The Curse of Kehama, Volume 1 (of 2) — A Reader’s Guide

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Southey, Robert, 1774-1843 Project Gutenberg 2017 Not confirmed
English poetry -- 19th century Readers of public-domain and historical texts
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Words 47,637
Reading time 208 min
Text sections 9

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Robert Southey's 1812 verse narrative, set in Hindu mythology, follows a curse that drives its victim through supernatural ordeals. The poem's preface explains the belief that prayers and penances compel the gods, a mechanism Southey exploits for his original plot. This first volume introduces the curse and its immediate aftermath, with elaborate descriptive passages and a formal, archaic diction.
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dful wrath? Them were all hearts of all the throng deploring, For not in that innumerable throng Was one who lov'd the dead; for who could know What aggravated wrong Provok'd the desperate blow! Far, far behind, beyond all reach of sight, In ordered files the torches flow along, One ever-lengthening line of gliding light: Far . . . far behind, Rolls on the undistinguishable clamour, Of horn, and trump, and tambour; {7} Incessant at the roar Of streams which down the wintry mountain pour, And louder than the dread commotion Of stormy billows on a rocky shore, When the winds rage over the wares, And Ocean to the Tempest raves.

8. And now toward the bank they go, Where, winding on their way below, Deep and strong the waters flow. Here doth the funeral pile appear With myrrh and ambergris bestrew'd, And built of precious sandal wood. They cease their music and their outcry here; Gently they rest the bier: They wet the face of Arvalan, No sign of life the sprinkled drops excite. They feel his breast, . . . no motion there; They feel his lips, . . . no breath; For not with feeble, nor with erring hand, The stern avenger dealt the blow of death. Then with a doubling peal and deeper blast, The tambours and the trumpets sound on high, {8} And with a last and loudest cry They call on Arvalan.

9. Woe! woe! for Azla takes her seat Upon the funeral pile! Calmly she took her seat, Calmly the whole terrific pomp survey'd; As on her lap the while The lifeless head of Arvalan was laid. Woe! woe! Nealliny, The young Nealliny! They strip her ornaments away, Bracelet and anklet, ring, and chain, and zone; Around her neck they leave The marriage knot alone, . . . That marriage band, which when Yon waning moon was young, Around her virgin neck With bridal joy was hung. Then with white flowers, the coronal of death, Her jetty locks they crown. O sight of misery! Yon cannot hear her cries, . . . all other sound {9} In that wild dissonance is drown'd; . . . But in her face you see The supplication and the agony, . . . See in her swelling throat the desperate strength That with vain effort struggles yet for life; Her arms contracted now in fruitless strife, Now wildly at full length Towards the crowd in vain for pity spread, . . . They force her on, they bind her to the dead.

10. Then all around retire; Circling the pile, the ministring Bramins stand, Each lifting in his hand a torch on fire. Alone the Father of the dead advanced And lit the funeral pyre.

11. At once on every side The circling torches drop; At once on every side The fragrant oil is pour'd; At once on every side The rapid flames rush up. {10} Then hand in hand the victim band Roll in the dance around the funeral pyre; Their garments' flying folds Float inward to the fire. In drunken whirl they wheel around; One drops, . . . another plunges in; And still with overwhelming din The tambours and the trumpets sound; And clap of hand, and shouts, and cries, From all the multitude arise: While round and round, in giddy wheel, Intoxicate they roll and reel, Till one by one whirl'd in they fall, And the devouring flames have swallowed all.

12. Then all was still; the drums and clarions ceas'd; The multitude were hush'd in silent awe; Only the roaring of the flames was heard.

1. Alone towards the Table of the dead, Kehama mov'd; there on the altar-stone Honey and rice he spread, There with collected voice and painful tone He call'd upon his son. Lo! Arvalan appears. Only Kehama's powerful eye beheld The thin etherial spirit hovering nigh; Only the Rajah's ear Receiv'd his feeble breath. And is this all? the mournful spirit said, This all that thou canst give me after death? {12} This unavailing pomp, These empty pageantries that mock the dead!

2. In bitterness the Rajah heard, And groan'd, and smote his breast, and o'er his face Cowl'd the white mourning vest.

ARVALAN. Art thou not powerful, . . . even like a God? And must I, through my years of wandering, Shivering and naked to the elements, In wretchedness await The hour of Yamen's wrath? I thought thou wouldst embody me anew. Undying as I am, . . . Yea, re-create me! . . . Father, is this all! This all! and thou Almighty!

3. But in that wrongful and upbraiding tone, Kehama found relief, For rising anger half supprest his grief. Reproach not me! he cried; {13} Had I not spell-secur'd thee from disease, Fire, sword, . . . all common accidents of man, . . . And thou! . . . fool, fool, . . . to perish by a stake! And by a peasant's arm! . . . Even now, when from reluctant Heaven Forcing new gifts and mightier attributes, So soon I should have quell'd the Death-God's power.

