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Home , John Gibson Lockhart, Romantic epistemology, The London Magazine, Thomas Aird, Walking Stewart, William Blackwood

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Introduction, selection and editorial matter © Robert Morrison and Daniel S. Roberts 2013 Individual chapters © contributors 2013 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2013 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–0–230–30441–3 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. A catalog record for this book is available from the Library of Congress. 10 9 8 7 6 5 4 3 2 1 22 21 20 19 18 17 16 15 14 13 Printed and bound in Great Britain by CPI Antony Rowe, Chippenham and Eastbourne

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Contents

List of Illustrations ix Acknowledgements x Abbreviations xi Note on the Referencing of Blackwood’s Articles xiii Notes on Contributors xiv

‘A character so various, and yet so indisputably its own’: A Passage to Blackwood’s Edinburgh Magazine 1 Robert Morrison and Daniel Sanjiv Roberts Part I Blackwood’s and the Periodical Press 1 Beginning Blackwood’s: The Right Mix of Dulce and Ùtile 23 Philip Flynn 2 John Gibson Lockhart and Blackwood’s: Shaping the Romantic Periodical Press 35 Thomas Richardson 3 From Gluttony to Justified Sinning: Confessional Writing in Blackwood’s and the London Magazine 47 David Higgins 4 Camaraderie and Conflict: De Quincey and Wilson on Enemy Lines 57 Robert Morrison 5 Selling Blackwood’s Magazine, 1817–1834 69 David Finkelstein Part II Blackwood’s Culture and Criticism 6 Blackwood’s ‘Personalities’ 89 Tom Mole 7 Communal Reception, Mary Shelley, and the ‘Blackwood’s School’ of Criticism 101 Nicholas Mason 8 Blackwoodian Allusion and the Culture of Miscellaneity 113 David Stewart

vii

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9 Blackwood’s Edinburgh Magazine in the Scientific Culture of Early Nineteenth-Century Edinburgh 125 William Christie 10 The Art and Science of Politics in Blackwood’s Edinburgh Magazine, c. 1817–1841 137 Duncan Kelly 11 Prosing Poetry: Blackwood’s and Generic Transposition, 1820–1840 149 Jason Camlot Part III Blackwood’s Fictions 12 Blackwood’s and the Boundaries of the Short Story 163 Tim Killick 13 The Edinburgh of Blackwood’s Edinburgh Magazine and James Hogg’s Fiction 175 Gillian Hughes 14 The Taste for Violence in Blackwood’s Magazine 187 Mark Schoenfield Part IV Blackwood’s at Home 15 John Wilson and Regency Authorship 203 Richard Cronin 16 John Wilson and Sport 215 John Strachan 17 William Maginn and the Blackwood’s ‘Preface’ of 1826 227 David E. Latané, Jr. 18 All Work and All Play: Felicia Hemans’s Edinburgh Noctes 239 Nanora Sweet Part V Blackwood’s Abroad 19 Mediating Indian Literature in the Age of Empire: Blackwood’s and Orientalism 255 Daniel Sanjiv Roberts 20 Tales of the Colonies: Blackwood’s, Provincialism, and British Interests Abroad 267 Anthony Jarrells

Selected Bibliography 279 Index 281

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‘A character so various, and yet so indisputably its own’: A Passage to Blackwood’s Edinburgh Magazine Robert Morrison and Daniel Sanjiv Roberts

William Blackwood found the name ‘Magazine . . . already degraded to the dust, when he planned his memorable revolution in that department of literature’, announced Thomas De Quincey in 1827; ‘and it would be too much to expect, that ten years of brilliant writing should dissolve the invet- erate associations which almost a century of dulness had gathered about that title’. Yet as De Quincey went on to acknowledge, these associations did not prevent Blackwood’s Edinburgh Magazine from ranking ‘first, in point of talent, amongst the journals of the present day’, and his calculations included the Edinburgh Review and the Quarterly Review, both of which might be thought of as having ‘the advantage in point of dignity’, but both of which fell below Blackwood’s because they had to strain to reach – whereas it was intimately connected to – ‘the shifting passions of the day’ (WTDQ, V, 149–150). De Quincey’s assessment is rooted in his own strong preference for magazines (he was a professional writer for almost three decades before he published a single article in a review), and it underestimates Blackwood’s immediate impact, as it took far less than a decade for its ‘brilliant writing’ to dislodge the ‘century of dulness’ that had gathered about the title of ‘magazine’. But certainly De Quincey is correct in his observation that Blackwood had effected a ‘memorable revolution’, for his magazine was the most important literary-political journal of its time, and a major force not only in Scottish letters, but in the development of British and American Romanticism.1 There was nothing else quite like Blackwood’s.2 It demolished much of what had come before in magazine publishing, and set the pattern for a great deal of what was to follow. It bristled always with confidence and contradiction, mobilizing a coruscating wit and explosive irony while calling repeatedly for stability and continuity. It was infamous for its belligerent High Toryism and its vicious literary reviews, especially of ‘Cockney School’ poets such as Leigh Hunt and John Keats. But it was equally remarkable for its variety, its inconsistency and irreverence, its breadth of insight, its groundbreaking

Copyrighted material – 978–0–230–30441–3 Copyrighted material – 978–0–230–30441–3 2 Romanticism and Blackwood’s Magazine treatment of fiction, its penetrating reviews of contemporary poetry, and its fictionalization of its own production in its immensely popular Noctes Ambrosianae, the raucous and wide-ranging dialogues that capture in full the exuberance of ‘Maga’ during Blackwood’s seventeen-year editorship. One of the magazine’s leading contributors, David Macbeth Moir, concisely summarized Blackwood’s appeal: ‘no other existing periodical has like Maga a character so various, and yet so indisputably its own’. More recently, Jon Klancher explores how in Blackwood’s ‘a powerful transauthorial discourse echoes through its protean collocation of styles, topics, and voices’.3 Blackwood’s magazine began, not with a bang, but a whimper. In 1816, Blackwood – increasingly successful as a bookseller and publisher – determined to establish a magazine.4 In part, he was anxious to exploit the rich literary and cultural climate of Edinburgh, and undoubtedly he recognized that the magazine format itself, which had remained essentially unaltered since Edward Cave introduced his Gentleman’s Magazine in 1731, was ripe for change. More directly, however, Blackwood sought to challenge Archibald Constable, his senior by only two years, a fellow Scot, a Whig, and the high-profile publisher of the Edinburgh Review, the Encyclopaedia Britannica, and most of Walter Scott’s novels, as well as of The Scot’s Magazine. Blackwood published the first issue of his Edinburgh Monthly Magazine in April 1817, and while it contained work by James Hogg, John Gibson Lockhart, Walter Scott, and John Wilson, it also opened – irritatingly – with an article praising Francis Horner, arch Whig and one of the founders of the Edinburgh Review. Unimpressed, Blackwood gave his editors, Thomas Pringle and James Cleghorn, two more numbers to give his magazine a clear direction and a distinct identity. But the situation did not improve, and by October he himself was in the editor’s chair when a reconstituted effort, Blackwood’s Edinburgh Magazine, exploded onto the British literary scene with an issue that contained a scathing review of Samuel Taylor Coleridge’s Biographia Literaria (1817), the first indictment of the ‘Cockney School of Poetry’, and the ‘Chaldee Manuscript’, an allegorical attack on Constable and other nota- ble Edinburgh Whigs that left many gasping and others threatening legal action. ‘Whatever may become of Blackwood or his antagonists – the “reading” or rather the talking “public” is greatly beholden to the Author’ of the ‘Chaldee’, remarked Thomas Carlyle. ‘He has kept its jaws moving these four weeks – and the sport is not finished yet’.5 Blackwood quickly capitalized on his initial success. He established a new model for magazines by removing all the formal departments, mixing together fiction, reviews, correspondence, and essays, and infusing exuberance throughout. He successfully provided an alternative to the heavy Toryism of the Quarterly. Mary Russell Mitford characterized Blackwood’s as ‘a very libel- lous, naughty, wicked, scandalous, story-telling, entertaining work – a sort of chapel-of-ease to my old friend the Quarterly’.6 Blackwood also aimed his magazine squarely at the authority and prestige of the Edinburgh and

Copyrighted material – 978–0–230–30441–3 Copyrighted material – 978–0–230–30441–3 A Passage to Blackwood’s Edinburgh Magazine 3 its editor Francis Jeffrey, whom it regularly mocked as the ‘Small Known’ (beside Walter Scott, the ‘Great Unknown’). In addition, Blackwood’s out- paced several magazine imitators, including most notably a revamped New Monthly Magazine and the London Magazine, whose editor John Scott was killed in a duel in February 1821 after tensions between Blackwood’s and the London spun out of control.7 Richard Woodhouse reported that Blackwood’s ‘decreased very much in sale after the death of poor Scott. . . . The contributors appeared ashamed of being known to have anything to do with it’.8 But Blackwood’s was unrepentant. Less than two months after Scott’s death it referred to Lockhart as ‘wet with the blood of the Cockneys’, and to Wilson as one who had ‘slain’ many with his ‘trenchant and truculent falchion’.9 In the 1820s, Blackwood’s went from strength to strength. Its key writers were Wilson, Lockhart, Maginn, Hogg, De Quincey, Moir, and Felicia Hemans.10 It was ‘a Real magazine of mirth, misanthropy, wit, wisdom, folly, fiction, fun, festivity, theology, bruising and thingumbob’.11 It was ready to dispute on any subject, ‘sacred or profane’, including ‘History, Philosophy, Theology, Poetry, Political Economy, Oratory, Criticism, Jurisprudence, Agriculture, Commerce, Manufactures, Establishments in Church and State, Cookery, Chemistry, Mathematics’.12 It would not be pinned down. It did everything the Edinburgh ‘could do in one Number’, and then undid it in the next, ‘puffing, deriding, sneering, jeering, prosing, piping, and so forth’.13 In April 1822, Blackwood’s proclaimed that its ‘ambition’ was that its ‘wit shall be local all over the world’.14 This goal was soon in sight. ‘I have met with your miscellany in every part of the world’, the American author and critic John Neal told Blackwood.15 The Scottish travel writer John MacGregor reported that Blackwood’s was readily available in the newsrooms of Quebec.16 Moir asserted that Blackwood’s serial publication of Samuel Warren’s Passages from the Diary of a Late Physician (1830–37) ‘was truly a hit’ and extended Warren’s reputation ‘not only through France and Germany, but, as a lady from Moscow informed me, to the most northern extremities of Europe’.17 From modest beginnings, Blackwood built his magazine into a lucrative business with an international reputation. During its first two years, Blackwood’s did not employ a regular political writer, and its articles on social, political, and economic issues were often very short.18 As the 1820s progressed, however, the length and number of political articles dramatically increased, and the overall tone of the magazine became increasingly hysterical, as liberals and radicals made important gains and the push toward Catholic Emancipation and Reform became more certain. ‘The Magazine you will see is still continuing cutting up rats and Radicals’, Blackwood reported to his son in 1829.19 Its most significant political writers were De Quincey, Archibald Alison, George Croly, William Johnston, and David Robinson, and while it occasionally championed paternalism and social responsibility, its harsh conservative agenda was essentially imperialistic, defensive, and intolerant.20 In an 1820 article

