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Robert Southey: Poetical Works 1793–1810 – Volume 1

A pure stream welling from the mossy rock Crept murmuring thro’ the wood, and many a flow’r 185 Drank on its side the genial sap of life. The rich soil wasted not in worthless weeds Its nurture; for Bizardo’s patient hand Cultur’d each healing and salubrious herb; And every fruit that courts the summer sun 190 Bloom’d for the holy hermit’s blameless food. Oft would the sage exclaim ‘ah why should Man Stern tyrant of the field, with blood pollute His festive board! Nature has spread around The unguilty food of life abundantly.a 195 How frolic in the sun yonb little fawn Strains his young limbs; now browzes the sweet grass, Now o’er the plain leaps lightly; that man’s heart Were hard and alien from humanity Who could endure to gore his innocent side! 200 Sport on poor forester! sport on secure, Fearless of onec by hard misfortune school’d To feel for others. Here my infant years Roll’d on at length in peace; he taught my knees To bend in prayer to that all-gracious God 205 Whose parent power had call’d me into life; And who, from every perilous chance preserv’d, Had to the friendless orphan given a friend. Of every herb that blooms amid the grove, Or on the high cliff drinks a purer air 210 He bade me know the virtue; with the morn Up from the homely couch we rose to pour The soul expanding prayer: his eyes would beam Seraphic rapture, as with eloquent tongue He told the works of Heaven to thankless man. 215 How from the womb of darkness nature rose Refulgent: at the Godhead’s high command How matter teem’d with life: the Earth put forth Her various stores: the groves of Paradise Gave their mild echoes to the choral songd 220 Of new-born beings: and the last best work

a Frown’d o’er its ivied … abundantly.] To raise the bloodless banquet lxxk the gxxxdxx BL Add. MS b yon] that {yon [in another hand, probably STC’s]} c one] him {one} BL Add. MS d Gave their mild … song] Reechoed to the choral song of joy {Gave their mild echoes to the choral song [in another hand?]} BL Add. MS

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Joan of Arc: 1796 – Book the First

Form’d in God’s image, reared the lordly face To Heaven. But when Bizardo told how man Fell from perfection, from angelic state, Plung’d deep in sin, and pluck’d the fruit of woe, 225 And bow’d the knee to fiends, and mock’d at God, ’Till Christ expiringa on the sacred cross Pour’d forth the atoning life;b the tears ran down His aged cheeks with woe-mixt gratitude.c Forgive the prolix tale! Oh I could dwell 230 For ever thus; for weeks, and months, and years, Roll’d undistinguish’d down the stream of Time, ’Till fourteen summers smiling o’er my head Saw my young mind rich with the precious lore Of virtue, and the leeches healing art 235 By him – the good man – taught. One morn it chanc’d, As wandering thro’ the wilds my steps stray’d on, And from the high grass brushed the morning dew,d The track of blood alarm’d me; void of fear, For the innocent fear little; eagerly 240 I traced the stain, thinking some mangled fawn Or lamb had from the savage wolf escap’d, And I might haplye heal its bleeding wounds. It led me where outstretch’d on the red earth There lay a youth wounded,f and faint; his hair 245 Clotted with gore; fast from his side stream’dg out The blood; on his pale cheek the cold dews stood,h And from his hand the blood-stain’d sword had fall’n. Fearful to leave, yet impotent alonei To bear him to our cell – my echoing voice 250 Calls on Bizardo’s aid; he heard; our hands Enwove the osier car; the cave receives

a expiring] descending {expiring [in another hand, probably STC’s]} BL Add. MS b life;] blood life; BL Add. MS c with woe-mixt gratitude.] & woe & {with woe-mixt [in another hand, probably STC’s]} gratitude./ Proclaimd this more than mortal still was man/ BL Add. MS d And from the high … dew,] Brushing {from} the high grass the morning dew {And from the high grass brushed the morning dew, [in another hand, probably STC’s]} BL Add. MS e haply] happily BL Add. MS f lay a youth wounded,] {youth lay wounded [in another hand, probably STC’s, on verso of preceding page]} BL Add. MS g stream’d] rxxxd xxx {xxlld stream’d [in another hand, probably STC’s]} BL Add. MS h The blood … stood,] The blood {on his pale cheek} the cold dew {started} reekd on his pale cheek BL Add. MS i alone] alone/ O staunchd with virtuous herb each bleeding wound/ BL Add. MS

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Robert Southey: Poetical Works 1793–1810 – Volume 1

The senselessa stranger. O’er his couch I bent With pious vigilance and fearful hope, Watching the wounded man till fugitive lifeb 255 Dubious return’d. His eyes gazed wistful roundc And e’re again the heavy lids closed on themd Beam’d languid gratitude.e Long time elapsed E’re thro’ his frame the temperate current roll’df Of former strength; for deeply had he felt 260 The ruffian’s sword, and distant many a league Domremi lay the stranger’s native home.g Scarce eighteen years had nerv’d the stripling’s arm; Ye t Theodore had view’d each deathful scene: And oft the tear from his averted eye 265 He dried; mindful of fertile fields laid waste,h Dispeopled hamlets,i the lorn widow’s groan, And the pale orphan’s feeble cry for bread. But when he told of those fierce sons of guilt That o’er this earth which God had fram’d so fair 270 Spread desolation, and its wood-crown’d hills Make echo to the merciless war dog’s howl; And how himself from such foul savagery Had scarce escap’d with life, then his stretch’d arm Seem’d, as it wielded the resistless sword 275 Of Vengeance: in his eager eye the soul Was eloquent; warm glow’d his manly cheek; And beat against his side the indignant heart.

a senseless] wounded {senseless} BL Add. MS b With pious … life] Watching in trembling {painful} hope returning life/ With pious vigilance. Now ranged the wood/ And culld the simple from the mountains brow/ Then bruisd the lenient herb, anon distilld/ The vivifying juice, till wandering {fugitive} Life/ Burst from the confines of the darksome xxxxxth {With pious vigilance & fearful hope/ Watching the wounded man [on verso of preceding page]} BL Add. MS c His eyes gazed wistful round] his eyes xxxxxxxd xx xxxxxxd {his eyes gazed wistful round/ wondering he gazed around} BL Add. MS d And … them] {[on verso of preceding page]} BL Add. MS e Beam’d languid gratitude.] The xxxxxxx of gratitude {Beam’d languid gratitude [on verso of preceding page]} BL Add. MS f E’re … roll’d] Ere from & xhoxxe xxxx {thro} his frame coxxsd the {temperate current rolld} BL Add. MS g Domremi … home.] The strangers native home Domremi lay. BL Add. MS h Scarce eighteen … waste,] Scarce sixteen years had nerved the youthful arm/ Of The- odore. the glow of generous youth/ Beaming from his full eye bespoke the soul/ When of the dreadful scenes of blood he told, {Scarce eighteen […] waste, [on verso of preceding page]} BL Add. MS i Watching the wounded … hamlets,] {[second copy of these lines]} BL Add. MS

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Joan of Arc: 1796 – Book the First

Meantime autumnal gales had swept the grove, And to the cold blast now the sullen oak 280 Spread his unfoliag’d arms; the cloud-clad sky Frown’d o’er the drear and melancholy scene.a At length the snows fell fast, and drifting deep Choak’d up the road; yet felt not Theodore One tedious hour of all the live-long day. 285 Oh! he would sit and mark the driving storm,b Whilst o’er the high-heap’d hearth, of a bad world And of the woes that Man creates for Man He told. Then gazing round our peaceful cell, Here (he would cry) let Theodore remain, 290 Till at last his wasted lamp of life Gently go out. Yet were not then the hours Devoid of sorrow; for our anxious eyes Beheld Bizardo waining to the tomb. In the full of years he sunk: his eyes grew dim, 295 And on the bed of leaves his feeble frame Lay helpless. Patiently did he endure, In faith anticipating blessedness, Already more than Man in that dread hour When Man is meanest. His were the best joys 300 The pious know, and his last prayer was praise. I saw him die: I saw the dews of Death Starting on his cold brow: I heard him then Pour out a blessing on me. – Son of Orleans! I would not wish to live to know that hour, 305 When I could think upon a dear friend dead, And weep not. Aching at heart we delv’d The narrow house, and o’er the inearthed corse Heapt we the grass-green sod. The spring came on; I felt a pang that may not be express’d, 310 Leaving that little cell where many a year Had past in peace. We journey’d on our way, Seeking the distant home of Theodore;c And at the last saw o’er the budding copse The curling smoke rise slow: onward he speedsd 315

a Meantime autumnal … scene.] BL Add. MS omits b At length … storm,] When Theodore xxxxxxd forlorn to xxxx/ {[3 illegible lines]} {At length […] storm, [on verso of preceding page]} BL Add. MS c Seeking the distant … Theodore;] {[on verso of preceding page]} BL Add. MS d onward he speeds] joy wingd his feet {onward he speeds} BL Add. MS

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Robert Southey: Poetical Works 1793–1810 – Volume 1

Elate of heart.a The watch dog with hoarse bark Announc’d the coming guest; then, wild with joy Soon as Remembrance spake his long-lov’d Lord, Fawn’d on his feet and howl’d with ecstasy. ’Twas happiness indeed, one face of bliss 320 Shines thro’ the house: the eager plough-man quits The labouring team, for Theodore is come. Fast down his mother’s cheek roll’d the warm tear Of transport, to her breast she clasp’d her child, Long wept as one no more; nor me forgot, 325 But welcomed me even with a mother’s smile. Here past my unruffled days. Sometimes at morn With pleasing toil to drive the woolly flock To verdant mead or stream, sometimes to ease The lowing cattle of their milky load, 330 My grateful task; asb with a parent’sc love Would Eleanor partake each peaceful hour. Hours of delight, ye are for ever gone! I shall no more with chearful toil prepare The rural cates for high solemnity 335 At holy hour; no more amid the dance Move in brisk measures with the blameless train. The cot’s calm quiet and the village sports These leave I willingly, thesed do I change For the camp’s din, the clangor of the war, 340 The pomp of slaughter: such the high command Of Duty; that command I shall obey. Dunois! I dwelt in happiness, my soul Slumber’d; and never feeling wretchedness I never dreamt of what the wretched feel. 345 The night was comfortless; the loud blasts howl’d, And as we sat around the social hearth We heard the rain beat hard: driven by the storm A warrior mark’d our distant taper’s light. We heapt the fire: the friendly board was spread: 350 The bowl of hospitality went round. “The storm beats hard”, the stranger cried “safe hous’d Pleasant it is to hear the pelting rain. I too were well content to dwell in peace, Resting my head upon the lap of Love, 355

a Elate of heart] Of Theodore {Elate of heart} BL Add. MS b as] this BL Add. MS c parent’s] mothers {parents} BL Add. MS d these] xxxx xxxxx these BL Add. MS

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Joan of Arc: 1796 – Book the First

But that my country calls. When the winds roar, Remember sometimes what a soldier suffers, And think of Conrade.” Theodore replied, “Success go with thee. Something I have seen Of war, and of its dreadful ravages. 360 My soul was sick at such ferocity; And I am well content to dwell in peace Albeit inglorious, thanking that good God Who made me to be happy.” “Did that God” Cried Conrade, “form thy heart for happiness 365 When Desolation royally careers Over thy wretched country? did that God Form thee for peace when Slaughter is abroad, When her brooks run with blood, and Rape, and Murder, Stalk thro’ her flaming towns? live thou in peacea 370 Young man! my heart is fleshly: I do feel For what my brethren suffer.” As he spake, Such mingled passions charactered his face Of fierce and terrible benevolence, That I did tremble as I listened to him. 375 Then in mine heart tumultuous thoughts arose Of high atchievements, indistinct, and wild, And vast, yet such they were that I did pant As tho’ by some divinity possess’d. “But is there not some duty due to those 380 We love?” said Theodore; and as he spake His warm cheek crimson’d. “Is it not most right To cheer the evening of declining age, With filial tenderness repaying thus, Parental love?” “Hard is it,” Conrade cried 385 “Aye, very hard, to part from those we love; And I have suffer’d that severest pang. My Agnes! I have left an aged mother; I have left one, on whom my fond heart doats With love unutterable. Should I live 390 ’Till France shall see the blessed hour of Peace, I shall return. My heart will be content, My highest duties will be well discharg’d And I may dare be happy. There are those

a Of Duty; that command … peace] BL Add. MS omits

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Robert Southey: Poetical Works 1793–1810 – Volume 1

Who deem these thoughts wild fancies of a mind 395 Strict beyond measure, and were well content If I should soften down my rigid nature Even to inglorious ease, to honor me. But pure of heart and high of self-esteem I must be honored by myself. All else, 400 The breath of Fame, is as the unsteady wind Worthless.” So saying from his belt he took The encumb’ring sword. I held it, list’ning to him, And wistless what I did, half from the sheath Drew the well-temper’d blade. I gaz’d upon ita 405 And shuddering, as I felt its edge, exclaim’d,b It is most horrible with the keen sword To gorec the finely-fibred human frame! I could not strike a lamb. He answer’d me “Maiden thou hast said well. I could not strike 410 A lamb. But when the invader’s savage fury Spares not grey age, and mocks the infant’s shriek As he does writhe upon his cursed lance, And forces to his foul embrace, the wife Even on her murder’d husband’s gasping corse! 415 Almighty God! I should not be a man If I did let one weak and pitiful feeling Make mine arm impotent to cleave him down. Think well of this young Man” he cried and seiz’d The hand of Theodore; “think well of this 420 As you are human, as you hope to live In peace, amid the dearest joys of home; Think well of this: you have a tender mother, As you do wish that she may die in peace, As you would even to madness agonize 425 To hear this maiden call on you in vain For aid, and see her dragg’d,d and hear her scream In the blood-reeking soldier’s lustful arms. Think that there are such horrors; that even now! Some city flames, and haply as in Rouen 430 Some famish’d babe on his dead mother’s breast Yet hangs for food. Oh God! I would not lose These horrible feelings tho’ they tear mine heart.”

a I gaz’d upon it] Good God! I cried gazed upon it BL Add. MS b And shuddering … exclaim’d,] {And shuddering […] exclaim’d} BL Add. MS c gore] maim gore BL Add. MS d dragg’d,] xxxxxx {xxxxpt draggd,} BL Add. MS

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Joan of Arc: 1796 – Book the First

