N OTES INTRODUCTION: “POETS AND POESY I SING” 1. Felsenstein and Scrivener co-edited and published Incle and Yarico and The Incas: Two Plays by John Thelwall in 2006; Selected Political Writings of John Thelwall, co-edited by Lamb and Wagner, was published in 2008; Thelwall’s Jacobin novel The Daughter of Adoption, co-edited by Scrivener, Solomonescu, and Thompson, appeared in 2013. 2. Thelwall misquotes slightly from Charles Churchill’s satiric “Apology addressed to the Critical Reviewers,” (92). 3. One of Thelwall’s favorite causes, the Humane Society, founded in 1774 by his medical mentor William Hawes (1736–1808), was devoted to the resusci- tation of persons apparently dead from drowning. 4. On Thelwall’s skirmish with Jeffrey, see Thompson, The Silenced Partner 163–70. 5. One wonders how many of Wordsworth’s blooms may in turn have been picked from Thelwall’s “Nosegay.” 6. See Thompson, “Citizen Juan,” 89–94. 7. For information on Cecil, I am indebted to the research of Patty O’Boyle, some of which has been published in “A Son of John Thelwall.” 8. Although there is some evidence that Thelwall’s became more religious in later years, he did not convert upon his marriage; his support of the Catholic cause should be taken as a sign of his lifelong religious open-mindedness, often labeled as atheist, a label he always wore with pride, whether or not it accurately reflected his religious opinions. 9. Esterhammer comments on the love song, “To Maga,” that he wrote upon this betrayal. 10. On the former, see Crabb Robinson ; on the latter, letters to M. Maury Duval, Wellcome Institute. 11. Thelwall probably met the Spanish General Francisco Espoz y Mina (1781– 1836) during the latter’s exile in London in 1823–30. I am indebted to Arvanitakis Dimitris for information regarding the correspondence of the Greek poet Andrea Calvos (1792–1869), indicating that he was acquainted with Thelwall while living in London 1816–20; Calvos’s friendship with the Italian “citizen poet” Foscolo (1778–1827), who lived in England for ten years before his death in 1827, opens the possibility that Thelwall knew him too. 12. The child of Thelwall’s old age, Weymouth Birkbeck was born in 1831. See O’Boyle for the strange-but-true story of his life. 13. Wordsworth, Letters 329. 276 N OTES 14. E. P. Thompson discusses the fate of the Thelwall archive (The Romantics 218–20); the Derby MS fortunately escaped the fate of the Cestre manuscripts, and was probably auctioned at another time, or came by some other networks into the Derby Local Studies collection. 15. Thelwall no doubt knew Blake through the Joseph Johnson circle, though there is no evidence of personal acquaintance. 16. Correspondence between Thelwall and George Birkbeck in 1804 suggests a common point of origin for Thelwall’s elocutionary Institute and Birkbeck’s Mechanics Institutes. 17. On the connection between Romantic-era theater and elocution, see my “Romantic Oratory.” 18. Derby MS annotations suggest that Thelwall collaborated with the Italian composer and singing teacher Gesualdo Lanza (1779–1859) in 1816. 19. Angela Esterhammer has begun to investigate some of these connections. 20. For an interpretation of this transfer of allegiance in comparison with Wordsworth’s (from whose “Michael” I take the quoted phrase [225]), see my “A Shadow in Profile.” 21. Both Romantic Interactions and Wolfson’s earlier Borderlines offer fruitful directions for future Thelwall Studies, as does Lau’s Fellow Romantics. 22. The Rights of Nature was the title of Thelwall’s 1796 response to Burke. 23. On the importance of marking, and Thelwall’s prosodic system in general, see Carlson and Gravil. 24. The reviews of Thelwall’s final lectures in Bristol, 1834, offer some of the most detailed and accessible insights into his elocutionary theory and practice. 25. Hazlitt’s essay on “The Difference between Writing and Speaking,” as well as many of the influential critical principles established in Coleridge’s lectures and Biographia Literaria, were developed in reaction to and rivalry with Thelwall’s Jacobinical materialism; even Wordsworth’s 1828–9 celebration of “The Power of Sound” {358–65] is haunted by anxieties about the “volup- tuous influence” and political dangers of the ear. 26. Thelwall’s “gass” is roughly equivalent to Orwell’s “cuttlefish ink” a century later. 27. See, for example, Smith, Gilmartin, Epstein, and Keach, as well as Scrivener. 28. Scrivener’s book remains the best introduction to the scope and relevance of Thelwall’s theory and practice of seditious allegory; see also Davies’s “Capital Crimes.” 29. According to Blake’s comments upon his own “A Vision of the Last Judgment” (555). 30. As the prosecutors attempted to explain at Daniel Isaac Eaton’s trial for sedi- tious libel. See Scrivener 111–18. 