Copyrighted material – 978–0–230–30441–3 Copyrighted material – 978–0–230–30441–3 4 Romanticism and Blackwood’s Magazine on ‘Domestic Politics’, Croly characterizes radicalism as ‘subversion, total excision and overthrow, – the substitution, not of one order of polity for another, but an utter destruction of the present state of things’.21 Six years later Robinson stood up defiantly against those descrying Blackwood’s hard line views, and declared that he would defend ‘old English common sense to the last’: ‘Let us be branded as bigots and Ultra-Tories, – let us be stigma- tized by the tools and toad-eaters . . . as men destitute of intellect, informa- tion, and principle, – but, in Heaven’s name! let us be spared the damning disgrace of being called POLITICAL ECONOMISTS and PHILOSOPHERS!’22 When the second French Revolution of 1830 broke out, De Quincey damned the egali- tarian principles of the radicals, and gave voice to deep-seated Tory anxieties about social change and unrest: ‘REVOLUTION! – French Revolution! – Dread watchword of mystery and fear! – Augury of sorrow to come! – Record of an Iliad of woes! – Is it then indeed true that another French Revolution has dawned?’ (WTDQ, VII, 161). Hartley Coleridge liked Blackwood’s Toryism because it was of the ‘old, hearty, cavalier, fox-hunting, beef and port kid- ney’ kind.23 But when Carlyle condemned De Quincey as ‘one of the most irreclaimable Tories now extant’, he might just as well have been speaking of Blackwood’s political writers in general.24 In 1856 Henry Cockburn described Blackwood’s as ‘a great depository of exploded principles’.25 Political and social animus also surged through the ‘Cockney School’ attacks on Hunt and Keats, both of whom were smeared in the magazine as liberal-minded mediocrities of inferior birth, poor education, and loose morals.26 ‘All the great poets of our country have been men of some rank in society’, Lockhart sneered, ‘and there is no vulgarity in any of their writings; but Mr Hunt cannot utter a dedication, or even a note, without betraying the Shibboleth of low birth and low habits’.27 Similarly, Keats’s Endymion (1818) was condemned as ‘calm, settled, imperturbable drivelling idiocy. . . . No man, whose mind has ever been imbued with the smallest knowledge or feeling of classical poetry or classical history, could have stooped to profane and vul- garise every association in the manner which has been adopted by this “son of promise”’.28 Other poets – associates of the ‘Cockney School’ – also came in for abuse. Lord Byron was castigated for the first two cantos of Don Juan (1819), which Lockhart described as ‘filthy and impious’. ‘The moral strain of the whole poem is pitched in the lowest key’, he added, ‘ – and if the genius of the author lifts him now and then out of his pollution, it seems as if he regretted the elevation, and made all haste to descend again’.29 Percy Shelley received the same kind of treatment when he commemorated the death of Keats in Adonais (1822), a ‘dreary’ and ‘unintelligible’ poem written in an ‘odoriferous, colorific, and daisy-enamoured style’, and defaced – like all of Shelley’s works – by a ‘predominant irreligion’.30 As late as 1823, Wilson was still allowing himself to refer to Hunt as ‘a fool and a liar, in league with fools and lairs’, and to ask ‘who would spit upon a toad crawling in its unwieldy and freckled putrefaction?’31

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It still makes unpleasant reading. Yet there is another side to Blackwoodian criticism, one that is often overlooked, and far more open-minded. John Neal provided the magazine with the most thorough and provocative contemporary survey of American literature.32 R. P. Gillies, Lockhart, and De Quincey published a ground-breaking series on German writers like Goethe, the Schlegels, Lessing, and Kant.33 Blackwood’s assessments of Wordsworth and Coleridge were decidedly uneven, but its positive comments on them were among the most discerning of the age. Wordsworth, for example, is ‘the first man that stripped thought and passion of all vain or foolish disguises, and shewed them in their just proportions and unencumbered power’, while Coleridge ‘has perhaps the finest superstitious vein of any person alive’.34 Blackwood’s also commented with equal perspicacity on Byron and Shelley, its recurrent abuse of them notwithstanding. Maginn took the bold (and prescient) step in July 1822 of declaring that he would ‘rather have written a page’ of the libidinous Don Juan ‘than a ton of Childe Harold’.35 Lockhart followed suit in September 1823 with an assessment that Theodore Redpath characterizes as ‘the best of all the accounts of the spirit and status of Don Juan printed in any periodical of the time’.36 Blackwood’s enthusiasm for Shelley ran even higher. In Alastor, he shows himself to be ‘a great poet’ whose ‘imagination is enamoured of dreams of death’.37 Rosalind and Helen is ‘distinguished by great animation and force of passion’.38 And in the ‘very extraordinary powers of language and imagination’ that Shelley displays in Prometheus Unbound, ‘one might almost fancy that we had recovered some of the lost sublimities of Aeschylus’.39 Even the ‘Cockney School’ attacks on Hunt and Keats, so long regarded as evidence of Blackwood’s ‘critical irresponsibility, political bias, and personal slander’, are more accurately seen as penetrating indicators of just how clearly Blackwood’s recognized the burgeoning impulses of liberalism and dissent that were soon to exert such inexorable pressure on its cherished notions of constancy and conformity.40 As Nicholas Roe remarks, ‘in their acute response to forces at work in contemporary literary, social, and political spheres, the [Cockney School] essays are comparable to – and certainly as significant as – the “Prefaces” to Lyrical Ballads’.41 Further, the magazine embraced contemporary fiction. Blackwood himself was a shrewd reviewer of the novels that came before him, and often played a vital role in guiding his writers. ‘His reception of my first contribution to his magazine of the Ayrshire Legatees’ (1820–21), wrote John Galt, ‘encouraged me to proceed with the manner in which it is composed, and thus, if there be any originality in my Scottish class of compositions, he is entitled to be considered as the first person who discovered it’.42 Michael Scott’s experience was similar. When Blackwood fell ill during the serialization of The Cruise of the Midge (1834–35), Scott wrote to tell him how much he missed his editorial input. ‘When you were well, and at the helm’, he told him, ‘I used to carry sail fearlessly, for I knew you would always keep me in

Copyrighted material – 978–0–230–30441–3 Copyrighted material – 978–0–230–30441–3 6 Romanticism and Blackwood’s Magazine the right course’ (Oliphant, II, 43). Blackwood’s critics were equally discerning. The ‘improved status of the novel is seen most clearly’ in Blackwood’s pages, writes Michael Munday, and he offers Lockhart’s 1817 commentary on William Godwin’s Caleb Williams (1794) as a representative example. The essay demonstrates both that Caleb Williams has ‘played a part in Lockhart’s imaginative life’, and that criticism of the novel has come a long way since the days when ‘the whole genre’ could be dismissed ‘by a reference to the Minerva Press’.43 The finest of the early Blackwood’s novel reviews include Walter Scott on Mary Shelley’s Frankenstein (1818), Lockhart on Mary Shelley’s Valperga (1823), Walter Scott on Galt’s The Omen (1825), and Mary Shelley on her father William Godwin’s Cloudesley (1830). Blackwood’s enthusiastic reviews of fiction ran in tandem with its innovative and highly influential publication of original fiction. ‘To pay writers of fiction at rates roughly on par with those paid to many essayists and reviewers’, asserts William Kilbourne, ‘and to make fiction a regular and important feature of an intellectually sophisticated magazine were bold and progres- sive policies’. From 1820 onward fiction accounted for an average of over 300 pages per year, or roughly one-fifth of the total of Blackwood’s annual contents.44 There was of course a long tradition of serializing novels in the magazines – Tobias Smollett’s The Life and Adventures of Sir Launcelot Greaves appeared in the British Magazine in 1760–61. But Blackwood gave the idea vigorous new life when he serialized Allan Cunningham’s Recollections of Mark Macrabin (1819–21), and then followed it with novels by Galt, Moir, Richard Harris Barham, and Michael Scott. Blackwood’s publication of these works played a crucial role in the rise of the serialized novel to such enor- mous prominence in the Victorian era. His interest in short fiction was even keener.45 He published tales ranging from Caroline Bowles Southey’s highly sentimental Chapters on Churchyards (1824–29) to seminal narratives of the fantastic like Robert Macnish’s ‘The Metempsychosis’ (1826).46 But Blackwood was most interested in terror fiction, and during his editorship he published tales by De Quincey, Galt, Hogg, Maginn, Warren, and Wilson, as well as by William Godwin Junior, John Howison, William Mudford, Michael Scott, Walter Scott, and Catherine Sinclair (see Morrison and Baldick). These tales were sensational and shamelessly commercial, but their immediacy and concision gave them a remarkable ability to startle, dismay, and unnerve. They had a powerful effect on writers such as Robert Browning, Charles Dickens, and all four Brontës, and laid the groundwork for the emergence of the modern short story as an internationally significant form in these decades – in the writings of Nikolai Gogol, Aleksandr Pushkin, Honoré de Balzac, Prosper Mérimée, Nathaniel Hawthorne, and of course Edgar Allan Poe, who emulated, paro- died, and reworked Blackwood’s tales throughout his career.47 Poe’s summary of the typically overheated effects of these tales is still the finest: they dis- play ‘the ludicrous heightened into the grotesque: the fearful coloured into

Copyrighted material – 978–0–230–30441–3 Copyrighted material – 978–0–230–30441–3 A Passage to Blackwood’s Edinburgh Magazine 7 the horrible: the witty exaggerated into the burlesque: the singular wrought out into the strange and mystical’.48 The most distinctive feature of Blackwood’s during its early years was the Noctes Ambrosianae, a collection of seventy-one dialogues that appeared between 1822 and 1835, and that were written in large part by Wilson, with a good deal of help in the early years from Lockhart and Maginn, and inci- dental assistance along the way from Hartley Coleridge, Letitia Landon, Galt, Hogg, Moir, and several others.49 The series features four principal characters: Christopher North, Blackwood’s fictive editor and an older and infirm version of Wilson; Timothy Tickler, based on Wilson’s uncle Robert Sym, and an elderly conservative; Morgan Odoherty, younger and Irish, and based on Maginn; and the Ettrick Shepherd, who spoke in Scots and was based on Hogg. There were also a number of minor characters, including Mordecai Mullion and Buller of Brazennose, as well as appearances by several prominent literary figures, including Lord Byron, ‘The English Opium-Eater’, and characters from Galt’s novels. In most instalments, the interlocutors gather at Ambrose’s tavern, where they consume gargantuan quantities of food and drink while debating everything from classical literature to the most pressing topics of the day, though at the heart of almost every discussion is the magazine itself – its production, its dynamics, and its direction. William Hazlitt recognized the energy and occasional insight of the Blackwood’s crew, but he deplored their malicious excesses and boorish immaturity. ‘The reader feels almost as if he were admitted to look in on a club of thorough-going hack authors, in their moments of freedom and exaltation’, he declared.

