In his seminal Oriental poem of 1801, Thalaba Destroyer, Robert Southey teasingly alludes to topos of In Book 6, Southey describes how Thalaba sleeps after journeying at night to dark valley. On waking, he is confronted with a scene of wonders as thousand streams wander across plain into blue ethereal ocean, creating isles of colourful mosses and lichens and spectacular gushing fountains: This was wild and wondrous scene, Strange and beautiful, as where By Oton-tala, like sea of stars, The hundred sources of Hoangho burst. (Southey 2004, 3: 94) Southey here refers to Whang-ho (Huang He) or Yellow River. His notes to these lines direct reader to two sources. The first is A Description of Tibet collected fourth volume of 'Thomas Astley's New General Collection of Voyages and Travels (1745-47), from which we learn in place where ho rises, there are more than an hundred springs which sparkle like stars, whence it is called Hotun Nor, Sea of Stars. This remark is attributed to Jesuit, Antoine Gaubil. The second source is Thomas Percy's remarkable 1761 edition of first Chinese novel ever to be translated into English or any other European language for matter, seventeenth-century Ming work, Hao Ch'iu Chuan or The Story of an Ideal Marriage (Hau Kiou Choann or The Pleasing History Percy's version). Percy supplies note describing how Whang ho, or as Portugueze call it Hoam-ho, i.e. River rises not far from source of Ganges Tartarian mountains west of China. He points out river receives its name from yellow mud which stains waters and composes third part of its volume: the Chinese say its waters cannot become clear thousand years; whence it is common proverb among them for any thing which is never likely to happen, proverb actually used novel (Southey 2004, 3: 252; Percy 1761, 2: 214-55). Southey's tentative engagement with literature of China, through Percy's edition of Hau kio Choann, might be regarded as metonymic of Romantic-period response to Qing Empire of late 18th and early 19th centuries. He was clearly fascinated by Chinese and he absorbed much of Percy's translation, yet his interest and knowledge of China was not itself translated into work of Romantic imagination. In letter to John Rickman of October 1808, Southey remembered novel enough to use it discussion of one of his bete noires, practice of polygamy by non-European peoples. Southey argued polygamy was some way responsible for perceived stagnation of 18th century Contra Southey, Rickman argued China goes on pretty well despite its well-known practicing of polygamy and it was want of an alphabet really accounted for what he stereotypically describes as the frozen limits of Chinese science. China's successes, meanwhile, Southey ascribed to its remaining an undivided empire due to unique circumstance of its haying literary aristocracy, all subordinate authority being bands of men whose education and whose habits of life make them averse to war. Robbers are only rebels there; demoralizing effects of system are same there as elsewhere. exemplifies that (Southey 1849-50, 3: 191-92). Shuey-ping-sin (Ping-hsin) is heroine of Pleasing History though novel actually centres on issue of arranged marriage rather than polygamy, which is not heavily featured, though briefly mentioned Percy's notes (1761, 4: 143-44). Southey read great deal more about China than what was discoverable Percy and Astley's collection of voyages. While still at Westminster school, he encountered seven-volume English translation (1733-39) of Jean Frederic Bernard's Ceremonies et coutumes religieuses de tous les peuples du monde (1723-43), lavishly illustrated by engraver Bernard Picart. …
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