When we had all betaken us to rest, Sleepless I lay, and in my mind revolv’d 435 The high-soul’d Warrior’s speech. Then rose the thought Of all the miseries that my early youtha Had seen in that beleager’d city, whereb Death never rested, and the morning sun Made steam the fearful havoc of the night,c 440 ’Till at the break of dayd I slept; nor then Repos’d my heated brain; for to my view Arose strange forms, sent as I do believe From the Most High. I saw a town hemm’d in Like Harfleur, round withe enemies begirt, 445 Where Famine on a heap of carcasses Half envious of the unutterable feast Mark’d the gorg’d raven clog his beak with gore. I turn’d me then to the besieger’s camp, And there was revelry: the loud lewd laugh 450 Burst on mine ears, and I beheld the chiefs Even at their feast plan the device of Death. My soul grew sick within me: then methoughtf From a dark lowering cloud, the womb of tempests, A giant arm burst forth, and dropt a sword 455 That pierc’dg like lightning thro’ the midnight air. Then was there heard a voice, which in mine ear Shall echo, at that hour of dreadful joy When the pale foe shall wither in my rage. From that night I could feel my burthen’dh soul 460 Heaving beneath incumbent Deity.i I sat in silence, musing on the days To come. Anon my raptur’d eye would glance A wild propheticj meaning. I have heard Strange voices in the evening wind. Strange forms 465 Dimly discovered throng’d the twilight air.k

a youth] youth had seen BL Add. MS b Had seen in that … where] In that beleagerd city, where by night BL Add. MS c of the night,] he had made, BL Add. MS d day] xxxx {day} BL Add. MS e with] begirt with BL Add. MS f then methought] & my cheek/ Reddend with indignation. then methought BL Add. MS g pierc’d] fell {piercd} BL Add. MS h burthen’d] wretchd {burthen’d} BL Add. MS i Heaving … Deity.] xxxx with the vast deeds of futurity/ Heaving {Heaving […] Deity. [on verso of preceding page]} j A wild prophetic] xx {A} wild & fearful {prophetic} BL Add. MS k the twilight air.] my visiond brain {the twilight sky air.} BL Add. MS

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Robert Southey: Poetical Works 1793–1810 – Volume 1

They wondered at me who had known me once A chearful careless damsel. I have seen Theodore gaze upon me wistfully ’Till he did weep. I would have told him all 470 The mighty future labouring in my breast, But that methought the hour was not yet come. At length I heard of Orleans, by the foe Wall’d in from human succour; to the event All look’d with fear, for there the fate of France 475 Hung in the balance. Now my troubl’d soula Grew more disturb’d, and shunning every eye, I lov’d to wander where the forest shade Frown’d deepest; there on mightiest deeds to brood Of shadowy vastness, such as made my heart 480 Throb fast. Anon I paus’d, and in a state Of half expectance listen’d to the wind. Last evening lone in thought I wandered forth. Down in the dingles depth there is a brook That makes its way beneath the craggy stones 485 Murmuring hoarse murmurs. On an aged oak Whose root uptorn by tempests overhangs The stream, I sat, and mark’d the deep red clouds Gather before the wind, whilst the rude dash Of waters rock’d my senses, and the mists 490 Rose round: there as I gazed, a form dim-seen Descended, like the dark and moving clouds That in the moon-beam change their shadowy shapes. His voice was on the breeze; he bade me hail The missioned Maid! for lo! the hour was come. 495 Then was the future present to my view, And strange events yet in the womb of Time To me made manifest. I sat entranc’d In the beatitude of heavenly vision. At length a wounded courser drooping blood 500 Rush’d by me. I arose and sought the spot Where thou hadst fallen; there the Most High vouchsaf ’d That aid miraculous which thou hast known.’b

a troubl’d soul] labouring breast {troubl’d soul} BL Add. MS b I lov’d to wander … known.’] BL Add. MS omits

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EDITOR’S NOTES

The abbreviation DNB in parenthesis against the names of persons below indicates that further biographical information may be found in the Dictionary of National Biography.

Joan (1796) 1 ΕΙΣ … ΟΜΗΡΟΣ] Homer, Iliad, book XII, l. 243. The epigraph translates as: ‘The one best omen is to fight for one’s country’. 2 Early … time.] The ‘intimate friend’, as suggested in L&C, Vol. I, p. 183, was probably GCB (1773–1839), a civil servant and minor literary figure who was one of RS’s closest friends from their schooldays at Westminster. 3 A few … announced.] RS identified the doubting ‘friend’ as GCB in his 1837 Preface to Joan, PW, Vol. I, p. xviii. The publication of Joan (1796) was announced at the end of Poems (1795), p. 131. 4 Still … went on.] RS began rewriting the poem on c. 4 May 1795 (G. Whalley, ‘Coleridge, Southey and Joan of Arc’, N&Q, 199 (1954), p. 68), and this process was still continuing in late October 1795, RS to GCB, 23 October 1795, L&C, Vol. I, p. 252. 5 The 450 … 291.] The most recent assessment of STC’s contribution to Joan (1796) lists his lines as: Book I, ll. 34–51, 59, 163, 198, 221–3, 229–31, 240, 246, 248, 262, 269–80, 294, 454–60, 484–96; Book II, ll. 1–140, 144–7, 223– 66, 272–90, 292–452; Book III, ll. 75–82; Book IV, ll. 66, 112, 125, 331–5, 489 footnote; Book V, l. 47. See CC, CPW, 1:1, pp. 205–25. 6 Homer … naked.] RS is referring to translations by Alexander Pope (1688– 1744) of the Iliad (1715–20) and Odyssey (1725–6), and by William Cowper (1731–1800) of Homer’s works (1791). 7 There … Atheist.] Virgil (70–19 BC), Aeneid. 8 The ill-chosen … Reipublicae.] Lucan’s (AD 39–65) Pharsalia deals with the Roman civil wars between Julius Caesar and Pompey; the theme of Statius’s (AD 45–96) Thebais is the quarrels between the sons of Oedipus. Lucan, a republi- can, was forced to commit suicide for conspiring against the Emperor Nero, making him the ‘Poet of Liberty’ to RS, but possibly ensuring his exclusion from Ad Usum Delphini, a seventeenth-century edition of Latin texts, prepared for the Dauphin of Louis XIV. 9 In the proportioning … shade.] Torquato Tasso (1544–95), Gerusalemme Liberata (1581).

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Notes to pages 5–179

10 The lawless … delight.] Lodovico Ariosto (1474–1533), Orlando Furioso (1516, 1532); John Milton (1608–74), Paradise Lost (1667), Paradise Regained (1671); Edmund Spenser (1552–99), The Faerie Queen (1590, 1596). 11 Against the … pleasure.] Luis Vaz de Camoens (1524–80), Os Lusiades (1572). 12 The two … men.] Richard Glover (1712–85), Leonidas (1737), The Atheniad (1788). 13 It has been … approbation.] In an undated commonplace book entry RS admitted that ‘England should be the scene of an Englishman’s poem’, CB, Vol. IV, p. 17. However, he never managed to find a suitable English subject on which to base an epic. 14 The history … Charles and Dunois?] Joan of Arc (1412–31), canonized 1920; Charles VII (1403–61); Jean Comte de Dunois (c. 1403–68). 15 ‘Two customes … beams.’] Thomas Fuller (1608–61), The Profane State (Cam- bridge, 1648), p. 360. 16 I have … true.] Thomas de Montacute, fourth Earl of Salisbury (1388–1428), was killed at the siege of Orleans before the arrival of Joan of Arc in 1429. John Talbot, seventh Lord Talbot, first Earl of Shrewsbury (1390–1453) and his son John Talbot, first Lord Lisle (1426–53), were both killed at the battle of Castillon. 17 MADOC … engaged.] RS had written the first book and a half of Madoc in 1794–5, but then abandoned work on it and did not resume it until February 1797, L&C, Vol. I, pp. 303–4. 18 From line … situation.] S. T. Coleridge [and R. Southey], The Fall of Robespierre. An Historic Drama (Cambridge, 1794), Act III, ll. 72–5, 211–15. 19 M. LAVERDY … read.] RS is referring to Clement Charles Francois de Laverdy (1723–93). In fact his work only appeared in fragmentary form in ‘Observations … sur le proces de Jeanne d’Arc’ in J. M. C. Leber (ed.), Collection des meilleurs dissertations, traites etc. (Paris, 1826). Other works mentioned are P. Le Jeune, L’Amazon francaise (Orleans, 1721); Jules de la Mesnardiere [attrib.], La Pucelle d’Orleans, Tragedie (Paris, 1642); Hedelin, abbé D’Aubignac, La Pucelle d’Orle- ans, tragedie en prose (Paris, 1642); Jean Chapelain, La Pucelle ou la France Delivrée (Paris, 1656); Voltaire, La Pucelle (1755). 20 The following account … kingdom.] Aubin-Louis Millin de Grandmaison, Antiq- uites Nationales (Paris, 1790–9), Vol. III, plate XXXVI, pp. 2–3. The translation is by RS. David Hume, The History of England, from the invasion of Julius Caesar to the Revolution of 1688, 12 vols (London, 1789), Vol. III, p. 158. 21 DUNOIS … Orleans.] The battle of Rouvray, or ‘the herrings’, took place on 12 February 1429. It was so named because the English, under the command of Sir John Fastolffe, were carrying supplies for Lent, mainly herrings, to the forces besieging Orleans. 22 Huc … LIB. VI.] Lucan, Pharsalia, book VI, ll. 670–3, 682–4 and 720–2. The passage translates as: ‘With this was blended all that Nature inauspiciously con- ceives and brings forth. The froth of dogs that dread water was not wanting, nor the inwards of a lynx, nor the hump of a foul hyena … and next she put in leaves steeped with magic unutterable, and herbs which her own dread mouth had spat upon at their birth, and all the poison that she herself gave to the world … and saw beside her the ghost of the unburied corpse. It feared the lifeless frame and the hateful confinement of its former prison.’

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Notes to pages 179–82

23 HARFLEUR … HOLINSHED, 600.] Raphael Holinshed, Chronicles, 3 vols (London, 1587), Vol. III, p. 600 [adapted]. Although RS borrowed the 1577 edition of Holinshed from the Bristol Library during the period 3 November 1794 to 28 January 1795 (G. Whalley, ‘The Bristol Library borrowings of Southey and Coleridge, 1793–8’, The Library, 4 (1949), p. 118) and this is usu- ally assumed to be the edition he used for Joan (1796 and subsequent editions), his notes to the poem indicate that he was referring to the differently paginated 1587 edition. 24 The Englishmen … HOLINSHED, 549.] Holinshed, Chronicles, Vol. III, p. 549 25 Estouteville ... repair.] RS is paraphrasing ibid. 26 ‘Some … HOLINSHED, 550.] Ibid., p. 550. 27 This act … Britanni!’] Ibid. The Latin translates as: ‘Then parents, weeping with their tender offspring, and the maiden-chorus left their old homes; then all the Gallic people left from the gates, sad, unarmed, empty, wretched, ill, and desti- tute, and forced to leave in order to find new homes. The Britons took control of the little town, according to the justice of war!’ 28 The following … PARIS.] RS’s source is James Pettit Andrews, The History of Great Britain, connected with the chronology of Europe, 2 vols (London, 1794), Vol. II, p. 53 n. 116. The Latin translates as: ‘A farmer, who had secured a young wife, and who was living in the neighbourhood of a very powerful nobleman, was most cruelly mistreated. Certainly on several occasions that aristocrat, accompanied by a great crowd, burst into the man’s home, and demanded a great price for his ransom. And if the farmer did not pay up straightaway, the nobleman would push that wretched man into a large chest, and would use violence on the man’s charming and tender wife (who was prostrated on that same chest), shouting out in a dreadful voice, “Audinus the Rustic! At this very moment your darling wife is being debauched on top of this chest.” And when this unspeakable crime had been completed, the husband was left (I shudder to tell it) dying of suffocation, if his recently violated wife did not buy his release for a great price.’ 29 Let us add … RICHEMONT.] Ibid. The passage translates as ‘that he had applied violence upon the husband himself (who had been prostrated by force), while his wife was resisting in vain. Then he had had the husband beaten and cut so badly that it was pitiable to see.’ 30 Holinshed … p. 566.] Holinshed, Chronicles, Vol. III, p. 566 [RS’s italics]. 31 Harfleur.] Besieged by Henry V in August–September 1415. 32 Sir Issac … powerful.] STC’s note is from Andrew Baxter, An Enquiry into the Nature of the Human Soul, 2 vols, 3rd edn (London, 1745), Vol. I, pp. 34–50. 33 Balda-Zhiok … Lapland.] STC’s source is Leemius [Knute Leem], De Lapponibus Finmarchiae (Copenhagen, 1767), p. 433. 34 Solfar-Kapper … LAPPONIBUS.] STC’s source is ibid., p. 437. The passage is translated in J. Pinkerton, A General Collection of Voyages, 17 vols (London, 1808–14), Vol. I, p. 465, as: ‘Solfar-Kapper, that is, hood of Solfar. This was the most celebrated of all those places devoted to sacrifices and religious worship by the Laplanders; it was situated in the southern part of the bay, half a mile distant from the sea. The place itself, which I remember, from curiosity, to have visited, consisted of two very high stones, placed opposite each other, the one of which was covered with moss.’