There is plenty of slang-wit going, and some shrewd remark. The pipes and tobacco are laid on the table, with a set-out of oysters and whisky, and bludgeons and sword-sticks in the corner! A profane parody is recited, or a libel on an absent member – and songs are sung in mockery of their former friends and employers. From foul words they get to blows and broken heads; till, drunk with ribaldry, and stunned with noise, they proceed to throw open the windows and abuse the passengers in the street, for their want of religion, morals, and decorum!50

Others commentators, however, were more sympathetic. The Noctes were ‘uniformly a great entertainment to me’, Carlyle asserted; ‘admirable flashes of broad strong insight, genially triumphant sarcasm, humour and satire; beautiful bits of poetic delineation, wild tones of piety and melody’.51 More recently, J. H. Alexander contends that the Noctes are comparable in many ways to Byron’s Don Juan in their outrageousness, variety, virtuoso improvi- satory quality, exploratory and subversive aspect, allusiveness, and vast entertainment value.52 William Blackwood died in September 1834, seven weeks after Samuel Taylor Coleridge and fourteen weeks before Charles Lamb. The magazine

Copyrighted material – 978–0–230–30441–3 Copyrighted material – 978–0–230–30441–3 8 Romanticism and Blackwood’s Magazine he had steered from a stumbling provincial start to international acclaim passed to his sons, Robert and Alexander, who received many letters of com- miseration, including one from long-time Blackwood’s contributor George Croly. ‘I cannot but deplore the loss, to the Community & to his personal friends, of a man so intelligent, manly in principle, & sound in heart, as your father’, Croly wrote. ‘Let party think what it will of the direction of his powers, & we all know how much party obscures the judgement, it must acknowledge the steadiness, vigour, & openness of his career’.53 During Blackwood’s editorship, his magazine gained a seemingly unshakeable reputation for gutter-sniping and vindictiveness. But no other publication of the day saw so clearly into the complexities of contemporary poetry and fiction, or so thoroughly grasped the immense opportunities the emerging mass marketplace provided for self-promotion and self-contradiction. ‘What a difficult task I have in managing the various and powerful minds who are at work for Maga’, Blackwood once lamented.54 His success in managing the task made his magazine the most significant and influential periodical publication of the age.

While Blackwood’s defining editorship from 1817 to 1834 provides a natural time-frame within which to focus the following collection of essays, our cur- rent critical enterprise has been framed by other significant considerations as well. The years from 1817 to 1834 represent the post-war phase of British Romanticism leading into the Victorian era after the landmark reform bill of 1832. The second-generation of Romantic writers and critics were not only acutely conscious of the political, intellectual, and social outcomes of the rev- olutionary era which ended with Waterloo, but clearly set out to fashion their cultural arena in ways that would, depending on their political predilections, retard or further the causes of social reformation ushered in by the revolution. At the same time the growing awareness of new sections of society that could be included within the notion of the reading public led to the differentia- tion of tones and registers adopted by the new professional journals, which catered to them. Recent criticism of Romantic periodical literature led by Klancher’s seminal study, The Making of English Reading Audiences, 1790–1832 (1987), has consequently focused on issues of class-formation, nationality, identity, and style, amongst other related topics with regard to the founding, development, and influence of the critical reviews and journals of the time in relation to their audiences. Klancher’s recognition of the ‘intricate nexus between publisher, editor, and writers’ and his insistence on the ‘impersonal- ity of the public text’ inform his remarkable critique of the Blackwood’s social project – functioning as ‘an engine that produces intellectual desire’ – which he discovers to be exemplified most palpably in its elaborate and hyperbolical style directed to the self-conscious, middle-class reader.55 Although Klancher’s reading of periodical literature has enabled a generation of literary critics to advance from the view of the magazines as merely

Copyrighted material – 978–0–230–30441–3 Copyrighted material – 978–0–230–30441–3 A Passage to Blackwood’s Edinburgh Magazine 9 ephemeral in relation to the canonical works of Romanticism – or, in various celebrated cases, blindly oppositional to their genius – to an understanding of their centrality to literary culture and social change, his aerial view of the field has naturally disclosed some limitations over time. A closer view of the processes of periodical publication often displays significant instances of divergence, inconsistency, and play between authors, texts, and magazines, as indeed Klancher’s earlier-quoted phrase regarding Blackwood’s ‘protean collocation of styles, topics, and voices’ implicitly recognizes, despite the consistency of discursive and ideological parameters, which he is at pains to decipher and reconstruct for modern readers. While Klancher’s critique of periodical literature may have seemed antithetical to the kind of attention to authorship and attribution represented by the scholarly labours of A. L. Strout and the editors of the Wellesley Index, who meticulously attempted to ascertain the problematic authorship of Maga’s often multi-authored articles, more recent attention to periodical literature has been less dismissive of archival and editorial researches into the provenance of Blackwood’s texts. Critical and editorial scholarship on writers such as James Hogg, John Wilson, and Thomas De Quincey, to name but a few of the magazine’s prominent writers, have pointed to a complex interplay between personal and public voices in their texts. Deeper studies of cultural and political attitudes within the magazine reveal subtle and sometimes not-so-subtle changes of editorial policy and articulation as Maga negotiated the challenges of legal action, public distaste, and rival publications. The well set ideological features presented by the public face of the magazine text reveal at closer examination a tissue of contradictions and fissures that threaten to mar the composure and critical confidence of the journal as editors and critics alternatively hyped or decried authors even while maintaining a personal distance from such judgements. The evidently relentless functioning of the ‘engine’ represented by the periodical press frequently turns into a desultory and half-hearted puttering as political pres- sures and the strength of public perceptions forced authors and editors into expressions of sentiment and policy somewhat at odds with the vaunted intellectual and political commitments of the journal itself. The following collection of essays on Blackwood’s formative years arranged in chapters and sections represents both the diversity and the maturation of critical thinking in the area of Romantic periodical literature. The first section is broadly concerned with Blackwood’s relation to the periodical press from its inception, leading to issues of competition, rivalry, and marketing. Philip Flynn’s chapter, ‘Beginning Blackwood’s’, tells the exciting story of Maga’s bumpy ride to fame through its first hundred numbers; it recounts the extraordinarily successful tactics adopted by Blackwood and his crew in the face of teething problems and early controversy, giving us an insight into the connection between the hard-nosed world of business and the periodical culture of the time. Thomas Richardson’s chapter on ‘Lockhart

Copyrighted material – 978–0–230–30441–3 Copyrighted material – 978–0–230–30441–3 10 Romanticism and Blackwood’s Magazine and Blackwood’s’ focuses on the central figure of John Gibson Lockhart whose infamous attacks on Keats have largely overshadowed his reputation. Richardson demonstrates the astonishing breadth and significance of Lockhart’s work as a critic, and takes us behind the scenes at Maga to show us how he influenced the direction of the magazine in its early years and even beyond when he moved to the Quarterly Review to take up its editorship in 1825. Moving from survey and context to close textual and intertextual reading, David Higgins’s chapter on ‘Confessional Writing in Blackwood’s and the London Magazine’ examines Thomas Colley Grattan’s ‘Confessions of an English Glutton’ in relation to other famous confessional texts of the period by De Quincey, Lamb and Hogg. His analysis reveals how confessional writing self-consciously addresses the authorial duplicity and multiple identities that characterized the magazines, and used addiction as a figure for violence, both rhetorical and real, represented in late Romantic-period literary culture. Also examining connections between texts, but placing these within the context of a friendly-to-fraught literary relationship, Robert Morrison’s chapter on ‘De Quincey and Wilson on Enemy Lines’ investi- gates the extent to which the two writers collaborated and influenced each other’s works. As Morrison points out, the collaboration and competition between the authors continued even when De Quincey defected to the London Magazine, publishing his Confessions of an English Opium-Eater in the rival outlet. Reading between the lines of texts such as the Confessions, the Noctes Ambrosianae, ‘On the Knocking at the Gate in Macbeth’, and ‘On Murder Considered as One of the Fine Arts’, we notice the subtle ways in which these writers shared identities and thematic concerns through their texts, each developing and playing off their work against the other. The final chapter in this section, David Finkelstein’s ‘Selling Blackwood’s Magazine, 1817–1834’ examines the decisions taken by William Blackwood to reshape the appearance of the journal towards a more sophisticated positioning and rebranding of the firm and magazine. Drawing on ledger accounts and rev- enue details, and examining rare examples of intact monthly issues of the journal, Finkelstein offers a detailed insight into the connections between Maga’s aesthetic and economic concerns. Befittingly for a journal that was commended by Coleridge for its combi- nation of ‘the Popular and the Profound’,56 the largest section in this volume is devoted to ‘Blackwood’s Culture and Criticism’. Tom Mole’s opening essay in this section takes head-on the vexed issue of ‘personality’, a key term in Maga’s critical lexicon, referring to the despicable though all-too-common journalistic practice of disclosing private details in public. As Mole argues, Blackwood’s did more than any other periodical to introduce a personal voice into reviewing, but it also ironized the personal nature of that voice by a complex and self-referential game of pseudonymity. Mole’s attention to Blackwood’s manipulation of ‘personalities’ provides new insight into what Coleridge meant by characterizing his cultural moment as the ‘Age

Copyrighted material – 978–0–230–30441–3 Copyrighted material – 978–0–230–30441–3 A Passage to Blackwood’s Edinburgh Magazine 11 of Personality’. Another broad cultural context, that of the communal nature of Romantic-era authorship, is explored in Nicholas Mason’s chapter on ‘Communal Reception, Mary Shelley, and the “Blackwood’s School” of Criticism’. As Mason shows, Maga’s reviews of Shelley’s early works consistently attempted (and generally failed) to identify the literary community out of which her anonymous texts sprang. Yet Blackwood’s insisted on reading her works not as the distinctive utterances of a solitary Romantic genius, but as part of a communal endeavour with its own collectively- defined style, agenda, and sensibilities. David Stewart’s succeeding chapter on ‘Blackwoodian Allusion and the Culture of Miscellaneity’ examines the teasing role of allusion in Maga’s texts. Stewart prises apart the assumptions of a textual culture that cited sources, which were already being forgotten even as its works emerged. Despite Blackwood’s criticisms of ephemerality, Stewart contends that its style of scattering articles with allusions to texts that were rapidly entering oblivion, could be considered a celebration rather than a condemnation of a culture of miscellaneity. Turning from literary culture to a wider concern with scientific knowledge and culture, William Christie’s chapter on ‘Blackwood’s in the Scientific Culture of Early Nineteenth-Century Edinburgh’ pays attention to the largely neglected representations of science from Maga’s opening numbers until the decline and virtual eclipse of its interest in science by the mid-1820s. These representations were embedded in Maga’s deep ideological commitment to religion. Considering the cast of scientific writers which Blackwood’s drew upon, Christie interrogates their compatibility with the ideological and intellectual clusters of the Scottish capital and examines how their writing and priorities relate to those of the better known literary characters of the magazine such as Lockhart and Wilson. Noting the centrality of tradition, inheritance, and a generally ironical scepticism in the face of the reform agitation in the first four decades of the nineteenth century, Duncan Kelly’s chapter on ‘The Art and Science of Politics’ shows how the magazine tended to deflect radical political theories by recourse to its description of desirable transformation in terms of the long-standing balance of the English constitution. Thus Kelly argues that politics both as art and science are conjoined almost aesthetically in the magazine, which explains why, although Maga in its running titles says little directly about politics and science, its pages are suffused with considerations of both. The final chapter in this section, Jason Camlot’s ‘Prosing Poetry’, examines the consistent characteristic of Blackwood’s poetry criticism of the 1820s and 1830s to experiment with the discursive categories of poetry and prose. Camlot examines how practices of ‘prosing’ undermined the delineation of literary genre and value, and challenged de-mediating Romantic definitions of poetry, even as Romantic arguments persisted in Blackwood’s and appeared alongside ubiquitous examples of generic play. The literary genre which Blackwood’s embraced most whole-heartedly was surely the short story. Ideally suited to the brevity of magazine publication,

