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National Library of Wales, MS 4811D. Previously published: Charles Cuthbert Southey (ed.), Life and Correspondence of Robert Southey, 6 vols (London, 1849–1850), II, pp. 5–7 [in part].
These letters were edited with the assistance of Carol Bolton, Tim Fulford and Ian Packer
For permission to publish the text of MSS in their possession, the editor wishes to thank the Beinecke Rare Books and Manuscript Library, Yale University; Berg Collection of English and American Literature, The New York Public Library, Astor, Lenox and Tilden Foundations; the Bodleian Library Oxford University; the British Library; Boston Public Library; the Syndics of Cambridge University Library; the Syndics of the Fitzwilliam Museum Cambridge; Haverford College, Connecticut; the Historical Society of Pennsylvania; the Hornby Library, Liverpool Libraries and Information Services; the Houghton Library, Harvard University; the John Rylands Library, Manchester; the Kenneth Spencer Research Library, University of Kansas; Luton Museum (Bedfordshire County Council); Massachusetts Historical Society; McGill University Library; the National Library of Scotland; the Newberry Library, Chicago; the New York Public Library (Pforzheimer Collections); the Pierpont Morgan Library, New York; the Public Record Offices of Bedford, Suffolk (Bury St Edmunds) and Northumberland, the Master and Fellows of Trinity College, Cambridge; the Society of Antiquaries of Newcastle upon Tyne; the Trustees of the William Salt Library, Stafford, the Wisbech and Fenland Museum; the University of Virginia Library.
A research grant from the British Academy made much of the archival work possible, as did support from the English Department of Nottingham Trent University.
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Southey’s spelling has not been regularized.
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As for the verses upon Mr Pitt
My Eclogues varying in subject are yet too monotonous in being all rather upon melancholy subjects. I must omit two −
the Wedding & the Last of the Family
the guards may refuse the first guinea − falter at the second & betray their trust at the third.
I have some play plots maturing in my head but none ripe. My wish is to make something better than Love the mainspring; & I have one or two sketches about − but all my plots seem rather calculated to produce one or two great scenes, rather than a general effect. My mind has been turned too much to the epic which admits a longer action, & passes over the uninteresting parts.
The escape of the Pythoness with a young Thessalian seems to afford most spectacle.
Pedro the Just
Leonor, his daughter, comes to Coimbra to demand justice. her mothers little property has been seized by a neighbouring noble who trusts to the hatred Pedro bears the family, & their depressed state for impunity. this too may partly proceed from Leonor having refused to be his mistress, a good scene may be made when she sees the King & he thinks she is going to intreat for her father. but Pedro was inflexibly just & he summons the nobleman.
Pacheco is thrown into prison – the Nobleman irritated at the King is still attached to Leonor. he is not a bad man tho
xx xxxxxxx a violent one. he offers to force the prison − deliver Pacheco & retire into Castille
if she will be his. the Kings Confessor intercedes for Pacheco. but his execution is fixed for the day when Inez is to be crowned. At
the decisive moment Leonor brings the children of Inez to intercede. & is successful. she refuses to marry the Noble − &
expresses her intention of entering a nunnery after her mothers death.
This is a half plot. you see capable of powerful scenes − but defective in general interest I fear.
I have thought of a domestic story founded on the persecution under Queen Mary.
For Feudal times − something may be made perhaps of a Neif with a wicked lord − or of the wardship oppressions.
Then I have thought of Sparta. of the Crypteia, & a Helot hero.
God bless you − you have these views as they float before me, & will be as little satisfied with any as I myself. help me if you can.
y. 9. 99.