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Notes to pages 182–4

35 The Lapland … LAPPONIBUS.] STC’s note is compiled from Leemius, De Lap- ponibus, pp. 173, 172. The passage is translated in Pinkerton, Collection of Voyages, Vol. I, pp. 411, 410, 400, as: ‘It is wonderful and scarcely credible, unless one has seen it, that the Laplander, travelling in winter, over vast mountains and trackless haunts, especially at that season, when all nature is covered with a constant snow, and when the snows are agitated by the winds and whirled in circles … can find his way to the destined place, and without mistake … [but] if the mother happens to have an infant at her breast, she carries it on her back, put up in a hollow piece of wood, called in Lapland, Gieed’k [which they use as a cradle] … in this the infant, wrapped in woollen cloaths, and skins lies.’ 36 Jaibme Aibmo.] STC’s source is Leemius, De Lapponibus, pp. 416–19. 37 They call … 206.] STC’s source is David Cranz, History of Greenland: containing a description of the country and its inhabitants, 2 vols (London, 1767), Vol. I, pp. 206–7 [adapted]. 38 Otus and Ephialtes.] Giants and sons of Neptune. 39 See the … Skrymner.] RS is referring to a tale from the Prose Edda of Snorri Sturluson. It is retold in A. S. Cottle, Icelandic Poetry; or the Edda of Saemund translated into English verse (Bristol, 1797), pp. 113–14: ‘Leaving his goats, he [Thor] went with his companions to the land of the giants. Overtaken on their journey by night, they went as they thought into the house of a certain Giant to sleep. Here they passed the night: but in the middle of it, an earthquake shook their abode. Thor was terrified and seized his mallet to defend himself. Mean- while they heard a rumbling noise – It was a Giant who had alarmed them by his snoring. Thor immediately binds on his girdle of courage and enquires his name. “My name is Skrymner,” says he, “and thy name is Thor: tell me have you not picked up my gauntlet?” Thor then perceived that he had been sleeping in the Giant’s gauntlet; and the chamber was only one of its fingers. The Giant joined his company, and travelling all day, lay down at night under an oak to sleep; telling Thor to go to his wallet if he wanted any thing to eat. Thor tried to open it, but was unable to loosen a single knot. Vexed at this, he seized his mallet and threw it at the Giant’s head. The giant awoke, and enquired if some leaf had fallen upon him. Thor remained quiet under another oak; and when the giant began to snore again, drove his mallet into the blinder part of his head. The giant awaking enquired of Thor if some small grain of sand had not fallen upon that part, and why he did not go to sleep. Thor however resolving to have a third blow, watched his opportunity, and drove the mallet up to its handle into the giant’s cheek. Skrymner awoke, and enquired if some bird’s feather had not fallen upon him. They then rise, and quietly pursue their journey.’ 40 And when … fulfilled.] STC’s note. Revelations 6:9, 11. 41 The Slaves … S.T.C.] STC’s note cites his own ‘Sors misera servorum in insulis Indiae Occidentalis’ (1792), ll. 1–16. 42 The Maid … RAPIN.] The History of England, as well Ecclesiastical as Civil by Mr. De Rapin Thoyras, translated by N. Tindal, 15 vols (London, 1728–31), Vol. V, p. 403. 43 Orleans … confinement.] Andrews, History of Great Britain, Vol. II, p. 58 n. 125. 44 According to … Gentlemen.] RS is referring to Henry V’s victory at Agincourt (1415). Holinshed, Chronicles, Vol. III, pp. 552, 555; J. Goodwin, History of the

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Reign of Henry the Fifth, King of England, &c. In Nine Books (London, 1704), p. 92. 45 A company … eminent.] History of England … Rapin-Thoyras, Vol. V, p. 132. 46 Henry … RAPIN.] Ibid., p. 137. 47 ‘Yet … HOLINSHED, 566.] Holinshed, Chronicles, Vol. III, p. 566. 48 ‘The Frenchmen … HOLINSHED, 566.] Ibid. 49 ‘The King … HOLINSHED. 566.] Ibid. [adapted]. 50 ‘After … CLARENDON.] Hugh Clarendon, A New and Authentic History of England, from the remotest period of intelligence to the close of the year 1767, 2 vols (London, 1768), Vol. I, p. 396. 51 Henry … CLARENDON.] Ibid., p. 395 [adapted]. 52 After … LIVIUS.] Holinshed, Chronicles, Vol. III, p. 568, marginal comment citing Titus Livius. 53 ‘A great … HOLINSHED.] Ibid., p. 566. 54 One … HOLINSHED.] Ibid., p. 567. 55 Roan … provisions.] Le premier (second, tiers) volume de Enguerran de Monstrellet, 3 vols (Paris, 1518), Vol. I, f. 270. 56 Roy … FEUILLET cxcvii.] Ibid., f. 197. The passage translates as ‘The King of England had Alain Blanchart, captain of the army, executed by beheading’. 57 Tanneguy … RAPIN.] History of England … Rapin Thoyras, Vol. V, p. 159. 58 Richemont … presence.] Ibid., p. 264 [adapted]. 59 ‘The Dukes … HUME.] Hume, The History of England, Vol. III, pp. 43 and 61– 3 [adapted]. 60 A dreadful … RAPIN.] RS’s note is based on François Eudes de Mezeray, A General Chronological History of France, trans. John Bulteel, 3 vols (London, 1683), Vol. II, pp. 435–6, and History of England … Rapin Thoyras, Vol. V, p. 159. 61 Charles … HUME.] Hume, History of England, Vol. III, pp. 103–4. 62 Thomas Muir.] Thomas Muir (1765–98), Scottish lawyer, sentenced to fourteen years transportation to Botany Bay for sedition in 1793. He was eventually res- cued by an American vessel and went to France, where he died. One of the subjects of RS’s ‘To the Exiled Patriots’, see Volume 5, pp. 20–2. 63 Though … POEMS.] RS is citing S. T. Coleridge, Poems on Various Subjects (Bris- tol, 1796), p. 48. 64 ‘If they … COLERIDGE.] RS is quoting S. T. Coleridge, Conciones ad Populum, or, Addresses to the People (London, 1795), pp. 55–6. 65 ‘To succeed … RAPIN.] History of England … Rapin Thoyras, Vol. V, p. 277. 66 ‘The French … HUME.] Hume, History of England, Vol. III, pp. 100–1. 67 ‘They … MONSTRELLET.] RS’s note is based on the History of England … Rapin Thoyras, Vol. V, p. 277, and Le premier (second tiers) volume de Enguerran de Monstrellet, Vol. II, f. 38. 68 ‘By the … RAPIN.] RS’s note is based on History of England … Rapin Thoyras, Vol. V, p. 179. 69 ‘The beseigers … RAPIN.] Ibid., pp. 277–8. 70 ‘The bulwark … RAPIN.] Ibid., pp. 278–9. 71 Revelations … 18.] Revelations 19:17–18. 72 ‘It was … CLAVIGERO.] Francisco Saviero Clavigero, The History of Mexico, trans. Charles Cullen, 2 vols (London, 1787), Vol. I, p. 314 [adapted].

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Notes to pages 191–4

73 Neque … LUCAN. III.] Lucan, Pharsalia, book III, ll. 464–8. The passage translates as: ‘For their javelins, not sped merely by men’s arms, but hurled by the tension of the powerful catapult, pierced more than one body before they were willing to stop; through armour and through bones they cleft a broad way and passed on, leaving death behind them; after dealing its wound the weapon flew on’. 74 The bayle … GROSE.] F. Grose, Military Antiquities, 2 vols (London, 1786–9), Vol. II, pp. 335, 337 [adapted]. 75 In France … tyrants.’] Ibid., Vol. I, p. 101 and n. (y); John Gillies, The History of Ancient Greece, 2 vols (London, 1786), Vol. II, p. 651. 76 The burgonnet … features.] Francis Grose, A Treatise on Ancient Armour (Lon- don, 1786), p. 10. 77 Earls … helmets.] Grose, Military Antiquities, Vol. I, p. 103. 78 A breast-plate … hauberk.] Ibid., p. 101 [adapted]. 79 Next … GROSE.] Ibid., Vol. II, p. 335. 80 The pavais … GROSE.] Ibid., p. 338 [adapted] and plate 3 between pp. 340–1. 81 The cross-bow … GROSE.] Grose, Ancient Armour, p. 75. 82 The fifty-eighth … VERSES 4, 5, 6.] RS used Isaiah 58:4–7 as the basis for his ‘Scriptural Ode. Wednesday, March 7, 1798, the Day Appointed for a Fast’, published in the Morning Post, 7 March 1798, see Volume 5, pp. 179–80. 83 From … GROSE.] Grose, Military Antiquities, Vol. II, p. 303 [adapted]. 84 Quarrels … iron.] Ibid., Vol. I, p. 157. 85 The espringal … air.] Ibid., Vol. II, p. 303. 86 On entering … gate.] Ibid., p. 336. 87 The Parliament … HUME.] Hume, History of England, Vol. III, pp. 40–1 [adapted]. 88 The Bastille.] A fortress in Paris, built in the fourteenth century and used as a prison until its destruction in 1789, an event which sparked the beginning of the French Revolution. 89 This thought … Werter.] Johann von Goethe (1749–1832), The Sorrows of Young Werther (1774). He was the subject of two juvenile poems by RS: ‘Written on having read the Sorrows of Werter’ and ‘Written under some miserable lines at the end of Werter’, Bodleian Library, MS Eng Poet e. 10, f. 36, f. 70. RS retained his admiration for the book, see NL, Vol. I, p. 44. 90 During … HEROISM!’] RS is referring to Ralph Churton, Eight Sermons on the Prophecies respecting the Destruction of Jerusalem, preached before the University of Oxford in the year 1785 (Oxford, 1785), p. 201. Titus Vespasian, Roman Emperor AD 79–81, was responsible for the destruction of Jerusalem in AD 70. 91 ‘The grave … P. H.] ‘P. H.’ is ‘Peter the Hermit’, a pseudonym used by GCB when he collaborated with RS on The Flagellant. The quotation is from his ‘O imitatores servum pecus!’, which appeared in The Flagellant, 3 (15 March 1792), p. 42. 92 ‘She sternly … QUARLES.] Francis Quarles, ‘Argalus and Parthenia’ (1629), ll. 598–9. 93 This inscription … suos.’] A Collection of Curious Discourses written by eminent antiquaries upon several heads in our English Antiquities, ed. Thomas Hearne, 2 vols (London, 1771), Vol. I, p. 335. The inscription translates as: ‘I am Talbot’s for overcoming his enemies’.

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Notes to pages 197–410 Joan (1798) 1 ΕΙΣ … ERASMUS.] See Joan (1796), n. 1 for the Greek translation. The Latin translates as: ‘As with men, so with books: they should become better by themselves from day to day’. RS is citing Desiderius Erasmus (c. 1476–1536), Dutch scholar. 2 Perlege … PETRARCA.] Francesco Petrarch, Epistole Metrchie, ‘Ad Barbatum Sulmonensem’, ll. 32–8. The Latin translates as: ‘Read to the end: you will learn that a soul without strength has unfurled the light wings of its genius, for I shall reveal true things. Glory pushed me, unfledged, out of the lukewarm nest head- long, and bade me fly to the far-off sky. For one who has made a start it is disagreeable to recall the course of one’s youth. If I had been permitted to remain at home, I should like to have firmed up my sinews.’ 3 EDITH SOUTHEY.] ES (1774–1837), RS’s wife. 4 Hume … ancestors.] RS is referring to David Hume, The History of England and The History of England … Rapin Thoyras. 5 I happened … poem.] The ‘old schoolfellow’ is GCB. 6 In August … books.] For the development of the poem see ‘Introduction’, pp. xxxv–xli. 7 In the course … guinea.] RS had originally offered Joan to Richard Cruttwell, the Bath-based publisher. See ‘Introduction’, p. xxxvii. 8 Shortly … Bristol.] JC (1770–1853, DNB), publisher of Joan (1796). The agreement between RS and JC is mentioned in RS to GCB, c. 22 November 1794, Eng. Lett. c. 22, ff. 138–9. 9 I corrected … Madrid.] RS left for Portugal on c. 1 December 1795, with his uncle Herbert Hill. 10 I have never been guilty … lines.] RS is referring to Jean Chapelain (1595–1674), La Pucelle, ou la France Delivrée. Poeme heroique (Paris, 1656). RS’s own copy, which was acquired for him by John May to use in revising Joan for the 1798 edition and inscribed ‘June 28. 1797. Burton, Hampshire’, is now in the Houghton Library, FC6 C3655 656pba. His detailed analysis of Chapelain is connected to his abortive scheme to produce a volume containing analyses of obscure epic poems, see RS to TS, 1 March 1799, BL Add. MS 30,927 f. 38. Voltaire’s (1694–1778) La Pucelle (1755) was widely regarded as obscene. RS’s reference, in the variant, is to George Herbert (1593–1633), ‘The Church- Porch’ (1633), xxxix.5–6. 11 ‘Lewes … Folio 104.] Edward Hall, The Union of the two noble and illustrious fame- lies of Lancastre and Yorke (London, 1548), ff. 104–5. 12 Perhaps … Falconbridge.] RS is referring to Philip Faulconbridge, illegitimate son of Richard I in William Shakespeare’s King John. 13 When the duke … adulteress.] The Chronicles of Enguerrand de Monstrelet; containing an account of the cruel civil wars between the houses of Orleans and Burgundy, of the possession of Paris and Normandy by the English, their expulsion thence; and of other memorable events that happened in the kingdom of France, as well as in other countries, trans. Thomas Johnes, 13 vols (London, 1810), Vol. I, p. 198. 14 ‘On rapporte … T. i. 99.] Histoire de Jeanne d’Arc, surnommée La Pucelle d’Orleans, par M. Le Brun de Charmettes, 4 vols (Paris, 1817), Vol. I, pp. 99–100. RS’s copy, now in the British Library, contains the autograph inscription ‘Robert Southey. 5 Apr. 1837./ Keswick.’, which suggests that he purchased it specifically

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Notes to pages 410–11

for his revisions of Joan for the 1837 edition. The passage can be translated as: ‘It is reported that the Duchess of Orleans, Valentine of Milan, a princess renowned for her wit and courage, on hearing of the bloody death of her spouse, gathered together all her household and the principal lords of his party, addressing them in the following words, “Who among you will be the first to march out and avenge the death of the brother of your king?” Each one of them was terror stricken and remained plunged in a sad silence. Indignant that no one responded to this noble appeal, little John of Orleans (Dunois) who was then aged six and a half, suddenly strode out into the midst of the gathered assembly and exclaimed in a lively voice, “It will be me, Madame, and I will show myself worthy of being his son.” From that time on Valentine forgot about the illegitimate birth of the young prince and felt a truly maternal affection for him. She had been heard to say on her death bed in a sort of premonition of the future greatness of this hero, “That he had been resolute and that there were none of her own children who were as well cut out to avenge the death of their father.” Almost the only criticism that one can make of this youthful warrior is that he was too vengeful. In the first half of his life he sometimes boasted of having sac- rificed ten thousand Burgundians to the shade of his father.’ 15 Lorraine was … Rose.] Geoffrey Chaucer, ‘Romaunt of the Rose’, Fragment A, ll. 763–8. 16 Là estoient … v.770–3.] RS is referring to the Roman de la Rose, book V, ll. 770– 3. The poem was begun by Guillaume de Lorris (d. 1237) and completed by Jean de Meun. For Chaucer’s version of these lines see n. 15 above. 17 The following account … Chinon.] RS is referring to L’Histoire et discouts au vray du siege qui fut mis devant la ville D’Orleans par les Anglois, le Mardy XII. Jour de Octobre MCCCC,XXVIII. regnant alors Charles VII. Roy de France (Troyes, 1621), ‘Histoire de La Pucelle D’Orleans’, [unpaginated]. The passage translates as: ‘Now at that time in the region of Lorraine there was a girl of about eighteen named Janne who belonged to the parish of Dompre, the daughter of a labourer named Jacques Tart. She had never done anything other than mind the animals in the fields. She said that it had been revealed to her that she should go to King Charles the seventh to help and advise him to recover his kingdom and his towns and those places that the English had conquered in his country. She did not dare tell her father and mother about the revelation she had had, because she knew full well that they would never have consented to her going (to the king). She persuaded him [her father] so much that he took her to see a nobleman called Lord Robert de Baudricourt who then was Captain of the town in the castle of Vaucouleur, which was quite near. She begged him [Baudricourt] to take her to the King of France, saying that this was very necessary for the good of his kingdom and that she would be a great help and succour to him in recov- ering the aforesaid kingdom, and that God wished it to be thus and that this had been revealed to her on several occasions. He only laughed at these words and mocked them and thought that she was possessed. However she persevered so much and so long that he gave her a nobleman called Ville Robert and a few people who would take her to the king who was then at Chinon.’ 18 The portrait … fictitious.] L’Histoire (1621), unpaginated. An engraved portrait of Joan of Arc appeared as the frontispiece to the 1798, 1806, 1812 and 1817 editions.