Copyrighted material – 978–0–230–30441–3 Copyrighted material – 978–0–230–30441–3 12 Romanticism and Blackwood’s Magazine and holding in its grasp the tantalizing possibility of serialization, the short story provided a remarkable opportunity for marketing the magazine and retaining its core audience through successive issues. From its beginnings as the Edinburgh Monthly Magazine, and right until the late twentieth century, Maga consistently promoted and pioneered short-story writing of all kinds. The early years of Blackwood’s were characterized by a reputation for innovation and irreverence that gave licence to its contributors while also providing ammunition for its critics and detractors. Tim Killick’s chapter on ‘Blackwood’s and the Boundaries of the Short Story’ argues that writers such as Hogg, Scott, Wilson, and a host of other contributors, used the magazine as a self-reflexive test bed for their experiments with the genre. These writers welcomed Maga’s willingness to collapse the distinctions between formal categories as well as its celebration of anonymity and authorial game- playing. Drawing explicitly on the non-fiction carried by Blackwood’s, they produced narratives that problematized easy generic demarcations, and in doing so helped shape the development of the short story. Such generic shifts could involve significant thematic concerns as Gillian Hughes’s chapter demonstrates. Examining Hogg’s fiction in relation to Blackwood’s metropolitan aspirations, Hughes shows how the Ettrick Shepherd negotiated the city-country divide represented by the magazine. In fictions such as ‘The Lasses’ or ‘George Dobson’s Expedition to Hell’ folk tales are set in the city, and key events in the country tales take place there. Other stories by Hogg suggest his reluctance to subscribe to the rural identity thrust upon him by Blackwood’s, exploring instead the misunderstandings created by anonymity in the city. The final chapter in this section, Mark Schoenfield’s ‘The Taste for Violence’ considers the representation of violence in periodical literary culture against a backdrop of institutional formations such as the rise of sports, an expanded Scottish militia, and the legal constitution of a state monopoly on violence. As Schoenfield reveals, De Quincey’s decision to publish ‘On Murder Considered as One of the Fine Arts’ in Blackwood’s in 1827 represents an acute understanding of the dynamics of that journal, and in particular, its exploration of aesthetics through metaphors of violence, as well as its delight in confronting violence within a paradigm of aesthetics. The relationships, reputations, and involvements of some of Maga’s inner- most circle of writers at home, as well as its awareness of and relationship with audiences abroad, define the parameters of the two concluding (and contrasting) sections of this volume, ‘At Home’ and ‘Abroad’. As Richard Cronin argues, the cultivation of a mobile, unfixed identity was a defining characteristic of much of the most important writing of the post-war years in Britain, and in particular of Scott’s novels, Byron’s Don Juan, and Blackwood’s Magazine. John Wilson, aka Christopher North, provides a remarkable case in point. Feted in Edinburgh by the 1850s as a magazine writer, a professor, and a poet, Wilson’s career had once seemed scandalously divergent. The instability of his literary identity, cultivated under varied styles and

Copyrighted material – 978–0–230–30441–3 Copyrighted material – 978–0–230–30441–3 A Passage to Blackwood’s Edinburgh Magazine 13 personae, allowed him to launch a series of scandalous attacks on the Lake poets Wordsworth and Coleridge, and yet also to defend them vigorously in successive issues of the magazine. Cronin traces the way in which Wilson gradually lost that inconsistency of identity, which was the hallmark of his Blackwood’s writing, arguing first that this transformation was inevitable in a literary culture that insisted on locating the origin of literary value in the person of the writer, and second that it was always already present in Wilson himself, even in some of his Blackwood’s writing. Wilson in the character of a sportsman comes in for treatment in John Strachan’s chapter that examines Wilson’s passion for sport and the ways in which he wrote about it for Blackwood’s. Comparing Wilson with Wordsworth, Strachan shows how Wilson shares in the high Romantic epistemology of childhood, portray- ing his youthful games and pastimes as formative influences on his adult imagination. Furthermore, in Wilson’s writing on sport, the ‘amusements’ of the people became an arena for debating issues of national character, and, indeed, for exploring issues of race, social class, and gender. Another key figure who determined the character of early Blackwood’s was the Irishman, William Maginn, who later went on to edit Fraser’s Magazine. He was a precocious twenty-five-year-old schoolmaster from Cork when he began a correspondence with William Blackwood under the initials ‘R.T.S.’. In the summer of 1825, as Maga approached its first decade, Blackwood encouraged Maginn to collaborate on a summative ‘Preface’ that would also be a manifesto for the future. Maginn’s lengthy contribution to the ‘Preface’ traced Maga’s history and rebuked its critics in no uncertain terms; yet by the time it appeared in January 1826, Lockhart and Maginn himself had been lured by John Murray to work for rival publications. Blackwood had been in the dark regarding these arrangements and was worried about raids on his contributors. Drawing on archived correspondence, David Latané’s chapter on ‘William Maginn and the “Preface” of 1826’ traces the Blackwood– Maginn relationship leading up to the emergence of the ‘Preface’, arguing that this document, breathing defiance and vituperation, was ironically a turning point for Maga, as ‘personal’ but innovative material gave way to more respectable though predictable work in an attempt to shore up the magazine’s reputation and subscription base. Finally, in this section, Nanora Sweet’s essay on ‘Felicia Hemans’s Edinburgh Noctes’ – taking its title from Wilson’s portrayal of a fictive meeting with the poet – treats Blackwood’s private and public dealings with her through the course of her professional career. During the magazine’s most rambunctious years, Maginn, Lockhart, and others warned her off major genres, classified topics, and Edinburgh publishing, while John Wilson’s longer-running notices inflated, deflated, and then (as she entered Blackwood’s stable) flattered, patronized, sexualized, and (ultimately) trivialized her. ‘Blackwood’s Abroad’, the final section, deals with Maga’s representations of its colonies in criticism and fictional tales. In a chapter entitled

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‘Mediating Indian Literature in the Age of Empire’ Daniel Sanjiv Roberts looks at Blackwood’s reportage of India and its classical literature, focuss- ing on John Wilson’s treatment of Sanskrit drama translated by Orientalist scholars such as William Jones and H. H. Wilson. Here, Maga’s responses to Indian literature are contextualized in relation to conflicting evangelical and liberal attitudes to Hindu religious and cultural practices. North’s char- acterization of Indian literature in the light of its glorious classical heritage represents a markedly conservative response to India with a perhaps surpris- ing degree of tolerance for native practices and social mores despite his (and the magazine’s) faith in imperial hegemony. Anthony Jarrells’ chapter ‘Tales of the Colonies’ examines Blackwood’s Scottish provincialism in relation to Britain’s colonies. As Jarrells shows, the magazine’s regional identity extends well beyond its borders to include the colonies, complicating its generally conservative support for government policy, and hinting at certain affinities between Scotland and the nation’s expanding peripheries. After looking at George Robert Gleig’s ‘Letters on the Present State of India’, the essay examines the work of John Howison’s travel writings and tales. These suggest that a distinct Scottish identity was crucial for Blackwood’s participation in the larger project of the nation. Although consolidation was one aspect of such a project, colonial expansion was another. When Coleridge wrote to William Blackwood in May 1832 describing the magazine as ‘an unprecedented Phenomenon in the world of letters’ and ‘the only – remaining link between the Periodical Press and the endur- ing literature of Great Britain’,57 he was thinking too of his own work On the Constitution of Church and State (1829) which he saw as a comparable endeavour to Blackwood’s conservative critique of Romantic-period culture in all its multitudinous forms. While Coleridge’s work (which Blackwood’s cuttingly ignored58) has received considerable attention, it has ironically taken much longer for contemporary criticism to realize the potential of Coleridge’s insight into the significance of William Blackwood’s achieve- ment. Although the only true representation of Blackwood’s variety can be Maga itself, this volume surveys, analyzes, and affords insight into a wide range of the magazine’s astonishingly diverse interests, styles, and modus operandi. It features chapters on the major Blackwood’s authors including Hemans, Wilson, De Quincey, Hogg, Maginn, and Lockhart. It explores the magazine’s connections with famous literary figures of the era such as Wordsworth, Keats, Percy and Mary Shelley, Hunt, Byron, and others. It con- tains essays that analyze Blackwood’s extensive contributions to Romantic- period culture including some of the most topical issues in Romantic studies today, such as communal writing, celebrity, satire, national and regional forms of Romanticism, the rise of terror and detective fiction, Romantic science, women’s writing, Orientalism, masculinity, and imperialism. Yet no critical narrative of Blackwood’s can ever achieve completion. The chapters in this volume will feed into other theories of literature, society, and history,

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Notes

1. The most important recent studies of British Romantic magazines include Mark Parker, Literary Magazines and British Romanticism (Cambridge: Cambridge University Press, 2000); David Higgins, Romantic Genius and the Literary Magazine: Biography, Celebrity, Politics (Routledge: New York, 2005); Jason Camlot, Style and the Nineteenth-Century British Critic: Sincere Mannerisms (Aldershot: Ashgate, 2008); Tim Killick, British Short Fiction in the Early Nineteenth Century: The Rise of the Tale (Aldershot: Ashgate, 2008); Mark Schoenfield, British Periodicals and Romantic Identity: The ‘Literary Lower Empire’ (New York: Palgrave, 2009); Simon Hull, Charles Lamb, Elia, and the London Magazine: Metropolitan Muse (London: Pickering and Chatto, 2010); and David Stewart, Romantic Magazines and Metropolitan Literary Culture (Houndmills: Palgrave, 2011). See also, William Christie, The Edinburgh Review in the Literary Culture of Romantic Britain (London: Pickering and Chatto, 2009) and Conservatism and the Quarterly Review: A Critical Analysis, ed. by Jonathan Cutmore (Pickering and Chatto, 2007). 2. For sympathetic accounts of the history of Blackwood’s see: Oliphant; and F. D. Tredrey, The House of Blackwood (Edinburgh: Blackwood, 1954). More recent studies include J. H. Alexander, ‘Blackwood’s: Magazine as Romantic Form’, The Wordsworth Circle, 15 (1984), 57–68; Peter Murphy, ‘Impersonation and Authorship in Romantic Britain’, ELH, 59 (1992), 625–649; Lisa Niles, ‘May the Married be Single, and the Single Happy’: Blackwood’s, the Maga for the Single Man’, in Romantic Periodicals and Print Culture, ed. by Kim Wheatley (London: Cass, 2003), pp. 102–121; Ian Duncan, ‘Blackwood’s and Romantic Nationalism’, in Finkelstein, pp. 70–89; Philip Flynn, ‘Blackwood’s Maga, Lockhart’s Peter’s Letters, and the Politics of Publishing’, Studies in Romanticism, 45 (2006), 117–131; Nicholas Mason, ‘General Introduction’, Mason, I, ix–xxiv; John Strachan, ‘“The mapp’d out skulls of Scotia”: Blackwood’s and the Scottish Phrenological Controversy’, in Finkelstein, pp. 49–69; Thomas Richardson, ‘James Hogg and Blackwood’s Edinburgh Magazine: Buying and Selling the Ettrick Shepherd’, in James Hogg and the Literary Marketplace, ed. by Sharon Alker and Holly Faith Nelson (Aldershot: Ashgate, 2009), pp. 185–120; and Nicholas Mason, ‘Blackwood’s Magazine, Anti-Americanism, and the Beginnings of Transatlantic Literary Studies’, Symbiosis, 14 (2010), 141–157. 3. The Letters of David Macbeth Moir to William Blackwood and his Sons, ed. by Eugene A. Nolte, 2 vols (unpublished PhD thesis, Texas Technological College, 1955), I, 270; and Jon Klancher, The Making of English Reading Audiences, 1790–1832 (Madison: University of Wisconsin, 1987), p. 52; hereafter cited in this chapter as Klancher. 4. For more on William Blackwood, see Maurice Milne, ‘The Veiled Editor Unveiled: William Blackwood and His Magazine’, Publishing History, 16 (1984), 87–103; Emily de Montluzin, ‘William Blackwood: The Human Face Behind the Mask of

