the gross extravagances of the author's school of poetry, if we cannot hope to reform so great an offender as himself. In general, all that nature and all that art has lavished on him is rendered useless by his obstinate adherence to his own system of fancied originality, in which every thing that is good is old, and every thing that is new is good for nothing. Convinced as we are that many of the author's faults proceed from mere idleness, deserving even less indulgence than the erroneous principles of his poetical system, we shall conclude by a general exhortation to all critics to condemn, and to all writers to avoid, the example of combined carelessness and perversity which is here afforded by Mr. Southey; and we shall mark this last and worst eccentricity of his Muse with the following character: Here is the composition of a poet not more distinguished by his genius and knowledge than by his contempt for public opinion, and the utter depravity of his taste, - a depravity which is incorrigible, and, we are sorry to add, most unblushingly rejoicing in its own hopelessness of amendment." The "Monthly Review" has, I believe, been for some years defunct. I never knew to whom I was beholden for the good service rendered me in that journal, when such assistance was of most value; nor by whom I was subsequently, during several years, favored in the same journal with such flagrant civilities as those of which the reader has here seen a sample. KESWICK, May 19, 1838. ORIGINAL PREFACE. In the religion of the Hindoos, which of all false religions is the most monstrous in its fables and the most fatal in its effects, there is one remarkable peculiarity. Prayers, penances, and sacrifices are supposed to possess an inherent and actual value, in no degree depending upon the disposition or motive of the person who performs them. They are drafts upon Heaven, for which the Gods cannot refuse payment. The worst men, bent upon the worst designs, have in this manner obtained power which has made them formidable to the Supreme Deities themselves, and rendered an (Avatar, or ) incarnation of Vishnu) the Preserver, necessary. This belief is the foundation of the following poem.) The story is original, but, in all its parts, consistent with the superstition upon which it is built; and, however startling the fictions may appear, they might almost be called credible when compared with the genuine tales of Hindoo mythology. No figures can be imagined more anti-picturesque, and less poetical, than the mythological personages of the Bramins. This deformity was easily kept out of sight. Their hundred hands are but a clumsy personification of power; their numerous heads only a gross image of divinity, "whose countenance," as the "Bhagvat-Geeta" expresses it, "is turned on every side." To the other obvious objection, that the religion of Hindostan is not generally known enough to supply fit machinery for an English poem, I can only answer, that, if every allusion to it throughout the work is not sufficiently self-explained to render the passage intelligible, there is a want of skill in the poet. Even those readers who should be wholly unacquainted with the writings of our learned Orientalists will find all the preliminary knowledge that can be needful, in the brief explanation of mythological names prefixed to the poem. These form the Trimourtee, or Trinity, as it has been called, of the Bramins. The allegory is obvious, but has been made for the Trimourtee, not the Trimourtee for the allegory; and these Deities are regarded by the people as three distinct and personal Gods. The two latter have at this day their hostile sects of worshippers: that of Seeva is the most numerous; and, in this poem, Seeva is represented as supreme among the Gods. This is the same God whose name is variously written Seeb, Sieven, and Siva; Chiven by the French; Xiven by the Portuguese; and whom European writers sometimes denominate Eswara, Iswaren, Mahadeo, Mahadeva, Rutren, according to which of his thousand and eight names prevailed in the country where they obtained their information. The SWERGA INDRA . YAMEN PADALON God of the Elements. his Paradise,-- one of the Hindoo heavens. And, like the Earth, of an octagon shape: its eight gates are guarded by as many Gods. His statues are placed in the highways, and sometimes in a small, lonely sanctuary, in the streets and in the fields. THE CURSE OF KEHAMA. I. THE FUNERAL. 1. MIDNIGHT, and yet no eye Through all the Imperial City closed in sleep! Behold her streets ablaze With light that seems to kindle the red sky, Her myriads swarming through the crowded ways! Master and slave, old age and infancy, All, all, abroad to gaze: House-top and balcony Clustered with women, who throw back their veils, Were but to them a scene of joyance and delight. 2. Vainly, ye blessed twinklers of the night! |