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Notes to pages 411–15

19 This agrees … 600.] Holinshed, Chronicles, Vol. III, p. 600 [adapted]. 20 De Serres … Witch.’] J. De Serres, A General Inventorie of the History of France, from the very beginning of that Monarchie, unto the Treatie of Vervins, in the yeare 1598, trans. Edward Grimeston (London, 1607), pp. 151–2. 21 Then the word … Chap. I.] Jeremiah, 1:4–7, 17. 22 But as for … Job.] Job, 22:8, 32:7. 23 ‘While the English … both.’] John Speed, The Historie of Great Britain under the con- quests of the Romans, Saxons, Danes and Normans, 3rd edn (London, 1632), p. 735. 24 When Montaigne … i. p. 17.] Journal du voyage de Michel de Montaigne en Italie, par la Suisse & l’Allemagne en 1580 & 1581, 3 vols (Rome, 1774), Vol. I, pp. 18–19. The passage is translated in Michel de Montaigne, The Complete Works, trans. Donald M. Frame, intro. Stuart Hampshire (London, 1943, rev. 2003), pp. 1060–1 as: ‘Her descendants were ennobled by the favor of the king, and they showed us the arms that the king gave them, which are azure, a straight sword crowned and with a hilt of gold, and two gold fleurs-de-lys at the side of the said sword. A receiver of Vaucouleurs gave an escutcheon thus painted to Monsier de Cazalis. The front of the little house where she was born is all painted with her exploits; but age has greatly damaged the painting. There is also a tree beside a vineyard which they call the Maid’s Tree, which has nothing else remarkable about it.’ 25 Ce n’etait … écurie.’] Histoire de Jeanne d’Arc, Vol. I, p. 244 and n. (2). The first quotation translates as: ‘It was only a small house but it has survived to this day thanks to the patriotism of the mayor and the inhabitants of Domremy. During the last years of imperial rule they saw that they would not be granted the sum necessary for the upkeep of the house and made up for this by voluntary subscription. All the respect and veneration that virtues can inspire can at times prolong the life of the simplest and most fragile monuments.’ The second translates as: ‘During the time that has passed since this passage was written it appears that things have changed a great deal. We can read the following passage in the Narrateur de la Meuse; “The rooms where this heroine and her parents lived have been converted into a stable; lowly animals live where Joan of Arc’s bed stood and her worm-eaten wardrobe contains tools used in the stable.”’ 26 People found … David.] Thomas Fuller (1608–61), The Profane State (Cam- bridge, 1648), p. 360. 27 It is said … i. 316.] Anna Eliza Bray, A description of the part of Devonshire border- ing on the Tamar and the Tavy; … in a series of letters to Robert Southey Esq., 3 vols (London, 1836), Vol. I, p. 316. 28 O Death … I.2.] Ecclesiasticus 41:1–2. 29 ‘Of acts … Alexander.] Sir William Alexander, first Earl of Stirling, Dooms-Day, or the great day of the Lord’s judgement (1637), The Sixth Houre, l. 868. 30 The following … Paris.] RS’s source is Andrews, History of Great Britain, Vol. II, p. 53 n. 116. The passage is translated in n. 28 to Joan (1796). 31 Let us add … Richemont.] Andrews, History of Great Britain, Vol. II, p. 53 n. 116. The passage is translated in n. 29 to Joan (1796). 32 The Prince … I. 235.] Jean Froissart, Le Premier (-quart) Volume de Messire Jehan Froissart lequel traicte de choses vignes de memoire advenues tant es pays de France, Angleterre, Flandres, Espaigne que Escoce, et aus tres lieux circonvoisins, 4 vols (in two books) (Paris, 1530), Vol. I, p. 185 (verso). It is also in the English transla-

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Notes to pages 415–18

tion of this text: Sir John Froissart’s Chronicles of England, France, Spain, Portugal, Scotland, Brittany, Flanders, and the Adjoining Countries; Translated from the original French, at the command of King Henry the Eighth, by John Bourchier, Lord Berners, 2 vols (London, 1812), Vol. I, pp. 422–3. 33 The crime … humane.] Le Premier (-quart) Volume de Messire Jehan Froissart, Vol. I, p. 184 (recto). Sir John Froissart’s Chronicles, Translated … by John Bourch- ier, Lord Berners, Vol. I, pp. 419–20. 34 After … p. 456.)] RS is citing the ‘Memoires de Pierre de Fenin, escuyer et pane- tier de Charles VI, Roy de France, contenans l’histoire de ce prince, depuis l’an 1407 jusques a l’an 1422’, in Collection universelle des mémoires particuliers relatifs à l’histoire de France, 65 vols (Paris, 1785–91), Vol. V, p. 456. 35 Atrocious … p. 31.] Chronicles of Enguerrand de Monstrelet, Vol. IV, pp. 30–1. 36 Holinshed … 566.] Holinshed, Chronicles, Vol. III, p. 566 [RS’s italics]. 37 Do not the tears … Ecclesiasticus.] Ecclesiasticus, 35:18, 22–3 [adapted]. 38 In the Journal … Fabliaux.] Fabliaux or Tales, Abridged from French Manuscripts of the XIIth and XIIIth Centuries, by M. Le Grand, Selected and Translated into Eng- lish Verse, eds G. Ellis and G. L. Way (London, 1796), p. 232. 39 Being asked … Rapin.] History of England … Rapin Thoyras, Vol. V, p. 463. 40 ‘In this … herself.] The Life of the Holy Mother St. Teresa, foundress of the reforma- tion of the Discalceate Carmelites, according to the primitive Rule (London, 1757), p. 48 [adapted]. 41 ‘Raise up … 36.] Ecclesiasticus, 36:8, 11. 42 The epithets … Gazaei.] Angelini Gazaei, Pia Hilaria, 2 vols (Antwerp, 1629). The quotation is from his ‘Cicada super sancti Francisci digitis Deum laudat’, ll. 4–5 in Pia Hilaria, Vol. I, p. 1. The passage translates as: ‘The grasshopper was singing (to express it in this way) in grasshopper fashion’. 43 Perhaps … cigalae.] Teofilo Folengo, Zanitonella, ‘Eccloga lyrica’, ll. 9–10 [adapted]. The first passage translates as: ‘Do you hear how many grasshoppers are chirping? They are bursting open my pot with their chirping.’ The second passage translates as: ‘To chirp, the voice of the grasshopper or cicada’. 44 St. Francis … proteras.] Gazaei, ‘Ouicula sancti Francisci piorum monitorum memor’, ll. 37–8, 41–2 in Pia Hilaria, Vol. I, p. 19. The Latin translates as: ‘See that you do not butt, nor rush to meet people; beware of either tearing up with your mouth the little flowers which should be offered up on altars, or wrong- fully trampling them with your cleft foot, like an idle cat’. 45 There is … bone!] Gazaei, ‘Agniculi a S. Francisco liberantur & docentur’, ll. 88– 9, 94 in Pia Hilaria, Vol. I, p. 47. The Latin translates as: ‘The pious Brother Lamb used to wake her up with his “bah bah”. O lamb, you who are now not a lamb, but a good doctor!’ 46 The Maid … Rapin.] History of England … Rapin Thoyras, Vol. V, p. 403. 47 Orleans … confinement.] Andrews, History of Great Britain, Vol. II, p. 58 n. 125. 48 According to … Gentlemen.] RS is referring to Henry V’s victory at Agincourt (1415). Holinshed, Chronicles, Vol. III, pp. 552, 555; Goodwin, History of the Reign of Henry the Fifth, p. 92. 49 This was … Barnes.] Joshua Barnes, The History of that Most Victorious Monarch Edward III. King of England and France and Lord of Ireland. And first founder of the Most Noble Order of the Garter: Being a Full and Exact account of the Life and

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Notes to pages 418–25

Death of the said King, together with that of his most renowned Son Edward, Prince of Wales and of Aquitain Sirnamed the Black Prince (Cambridge, 1688), p. 356. 50 The victory … arms.’] Ibid., p. 509. 51 ‘Without all question … Barnes.] Ibid., p. 185. 52 A company … eminent.] History of England … Rapin Thoyras, Vol. V, p. 132. 53 During the heat … p. 180.] Chronicles of Enguerrand de Monstrelet, Vol. IV, pp. 180–2. 54 When the king … p. 195.] Ibid., pp. 195–8. 55 According to … p. 384.] ‘Memoires de Pierre de Fenin’, in Collection universelle,Vol. V, p. 384. The first extract translates as: ‘After a distressing day when the two parties had withdrawn, Lowys of Luxembourg, who was Bishop of Touraine, had several charnel pits made on the battlefield and there he had the dead of both sides gathered. He had them buried and blessed the place. He had it enclosed on all sides by tall hedges, to keep animals away.’ The second translates as: ‘The next morning he [Henry] left Maisoncelle and went into the midst of the dead who had been killed in this battle. He stopped there for a long time and his men pulled out more prisoners from the dead and took the prisoners away with them.’ 56 Henry of Monmouth … Howes.] The Annales, or Generall Chronicle of England, begun first by Maister John Stow, and after him continued and augmented with matters forreyne, and domestique, aucient and moderne, unto the ende of this present yeere 1614 by Edmond Howes (London, 1615), p. 351. 57 Perhaps … Elmham.] Ibid., p. 352 and marginal comment citing Elmham. 58 Henry judged … Rapin.] History of England … Rapin Thoyras, Vol. V, p. 137. 59 ‘Yet although … 566.] Holinshed, Chronicles, Vol. III, p. 566. 60 ‘The Frenchmen … 566.] Ibid. 61 ‘The King … 566.] Ibid. [adapted]. 62 King Henry … p. 40.] Chronicles of Enguerrand de Monstrelet, Vol. V, pp. 40–1. 63 ‘After he … Clarendon.] Hugh Clarendon, A New and Authentic History of Eng- land, from the remotest period of intelligence to the close of the year 1767, 2 vols (London, 1768), Vol. I, p. 396. 64 ‘With the English … p. 638.] Speed, Historie of Great Britain, p. 790. 65 The king … p. 42.] Chronicles of Enguerrand de Monstrelet, Vol. V, p. 42. 66 ‘In some … 1646.] RS is referring to John Speed, The Theatre of the Empire of Great Britaine, which was bound together with A Prospect of the most Famous Parts of the World (London, 1646), p. 138. 67 ‘Some writing … 550.] Holinshed, Chronicles, Vol. III, p. 550 68 This act of … Holinshed.] Ibid. For Latin translation see Joan (1796), n. 27. 69 There is a way … 348.] The Annales, or Generall Chronicle … by Edmond Howes, p. 348 [adapted]. 70 Henry’s conduct … Howes.] Ibid., p. 354. 71 Before Henry … Serres.] De Serres, A General Inventorie, p. 103 [adapted]. 72 Henry, not … Clarendon.] Clarendon, History, Vol. I, p. 395 [adapted]. 73 After the capture … Livius.] Holinshed, Chronicles, Vol. III, p. 568, marginal comment citing Titus Livius. 74 ‘A great … Holinshed.] Ibid., p. 566. 75 At this period … p. 54.] Chronicles of Enguerrand de Monstrelet, Vol. V, pp. 54–6. 76 One of … Holinshed.] Holinshed, Chronicles, Vol. III, p. 567.

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Notes to pages 425–9

77 While the court … p. 61.] Chronicles of Enguerrand de Monstrelet, Vol. V, pp. 61– 3. 78 The names … Barnes.] Barnes, History of … Edward III, p. 367 [RS’s italics]. 79 This was … siege.] This account of the siege can be found in Le Premier (-quart) Volume de Messire Jehan Froissart, Vol. I, p. 72 (recto and verso), and Sir John Froissart’s Chronicles, Vol. I, pp. 160–1. 80 Roan … provisions.] Le premier (second, tiers) volume de Enguerran de Monstrellet, 3 vols (Paris, 1518), Vol. I, f. 270. 81 Roy … cxcvii.] Ibid., f. 197. The passage is translated in n. 56 to Joan (1796). 82 There the wicked … 17.] Job 3:17. 83 Cent … xvi.] P. Le Moyne, St. Louis, ou la sainte couronne reconquise (Paris, 1666), p. 481. The passage translates as: ‘A hundred funereal flags displayed solemn darkness in broad daylight’. 84 ‘When all things … Howes.] The Annales, or Generall Chronicle … by Edmond Howes, pp. 362–3. 85 At about a league … p. 375.] Chronicles of Enguerrand de Monstrelet, Vol. V, pp. 375–7. 86 A noble knight … p. 377.] Ibid., pp. 377–8. 87 The Governor … Daniel.] Gabriel Daniel, Histoire de France, depuis l’establissement de la monarchie Françoise dans les Gaules, 7 vols, 2nd edn (Amsterdam, 1720), Vol. IV, p. 37. The passage translates as: ‘They left and passed through the region of Auxerre without hindrance, even though the English controlled it. They swam across several rivers and entered the regions ruled by the King, where there were opposing factions everywhere, but they did not encounter any of them. They arrived safely in Chinon where the King was, and notified him of their arrival and of the reason for their presence there. Everyone was extremely surprised that such a long journey had passed off without mishap.’ 88 ‘Nil Galliâ … Virgil.] Polydore Vergil, De Historica Anglica (London, 1534), ch. xxxiii. The Latin translates as: ‘Nothing could be more disordered than France, nothing more despoiled, nothing more needy. But no particular good was being done by means of the soldiers – who were in any case rejoicing in the plunder – and meanwhile there was massacre everywhere, until each king took care to restrain the chiefs of his own faction by means of an oath. Therefore a disgust at the slaughter had already taken hold of both peoples, and already so many losses had been sustained on both sides that everyone generally bemoaned the fact that they were oppressed, lacerated, and ruined; and all were pained, broken, tormented by the greatest grief. And for that reason their minds, although very obstinate, were inclining to peace. At the same time a dearth of all things was pressing them in this direction: for everywhere the ravaged fields remained untilled, since in particular the men were unavoidably forced – on account of having to protect their lives – not to cultivate the land but to serve in the war. With so many ills pressing upon them in this way, neither side was shrinking from peace, and they did not think it disgraceful either to sue for peace, one from the other, or to conclude a treaty.’ 89 The effect … Foedera.] Thomas Rymer, Foedera, conventiones et cujuscunque generis Acta Publica, 20 vols (London, 1704–35), Vol. X, p. 724. 90 Dunois … Saint-Denys.] see n. 21 to Joan (1796). 91 Tanneguy … Rapin.] History of England … Rapin Thoyras, Vol. V, p. 159.