31. Among other important genres I might have included are elegies, pastoral and gothic romances, lyrical drama, translations, historical poems, and Sapphic odes; some examples of most of these are, however, scattered throughout this selection. 32. I am still unsure why it would be “obvious” that anacreontics begin the col- lection; perhaps these are instructions to Cecil, who would understand. 33. The 125 poems I have chosen comprise barely one-quarter of Thelwall’s total poetic oeuvre, which is still being uncovered; others are equally good, and will, I trust, be published in future editions. I have also been necessarily selec- tive with Thelwall’s essays, particularly in excluding the important (but very N OTES 277 long) “Essay on Rhythmus.” I have used footnotes to note significant variants among published and manuscript versions of several key poems, though here too I have used my judgment, as this is not a complete scholarly edition. 2 POEMS PASTORAL AND PERIPATETIC 1. For the importance of towns like Kendal in Thelwall’s career, see my “A Shadow in Profile.” 2. So Wordsworth responded to Keats’s “Hymn to Pan,” in a letter to Benjamin Haydon (Matthews 43). 3. The surgeon John Ring (1752–1821) published A Translation of the Works of Virgil: Partly Original and Partly Altered from Dryden and Pitt in 1820. The popular arcadian Pastorals (1709) of Alexander Pope (1688–1744) were translated by the Swiss poet Salomon Gessner (1730–88), whose own pastoral Idyllen (1756–72) were in turn translated into English. 4. The Eclogues of the Roman poet Virgil (70–19 BC) established the Arcadian ideal of pastoral poetry by drawing on the bucolic idylls of the Greek writer Theocritus (fl. C. 370 BC). 5. A likely allusion to Coleridge’s theory of poetic faith as a “willing suspension of disbelief for the moment” (Biographia Literaria, chapter 14, 314) 6. The Gentle Shepherd (1725) was a popular comic pastoral musical drama by Allan Ramsay (1684–1758), whose vernacular realism influenced Gay, Thomson, and Burns. 7. Greek statues were made of marble from the island of Paros. 8. The fields that originally surrounded St. Giles’ Cathedral had long disap- peared by the date of this essay. 9. Habbies Howe, a glen on the river Esk outside Edinburgh, is the setting of Ramsay’s Gentle Shepherd. 10. The “Ettrick Shepherd” James Hogg (1770–1835) and his now better-known countryman Robert Burns (1759–96) were self-educated Scottish peasant- poets famous for their earthy, vernacular pastorals. 11. These are all characters in Homer’s Iliad. Carlton House in London was the mansion of the Prince Regent before he became king in 1820. 12. Thelwall’s criticism of the manners and language of the “hedge-cockney” allies him with Coleridge’s critique of Wordsworth’s “real language of men” in Biographia Literaria (chapter 17, 333–45) as seen also in his annotations to that volume. 13. John Gay (1685–1732) published The Shepherd’s Week in 1714 in a high- profile battle with Ambrose Phillips over the role and nature of the pastoral (DNB). 14. Another instance of Thelwall’s alliance with Coleridge against Wordsworth. 15. Thelwall’s Poems on Various Subjects (1787) contains two pastoral eclogues imitating Gay, whose “proem” likely also influenced the choice of the same title for the introductory “Proem” (p. 252) of Thelwall’s unpublished Poems Chiefly Suggested by the Scenery of Nature. 16. The opening stanza is quoted from “The Nosegay” (p. 27). 17. In the Poems on Various Subjects, the stanza about the blossoms as “moral- izers on the plain” appears here, but it is removed in the Derby MS, where the stanza has already been quoted in “Nature’s Lesson.” The original also ends with three stanzas addressing Melissa, whose approval will revive and give a 278 N OTES “second life” to the poet’s words; the later revision substitutes “Fate’s eternal doom.” 18. Roslin Castle, on the river Esk in Scotland, is famed for its association with Mary, Queen of Scots, and battles between England and Scotland (such as the one between Thelwall and the Edinburgh Review at the time of composition). 19. Stella was Thelwall’s poetic name for his wife Susan. 20. Thelwall called it a sonnet in a letter to Coleridge, who replied “being a free- born Briton, who shall prevent you from calling twenty-five blank verse lines a sonnet, if you have taken a bloody resolution so to do” (CLSTC I. 348). This politically tinged experimentalism links “The Woodbine” with Thelwall’s other sonnets (see chapter 4). 21. Near Oakham, in northeast England, where Thelwall met his first wife Susan (“Stella”). 22. While the seasonal trope is conventional enough, these lines seem almost to foresee Maria’s death, of the croup, two years after they were written. 23. Cf. Coleridge “Sonnet to the River Otter” and “Reflections on Having Left a Place of Retirement.” 24.