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“Ebony”’, Keats-Shelley Journal, 36 (1987), 158–189; Charles E. Robinson, ‘Percy Bysshe Shelley, Charles Ollier, and William Blackwood: The Contexts of Early Nineteenth-Century Publishing’, in Shelley Revalued: Essays from the Gregynog Conference (Leicester: Leicester University Press, 1983), pp. 183–226; and Robert Morrison, ‘William Blackwood and the Dynamics of Success’, in Finkelstein, pp. 21–48. 5. The Collected Letters of Thomas and Jane Welsh Carlyle, ed. by Charles Richard Sanders, et al., 39 vols (Durham, NC: Duke University Press, 1970– ), I, 114. Cited hereafter in this chapter as Sanders. 6. The Letters of Mary Russell Mitford, ed. by R. Brimley Johnson (London: Lane, 1925), 148. 7. For details, see Cronin, pp. 1–17. 8. ‘Richard Woodhouse’s Cause Book: The Opium-Eater, the Magazine Wars, and the London Literary Scene in 1821’, ed. by Robert Morrison, Harvard Library Bulletin, 9 (1998), 1. 9. Cited in Patrick O’Leary, Regency Editor: Life of John Scott (Aberdeen: Aberdeen University Press, 1983), p. 168. 10. The identification of anonymous or pseudonymous contributions in Blackwood’s is of course a highly vexed area: see Ralph M. Wardle, ‘The Authorship of the Noctes Ambrosianae’, Modern Philology, 41 (1944), 9–17; Strout; Frank Whitson Fetter, ‘The Economic Articles in Blackwood’s Edinburgh Magazine and their Authors, 1817–1853’, Scottish Journal of Political Economy, 7 (1960), 85–107, 213– 231; ‘Blackwood’s Edinburgh Magazine, 1824–1900’, Wellesley, pp. 7–209; Brian M. Murray, ‘The Authorship of Some Unidentified or Disputed Articles in Blackwood’s Magazine’, Studies in Scottish Literature, 4 (1967), 144–154; Brian M. Murray, ‘More Unidentified or Disputed Articles in Blackwood’s Magazine’, Studies in Scottish Literature, 9 (1971–72), 107–116; The Curran Index: Additions to and Corrections of The Wellesley Index to Victorian Periodicals (http://victorianresearch.org/curranin- dex.html); and The Waterloo Directory of English Newspapers and Periodicals, 1800– 1900, ed. by John S. North (online version, www.victorianperiodicals.com). 11. William Maginn, ‘Noctes Ambrosianae. No. IV’, BEM, 12 (1822), 100–114 (p. 106). Signature: None. Attribution: Strout, p. 98. 12. John Wilson, ‘Noctes Ambrosianae. No. XXIV’, BEM, 19 (1826), 211–227 (p. 227). Signature: None. Attribution: Wellesley, p. 19. 13. William Maginn, ‘Noctes Ambrosianae. No. IV’, p. 105. 14. John Wilson, ‘Noctes Ambrosianae. No. II’, BEM, 11 (1822), 475–489 (p. 488). Signature: None. Attribution: Strout, p. 95. 15. Cited in Irene Elizabeth Mannion, Criticism ‘Con Amore’: A Study of Blackwood’s Magazine, 1817–1834 (unpublished PhD thesis, University of California at Los Angeles, 1984), p. 163. Hereafter cited in this chapter as Mannion. 16. John MacGregor, British America, 2 vols (Edinburgh: Blackwood, 1832), II, 512. 17. Thomas Aird, ‘Memoir’, The Poetical Works of David Macbeth Moir, ed. by Thomas Aird (Edinburgh: Blackwood, 1852), p. lxiv. 18. J. M. Milne, The Politics of Blackwood’s, 1817–1846 (unpublished PhD thesis, University of Newcastle, 1984), p. 53. 19. Cited in Barry Symonds, De Quincey to His Publishers: The Letters of Thomas De Quincey to His Publishers, and Other Letters, 1819–1832 (unpublished PhD thesis, University of Edinburgh, 1994), p. 396. 20. See Michael Michie, An Enlightenment Tory in Victorian Scotland: The Career of Sir Archibald Alison (Montreal and Kingston: McGill-Queen’s University Press, 1997),

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pp. 163–184, 190–195; and Maurice Milne, ‘A Neglected Paternalist: William Johnston of Blackwood’s Magazine’, Victorian Periodicals Review, 28 (1995), 11–26. 21. George Croly, ‘Domestic Politics’, BEM, 8 (1820), 329–337 (p. 329). Signature: None. Attribution: Strout, p. 74. 22. David Robinson, ‘The Meeting of Parliament’, BEM, 20 (1826), 859–872 (p. 871). Signature: None. Attribution: Wellesley, p. 22. 23. Cited in Alan Lang Strout, ‘The Noctes Ambrosianae and James Hogg’, Review of English Studies, 13 (1937), 46–63 (p. 49). 24. Sanders, VI, 371. 25. Henry Cockburn, Memorials of his Time, ed. by Karl Miller (Chicago: University of Chicago Press, 1974), pp. 303–304. 26. Critics have examined the ‘Cockney School of Poetry’ at great length: see especially, Jerome McGann, ‘Keats and the Historical Method in Literary Criticism’, Modern Language Notes, 94 (1979), 988–1032; William Keach, ‘Cockney Couplets: Keats and the Politics of Style’, Studies in Romanticism, 25 (1986), 182–196; Marjorie Levinson, Keats’s Life of Allegory: The Origins of a Style (New York: Blackwell, 1988); Kim Wheatley, ‘The Blackwood’s Attacks on Leigh Hunt’, Nineteenth-Century Literature, 47 (1992), 1–31; Jeffrey N. Cox, Poetry and Politics in the Cockney School: Keats, Shelley, Hunt and their Circle (Cambridge: Cambridge University Press, 1998); Emily de Montluzin, ‘Killing the Cockneys: Blackwood’s Weapons of Choice against Hunt, Hazlitt, and Keats’, Keats-Shelley Journal, 47 (1998), 87–107; Gregory Dart, ‘Romantic Cockneyism: Hazlitt and the Periodical Press’, Romanticism, 6 (2000), 143–162; and Duncan Wu, ‘Keats and the “Cockney School”’, in The Cambridge Companion to Keats, ed. by Susan J. Wolfson (Cambridge: Cambridge University Press, 2001), pp. 37–52. 27. John Gibson Lockhart, ‘On the Cockney School of Poetry. No. I’, BEM, 2 (1817), 38–41 (p. 39). Signature: Z. Attribution: Strout, p. 30. 28. John Gibson Lockhart, ‘On the Cockney School of Poetry. No. IV’, BEM, 3 (1818), 519–524 (pp. 519, 522). Signature: Z. Attribution: Strout, p. 43. 29. John Gibson Lockhart, ‘Remarks on Don Juan’, BEM, 5 (1819), 512–518 (pp. 514, 513). Signature: None. Attribution: Strout, p. 55. Byron of course hit back with ‘Some Observations upon an Article in Blackwood’s Edinburgh Magazine’, in Lord Byron: The Complete Miscellaneous Prose, ed. by Andrew Nicholson (Oxford: Clarendon Press, 1991), pp. 88–119. 30. George Croly, ‘Remarks on Shelley’s Adonais’, BEM, 10 (1821), 696–700 (pp. 697–700) Signature: None. Attribution: Strout, p. 90. 31. John Wilson, ‘The Age of Bronze’, BEM, 13 (1823), 457–460 (pp. 458, 460). Signature: None. Attribution: Strout, p. 107. 32. See Benjamin Lease, Anglo-American Encounters: England and the Rise of American Literature (Cambridge: Cambridge University Press, 1981), pp. 57–63. 33. See German Literature in British Magazines, 1750–1860, ed. by Bayard Quincy Morgan and A. R. Hohlfeld (Madison: University of Wisconsin Press, 1949); Alan Lang Strout, ‘Writers on German Literature in Blackwood’s Magazine’, Library, 9 (1954), 35–44; J. H. Alexander, ‘Learning from Europe: Continental Literature in the Edinburgh Review and Blackwood’s Magazine, 1802–1825’, The Wordsworth Circle, 21 (1990), 118–123; David L. Clark, ‘We “Other Prussians”: Bodies and Pleasures in De Quincey and Late Kant’, European Romantic Review, 14 (2003), 261–287. 34. John Wilson, ‘Wordsworth’s Sonnets and Memorials’, BEM, 12 (1822), 175–191 (p. 175). Signature: None. Attribution: Strout, p. 99. John Wilson, ‘Some Remarks

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on the Use of the Preternatural in Works of Fiction’, BEM, 3 (1818), 648–650 (p. 649). Signature: None. Attribution: Strout, p. 45. See also David Erdman, ‘Coleridge and the “Review Business”: An Account of His Adventures with the Edinburgh, the Quarterly, and Maga’, The Wordsworth Circle, 6 (1975), 3–50, (pp. 29–41); David Higgins, ‘Blackwood’s Edinburgh Magazine and the Construction of Wordsworth’s Genius’, in Romantic Genius and the Literary Magazine, pp. 90–101. 35. William Maginn, ‘Noctes Ambrosianae. No. IV’, p. 106. 36. John Gibson Lockhart, ‘Odoherty on Don Juan’, BEM, 14 (1823), 282–293. Signature: M. Odoherty. Attribution: Strout, p. 111. Theodore Redpath, The Young Romantics and Critical Opinion (London: Harrap, 1973), p. 48. See also, M. A. Hassan, The Major Romantic Poets and their Critics in Blackwood’s Magazine, 1817–1825 (unpublished PhD thesis, University of Edinburgh, 1971). 37. John Gibson Lockhart, ‘Alastor; or, the Spirit of Solitude’, BEM, 6 (1819), 148–154 (pp. 153, 152). Signature: None. Attribution: Strout, p. 61. See also Robert Morrison, ‘“Abuse Wickedness, but Acknowledge Wit”: Blackwood’s Magazine and the Shelley Circle’, Victorian Periodicals Review, 34 (2001), 147–164; Tom Mole, ‘Introduction to Selected Criticism, 1817–19’, in Mason, V, ix–xxiii; John Strachan, ‘Introduction to Selected Criticism, 1820–25’, in Mason, VI, ix–xxiv. 38. John Gibson Lockhart, ‘Rosalind and Helen’, BEM, 5 (1819), 268–274 (p. 270). Signature: None. Attribution: Strout, p. 53. 39. John Gibson Lockhart, ‘Prometheus Unbound’, BEM, 7 (1820), 679–687 (pp. 680–681). Signature: None. Attribution: Strout, p. 71. 40. John O. Hayden, The Romantic Reviewers, 1802–1824 (Chicago: University of Chicago Press, 1969), p. 258. 41. Nicholas Roe, ‘A Cockney Schoolroom: John Keats at Enfield’, in Keats: Bicentenary Readings, ed. by Michael O’Neill (Edinburgh: Edinburgh University Press, 1997), pp. 11–26 (p. 24). 42. John Galt, The Autobiography of John Galt, 2 vols (London: Cochrane and M’Crone, 1833), II, 235. 43. Michael Munday, ‘The Novel and its Critics in the Early Nineteenth Century’, Studies in Philology, 79 (1982), 205–226 (p. 221). 44. William Kilbourne, The Role of Fiction in Blackwood’s Magazine from 1817 to 1845 (unpublished PhD thesis, Northwestern University, 1966), pp. 67–68, 46. 45. See Anthony Jarrells, ‘Introduction to Selected Prose’, in Mason, II, vii–xvi. 46. Virginia Blain, ‘Anonymity and the Discourse of Amateurism: Caroline Bowles Southey Negotiates Blackwood’s, 1820–1847’, in Victorian Journalism: Exotic and Domestic, ed. by Barbara Garlick and Margaret Harris (Queensland: University of Queensland Press, 1998), pp. 1–18. Ruth Berman, ‘Critical Reactions to Fantasy in four Nineteenth-Century Periodicals: Edinburgh Review, Blackwood’s, Fraser’s and Cornhill’, The Sphinx, 13 (1981), 1–37; Brian Stableford, ‘The Nineteenth Century, 1812–99’, in Fantasy Literature, ed. by Neil Barron (New York: Garland, 1990), pp. 62–115. ‘It was the Scots’, writes Stableford, ‘who retained a thriving print culture of their own in Edinburgh and Glasgow, and had the invaluable Blackwood’s Magazine to assist in their cause, so it was they who made the most conspicuous impact on nineteenth-century fantasy’ (p. 74). 47. See Harvey Sucksmith, ‘The Secret of Immediacy: Dickens’ Debt to the Tale of Terror in Blackwood’s’, Nineteenth-Century Fiction, 26 (1971), 145–157; Bruce Weiner, ‘Poe and the Blackwood’s Tale of Sensation’, in Poe and His Times: The Artist and His Milieu, ed. by Benjamin Franklin Fisher IV (Baltimore: Edgar Allan Poe Society, 1990), pp. 45–65; Robert Morrison and Chris Baldick, ‘Introduction’,