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Notes to pages 429–36

92 High … Daniel.] Samuel Daniel, ‘The Civile Wars between the two houses of Yorke and Lancaster’, book VIII, ll. 689–92. 93 De Serres … him.] De Serres, A General Inventorie, p. 141. 94 Richemont … presence.] History of England … Rapin Thoyras, Vol. V, p. 264 [adapted]. 95 The duke of Orleans … p. 192.] Chronicles of Enguerrand de Monstrelet, Vol. I, pp. 192–8. 96 About four … p. 22.] Ibid., Vol. V, pp. 20–3. 97 To add to the … p. 47.] Ibid., pp. 47–51. 98 ‘The Dukes … Hume.] Hume, History of England, Vol. III, pp. 43, 61–3 [adapted]. 99 A dreadful … Mezeray-Rapin.] RS’s note is based on Mezeray, A General Chron- ological History of France, Vol. II, pp. 435–6 and History of England … Rapin Thoyras, Vol. V, p. 159. 100 Charles … Hume.] Hume, History of England, Vol. III, pp. 103–4. 101 L’ o n … Daniel.] Daniel, Histoire de France, Vol. IV, p. 35. The passage translates as: ‘The beautiful Agnes Sorel, a young lady from Touraine, was the mistress of this Prince and was honoured for having contributed greatly to encouraging him on this occasion. She is mainly honoured by a quatrain which Saint Gelais records as having been composed by King François the First in her honour.// You deserve more praise and honour/ for having won France back/ than can be acquired by a nun enclosed/ in a cloister or a devout hermit.’ 102 Here in … Serres.] De Serres, A General Inventorie, p. 38. 103 Fuller … Warre.] Thomas Fuller, The Historie of the Holy Warre, 4th edn (Lon- don, 1651), p. 73. 104 Ces Rois … Ronsard.] Pierre de Ronsard, La Franciade (Paris, 1587), book IV, pp. 206–7. The passage translates as: ‘The hideous Kings with long thick beards and long hair dressed up in haste in golden chains and engraved metal collars, borne high in triumph in chariots. Once a year they will allow themselves to be seen coated in a make-up which deceives the common throng.’ 105 Long hair … Mezeray.] Mezeray, A General Chronological History of France, Vol. I, p. 34. 106 Pasquier … barbe.’] Etienne Pasquier, Les Recherches de le France (Paris, 1698), p. 700. The passage translates as: ‘when I was young no one was shorn apart from monks. King François the First had the misfortune to be wounded by chance on the head with a wooden ember held by Captain Lorges, Lord of Montgomery. The doctors considered that his head should be shaved. Since then he never wore long hair again, and was the first of our kings who, because of the sinister omen, departed from this venerable tradition. Following his example, firstly the Princes, then the Noblemen and finally all his subjects wanted to follow his example and priests were the only ones who did not (have shortly cropped hair). For most of the reign of François the first, and before his reign, everyone wore their hair long and was clean shaven, whereas now they all have closely cropped hair and long beards.’ 107 Le Viscomte … Daniel.] Daniel, Histoire de France, Vol. IV, p. 10. The passage translates as: ‘The Viscount of Narbonne perished there also and paid the price for his rashness, which had been one of the main causes of the battle being lost. The Duke of Betfort had his body fetched, had it quartered and hung from a

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gibbet because it was believed that Narbonne had been an accomplice to the death of the Duke of Bourgogne.’ 108 Richemont … même.] Ibid., Vol. IV, p. 320. The passage translates as: ‘“He deserved his favour (says Daniel) because of the services he rendered the King against the English, in spite of the King (this very Prince). He was one of the main organisers of the reform of the French militia, which resulted in peace reigning in France and the great victories that followed. The authority he had by reason of holding office as Constable, as well as his steadfast nature, gave him the means of controlling the enforcement of the ordinances for military discipline which the King had issued. The severe examples he made in military discipline gave him the nickname of Dispenser of Justice. When he became Duke of Britany some Lords of the Court advised him to resign from the office of Constable as it was beneath his dignity. He refused to do so, and had two swords carried before him, one with its tip held high, representing his title Duke of Britany, the other in its sheath with the tip pointing to the ground, representing his office of Constable. His reason for remaining in office as Constable was, he said, to pay honour in his old age to an office that had honoured him when he was younger. He can be counted among the great Captains that have served France. He was very devout, he was generous and charitable, he did good works and he can hardly be reproached for the violence and pride he showed towards the three Ministers.” And yet this violence to the favourites may have been among the services he rendered the King, despite the King.’ 109 Yet in … Howes.] The Annales, or Generall Chronicle … by Edmond Howes, p. 369. 110 There are … posterity.] Ibid., for example, in sections such as pp. 866–70. 111 O merveille … L.2.] Georges de Scudery, Alaric, ou Roma vaincue. Poeme heroique (Paris, 1654), book II, p. 54. The passage translates as: ‘Oh astonishing miracle, so difficult to believe! But we relate it as it is based on true history.’ 112 The matter … her.] De Serres, A General Inventorie, p. 152. 113 Ce Prince … Daniel.] Daniel, Histoire de France, Vol. IV, p. 37. The passage translates as: ‘On that day this Prince dressed in simple clothes on purpose and mingled with the crowd of courtiers, not standing out from them at all. The girl entered the room without seeming to be in the least amazed, and although she had never seen the King, she spoke to him and firmly told him that God sent her to help him, in order to raise the siege of Orleans and to take him to Rheims to be consecrated King. She assured him that the English would be chased out of the kingdom and that if they did not leave it soon evil would befall them.’ 114 The anointing … pollere.’] The Latin is taken from Grosseteste’s Epistola CXXIV and translates as: ‘But as for what you bade us at the end of your letter, namely to intimate what the sacrament of unction is seen to add to the royal dignity: since there are many kings who are in no way graced by the gift of unction, it is not the case that it fills out our humble ability. However we are not unaware that the anointing of a king is the sign of his exceptional undertaking of the sevenfold gift of the most holy spirit, because a King anointed by the sevenfold gift is held to direct all his courts and the actions of his rule more excellently than unanointed Kings; so that (in other words) by the gift of Fear (not among the community, but for him who is eminent and holds sway) he restrains from everything unlawful first himself, and then (as much as he has the power in him)

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those subject to his rule. And so that by the gift of Piety he comes to help, and causes to be helped, the widow, the orphan, and generally all who are oppressed. And so that by the gift of Knowledge he sets up just laws for the kingdom, which is to be justly reigned; and watches over, and causes to be watched over, those laws which have been set up, destroying those which are erroneous. And so that by the gift of Fortitude he repels everything opposed to his kingdom, and so that he will not fear death for the safety of the State. But he may be graced by the gift of Counsel so as to perform the aforementioned deeds most excellently; by this gift the order of this perceptible world is taught, by art and by learning. Then by the gift of Understanding, by which the order of the Angelic host is discerned. Finally by the gift of Wisdom, by which he reaches a clear knowledge of God, so that he may rule according to the model of the order of the world and the order of the angels, and according to the eternal laws which are described in the eternal reason of God – by which he rules the whole of the creation – in fine, so that he himself may rule in an orderly fashion the state that is subject to him. Therefore the sacrament of unction adds to the dignity of a King, because (as was touched on before) an anointed King ought before the others of his kind to exercise his power by the sevenfold gift of the spirit according to divine virtues, and those virtues appropriate to a ruler, in everything which he does in his reign.’ 115 And some … Honour.] John Selden, Titles of Honour, 2nd edn (London, 1631), p. 145. 116 The legend … Clovis.] RS is citing I. Demarests, Clovis, ou La France Chrestinenne. Poeme heroique (Paris, 1657), book XXIV, p. 411. The passage translates as: ‘Meanwhile the Prelate was waiting for the sacred oils. A deacon was bringing them to him but in vain as the dense crowd prevented him from approaching. The holy Pontiff was gently impatient and with his hands and voice ordered the deacon to come near but in vain. No one could push through the motionless dense throng of so many bodies. The humble Prince was kneel- ing and languishing as he waited, when a sudden bright light shone and all the other lights were dimmed in comparison to its shining splendour. It spread a divine scent in the temple. In the luminous air a Dove flew, holding in its coral beak a vial. It brought the precious vessel to the Prelate, full of sacred balm, a gift from Heaven.’ 117 Guillermus … Selden.] Selden, Titles of Honour, p. 149. 118 Ces paroles … 1621.] History of the Siege of Orleans [unpaginated], The passage translates as: ‘Thus the words she spoke made the King bring her back in honourable fashion to his dwelling and he assembled his great Council which included several Prelates, Cavaliers, Squires and war leaders along with a few doctors of Theology and Law and decree, who all advised that she be ques- tioned by the Doctors to see if there was any clear evidence to suppose that she could accomplish what she claimed. But the Doctors found her of such honest countenance and speaking so wisely that people set great store by their find- ings.// Various interrogations were carried out by several Doctors and other people of great standing, and she replied very well to these, and especially to a Doctor Jacobin who told her that if God wanted the English to leave, arms were not needed. To this she replied that she only wanted a small number of people to fight and that God would ensure their victory.’

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119 In the Gesta … saeclis.] Valerandus Varanius, De gestis Joanne virginis France egre- gie bellatricis libri quattor (Paris, 1516), book I, ll. 587–94. The Latin translates as: ‘For what folly, for what fickleness do you believe me to be noteworthy, Counsellors? If perhaps (she said) I should seem rather unsuited to arms, then agree to run towards me with a drawn sword; let this be the first peril of my war. If there is such great strength in any soul, let it come down onto the plain of an equal fight. If the victory falls to me, put your trust in the victor; if my enemy is victorious over me, let me go away, feet shackled, and let me be a tale for all generations.’ 120 Hanc virginem … mulieribus.] Jacobus Philippus Bergomensis, De plurimis claris sceletis mulierisis. Opus prope divinus novissime congestum (Ferrara, 1497), f. 144. The Latin translates as: ‘It happened that this maiden, who was pasturing her flocks in a certain very mean chapel to avoid the rain, fell asleep. At this time she seemed to be being advised in dreams by God, who had shown himself to her.’ 121 Joanna … 1612.] The citation from Bonfinius is taken from J. Hordal, Heroinae noblissimae Joannae Darc Lotheringae vulga Aureliamensis Puellae historia (Ponti- Mussi, 1612), pp. 117–18. The Latin translates as: ‘While she was pasturing her sheep, Joan, a French Girl, was forced by a storm to flee for refuge into the near- est chapel. Falling asleep there she received a command from God to liberate France.’ 122 The whole passage … refunditur.] Acta Sanctorum quotquot toto orbe coluntur, vel a catholics scriptoribus celebrantur, quæ ex antiques monumentis latinis, graecis, aliar- umque gentium collegit, digessit, notis illustravit ioannes bollandus societatis iesu theologus, Seruata primigenia Scriptorum phrasi. Opeam et stadium contulit gode- fridus henschenius eiusdem societatis theologus (Antwerp, 1643), book II, pp. 352– 3. The Latin translates as: ‘Then the Vicar, Aspasius by name, ordered that an abundant fire be kindled in the sight of all, and directed that she be thrown into the midst of the flames. When this had been done, at once the flames were divided into two parts, and began burning the turbulent citizens on this side and that, but in absolutely no way did Blessed Agnes come into contact with the fire itself. Thinking all the more that this had been achieved not through divine virtues but through sorcery, the citizens were beginning to complain amongst themselves, and to raise endless shouts to heaven. Then Blessed Agnes, holding out her hands in the middle of the fire, poured out a speech to the Lord in the following words: “Father of our Lord Jesus Christ, you who are omnipotent, to be adored, worshipped, feared: I bless you because through your only-begotten son I have escaped the threats of impious men, and I have passed unstained through the devil’s filth. Behold, even now I have been bathed in heavenly dew, through the holy spirit; the pyre is dying next to me, the flame is divided, and the blaze of this fire is poured back upon those by whom it is administered.”’ 123 Insanus … posset.] Bergomensis, De plurimis claris sceletis mulierisis, ff. 74–5. The first Latin passage translates as: ‘The insane judge ordered that she be dragged naked to the brothel. But when the blessed virgin had been stripped of her clothes, at once her hair came untied, and divine grace granted it such a great thickness that she seemed to be better covered by the fringe of her hair than she had been by her clothes. Having entered, then, the place of infamy, Agnes found the Angel of the Lord prepared. The angel soon bathed her in such a great light

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that she could be looked at by no one, on account of the magnitude of her brightness.’ The second is translated by Bergomensis. 124 The exclamation. … Ambrosio.] Acta Sanctorum, pp. 352–3. 125 They have … 176–7. – N] Richard Polwhele, History of Cornwall, 2 vols (Fal- mouth, 1803), Vol. I, pp. 176–7 n. * [adapted]. 126 Thro’ … Lloyd.] Charles Lloyd, ‘Dirge occasioned by an infant’s death’, (1795), ll. 7–8. 127 Afin … Le Grand.] Fabliaux or Tales, pp. 200–1. The passage translates as: ‘In order to prevent the iron chain mail leaving marks on the skin, care was taken to pad the underside of the chain mail. Despite these precautions it still left marks which were called “camois” and people got rid of the marks by taking a bath.’ 128 Such is … subject.] John Dryden, Tyrannick Love, or the Royal Martyr (1669). 129 From a passage … Vega.] Lope de Vega, Jersualen Conquistada (1609), XVIII.lxi.1–8. The passage translates as: ‘Who visits the site with loving tears,/ Where the beautiful Virgin Catherine/ Was married to the eternal Spouse,/ The Angelic Rachel standing as matron of honour;/ That Spouse, who in the snowy winter/ Covered himself with the morning frost/ He who brings tenderness to dove’s eyes/ And causes the aroma to flow from the lily’s lip.’ The second quotation can be translated as ‘The Virgin was Matron of honour at the wedding of Catherine and Christ’. 130 Of St. … down.] Bergomensis, De plurimis claris sceletis mulierisis, f. 83. 131 This tale … lib. 35.] RS is referring to Gazaei, ‘Langobardus mutam vetulam daemonem esse ratus, eam aggreditur, & profiternit ut olim S. Margareta daemonem’ in Pia Hilaria, Vol. I, pp. 149–52 132 Puella … Vergil.] Polydore Vergil, Historia Anglica, ch. xxiii, p. 464, the passage is translated, in Sir H. Ellis (ed.), Polydore Vergil. Historia Anglica, 3 vols (Lon- don, 1844), Vol. III, p. 25, as ‘For the damosell demanded a sworde, which, as she saide was revealed unto her to hange in the church of St. Catherine at Towres, amongst the auncient offeringes there; whereat king Charles marvel- ling, made searche for the sworde and, finding it, caused the same to be brought to the damosell’. 133 Roland … corpse.] RS is referring to: Roland (d. 778), a Paladin of Charlemagne who died at the battle of Roncevaux. Subject of Ludovico Ariosto’s (1474– 1535) Orlando Furioso. His sword was called ‘Durindana (Durandal)’ and his horn ‘Olivant’. Charlemagne (742–814), King of the Franks and Holy Roman Emperor. His sword was named ‘Joyeuse’. Rodrigo de Bivar (1043–99), ‘the Cid’, whose sword was called ‘Tizona’. RS, who published a translation of the Poeme of the Cid, alludes to the story of a Jew who attempted to pluck the beard of the dead Rodrigo. Before he could do so, the corpse moved and partially drew ‘Tizona’ from its scabbard. 134 Cette … Le Grand.] Le Grand d’Aussy, Histoire de la vie privée des Français, depuis l’origine de la nation jusqu’a nos jours, 3 vols (Paris, 1782), Vol. III, pp. 265–7, 319. The passage has been adapted by Southey from several pages. The passage translates as: ‘Among the Great this ceremony was announced by a horn being blown or the ringing of a bell. This custom still prevails in convents and wealthy abodes, to announce that dinner is ready. After the meat courses were served, that is to say what we call the entrée, the roast and the dessert, people got up from the table to wash their hands as was the custom among the Romans, from