Robert Southey's The Curse of Kehama opens with a preface that grounds the poem in a specific theological premise: in Hindu belief, prayers, penances, and sacrifices possess inherent power, compelling the gods regardless of the practitioner's intent. Southey states that this belief is 'the foundation of the following Poem,' and he insists his fictions are 'consistent with the superstition upon which it is built.' The poem's narrative voice is formal and elevated, employing a regular meter and occasional archaisms. The first volume moves from the funeral rites that trigger the curse to the protagonist's separation from his family and his journey into supernatural realms, including the Swerga and Mount Meru. Southey's descriptive style is detailed and sometimes digressive, as seen in the lengthy note on the flying serpent's anatomy, which interrupts the narrative flow with scientific precision.

Preface and Paratext: Framing the Supernatural

The preface is essential for understanding Southey's method. He explicitly contrasts Hindu mythology with 'the genuine tales of Hindoo mythology,' which he finds 'monstrous' and 'fatal,' yet he uses its logic as his plot engine. He defends his choice by arguing that the poem's allusions should be 'sufficiently self-explained' without prior knowledge. The dedication to Walter Savage Landor and the epigraph—'Curses are like young chickens, they always come home to roost'—signal the poem's moral framework. The table of contents lists twelve sections, including 'The Curse,' 'The Recovery,' and 'The Sacrifice,' indicating a clear narrative arc. Southey also includes a note on the flying serpent's anatomy, a digression that shows his interest in natural history and his willingness to pause the verse for exposition. This paratextual material shapes the reader's expectations, emphasizing the poem's learned, antiquarian character.

Narrative Voice and Metrical Control

Southey's verse is predominantly iambic, with a regular rhyme scheme that lends a stately, incantatory quality. The narrative voice is omniscient and detached, often commenting on the action or the characters' moral states. For example, the curse itself is delivered in a formal, almost legalistic tone, emphasizing its irrevocability. The poem's pace varies: rapid, dramatic scenes—such as the funeral and the curse—alternate with slower, descriptive passages that elaborate on mythological geography or supernatural beings. This variation creates a rhythm that mirrors the protagonist's journey between human and divine realms. Southey's diction is deliberately archaic, using words like 'thee' and 'thou,' and his syntax is often inverted for metrical effect. This formal register distances the reader from the characters, making the poem feel more like a chronicle than a dramatic narrative.

Descriptive Digressions and Structural Pacing

The most striking feature of Southey's style is his willingness to interrupt the narrative for extended descriptions. The note on the flying serpent's wings, quoted in the excerpts, is a prime example: it describes in minute detail the ribs, membranes, and joints, using technical language that seems drawn from a natural history treatise. This digression halts the story's forward momentum, inviting the reader to pause and visualize the creature. Similarly, the poem's sections—such as 'Casyapa' and 'The Swerga'—function as set pieces, each focusing on a particular location or character. This episodic structure means that the poem's pace is not uniform; instead, it proceeds by a series of tableaux. Southey's descriptive method prioritizes visual and tactile detail over psychological depth, creating a world that is vividly imagined but emotionally remote. The reader is positioned as an observer of marvels rather than a participant in the protagonist's inner life.

Readers approaching The Curse of Kehama should attend to the interplay between Southey's learned apparatus and his poetic practice. The preface and notes are not mere accessories but integral to the poem's effect, grounding its fantastical elements in a specific theological system. The narrative's episodic structure rewards patience: each section offers a distinct scene or concept, and the descriptive digressions, though they slow the pace, enrich the imagined world. Southey's formal verse demands careful reading, but the poem's mythological inventiveness and moral clarity—curses inevitably return—provide a coherent framework for the journey.

That afternoon, Southey’s elaborate curses felt almost numbing until I reached his quiet preface about penances binding even gods. The weight of obligation lingering there reminded me of something humbler, a medieval meditation on our mortal rent. I pulled down The Middle English Poem, Erthe Upon Erthe — Story, Setting & Ideas afterward, and the old words settled like rain on dust.

Michael Baker
4 weeks ago

Michael Carter
1 month ago

Grace Smith
1 week ago

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    Linda Marshall - 1 month ago
    A magnificent epic poem that transports you to a world of Eastern mysticism and adventure. The rich, lyrical narrative of 'The Curse of Kehama' is a masterful blend of mythology, romance, and tragedy. Volume 1 sets the stage brilliantly, and the literary craftsmanship is impressive. A must-read for lovers of classic poetry and fantasy.

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    Jason Taylor - 2 weeks ago
    The poem suffers from convoluted syntax and an overabundance of archaic vocabulary, making it nearly inaccessible. The plot is simple, yet the author's verbose style buries the story under excessive description. Editing would improve readability, but as it stands, it's a tedious read. Only for the most dedicated classical literature scholars.

  • ...
    Daniel Lopez - 1 week ago
    This classic poem offers a captivating story with beautiful imagery, but the dated language can be challenging for modern readers. The pacing is slow in places, and the fragmented volume format might frustrate those seeking instant gratification. However, the mythic elements and moral depth provide a rewarding experience for those who persevere.


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