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in The Vampyre and Other Tales of the Macabre, ed. by Robert Morrison and Chris Baldick (Oxford: Oxford University Press, 1997), pp. vii–xxii. 48. The Letters of Edgar Allan Poe, ed. by John Ward Ostrom, 2 vols (New York: Gordian Press 1966), I, 57–58. 49. Douglas Kelly Morris, Noctes Ambrosianae: The Influence of Blackwood’s Magazine (unpublished PhD thesis, University of Tennessee, 1972); Claire Cartmell, The Age of Politics, Personalities, and Periodicals: The Early Nineteenth-Century World of the ‘Noctes Ambrosianae’ of Blackwood’s Edinburgh Magazine (unpublished PhD thesis, University of Leeds, 1974; J. H. Alexander, ‘Literary Criticism in the Later Noctes Ambrosianae’, The Yearbook of English Studies, 16 (1986), 17–31; Mark Parker, ‘Introduction to the Noctes Ambrosianae’, in Mason, III, vii–xxxvi. 50. The Complete Works of William Hazlitt, ed. by P. P. Howe, 21 vols (London: Dent, 1930–34), XVI, 232. 51. Thomas Carlyle, ‘Christopher North’, in Reminiscences, ed. by K. J. Fielding and Ian Campbell (Oxford: Oxford University Press, 2000), pp. 410–426 (p. 423). 52. J. H. Alexander, ‘Introduction’, in The Tavern Sages: Selections from the Noctes Ambrosianae, ed. by J. H. Alexander (Aberdeen: Association for Scottish Literary Studies, 1992), pp. vii–xv (p. xii). 53. The Letters of George Croly to William Blackwood and his Sons. ed. by William Ross Thompson, 2 vols (unpublished PhD thesis, Texas Technological College, 1957), II, 218. 54. Mannion, p. 154. 55. Klancher, pp. 51–52. 56. Collected Letters of Samuel Taylor Coleridge, ed. by Earl Leslie Griggs, 6 vols (Oxford: Clarendon Press, 1971), VI, 912. 57. Ibid. 58. See Samuel Taylor Coleridge, On the Constitution of Church and State, ed. by John Colmer (Princeton: Princeton University Press, 1976), p. lvi, note.

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Index

Note: page numbers in bold refer to the chapter that deals mainly with the subject; page numbers in italics refer to illustrations; ‘n’ after a page reference indicates a note number on that page.

Abrams, M. H. 156, 157, 160n21 Begbie, William 180, 191–2, 193, advertising 113, 114, 120, 180, 181, 194–5, 198 208–9, 211, 212; by Blackwood’s 37, Bellecour, Charles Max de 75 69, 73–7; in Blackwood’s 70, 77–8, Bentley, Richard 60 79, 80, 81–4. See also marketing and ‘blacking’ (boot polish) 101, 110n2, selling 113, 114, 116, 120, 212 aesthetics 10, 11, 12, 26, 57, 64, 114, Blackwood, Alexander 40, 81, 230, 234 140, 152, 155, 187, 193, 196, 198, 260 Blackwood, John 81 Alexander, J. H. 7, 150–1, 180, 233 Blackwood, Robert 8 Alison, Archibald 3, 26, 142, 176, 245, Blackwood, William 1, 2–3, 5, 6, 7–8, 255, 264n1 10, 14, 59, 60, 92, 109, 166, 176, Alison, Archibald (Jnr), ‘On The Pulpit 177, 179, 180, 209, 231, 240, 241, Eloquence of Scotland. No. II’ 30 244, 245, 247, 268; early days of Alison, William 25 Blackwood’s 23, 24, 25, 27, 28–9, allusion 11, 41, 50, 52, 62, 113–23 31n2, 32n11, 36–7, 39; quarrel with (Stewart), 187, 231 De Quincey 47, 62; relationship angling 183, 215, 216, 217, 218, with Maginn 13, 227–9, 230, 235–6; 219–21, 223 scientific culture 126, 130, 132, 133; animal cruelty 218–19, 222, 225n4 selling Blackwood’s 69, 73, 80, 81. animal magnetism 139, 169–70, 171, See also Ebony 173–4n16 Blair, Alexander 58, 206–7 anonymity and pseudonymity 10, 12, Boswell, Alexander 188 16n10, 29, 40, 51, 52, 54, 90, 164, Boswell, James 188 165, 180, 181, 193, 203, 207, 208, Bowles, Caroline 6, 105, 180, 239, 244, 211, 239, 244, 247, 255, 259 247; Solitary Hours 244 anti-Jacobinism 138, 141 boxing 119, 120, 189, 195, 196, Asiatic Society 256, 260 199n20, 206, 215, 221, 222, astronomy 129, 130, 139 223, 224 atheism 129, 139, 140, 271 Braid, James 166, 167, 169, 173–4n16 Athenaeum, The 73 Brewster, David 25, 128, 130, 131–2, Auden, W. H. 120 133–4 autobiography 47, 54, 64, 95 Brewster, Revd James 169 British Association for the Advancement Bacon, Francis 117 of Science 132 Baillie, Joanna 240, 241, 242, 244 British Critic 89 Baldwin, Cradock and Joy British empire 176, 183, 255, 264n3, (publishers) 23, 24, 28, 77 269, 272, 273, 276 Balzac, Honoré de 6 British Magazine 6 Barham, Richard Harris 6 Brock, W. H. 133 Baudelaire, Charles 156 Brontë family 6

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Brougham, Lord Henry 132, 133, Clias, P. H., Elementary Course of 137, 188 Gymnastic Exercises 224 Brown, Charles Brockden 36 Cockburn, Henry 4 Browning, Robert 6 cock-fighting 215, 221, 222, 223 Buchan, John 114 Cockney School 1, 2, 4, 5, 26, 32n11, Buchanan, George 70, 73, 116, 133 37, 51, 53, 61, 102, 108, 189 Buller of Brazennose 7 ‘Cockney School of Poetry’ Burke, Edmund 140, 141, 256, articles 29, 35, 90, 91, 92, 94, 95, 270–1, 272 96, 113, 114, 116, 117, 118, 119, Burns, Robert 36, 43, 179 178, 232 Byron, George Gordon, Lord 4, 5, 7, Coleridge, Hartley 4, 7, 62 14, 36, 93, 94, 102, 105, 117, 120, Coleridge, Samuel Taylor 5, 7, 10, 13, 153–4, 189, 191, 195, 196, 209, 211, 27, 31n8, 36, 47, 57, 58, 60–1, 63, 212, 215, 218, 228, 239; Beppo, 64, 92, 93–4, 97, 104, 110n5, 119, A Venetian Story 41; Cain 154, 127, 189, 210, 215, 233; Biographia 210; Don Juan 4, 5, 7, 12, 41, Literaria 2, 25–6, 30, 60, 89, 90, 93, 196, 210; Manfred 59; Vision of 178; On the Constitution of Church and Judgment 117 State 14; Sibylline Leaves 89 collectives (literary) 104, 179. See also Cadell, Thomas 228, 230 communal writing Calcraft, John William 242 Collins, William 118 Calcutta 255, 256, 257, 260 colonialism 256, 259, 264, 269 Caledonian Mercury 73, 77 communal writing 11, Camlot, Jason xiii, 11 101–12 (Mason); ‘communal Canning, George 138 Romanticism’ 104, 179 Carlyle, Thomas 2, 4, 7, 37, 183, 204, confessional writing 10, 47–56 206, 207, 212, 228 (Higgins) Caroline, Queen 188, 213n22 Conrad, Joseph, Heart of Darkness 275 Castlereagh, Lord 53, 196 Constable, Archibald 2, 24, 27, 28, 30, Catholic Emancipation 3, 36, 233 36, 37, 38, 78, 126, 132, 133, 175, Cave, Edward 2 176, 179, 183, 268 celebrity 182, 183, 191, 211, 245 Constant, Benjamin 137, ‘Chaldee Manuscript’ 2, 26–7, 28, cookery 3, 119, 120, 209; ‘Cookery 29, 35, 37, 38, 39, 90, 91, 177, 180, School’ 102, 119 193–4, 195, 205, 227 Cowley, Abraham 155 Chalk Farm 47, 190, 191 Cox, Jeffrey N. 104, 114 Chalmers, Thomas 29 craniology 127 Charlotte, Princess 29, 241 criminality 64, 187, 192, 194 Chatterjee, Partha 265n17 Croker, Thomas Crofton 230 childhood, conceptions of 13, Croly, George 3–4, 8, 62, 242, 272 216–21, 222 Cronin, Richard xiii, 12–13, 51, 115, Christie, Jonathan 190, 191, 232 249n6 Christie, William xiii, 11, 102, Crowe, Eyre Evans 242 circulation (of magazine) 78–81 Cunningham, Allan 6, 51, 62, Clapham Sect 258 Cleghorn, James 2, 23, 24, 25, 27, Dalyell, John Graham 27–8, 29, 37 29, 31n2, 36, 38, 90, 126, 132, 163, Daniel, George 119–20 176, 191, 240 Darwin, Charles 130 Cleishbotham, Jedediah (psed. of Davies, William 31n8 W. Scott) 211–12 Dawson, Gowan 132