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whom the custom appears to have been passed on. During this time the servants cleared the table. They took away the table cloths and brought the sweetmeats, which was the name given to spices and mixed wines. This was a time of amusement and then began entertaining stories and joyous conversations for in those good old days people were very fond of laughter. It was then that the minstrels were allowed to enter and came to recite their fables.’ 135 Il y avait … Le Grand.] Le Grand d’ Aussy, Histoire de la vie privée, Vol. III, pp. 56–7 [adapted]. The passage translates as: ‘There were several kinds of these prepared wines which were served after the meats. 1. Liqueur wines (‘vins cuits’) which are still drunk in some provinces and still go by the same name. 2. Wines to which the juice of some fruit has been added, such as Moré wine, made with blackberry juice. 3. Wines such as Medon or Nectar etc. which are seasoned with honey. 4. Those that are made by infusing medicinal or aromatic plants and that take their name from these plants, such as Wine of Absinthe of Myrtle, Wine of Aloe etc. ‘The Novel of Florimont’ calls them the herbal wines. 5. Finally those that are made with spices as well as honey. These are given the general name of Spicy Wines. These were the most prized of all. Our authors always mentioned them with pleasure. There would have been something missing at a celebration or meal if Spicy Wine had not been served. It was even given to monks in monasteries on certain days of the year.’ 136 Sir Tristam du Lyones.] Tristram de Lyones, in Arthurian legend a knight of the Round Table. RS is referring to his defeat of Sir Marhalt, son of the king of Ire- land and brother of Iseult. 137 Sir Balin le Sauvage.] In Arthurian legend, a knight of the Round Table who carried two swords. RS refers to the tale, found in Mallory’s Morte d’Arthur, of his and his brother, Balan, being tricked into killing one another. 138 Ariosto.] see n. 133 above. 139 Du Proverbe … Pasquier.] Pasquier, Les Recherches, pp. 701–2. The passage translates as: ‘From the proverb a good reputation is better than a golden belt.// Reading an ancient edict which still figures today on the registers of the Châtelet prison in Paris, I consider that there is a great deal of wisdom in this proverb as th well as its being of long standing. By a decree of June 28 1420 it is expressly stated that all women of love, prostitutes and bawdy women are forbidden to wear dresses with open collars, trains, golden belts, nosegays on their hoods. If they do they are liable to have these confiscated and to be fined, and the Bailiffs of Parliament, Commissioners and Sergeants of Châtelet who happened to find them thus attired would take them prisoner.// In addition (I say this in passing) in my opinion those who decided this edict would have changed destiny if they had forbidden the wearing of golden belts, and all other gold and such finery, by all honourable women, who would [if they wore them] be declared prostitutes. For there would be no surer way than this to banish the excesses and superfluity of Ladies.’ 140 Haec … Bergomensis.] Bergomensis, De plurimis claris sceletis mulierisis, f. 145. The Latin translates as: ‘Therefore when she had won great glory in warfare, and when by fighting she had taken the kingdom of France (which had largely been utterly lost) out of the hands of the English, this virgin, Jean the Maid, being in the prime of her life, predicted to everyone not only that she was going to die, but also the manner of her death.’

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141 There is a path … 7.8.] Job 28:7–8. 142 ‘In sooth … wife.’] De Serres, A General Inventorie, p. 134. 143 O my people … 40.] 2 Esdras 26:40 144 Let go from thee … 15.] 2 Esdras 14:14–15 145 Digna … Ovid.] Ovid, Tristia, I.vi.4. It is translated by RS in Joan (1798), Book IV, l. 470 as ‘Worthy a happier, not a better love’. 146 2 Esdras … 14.] 2 Esdras 14:14 147 ‘To succeed … Rapin.] History of England … Rapin Thoyras, Vol. V, p. 277. 148 ‘The French … Hume.] Hume, History of England, Vol. III, pp. 100–1. 149 This title … Daniel.] See for example, Daniel, Histoire de France, Vol. IV, pp. 28, 33. 150 The same … Coucy.] Selden, Titles of Honour, pp. 537–8. The passage translates as: ‘I am neither a King nor a Prince, I am the Sire de Coucy’. 151 At the creation … Warre.] Fuller, Holy Warre, pp. 47–8 [adapted]. 152 Alençon.] Jean II, Duc d’Alençon (1402–76). 153 In the late … Howes.] The Annales, or Generall Chronicle … by Edmond Howes, p. 352. 154 La Hire … original.] RS is quoting a saying popularly attributed to La Hire, a French commander who served alongside Joan of Arc. The passage translates as: ‘God, I pray that you do today for La Hire as much as you would wish him to do for you if La Hire was God and you were La Hire’. 155 ‘La Hire … t. i. p. 102.] Histoire de Jeanne D’Arc, Vol. I, pp. 102–3 and n. (2). The passage translates as: ‘La Hire found a chaplain whom he told to hurry up and give him absolution. The chaplain told him to confess his sins. La Hire replied that he would not have time, for he had to fight the enemy very soon and that he had done what was customary for a warrior to do. Then La Hire prayed to God with hands joined in prayer, in his Gascon dialect, “God, I pray that you do today for La Hire as much as you would wish him to do for you if La Hire was God and you were la Hire.” And he thought that he was speaking and praying very well.’ 156 ‘They pulled … Monstrellet.] RS’s note is based on the History of England … Rapin Thoyras, Vol. V, p. 277, and Le premier (second, tiers) volume de Enguerran de Monstrellet, Vol. II, f. 38. 157 The instrument … Music.] Charles Burney, A General History of Music from the Earliest Ages to the Present Period, 4 vols (London, 1776–89), Vol. II, p. 263. 158 St. Aignan … 1666.] R. P. Ribadeneira, Andre du Val and Jean Baudoin, Les fleurs des vies des saintes, et des festes de toute l’annee suivant le calendrier & martyr- ologe romain, 2 vols (Paris, 1667), Vol. II, p. 490. The passage translates as: ‘As the frightened citizens went to their prelate for help, he, without thought for himself, for the safety of his people, went out of the town and spoke to Attila. As he was not able to sway Attila, he set to prayer, had religious processions held and had relics of the saints carried through the streets. A Priest who had mocked him, saying that this had not helped other towns at all, fell dead on the spot, being punished for his insolent temerity. After all these things, he ordered the inhabitants to see if help was not arriving. They replied that it was not, and he returned to prayer, and ordered them to do likewise. But seeing that help was not yet on hand, he prostrated himself on the ground for the third time and raised his eyes and his spirit towards Heaven. He felt that his prayers had been

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answered and he sent someone up to the lookout point and asked if they could not see a big cloud of dust. He assured them that it was Aetius and Teudo King of the Goths, who had been tardy in facing Attila’s army, coming to their rescue. Saint Aignan was transported by divine power into their camp and warned them that all was lost if they waited till the next day. They immediately appeared and forced Attila to raise the siege in such haste that some of his men were drowned in the Loire. Some of his men killed each other through regret at having lost the town. Not contented with this victory, they pursued Attila so forcefully, along with king Merouee who had joined them, that they defeated him in regular battle near Chalons, leaving the countryside strewn with 189,000 corpses.’ 159 ‘By the … Rapin.] RS’s note is based on History of England … Rapin Thoyras, Vol. V, p. 179. 160 ‘The besiegers … Rapin.] Ibid., pp. 277–8. 161 Au centre … Chapelain.] RS is quoting from Chapelain, La Pucelle, book VIII, p. 316. The passage translates as: ‘In the centre of town [Rheims] between six avenues there stands a sacred cathedral towering to the heavens.’ 162 ‘The bulwark … Rapin.] History of England … Rapin Thoyras, Vol. V, pp. 278–9. 163 Les bombardes … i. p. 122.] Histoire de Jeanne D’Arc, Vol. I, p. 122. The passage translates as: ‘The bombarding machines were spewing forth stone balls some of which weighed as much as one hundred and sixteen pounds. These frightening masses when they were launched like our bombs had the effect of lightning bolts when they fell on buildings.’ 164 Drayton … balls.] Michael Drayton, The Battaile of Agincourt (1627), ll. 299– 302, 748. 165 ‘Balls … Lover.] Francis Beaumont and John Fletcher, The Mad Lover (1647), I.i.75–7. 166 ‘I do command … vol. i.] The Harleian Miscellany, or a collection of scarce, curious and entertaining pamphlets and tracts as well as in MSS as in print, found in the late Earl of Oxford’s library, 8 vols (London, 1744), Vol. I, p. 114 [adapted]. 167 ‘Some … vol. i.] Ibid., p. 184. 168 Thus at the siege … 38.] Le Premier Volume (-quart) de Messire Jehan Froissart, I, p. 30 (recto) The passage is translated in Sir John Froissart’s Chronicles Translated … by John Bourchier, Lord Berners, Vol. I, p. 69, as: ‘The ingens without dyd cast in deed horses, and beestes stynkig, wherby they within had great distress, thane with any other thynge, for the ayre was hote as in the myddes of somer: the stynke and ayre was so abominable, that they considered howe that finally they coude nat long endure.’ 169 This was an evil … 175.] Le Premier Volume (-quart) de Messire Jehan Froissart, II, p. 134 (recto) The passage is translated in Sir John Froissart’s Chronicles Trans- lated … by John Bourchier, Lord Berners, Vol. II, p. 17, as: ‘bycause of the yuell ayre and the stynkynge of deed beestes and horses the ayre was so corrupte, that dyuers knightes and squyers were therby sore sicke, so that dyuers went to refresshe them at Bruges and other places, to forsake the yuell ayre.’ 170 At Thin … 38.] Le Premier Volume (-quart) de Messire Jehan Froissart, p. 29 (verso), p. 30 (recto). The passage is translated in Sir John Froissart’s Chronicles Translated… by John Bourchier, Lord Berners, Vol. I, p. 69, as: ‘The duke caryed with hym out of Cambray, and Doway, dyuerse great engyns, and especially vi. And made them to be reared agayne the fortres: so these engines dyd cast night

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and day great stones, the which bete downe the roffes of the chambers, halles and towers, so that they within were fayne to kepe vautes and sellars.’ 171 Scudery … Alaric.] Scudery, Alaric, book X, p. 414. The extract translates as: ‘Madness became one of their extreme torments and they ate one another and then they ate themselves’. 172 Fuller … short.’] Fuller, Holy Warre, p. 26 173 And I saw … 18.] Revelations 19:17–18. 174 And thou … &c.] Ezekiel, 39:17–20 175 Fuller … famine.’] Fuller, Holy Warre, p. 26 176 ‘It was … Clavigero.] Clavigero, The History of Mexico, Vol. I, p. 314 [adapted]. Clavigero was an important source for Madoc (see Volume 2 in this edition). 177 Φαιης … ΘΕΟΚΡΙΤΟΣ] Theocritus, I, ll.,42–4. The passage translates as: ‘You would say that he was fishing with all the strength of his limbs. And though his hair is grey, his sinews stand out on every side about his neck. And his strength is worthy of youth.’ 178 Son silence … Moyne.] P. Le Moyne, St Louis, p. 405. The phrase is translated by RS in Joan (1798), Book VI, l. 261 as ‘His silence threaten’d’. 179 Reasons … State.] Fuller, The Profane State, p. 360 [adapted]. 180 De Serres … besieged.’] De Serres, A General Inventorie, p. 153 [adapted]. 181 Let not … 20, 11.] 1 Kings 20:11 182 ‘A ripâ … Busbequius.] Augeri Gisleni Busbequiids, Legationis Turcicae (Frank- furt, 1595) p. 71. The passage translates as: ‘From the Bank of the River Halys, which the Tu r k s call Aitoczu, we came to Gonkurthoy; from thence to Choron, and from thence to Theke Thioi, where the Tu r k s have a stately Monastery for their Priests and Monks, called Dervises. Those Dervises told us a great Story of a certain Man, called Chederles, of an huge Stature, and graveness of Mind answerable thereto. They suppose it was the same with our St George, and ascribe the same Exploits to him; as the saving of a Virgin by the slaughter of a huge and terrible Dragon. To which they add many Fables and Imaginations of idle Brains; as that he travelled over several Countries, far and near, and at last came to a River, whose Waters made those that drank them immortal; but in what Part of the World this River is, they cannot tell us; they say, moreover, that it lies some- where in a great Cloud, or Mist of Darkness, and that never a Man saw it since Chederles As for Chederles himself, he was made Immortal, and so was his Horse, by drinking the same Water, who now, both do invisibly travel over the World, delighting in Wars, and appearing therein to the most Valiant, or to those who implore his Aid, of what Religion soever they be: Such ridiculous Fancies do they please themselves with!’ A. G. Busbequius, Travels into Turkey: Containing the most accurate Account of the Turks, and Neighbouring Nations, Their Manners, Customs, Religion, Superstition, Policy, Riches, Coins, etc. (London, 1744), pp. 70–1. 183 The Persians say … Trav.] [Adam Olearius], The Travels of the Ambassadors from the Duke of Holstein into Muscovy and Persia, trans. J. Davis (London, 1669), pp. 249–50 [adapted]. 184 Khidir … Empire.] M. D’Ohsson, Tableau général de l’empire Othoman; divisé en deux parties, don’t l’une comprend la législation Mahométame; l’autre, l’Histoire de l’Empire Othoman, 7 vols (Paris, 1787–1824), Vol. I, p. 187. The translation is probably by RS.

