The present work commences with a delightful autobiography, which Southey carried down to the age of fifteen. His son then takes up the narrative. This, however, is little more than arranging the correspondence, and explaining allusions in it. The great charm of Southey’s style is its stimulating simplicity; and this is felt throughout the present “Life.” We have marked, in reading the work, a number of passages, which seem to us especially characteristic, and cannot refrain from quoting a few of them. He tells us, in his autobiography, that his elder brother was very beautiful; “so much so, that, when I made my appearance on the 12th of August, 1774, I was sadly disparaged by comparison with him. My mother, asking if it was a boy, was answered by her nurse, in a tone as little favorable to me as it was flattering, ‘Ay, a great ugly boy!’ and she added, when she told me this, ‘God forgive me! when I saw what a great red creature it was, covered with rolls of fat, I thought I should never be able to love him.’” This is the most perfectly dramatic statement of the most important event which can happen to a person, ever given in a biography; and it conciliates the reader at once.
The record of his early life is given with much amusing details. His parents were rather illiterate, and he depended on chance to gratify his thirst for books, with nobody to select what were proper to his age. He read Beaumont and Fletcher through before he was eight years old,—a most curious book for a child, when we consider the obscenity, licentiousness, and slang which mingle with the romantic beauty of those dramatists. He says they did him no harm, for the reason that he was so young. In Mrs. Rowe’s Letters he read her version of the stories of Olendo and Sophronia, and the Enchanted Forest, from Tasso, and despaired at the time of ever reading more of the poem until he was man, “from a whimsical notion that, as the subject related to Jerusalem, the original must be in Hebrew;” and there was not learning enough in his father’s house to set him right on the point.
Perhaps the most interesting peculiarity of books like the present, is their expression of the private opinions which their subjects entertained of contemporary men and events. This certainly is the raciest element in the Correspondence of Southey, and his letters are next in attractiveness to a cosy chat with himself. Of Bentham, he remarks—“It has pleased the metaphysico-critico-politico-patriotico-phoolo-philosopher Jeremy Bentham, to designate me, in one of his opaque works, by the appellation of St. Southey, for which I humbly thank his Jeremy Benthamship, and have in part requited him.” His hatred of Jeffrey, and contempt of Reviews, provoke many a sardonic remark, replete with his peculiar humor. “Turner,” he writes to Rickman, “complained heavily of Scotch criticism, which he seems to feel too much. Such things only provoke me to interject Fool! and Booby! _seasoned with the participle damnatory_; but as for being vexed at a review—I should as soon be fevered by a flea-bite! . . . I look upon the invention of reviews to be the worst injury which literature has received since its revival.” Of Coleridge he says—“His mind is in a perfect St. Vitus’s dance—eternal activity without action.” Jeffrey, according to Southey, is a bad politician, a worse moralist, and a critic, in matters of taste, equally incompetent and unjust. It is unfortunate that his criticism on himself and on others, in these letters, is not of a kind to entitle him to condemn the editor of the Edinburgh Review. “Cowper,” he asserts, “owed his popularity to his piety, not to his poetry, and that piety was craziness.” His opinion was altered, of course, when he afterward edited an edition of Cowper’s works. Of Walter Savage Lander’s poem of Gebir, he says—“I look upon Gebir, as I do upon Dante’s long poem in the Italian, not as a good poem, _but as containing the finest poetry in the language_.” His power of appreciating Wordsworth may be estimated by his remark, in a letter to Scott, on the “Ode on the Intimations of Immortality from the Recollections of Childhood.” “The Ode on Pre-existence,” he says, “is a dark subject darkly handled. Coleridge is the only man who could make such a subject luminous. The Leech Gatherer is one of my favorites.” We might quote many other critical judgments, “equally incompetent and unjust,” but if the last does not satisfy the reader, it is impossible to quote any thing that will.