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De Quincey, Thomas 1, 3, 4, 5, 6, 9, Edinburgh Monthly Review 73, 74 12, 14, 26, 32n9, 36, 47, 48, 49, 50, Edinburgh Observer 77 51, 53, 54, 187, 193, 205, 206, 208, Edinburgh Observer 76, 77 225n8, 231; and politics 138, Edinburgh Philosophical Journal 133 139–43; Confessions of an English Edinburgh Review 1, 2, 24, 26, 28, 30, Opium-Eater 10, 47, 48, 49, 51, 31, 36, 37, 38, 81, 102, 114, 126, 131, 61, 62, 63, 64, 66n9; ‘On Murder 133, 138, 151, 172, 175, 176, 189, Considered as One of the Fine 191, 196, 209, 231, 246, 267, 268, Arts’ 10, 12, 65, 140, 198; ‘On 269, 270 the Knocking at the Gate in Egan, Pierce 195–6, 197, 199n20, Macbeth’ 10, 64, 65; relationship 215, 222, 224; Boxiana 215, with Wilson 57–67 (Morrison); 222, 224 ‘Walking Stewart’ 63; Selections Grave Encyclopaedia Britannica 2, 133 and Gay 60, 208; Walladmor 211. Enlightenment 172, 179, 267; See also Opium Eater Scottish 128, 142, 269 Deacon, William Frederick 101–2, ephemeral, the 8–9, 11, 114, 116, 117, 110n2 120, 164, 165 Della Cruscans 102 equestrianism 215, 222–3 Delta (pseud. of Moir) 120, 121 Erskine, Lady 240, 242 Dickens, Charles 6 Ettrick Shepherd (pseud. of Hogg) 7, Dilettanti Society 41, 181 12, 54, 63, 179, 180, 181 Disraeli, Benjamin 229, 230, 234 Europe and its culture 3, 26, 49, 94, Douglas, Lady 192 106, 142, 175, 178, 179, 257, 259, duels 3, 47, 54, 62, 188, 190, 191, 232, 261, 270, 271, 275 249n6 evangelicalism 14, 219, 258–9, 260, Dumfries Courier 76 261, 262, 264 Duncan, Ian 114, 176, 196, 268, 276n1 Examiner, The 73, 92, 94, 117, 153, 178, 188, 210, 228, 231 East India Company 255, 258, 264n1 Ebony (pseud. of W. Blackwood) 177, Farrago, The 89 209, 210, 231, 247 Fergusen, Adam 192, 193 Edinburgh 2, 12, 13, 24, 27–8, 41, Ferrier, James 203, 204, 205, 206, 59, 73, 75, 77, 128–9, 131, 139, 166, 207–8, 212 175–85 (Hughes), 191, 194, 203, 206, Ferrier, Susan, The Inheritance 244 209, 239–40, 242, 243, 245, 247, 255; Finkelstein, David xiii, 10, 121, Ambrose’s Tavern 183, 230; Calton 264n3 Hill 175, 176, 208, 245; Edinburgh Fletcher, Eliza 242, 245, 246 University 128, 131, 132, 203–4, 263 Flynn, Philip xiii, 9, 126, 132, 166, Edinburgh Advertiser 77, 209 173n5 Edinburgh and Leith Advertiser 77 Fox, Charles James 138 Edinburgh Annual Register 110n3, France and its culture 3, 29, 61, 137, 192, 241 138, 140, 142, 222, 223 Edinburgh Encyclopaedia 130, 132, 133 Franklin, Benjamin 139 Edinburgh Evening Courant 77, 85n14 Fraser’s Magazine 13, 133, 183, 236 Edinburgh Journal of Science 133 Fraser-Tytler, Patrick 92 Edinburgh Magazine and Literary French Revolution: (1789) 137; Miscellany 38, 132, 133, 176, 177, (1830) 4, 41, 142, 143 241, 242 Frere, John Hookham 120; Edinburgh Monthly Magazine 2, 12, 23, Whistlecraft 41 24, 36, 38, 59, 69, 163, 176, 177, 191 Friend, The 58, 61, 89

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Galileo 125–6 Hamilton, Thomas 179, 208, 234, 240, Galt, John 5, 7, 179, 208, 268, 269, 241, 243, 245; The Youth and Manhood 271, 277n12; The Entail 51; of Cyril Thornton 208, 243 The Omen 6 Hamilton, William 208 genre 11, 12, 47–8, 149–50, 151, 152, Harris, Wendell 163 153, 154, 155, 156, 158, 164, 172, Hart, Francis R. 45n31 268; generic transposition 153–6. Hastings, Warren 272 See also ‘prosing’; short story; tales Hawthorne, Nathaniel 6 Gentleman’s Magazine 2, 208 Haydon, Benjamin Robert 89, 118, 178 geology 129, 130, 131, 139 Hazlitt, William 7, 26, 35, 93, 105, George IV (after 1820) 93, 176, 190 178, 188–9, 190; ‘John Bull’ 188; Germany and its culture 3, 5, 24, 30, Liber Amoris 102 36, 40, 64, 140, 169, 178, 257 Headrick, James 131 Gibbons, Luke 277n20 Hemans, Felicia 3, 13, 14, 239–251 Gifford, William 122n12; Baviad (Sweet); Dartmoor 242; ‘Dirge of a 119–20 Highland Chief’ 241; National Lyrics Gilfillan, George 109 and Songs for Music 240; ‘On the Gillies, Robert Pierce 5, 28, 177 Death of the Princess Charlotte’ 241; Gillray, James 117 Poems of Felicia Hemans 240; Poetical Glasgow 18, 41, 77, 139, 245; Glasgow Remains 240; Records of Woman 240, University 24, 206–7 243; Scenes and Hymns of Life 240; Glasgow Herald 77 Songs of the Affections 240, 246; The Gleig, George Robert 14, 179; ‘Letters Forest Sanctuary 240, 243, 247; ‘The on the Present State of India’ 270, Graves of a Household’ 243; ‘The 271, 273 Homes of England’ 240, 244; Vespers Godwin, William 107, 108, 109, 218, of Palermo 242; ‘Wallace’s Meeting 221; Caleb Williams 6; Cloudesley 6, with Bruce on the Banks of the 109; Mandeville 30; Thoughts on Carron’ 241–2; Welsh Melodies 242; Man 218 Works of Mrs Hemans 240 Godwin, William (Jnr) 6 Hessey, James 62, 211, 231 Goethe, Johann Wolfgang 5, 24, 36, 175 Higgins, David xiv, 10, 114 Gogol, Nikolai 6 Hill, David Octavius 204 Good Words 133 Hilton, Boyd 138 Gordon, Mary Wilson 203, 204–5, 208, Hindu culture 14, 256, 257–8, 259–60, 212n1, 215–16, 219, 224 261, 262, 263. See also Sanskrit Gordon, Robert 166, 169, 170, 171, literature 173n6, Hobhouse, John Cam 210 Goslee, Nancy Moore 249n14 Hogg, James 2, 3, 6, 7, 9, 10, 12, 14, Graham, James 227 25, 27, 28, 36, 37, 41, 53, 56n18, 63, Grant, Charles 258 155–6, 167, 168, 176, 179–83, 189, Grant, Mrs Anne, of Laggan 29, 245 193–5, 205, 208, 215, 227, 228, 242, Grattan, Thomas Colley 10, 268, 272, 273; A Queer Book 180; 54; ‘Confessions of an English ‘George Dobson’s Expedition to Glutton’ 47–50, 51–2 Hell’ 12, 182; Private Memoirs and Graves, R. P. 247 Confessions of a Justified Sinner 52, Gray, John and James 77 54, 182; Queen Hynde 181–2; Groves, David 52 Songs, by the Ettrick Shepherd 180; ‘The Lasses’ 12, 182; The Queen’s Hall, Basil 245 Wake 76, 179; ‘The Shepherd’s Hall, Sir James 131 Calendar’ 167, 180, 182, 272;

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The Three Perils of Man 56n18; Jardine, George 207 The Three Perils of Woman 179. Jarrells, Anthony xiv, 14, 264n3, 249n9 See also Ettrick Shepherd Jeffrey, Francis 2, 26, 32n16, 38, 151, Hogg, John 194 176, 188, 190, 191, 209, 210, 233, Homer 44, 178 240, 246, 247 homosociality 224 John Bull Magazine 66n22, 231 Hone, William 114, 213n22 Johnson, Dr Samuel 212, 260 Hope, Thomas, Anastastus 211 Johnston, William 3 Horner, Francis 2 Jones, Sir William 14, 256, 257, 260, Howison, John 6, 14, 271–2, 261, 262 273–5; ‘Adventure in the North Jones, Sir William, Sacontalá 257–8, West Territory’ 274–5; European 260, 262, 265n12 Colonies 271, 272, 273; Sketches Journal of Natural Philosophy 133 of Upper Canada 271, 273; ‘The Juvenal 115, 116 Floating Beacon’ 273–4; Tales of the Colonies 273, 274, 275 kaleidoscope 132 Howitt, Mary 247 Kalidasa 257 Hughes, Gillian xiv, 12 Kant, Immanuel 5, 140, 141 Hughes, Harriett 240, 243 Keats, John 1, 4, 5, 10, 14, 26, 35, Hume, David 27, 133, 138, 176; History 36, 40, 93, 104, 105, 117, 188, 195, of England 141 228; ‘Addressed to the Same’ 118; Hunt, John 117 Endymion 4, 35, 102 Hunt, Leigh 1, 4, 5, 14, 26, 27, 32n11, Kelly, Duncan xiv, 11 35, 40, 91–2, 93, 95, 105, 113, 114, Kempferhausen 208 116, 117–18, 119, 154, 155, 177, Kilbourne, William 6 178, 189, 209, 210; Captain Sword Killick, Tim xiv, 12, 114, 268 and Captain Pen 223; Foliage 117, Kirwan, Richard 129, 130 118; Literary Pocket-Book 61; Story of Klancher, Jon 2, 8–9, 165 Rimini 26, 91, 94, 96, 102, 118 hunting 220, 221; fox-hunting 4, Laidlaw, William 28, 165, 167–8, 171, 222, 223 174n21 Hutton, James 128–9, 130, 131 Lake School 13, 26, 57, 64, 65n1, 102, hypnotism. See mesmerism 103, 104, 110n3, 110n5, 178 Hypocrisy Unveiled and Calumny Lamarckism 139 Detected 92, 227–8 Lamb, Charles 7, 10, 48, 49, 50, 51, 52, 55n7, 62 imperialism 3, 14, 255, 257 Lambert, Daniel 51–2 inconsistency in Blackwood’s 1, 9, 13, Landon, Letitia 7, 242, 247 113, 114, 116, 127, 249n9, 269 Lanman, Charles 221 India and its culture 14, 183, 255–65 Latané, David xiv, 13 (Roberts) Lauder, Maggie 234 Ireland 137, 241 Lauder, Thomas Dick 170–1 Ireland, William Henry 48 Lauerwinkel, Baron von (pseud. of Irving, David 70 Lockhart) 30, 208 Irving, Washington 36, 157 Leguleius Lector (pseud. of Neaves) 155 lenticular stereoscope 132 Jacobinism 26, 138, 141, 142, 143. Leslie, Professor 232 See also anti-Jacobinism Lessing, Gotthold Ephraim 5 Jameson, Robert 128–9, 130, 131, 132, libel suits (against Blackwood’s) 25, 28, 133, 134, 166 37, 73, 93, 177, 189