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185 Single sallies … f.38.] Le Premier Volume (-quart) de Messire Jehan Froissart, p. 44 (verso), p. 45 (recto). The passage is translated in Sir John Froissart’s Chronicles Translated… by John Bourchier, Lord Berners, Vol. I, pp. 103–4, as: ‘Than the countesse dressed vp halles, and chambers to lodge the lordes of Englande that were coming, and dyd sende against them right nobly; and whan they wer alande, she came to them with great reuerence, and feested them the best she might, and thanked them right humbly, and caused all the knyghtes, and other, to lodge at their ease in the castell, and in the towne: and the nexte day she made them a great feest at dyner. All night, and the nexte day also, the ingens neuer ceased to cast: and after dyner, sir Gaultier of Many, who was chefe of that company, demaunded of the state of the towne, and of the hoost without, and sayd, I haue a great desyre to yssue out, and to breke downe this great ingen that standeth so nere vs, if any woll folowe me. Than sir Perse (f.n. Ives, or Juon) of Tribyquidy sayde, howe he wolde nat fayle hym, at this his first beginning, and so sayd the lorde of Ladreman; than they armed them, and so they yssued out priuely at a certayne gate, and with the a iii. hundred archers, who shotte so holly togyder, y they that kept the ingen fledde awaye, and the men of armes came after the archers, and slewe dyuerse of them that fledde, and bete downe the great engyn, and brake it all to peaces; thane they ranne in amonge the tentes, and logynges, and set fyre in dyuerse places, and slewe and hurt dyuers, till the hoost began to styre; than they withdrue fayre and easely, and they of the hoost ranne after the lyke madde men: than Sir Gaultier sayd, let me neuer be beloued with my lady, without I haue a course with one of these followers, and therwith tourned his spere in the rest, and in likewise so dyd the two bretherne of Ledall, and the haz of Brabant, sir yues of Tribyquedy, sir Galeran of Lan- dreman, and dyuers other companions; they ran at the first comers: ther might well a ben legges sene tourned vpwarde; ther began a sore medlynge, for they of the hoost always encreased, wherefore it behoued the englysshmen to with- drawe toward ether fortresse; ther might well a ben sene on bothe parties many noble dedes, taking and rescuing; y englysshemen drewe sagely to y dykes, and ther made a stall, tyll all their men wer in sauegard: and all the residue of the towne yssued out to rescue their company, and caused them of the hoost to recule backe: so whan they of the host sawe how they coude do no good, they drewe to their lodgynges, and they of the fortresse in likewise to their lodgynges; than the countess discedyd down fro the castell with a gladde chere, and came and kyst sir Gaultier of Manny, and his companions one after another, two or three tymes, lyke a valiant lady.’ 186 Now does … gore.] Thomas May, The victorious reign of King Edward III (1635), book III, ‘Argument III’, ll. 659–61, and book VII, ‘Argument VII’, ll. 470–1. 187 Il advint … Froissart.] Le Premier Volume (-quart) de Messire Jehan Froissart, p. 114 (recto). The passage is translated in Sir John Froissart’s Chronicles Translated … by John Bourchier, Lord Berners, Vol. I, p. 255, as: ‘for on a daye, as the kynge was before Charters, there fell a case that greatly humiled the kynges courage: for whyle these ambassadours were treatynge for this peace, and had none agreable answere, there fell sodaynly suche a tempest of thoder, lyghtnyng, rayne, and hayle, in the kynges oost, that it semed that the worlde shulde haue ended: there fell from hevyn suche great stones, that it slewe men and horses, so that the moost hardyest were abasshed. Than the kyng of Englande beheld the

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churche of our Lady of Charters, and auowed deuoutly to our lady to agre to the peace, and as it was sayd, he was as than confessed.’ 188 But whilst … De Serres.] De Serres, A General Inventorie, p. 33. 189 The circumstance … Rapin.] Hall, Union, f. 107; The Annales, or Generall Chron- icle … by Edmond Howes, p. 370; History of England … Rapin Thoyras, Vol. V, pp. 283–4 does not mention the storm. 190 Shakespear … storm.] William Shakespeare, Henry VI, Part One, I.iv.98–9. 191 The patience … sold.] Barnes, History of … Edward III, p. 366. 192 Nunc lentus … 567.] Silius Italicus, Punica, book XII, ll. 567–8. The passage translates as: ‘Or again he stood motionless on some eminence, bending his gaze upon the city, learning the name of each spot and the origin of its name’. 193 Abjecere … Statius.] Statius, Thebais, book VIII, ll. 164–7. The passage translates as: ‘They cast down their dripping shields, just as they were, none wiped his spear, or praised his charger, or dressed and decked the plume of his polished helm’. 194 Ipsam … 256.] Ibid., book IV, ll. 256–9 and ll. 263–4. The first extract translates as: ‘Diana herself, when she saw the boy beneath the shade of Maenalus step- ping youthful o’er the grass forgave her comrade, so they say, and with her own hand fitted to his shoulders the Dictean shafts and Amyclean quiver’. The second translates as: ‘He is weary of the woodlands, and ashamed that he knows not the arrows’ baneful boast of human blood’. 195 Gladdisdale … Gladesdale.] Shakespeare, Henry VI, Part One and The Annales, or Generall Chronicle … by Edmond Howes, p. 370. 196 Neque … LUCAN. III.] Lucan, Pharsalia, book III, ll. 464–8. The passage is translated in n. 73 to Joan (1796) above. 197 Vegetius … Rollin.] Charles Rollin, The history of the arts and sciences of the antients, translated from the French, 3 vols, 2nd edn (London, 1768), Vol. II, p. 52 [adapted]. 198 The bayle … Grose.] Grose, Military Antiquities, Vol. II, pp. 335, 337 [adapted]. 199 In France … tyrants.’] Ibid., Vol. I, p. 101 and n. (y); Gillies, History of Greece, Vol. I, p. 651. 200 The burgonnet … features.] Grose, Ancient Armour, p. 10. 201 Earls … Howes.] Grose, Military Antiquities, p. 103 and The Annales, or Gener- all Chronicle … by Edmond Howes, p. 349. 202 A breast-plate … hauberk.] Grose, Military Antiquities, Vol. I, p. 101 [adapted]. 203 The nature … Barnes.] Barnes, History of … Edward III, p. 801. 204 Le massue … Grand.] Fabliaux or Tales, p. 226. The passage translates as: ‘the club is a stick as thick as an arm. At one end is a strong leather strap to hold it by and prevent it from slipping, and at the other end there are three iron chain links from which hangs a ball and chain weighing eight pounds. Today there is no man capable of handling such a weapon.’ 205 The arms … Roscoe.] William Roscoe, The Life of Lorenzo de Medici, called the Magnificent, 2 vols, 3rd edn (London, 1797), Vol. I, p. 7, n. (a). 206 Scudery … Alaric.] Scudery, Alaric, book II, pp. 56–7. The passage translates as: ‘they struck there in a disorganised manner from all sides with stones, pikes, spikes, maces, arrows and darts, lances and javelins, sabres and hammers of war. Dangerous instruments of war’s alarms.’ 207 Vitruvius … Rollin.] Rollin, History, Vol. II, p. 42 [adapted].

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208 The machiolation … assaylants.’] Grose, Military Antiquities, Vol. II, p. 336. 209 I have met … Windsor.’] The Annales, or Generall Chronicle … by Edmond Howes, p. 383. 210 The corselet … pikemen.] Grose, Military Antiquities, Vol. I, p. 13, n. (t). 211 ‘This fair … p. 97.] Chronicles of Enguerrand de Monstrelet, Vol. IX, pp. 97–100. 212 On the 13th … p. 233.] Ibid., Vol. XI, pp. 233–4. 213 Μηκετ’ … ΗΣΙΟ∆ΟΣ] Hesiod, Works and Days, ll. 174–8. The passage translates as: ‘I would then that I might no longer live among the fifth race of men, but either have died before them or be born after. For now it is the race of iron. Nei- ther will they ever cease by day from toil and misery, nor by night from wasting away.’ 214 The heart … family.] John Barbour, Bruce, book XX, ll. 436–8. 215 Il n’est … Alaric.] Scudery, Alaric, book X, p. 369. The passage translates as: ‘There is nothing as pleasing to hearts full of glory as the peaceful night following a victory. To sleep on a Trophy is charming repose and the field of battle is the bed of a hero.’ 216 With a dumb … Daniel.] Samuel Daniel, ‘The civile wars’, book VII, ll. 517–18. 217 ‘Noire … Liv. xvi.] Le Moyne, St. Louis, p. 485. The phrase is translated by RS in Joan (1798), Book VIII, l. 87 as ‘black paleness’. 218 Next the bayle … Grose.] Grose, Military Antiquities, Vol. II, p. 335 and n. (b). 219 The outermost … Grose.] Ibid., p. 336. 220 The fortifications … Rollin.] Rollin, History, Vol. II, p. 43. 221 The pavais … Grose.] Grose, Military Antiquities, Vol. II, p. 338 [adapted] and plate 3 between pp. 340–1. 222 Mangonels … engines.] Ibid., p. 303 [adapted]. 223 The tortoise … Rollin.] Rollin, History, Vol. II, pp. 46–7. The tortoise is illus- trated in a plate between pp. 46–7. 224 ‘The besiegers … Grose.] Grose, Military Antiquities, Vol. II, pp. 337–8. 225 ‘Artem … prohibemus.’] RS is quoting a decree of the Second Lateran Council. The Latin translates as: ‘We otherwise prohibit under a ban the use against Christians and Catholics of that art of the cross-bows which is death-dealing and hateful to God’. It is cited in Grose, Ancient Armour, p. 75 n. f. 226 This weapon … Grose.] Grose, Ancient Armour, p. 75 n. g. The Latin translates as: ‘I want Richard to perish by this death, not by any other, so that he who first handed over the use of the cross-bow to the French people might himself be the first to make a test of that thing of his, and that he might feel applied to himself the force of the art which he taught to others.’ 227 From the … Grose.] Grose, Military Antiquities, Vol. II, p. 303 [adapted]. 228 Quarrels … iron.] Ibid., Vol. I, p. 157. 229 The tortoises … enemy.] Ibid., Vol. II, p. 338 [adapted]. 230 The Matafunda.] Ibid., p. 304. 231 The Espringal … effect.] Ibid., p. 303. 232 Le lendemain … 82.] Le Premier Volume (-quart) de Messire Jehan Froissart, p. 65 (recto). The passage is translated in Sir John Froissart’s Chronicles Translated … by John Bourchier, Lord Berners, Vol. I, p. 144, as: ‘The next day ther came to the duke two connyng men maisters in carpentre, and sayde, sir, if ye woll let us haue tymbre and workemen, we shall make foure scaffoldes, as hygh, or her, thane the walles: the duke comaunded that it shulde be done, and to get

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carpenters in the cotrey, and to gyue them good wages; so these four scaffoldes wer made in four shyppes, but it was long first, and cost moch or they were finysshed: than suche as shulde assayle the castell in the were apoynted and entred; and whan they were passed halfe the ryuer, they within the castell let go four martynettes that they had newely made, to resyst agaynst these scafoldes; thes four martynettes dyd cast out so great stones, and so often fell on the scafoldes, yt in a short space they were all to broken, so that they that were within them coulde nat be pauysshed by theym, so that they were fayne to drawe backe agaune, and or they were agayne at lande, one of the scafoldes drowned in ye water, and the most part of the that were in it.’ 233 The following … town.’] Barnes, History of … Edward III, p. 317. 234 The archers … Grose.] Grose, Military Antiquities, Vol. II, p. 306 [adapted]. 235 Against … Grose.] Ibid., p. 338 [adapted]. 236 These bridges … stories.] Rollin, History, Vol. II, pp. 81–2. 237 These darts … air.] Grose, Military Antiquities, Vol. II, p. 303. 238 And here … Milton.] John Milton, The History of Britain, That part especially now call’d England (London, 1695), pp. 19–20. 239 The expression … devoured.’] Ibid., p. 33. 240 ‘The Tournelles … L. III.] RS is quoting Chapelain, La Pucelle, book III, pp. 109–10. The passage translates as: ‘What! Valiant warriors, what is this! When you are winning does a little shed blood cause you to lose heart! For my part I esteem it to be a supreme joy and in this small misfortune I find great honour. Although success is happiness, it would not have been honourable if God had not permitted such a fortunate turn of events. You will nonetheless see victory. I will only see my name become more glorious.’ 241 I can make … l’armée.] Chronicles of Enguerrand de Monstrelet, Vol. VI, pp. 262– 3; Daniel, Histoire de France, Vol. IV, p. 30. The French translates as: ‘and a man called Glacidas or Clacidas whose qualities made up for his lack of noble birth and who attained the highest ranks in the army’. 242 The importance … Honour.] Selden, Titles of Honour, pp. 646–7. 243 On entering … gate.] Grose, Military Antiquities, Vol. II, p. 336. 244 When the Black … Barnes.] Barnes, History of … Edward III, p. 498. 245 The Oriflamme … animées.] Le Moyne, Saint Louis, pp. 133–4. RS’s observations on the oriflamme and the red dragon paraphrase Barnes, History of … Edward III, pp. 356–7. The extract from Le Moyne translates as: ‘The glowing luminous Oriflamme advances borne on a great chariot, and is terrifying to behold. Four enormous dragons with dark golden scales, and studded with pur- ple, azure and green are its solemn and fearsome escorts on each occasion when it is needed. In their terrible eyes made of round garnets, with their fire and their blood they terrify the bravest. And if this fire seems to make them threateningly alive, and the blood seems to stir up their courage, the chariot moving beneath them appears to make them fly along with a whistling sound. The dust that blows in the air becomes smoke belching from their mouths and the noise makes them come to life.’ 246 Philip … Heaven.] Barnes, History of … Edward III, pp. 356–7 247 At this … De Serres.] De Serres, A general inventory, p. 154. 248 This circumstance … Honour.] Selden, Titles of Honour, p. 553.

