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Updated: June 12, 2025
In the Thalaba, the Madoc, and still more evidently in the unique Cid, in the Kehama, and, as last, so best, the Roderick; Southey has given abundant proof, se cogitare quam sit magnum dare aliquid in manus hominum: nec persuadere sibi posse, non saepe tractandum quod placere et semper et omnibus cupiat. But on the other hand, I conceive, that Mr.
The love and knowledge of Nature developed by Wordsworth the lofty melody and mysterious beauty of Coleridge's poetry and the wild fantastic machinery and gorgeous scenery adopted by Southey composed his favourite reading; the rhythm of "Queen Mab" was founded on that of "Thalaba", and the first few lines bear a striking resemblance in spirit, though not in idea, to the opening of that poem.
He wanted spontaneous depth of sympathy; his emotion has the measured flow of the artificial canal, not the leaping gush of the river in its self-worn channel. In two of the three best poems he has founded the interest on supernatural agency of a kind which cannot command even momentary belief and the splendid panoramas of "Thalaba the Destroyer" pass away like the shadows of a magic lantern.
Bradwardine were at home, or where he could find any of the domestics. The questioned party replied, and, like the witch of Thalaba, 'still his speech was song, The Knight's to the mountain His bugle to wind; The Lady's to greenwood Her garland to bind. The bower of Burd Ellen Has moss on the floor, That the step of Lord William Be silent and sure.
In English, Milton's poems, Wordsworth's "Excursion", Southey's "Madoc" and "Thalaba", Locke "On the Human Understanding", Bacon's "Novum Organum". In Italian, Ariosto, Tasso, and Alfieri. In French, the "Reveries d'un Solitaire" of Rousseau. To these may be added several modern books of travel. He read few novels. Shelley wrote little during this year.
Can any man wonder, like him? can any man see ghosts, like him? or fight with his own shadow sessa as he does in that strangely-neglected thing, the Cobler of Preston where his alternations from the Cobler to the Magnifico, and from the Magnifico to the Cobler, keep the brain of the spectator in as wild a ferment, as if some Arabian Night were being acted before him, or as if Thalaba were no tale!
The criticism of Maturin has all the tone of moral authority which provoked many readers of the Review, and was, probably, in part responsible for the less "measured" attitude adopted by the Quarterly. Thalaba, the Destroyer: A Metrical Romance. By ROBERT SOUTHEY. 2 vols. 12 mo. London.
There is little of human character in the poem, indeed; because Thalaba is a solitary wanderer from the solitary tent of his protector: But the home group, in which his infancy was spent, is pleasingly delineated; and there is something irresistibly interesting in the innocent love, and misfortunes, and fate of his Oneiza.
The old lady, indeed, might as well have fallen under the dagger of the Domdanielite; for she dies, without doing anything for her child, in the end of the first book; and little Thalaba is left crying in the wilderness.
This is the spirit of Thalaba, of Ladurlad, of Adosinda, of Roderick after his conversion. It is the spirit which, in all his writings, Mr. Southey appears to affect. "I do well to be angry," seems to be the predominant feeling of his mind.
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