The Fall of Robespierre
The Fall of Robespierre is a three-act play written by
Background
To raise money, Southey and Coleridge began to work together in August 1794. According to Southey the project began in "sportive conversation" at the house of their friend Robert Lovell. The three intended to collaborate on a play that would deal with the beheading of Robespierre in July 1794. Their source was news articles that described the final moments of a dispute within the National Assembly. During composition, they were able to write 800 lines in just two days. The play was divided between the three collaborators, with Coleridge composing the first act, Southey composing the second act and Lovell the third. Southey and Lovell completed their acts but Coleridge had only finished part of his the following evening. Southey felt that Lowell's contribution was not "in keeping" and so rewrote the third act himself. Coleridge completed his act. When they turned to Joseph Cottle to publish the work, he refused and Coleridge had to search for another publisher. He took the manuscript to Cambridge, revising and improving his own contribution.[1] Eventually, the work was published in October 1794 by Benjamin Flower. Five hundred copies were printed and circulated in Bath, Cambridge, and London, which brought the writers fame while their personal relationship grew tense.[2]
The events that inspired the work involve Robespierre's taking over of the National Assembly and removing the moderate members. During this time, he also allowed the executions of many individuals and became the center of power during the summer of 1793. The next summer, 28 July 1794, he was executed by guillotine along with 21 others.[3]
Play
The play is filled with various speeches on the topic of liberty. The first scene is set in the
- The peaceful virtues
- And every blandishment of private life,
- The father's cares, the mother's fond endearment,
- All sacrificed to liberty's wild riot.
The third act, originally written by Lovell, was rewritten by Southey. Within the act, the opponents of Robespierre compare themselves to the assassins of Julius Caesar who are restoring the republic. In the final speech, Bertrand Barère discusses the history of the French Revolution and lists the various would-be despots who have attempted to usurp liberty for Louis XVI to Robespierre himself, concluding that France will be a beacon of liberation to the world.[5]
- Never, never,
- Shall this regenerated country wear
- The despot yoke. Though myriads round assail
- And with worse fury urge this new crusade
- Than savages have known; though all the leagued despots
- Depopulate all Europe, so to pour
- The accumulated mass upon our coasts,
- Sublime amidst the storm shall France arise
- And like the rock amid surrounding waves
- Repel the rushing ocean. — She shall wield
- The thunder-bolt of vengeance – She shall blast
- The despot's pride, and liberate the world.
Themes
Act one reflects Coleridge's feelings about those Robespierre executed, including Madame Roland and Brissot. The tone of the piece is not revolutionary, but it does include themes connected to his other works and reveals Coleridge's thoughts on marriage, politics, and childhood. It also incorporates Coleridge's view that individuals are naturally innocent in a manner similar to Rousseau's belief. This idea, combined with a belief in achieving some sort of paradise, was developed in the works following the play.[6]
The play as a whole deals with many
Critical response
An anonymous review in the November 1794
Notes
References
- Ashton, Rosemary. The Life of Samuel Taylor Coleridge. Oxford: Blackwell, 1997.
- Holmes, Richard. Coleridge. New York: Pantheon Books, 1989.
- Madden, Lionel (ed). Robert Southey: The Critical Heritage. London: Routledge and Keegan Paul, 1972.
- Speck, W. A. Robert Southey. New Haven: Yale University Press, 2006.