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249 The expressions … Ciel.’] Ibid. The French translates as: ‘to the glory of God our omnipotent creator and to praise him and in reverence of the glorious virgin Mary and in reverence of Saint Michael, the first of the knights who, fighting for God, wages war on the old enemy of the human race and made him stumble out of heaven’. 250 Lesdictes … II. f.43.] Le premier (second, tiers) volume de Enguerran de Monstrellet, Vol. II, f. 43. The passage translates as: ‘The aforementioned castles and for- tresses were burned, demolished and levelled to the ground so that no warriors of any nation could ever lodge there again’. 251 Un cry … L.ix.] RS is quoting Chapelain, La Pucelle, book IX, p. 379. The passage translates as: ‘A cry prompted by need or fear, and the disturbed atmosphere can disturb them. A breath, a sigh and even silence make leaders as well as their soldiers lose their confidence.’ 252 The Parliament … Hume.] Hume, History of England, Vol. III, pp. 40–1 [adapted]. 253 But the … p. 302.] Thomas Fuller, The Church History of Britain, from the birth Jesus of Christ, until the year MDCXLVIII (London, 1655), p. 302. 254 The archbishop … p. 129.] Chronicles of Enguerrand de Monstrelet, Vol. IV, pp. 129–32. 255 Within a few … p. 137.] Ibid., pp. 137–40. 256 While Henry … Mezeray.] Mezeray, A General Chronological History of France, Vol. II, p. 440. 257 Reseraverat … Lib. iii.] Thomas May, Supplementum Lucani (c. 1627–31), book III, ll. 271–80. The passage is translated in Thomas May, A continuation of the subject of Lucan’s historical poem till the death of Julius Caesar, 2nd edn (London, 1650), p. 49, as: ‘the Tartarian god/ Set ope the vaults where Libyan ghosts abode,/ And from th’infernal caverns set them free/ To view awhile this fatal Tragedie./ And glut their dire revenge with Roman bloud:/ Upon the mountains gloomie tops they stood,/ Blasting the day, and round about the hosts/ Making a baleful ring, the cruel ghosts/ Of Jugurth, Syphax and Great Hanni- bal;/ Who for their own, and Carthage’s sad fall/ Did then excuse the gods, when they beheld/ The Roman furie in that mortal field.’ 258 May … montis.] Valerius Flaccus, Argonautica, book IV, ll. 258–60. The passage translates as: ‘and at their entreaty father Tartarus sends forth in a hollow cloud shades of the slain to view at last the well-earned retribution; the mountain-tops grow black with them’. 259 To some … itself.] Speed, Historie of Great Britain, p. 817. 260 Nec … Lucani.] May, Supplementum Lucani, book I, ll. 30–1. The passage is translated in May, A continuation, p. 2 as ‘All murmur, all to mutinie inclin’d,/ Yet each afraid to sound each others mind’. 261 In Rymer’s … arestandis.’] Rymer, Foedera, Vol. X, pp. 459, 472. The first Latin quotation translates as: ‘Against the Captains and Soldiers who turned their backs, terrified by the incantations of a Girl’. The second passage translates as: ‘Concerning the arrest of the fugitives from the army whom the terrifying words of a Girl had scared out of their wits’. 262 Ronsard … Franciade.] Ronsard, Franciade, book II, p. 91. The extract translates as: ‘After suffering misfortune nothing gives man better relief than eating and drinking’.

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263 A lighter kind of helmet.] Grose, Ancient Armour, p. 12. 264 The shield … Barnes.] Barnes, History of … Edward III, p. 382. 265 This is frequently … Greece.] See The most Excellent and Famous History of the most renowned Knight, Amadis of Greece, surnam’d, The Knight of the Burning Sword (London, 1694), p. 84. RS’s quotation is taken from Amadis of Greece, chapter 23. 266 The shield … shield.] Grose, Military Antiquities, Vol. I, p. 102 [adapted] and Grose, Ancient Armour, pp. 25–6 [adapted]. 267 Μηδες … ΤΥΡΤΑΙΟΣ] Tyrtaeus, Fragment 11, ll. 23–4. The passage translates as: ‘covering with the belly of his broad shield thighs and shins below and chest and shoulders’. 268 But the most … Alaric.] Scudery, Alaric, book II, pp. 56–7. The passage translates as: ‘Those who dwell in the Alandes islands, who used as shields such big shells, that when they had to camp, the soldiers used the shield as a shelter and were covered by it’. 269 The Armet … unarmed.] Grose, Ancient Armour, p. 10. 270 Sed contra … 587.] Silius Italicus, Punica, book XII, ll. 587–92. The passage translates as: ‘But the men of Rome, on their side, needed no speech or appeal from any leader. They found incentive enough in the sight of women and children, and of loved parents weeping and holding out their hands in supplication. Mothers hold up their infants and stir the eager hearts of the men by the child- rens cries, and imprint kisses on hands that grasp the sword.’ 271 ‘She sternly … Quarles.] Francis Quarles, ‘Argalus and Parthenia’ (1629), ll. 598– 9. 272 When the armies … Barnes.] Barnes, History of … Edward III, p. 143. 273 Every man … Barnes.] Ibid., p. 357 274 Religious … Barnes.] Ibid., p. 354. 275 Thus also … Howes.] The Annales, or Generall Chronicle … by Edmond Howes, p. 349. 276 The Roundel … army.] Grose, Ancient Armour, p. 26 [adapted]. 277 The conduct … Barnes.] Barnes, History of … Edward III, p. 355. 278 The English … Howes.] The Annales, or Generall Chronicle … by Edmond Howes, p. 349. 279 The Pennon … Tressan.] Traduction libre d’Amadis de Gaulle. Par M. le Comte de Tr e s s * * * , 2 vols (Paris, 1779), Vol. II, pp. 51–2 n. The passage translates as: ‘A Lord was standard bearer and could carry the square banner only when he could pay for the upkeep of a certain number of Cavaliers and squires and their followers and take them to war. Until such a time his standard had two points or pennants and when the lord became more powerful the sovereign himself cut the points off his standard to make the banner square.’ 280 An incident … Barnes.] Barnes, History of … Edward III, p. 707. 281 This title … Heylyn.] Peter Heylyn, A survey of the estate of France, and of some of the adjoining lands; taken in the description of the principal cities, and chief provinces; with the temper, humour and affections of the people generally; and an exact accompt of the publick government in reference to the court, the church and the civile state (London, 1656), p. 174 [adapted]. 282 Joshua … embroidery.’] Barnes, History of … Edward III, p. 145. 283 Thus also … air.’] Ibid., p. 500.

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Notes to pages 475–7

284 And at Nagera … metal.’] Ibid., p. 706. 285 Nos Ancestres … c.48.] Essais de Montaigne. Avec les Notes de M. Coste, 10 vols (London, 1754), Vol. III, p. 155. The passage has been translated in Mon- taigne, The Complete Works, p. 256, as ‘Our ancestors, especially in the time of the wars with the English, in all serious engagements and pitched battles, fought most of the time on foot, so as to trust to nothing but their own strength and the vigor of their courage and their limbs for anything as dear as honour and life’. 286 In the battle … chevaulx.’] Le premier (second, tiers) volume de Enguerran de Mon- strellet, Vol. II, f. 45. The passage translates as: ‘The French in great numbers for the most part got down off their horses and stood on the ground’. 287 In El Cavallero … hazer.] Hernando de Acuna, El Cavallero Determinado (Barce- lona, 1565), cccxxxiv.1–5. The passage translates as: ‘This is my counsel/ That you trust not even in a horse;/ By which you are to understand/ That you should trust your charity and good/ Works to no-one’. 288 Thus at Poictiers … Barnes.] Barnes, History of Edward III, pp. 501–2. 289 Hraesvelgr … Cottle.] A. S. Cottle, Icelandic Poetry, of the Edda of Saemund: translated into English verse (Bristol, 1797), p. 24. 290 Among the … p. 109.] John Williams, A Narrative of Missionary Enterprizes in the South Sea Islands (London, 1837), p. 109. 291 At the promontory … Baumgarten.] Martin von Baumgarten, The Travels of Mar- tin Baumgarten, a Nobleman of Germany. Through Egypt, Arabia, Turkey, Persia, and to many other parts of the East in A Collection of Voyages and Travels, some now first printed from original manuscripts, others now first published in English, 6 vols (London, 1782), Vol. I, p. 447. 292 In a combat … Howes.] The Annales, or Generall Chronicle … by Edmond Howes, p. 420. 293 Lope … L.10.] Lope de Vega, Jersualen Conquistada, X.cxxxii.1–4. The passage translates as: ‘The horse looked like a unicorn,/ The stout pyramid on its brow,/ Gleaming in the centre of the bridle/ Like the tip of a diamond’. 294 Amadis … pikes.] RS is referring to the single combat between Amadis and Gasquilan, King of Sweden, in the romance Amadis of Gaul. 295 His horse … Galaron.] RS is citing the anonymous fourteenth-century poem The awntyrs off Arthur, ll. 387–90. 296 Florisel … ff. 51, 52.] Le dixiesme livre d’Amadis de Gaule auquel (continuant les haults faits d’armes et provesses admirables de dom Florisel de Niquee, et des invincibles Anaxartes et la pucelle Alastaxeree sa souer) (Paris, 1552), f. 52. The extract translates as: ‘a huge giant who rode a great charger from his own country, the name of which is known to us. He was so heavy and long-limbed that it would not have been possible to provide a war horse that could have carried him.’ The first encounter ‘was very fine jousting which was a pleasure to watch, and in it thir- teen horses were killed, including the King of the Scythians’ horse. It had clashed so heavily with Florisel’s charger, which wore iron bands and a steel point on its nose which it drove so deeply into the great beast’s flanks that it fell with the others and its master’s leg was beneath it.’ 297 The Abyssinians … armour.] James Bruce, Travels to discover the source of the Nile, in the years 1768, 1769, 1770, 1771, 1772 and 1773, 5 vols (London, 1790), Vol. III, pp. 220–1.

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Notes to pages 477–80

298 Thus did … Cleopatra.] Robert Loveday, Hymen’s Praeludia, or Loves master- piece. Being that so much admired romance, entitled Cleopatra, in twelve parts, written originally in the French, and now elegantly rendered into English (London, 1665), p. 88 [adapted]. 299 Ωσπεδ … ΤΥΡΤΑΙΟΣ] RS incorrectly attributes the quotation to Tyrtaeus. It is from Callinus, Fragment 1, l. 20 and translates as: ‘For in their eyes they see him as a tower’. 300 Quarles … tower.] Francis Quarles, Historie of Samson (1632), ll. 17–18. 301 Two carols … mustarde.] Joseph Ritson, Ancient Songs, from the time of Henry the Third, to the Revolution (London, 1792), pp. 126–7. 302 When Henry II … Holinshed.] Holinshed, Chronicles, Vol. III, p. 76. 303 Τες … ΤΥΡΤΑΙΟΣ] Tyrtaeus, Fragment 10, ll. 19–24. The passage translates as: ‘Do not run away and abandon the elder ones, the old men, whose knees are no longer nimble. For this indeed would be shameful that an elder man should fall among the vanguard and lie in front of the young men with head already white and beard grey, breathing out his brave spirit in the dust.’ 304 In the combat … costé.] Ronsard, Franciade, book II, p. 111 and n. The first extract translates as: ‘their hands found there well sharpened cutlasses that were hanging from their saddles’. The commentator’s observations translate as: ‘the author arms these two cavaliers after the fashion of our French horsemen, their lances in their hands, their cutlass or mace hanging from their saddles, and their swords at their sides’. 305 Thus Desmarests … hache.] Demarests, Clovis, ou la France chrestiene, book III, p. 42. The first extract translates as: ‘They all had hanging from their saddles in their warlike fashion a sharp axe and a deadly mace’. The second translates as: ‘He looks at the saddle and sees his gleaming axe’. 306 Lope … espade.] Lope de Vega, Jerusalen Conquistada, I.xviii.1. The passage translates as: ‘drawing the sword from the saddle-bow’. 307 Desnudo … Conquistada.] Lope de Vega, Jerusalen Conquistada, XVII.cxxxiii.2. 308 Talbot’s sword … chaplain. –’] Curious Discourses, Vol. I, p. 335. The Latin is translated in n. 93 to Joan (1796) above. 309 This inscription … Fuller.] Thomas Fuller, The History of the Worthies of England (London, 1662), ‘Shropshire’, p. 7. The Latin translates as: ‘I am Talbot’s, for conquering his enemies’. 310 It was … Conquistada.] Lope de Vega, Jerusalen Conquistada, I.cxviii.2–8. The passage translates as: ‘More famous it was than wielded by any man,/ Kept for occasions of honour/ And for the ultimate defence of life;/ From its golden pommel/ To the tip of its burnished blade,/ It was inscribed with a verse by David,/ Engraved in gold on the shining steel’. 311 In the original … disposed.’] RS is citing a letter from Henry Windsor to John Paston, printed in Sir John Fenn, Original Letters written during the reigns of Henry VI. Edward IV. And Richard III., 4 vols (London, 1787–9), Vol. III, p. 280. 312 The order … assignation.’] Fenn, Original Letters, Vol. III, pp. 269–75, esp. p. 275. 313 In a battle … p. 294.] Chronicles of Enguerrand de Monstrelet, Vol. V, pp. 294–5. 314 L’ é c u … Grand.] Fabliaux or Tales, p. 202. The passage translates as: ‘The Knights’ shield was normally almost triangular in shape, wide at the upper end

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Notes to pages 480–96

to protect the body and ending in a point down below, so that it was less heavy. Shields were made of wood covered in boiled leather with sinews or other hard materials, but never iron or steel. It was only permitted, in order to prevent them from being cut through too easily by swords, to have on the shields a circle of gold, silver or iron which edged them.’ 315 This fact … sepulture.’] Andrews, History of Great Britain, Vol. II, p. 74 n. 150. 316 ‘The Frenchmen … Heylyn.] Peter Heylyn, Cosmographie in foure books, contayn- ing the chorographie and historie of the whole world and all the principall kingdomes, provinces, seas and isles thereof, 5th edn (London, 1669), Vol. I, p. 160 [adapted].

Extracts from the MSS of Joan (1793) 1 Epaminondas] Theban general (d. 363 BC) who defeated the Spartans at the battle of Leuctra 371 BC. 2 Pelopidas] Theban general and politician (d. 364 BC). 3 G.C.B.] RS’s friend Grosvenor Charles Bedford. 4 εν … Alcaeus.] RS’s source is the anonymous ‘The Banquet song for Harmo- dius’, ll. 1–4. The Greek translates as: ‘I shall bear my sword in a branch of myrtle, like Harmodius and Aristogeiton, when they killed the tyrant, and made Athens a place of equality’. Aristogeiton and Harmodius were the instigators of a plot to overthrow Hipparchus and Hippais, tyrants of Athens, in 514 BC. Although Hipparchus was killed, the plot misfired and Aristogeiton and Har- modius were killed during the fighting. 5 Francis the First.] King of France (1515–47). 6 Massacre … Day] massacre of about 3,000 Protestants on the night of 23 August 1572 on the orders of Charles IX, King of France (1560–74). 7 Henry 4th] King of France (1589–1610). 8 Louis 14th] King of France (1643–1715). 9 Louis the 15th … hurt!] King of France (1715–74). RS is referring to the execution of Robert Damien (1715–57), who had tried to assassinate the king. 10 CORDÈ] Charlotte Cordé (1768–93), Girondist guillotined for assassinating Jean Paul Marat. 11 Iamque … exege.] the Latin translates as ‘And now the book ends’. 12 ου … ∆ιοµεδεα] RS’s source is ‘The Banquet Song for Harmodius’, ll. 5–8 (see n. 4 above). The Greek translates as: ‘Surely you are not at all dead, but they say that you are on the isles of the blessed, the same place where swift-footed Achil- les is and they say that the worthy Diomedes son of Tydeus is there too’.

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