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Liston, Sir Robert 240, 246–7 Maginn, William 3, 5, 6, 7, 13, 14, Literary Gazette, The 73 63, 65n1, 66n22, 69, 105, 125, 183, Litt, William, Wrestliana 224, 208, 209, 210, 212, 213n22, 227–38 225n19 (Latané), 242, 243; ‘First Love’ 235; Liverpool, Robert Jenkinson, Lord 138 generic transposition 149, 153, 154, Locke, John 138, 260 159n17. See also ‘Preface’ (1826); Lockhart, John Gibson 2, 3, 4, 5, 6, 7, Odoherty, Morgan; Yorke, Oliver 9–10, 11, 13, 14, 24, 26, 27, 28, 29, Magnuson, Paul 104 30, 31, 35–45 (Richardson), 61, 75, Majeed, Javed 256 80, 91, 102, 106, 108, 109, 126, 149, Malthus, Robert 64 166, 175, 177, 178, 179, 180, 181, marketing and selling Blackwood’s 10, 183, 205, 227, 229, 230, 234, 235, 69–86 (Finkelstein). See also 241, 242, 243, 245, 259–60, 267–8, advertising 270, 271, 273; ‘Letter to the Lord Marlowe, Christopher 25, 26 High Constable from Mr Mason, Nicholas xiv–xv, 11, 174n21, Dinmont’ 38; ‘Lines Written on 179, 258 Tweedside’ 43; ‘Observations on McCrie, Thomas 75 the English Writings of the Brahmin McGann, Jerome 104 Rammohun Roy’ 259; ‘On the McIver, Miss 119 Cockney School of Poetry’ 2, 29, McNeill, Duncan 204 35, 178; ‘On The Pulpit Eloquence medicine as inspiration for short of Scotland. No. I’ 29; Peter’s Letters fiction 164, 168–71 to His Kinsfolk 31, 38, 75, 175, 210, Mehta, Uday, Singh 269, 270–1 243; ‘Remarks on the Periodical Mérimée, Prosper 6 Criticism of England’ 30, 31; Spanish Mesmerism 139, 170, 173–4n16 Ballads 152; ‘The Canadian Boat- metaphysics 138 Song’ 42, 43, 45n31; ‘The Mad meteorology 127; in short Banker of Amsterdam’ 40–1. See also fiction 166–8 Lauerwinkel; Morris, Peter; Odontist, Metternich, Klemens von 142 the; Scott, Dr James; Z. Mill, James 256–7, 258, 259, 264, 269, London 26, 31n8, 35, 36, 43, 50, 51, 270, 271; History of British India 256, 53, 62, 76, 77, 78, 102, 139, 175, 176, 269, 271 177, 178, 179, 183, 227, 228, 229, Mill, John Stuart 139; ‘What is 230, 231, 240, 242, 243, 276n1 poetry?’ 156 London Magazine 3, 10, 47, 48, 51, 52, Milne, Maurice 32n13 53, 57, 62, 63, 64, 65, 105, 115, 117, Milton, John 118, 119, 260 119, 172, 188, 190, 196, 198, 207, Minerva Press 6 228, 232 miscellaneity 11, 113–23 (Stewart), London Times 191 127, 132, 150–1, 164, 165, 208 Luc, Jean André de Luc 129, 130 Mitchell, James 169 Luttrell, Henry 118, 119 Mitford, Mary Russell 2, 62 Lyall, Margaret 169 Moir, David Macbeth 2, 3, 6, 7, 59, Lyell, Charles 129, 130, 131 65, 120, 121, 179, 230, 234, 240, 256, 268, 272–3; ‘On Critics and Macaulay, Thomas 269 Criticism’ 92 MacGregor, John 3 Mole, Tom xv, 10, 116, 178 Mackenzie, Henry 27, 245 Montgomery, James 189 Mackenzie, Shelton 159n17 Monthly Chronicle 133 MacLeay, Kenneth 167 Monthly Review 73 Macnish, Robert 6 Moore, Thomas 104, 105, 189, 190, 191

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More, Hannah 104 211, 212, 215, 217, 218, 219, Morris, Peter (pseud. of Lockhart) 37, 222, 233, 235, 242, 245, 247, 270; 38, 42 ‘The Hindu Drama’ 260–3, Morrison, Robert xv, 6, 10, 45n22, 47, 265n12 105, 174n21, 228, 273 Mudford, William 6 O’Sullivan, Samuel 263 Mudie, Robert 228 Odoherty, Morgan (pseud. of Muirhead, Claud 77, 85n14 Maginn) 7, 30, 31, 63, 109–10n1, Mullion, Mordecai 7, 188 117, 120, 121, 153–4, 155, 156, 208, Munday, Michael 6 209–10, 210–11, 227, 242, 243 murder 54, 64–5, 140, 180, 187, 188, Odontist, the (aka Dr James Scott; 190, 191–2, 193, 194, 195, 196, 198, pseud. of Lockhart) 41, 101 217, 220 Oliver and Boyd (printers) 73 Murphy, Peter T. 51 Opium Eater (pseud. of De Quincey) 7, Murray, John 13, 30, 35, 39–40, 41, 47, 51, 57, 63–4, 65 43–4, 75, 153–4, 166, 176, 210, orientalism 255–65 (Roberts) 217, 229–30, 234, 235, 239, 240, Ossian 179, 187 242, 243 Oxford University 24, 58, 243, 260, 263 Napier, Macvey 32n16, 117, 227 Napier, William John 181 Parker, Mark 114, 165 Napoleon I (Bonaparte) 58, 142, Parr, Samuel 60 223, 232 Patmore, Peter George 30, 62 Neal, John 3, 5, 243 Peers, Douglas 264n3 Neaves, Charles 155 ‘personalities’ 10–11, 37–8, 39, 54, neptunism 128, 129, 130, 134 88–99 (Mole), 115, 187, 211, 227, Nevett, T.R. 73 228, 230–1, 232, 233, 235 New Edinburgh Philosophical Journal 133 Philosophical Magazine 133 New Monthly Magazine 3, 51, 78, philosophy 38, 126, 129, 138–9, 140, 105–6, 172, 211, 239, 240, 243, 150, 152, 208, 243, 267 244–5 phrenology 127, 187 New Times 235 Pichot, Amédée 109 Newton, Sir Isaac 132 Piron, Alexis La Métromanie 119, 120 Nichol, John Pringle 139 Pitt, William 81, 138, 142 Nicholson, William 133 Playfair, John 131, 232 Niles, Lisa 249n6 plutonism 129 Noakes, Richard 132 Poe, Edgar Allan 6, 163, 273 Noctes Ambrosianae 2, 7, 10, 47, 51, 54, Poetic Mirror, The 27, 195, 215 63, 96, 149, 176, 177, 179, 180, 181, Polidori, John, The Vampyre 211 182, 183, 187, 203, 205, 207, 208, politics in/of Blackwood’s 3–4, 5, 9, 11, 209, 222, 240, 263 36, 39, 42, 94, 133, 137–47 (Kelly), Normanby, Lord, Matilda 234–5, 165, 188, 189, 231, 233, 240, 255, 237n35 256, 267, 269, 271, 272, 275–6 North British Advertiser 77 Poovey, Mary 149, 151, 152 North British Review 133 popular culture 113, 114–15, 119, 126, North, Christopher (pseud. of John 128, 196, 271 Wilson) 7, 12, 14, 43, 60, 63, 65, 97, Porter, Roy 129 102, 116, 117, 153–4, 155, 156, 179, ‘Preface’ (1826) 13, 151, 189–91, 180, 181, 182, 183, 187, 188, 191, 227–38 (Latané) 193–4, 195, 203, 207, 208–9, 209–10, Presbyterianism 142, 179

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Pringle, Thomas 2, 23, 24, 25, 27, 29, Rowland, Alexander (Jnr) 81 31n2, 36, 38, 90, 126, 132, 163, 176, Roy, Rammohun 256, 259, 260, 264 191, 195, 240 Royal Society of Edinburgh 128, 131, Procter, Bryan Waller 54, 62; ‘Memoir 169 of a Hypochondriac’ 48, 52–3, 54 Russell, Lord John 229 ‘prosing’ 11, 149, 153–6, 158. See also generic transposition under genre Said, Edward 256 provincialism 14, 30, 167, 177, 232, Sandford, Daniel Keyte 171, 273 267–77 (Jarrells) Sanskrit literature 14, 255, 256, 260, pseudonymity and anonymity 10, 12, 261, 262, 264 16n10, 29, 40, 51, 52, 54, 90, 164, satire 28, 36, 37, 38, 40, 41, 81, 84, 165, 180, 181, 193, 203, 207, 208, 102, 105, 158, 196. See also allusion 211, 239, 244, 247, 255, 259 Schiller, Friedrich 36, 175 psychology 164, 168, 169, 170 Schlegel, August Wilhelm 5 Pucci, Joseph 115 Schlegel, Friedrich 5, 36, 268, 270, 272; pugilism. See boxing History of Literature 267–8 Pushkin, Aleksandr 6 Schoenfield, Mark xv–xvi, 12, 165 Schurr, Matheus 170, 171 Quakers 219 science and Blackwood’s 11, 125–36 Quarterly Review 1, 10, 36, 39, 43, 81, (Christie), 139, 164, 166, 168, 169, 114, 133, 176, 183, 195, 229, 231 173n6, 187, 261 Scoresby, William 127 radicalism 4, 138, 141; anti- Scots Magazine, The 2, 24, 36, 38, 176 radicalism 141 Scotsman 76, 204, Ratcliffe Highway killings 64, 140 Scott, Dr James (aka the Odontist; Redpath, Theodore 5 pseud. of Lockhart) 41, 101, Reform Bill and debates 3, 36, 39, 40 109–10n1; ‘The Clydesdale Yeoman’s regionalism. See provincialism Return’ 41–2 religion 11, 26, 126, 129, 134, 244, Scott, John 3, 47, 51, 53, 54, 62, 89, 263, 271 115, 119, 188, 190–1, 207, 211, 232 Representative, The 229, 230, 234, 235 Scott, Michael 5–6, republicanism 105, 138 Scott, Walter 2, 3, 6, 12, 25, 27, 28, Ricardo, David 62, 139–40 30, 36, 39, 43, 50, 54, 109, 110n3, Richardson, Thomas C. xv, 9–10 165, 171, 175, 179, 183, 188, 191, Richter, Jean Paul 63 192–3, 209, 210, 212, 218, 240, Ricks, Christopher 115 241, 242, 243, 245, 268; Heart of Roberts, Daniel Sanjiv xv, 14 Midlothian 117–18; Peveril of the Robinson, David 3, 4, 231, 233, Peak 155–6, 211; review of Shelley’s 237n28 Frankenstein 50, 107–8, 109; Rob Robinson, Henry Crabbe 250n30 Roy 30, 118, 181; Tales of my Robinson, Jeffrey 117, 122n19 Landlord 211, 214n28, 268; The Roe, Nicholas 5, 114 Monastery 214n28; Waverley 179, Rogers, Samuel 210–11 191, 241, 268. See also Cleishbotham, Romanticism 9, 14, 89; American 1; Jedediah British 1, 8; ‘communal’ 104, 179; Scottishness 14, 42–3, 133, 150, 172, Scottish 172 175, 183, 258, 267, 268–9 Romilly, Sam 196 serial publication 3, 5, 6, 12, Rousseau, Jean-Jacques 48, 61, 178; 179, 273 Confessions 48, 61 Seymour, Lord Webb 131 Rowland, Alexander 81, 83, 84 Seymour, Richard 103

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Shakespeare, William 118; Merchant of Sweet, Nanora xvi, 13 Venice 155 Symonds, Barry 66n14 Sharpe, Charles Kirkpatrick 181, 245 Shelley, Mary 6, 11, 14, 104, 105, 106, Tait’s Edinburgh Magazine 143 107, 108, 109; Frankenstein 6, 30, tales 6–7, 12, 13–14, 163, 164, 50, 53, 107–8, 109; History of a Six 167–8, 172–3, 180, 182–3, 239; Weeks’ Tour 106, 107; Valperga regional 268, 272–5; terror 171, 6, 108 273–4, 275. See also short story Shelley, Percy Bysshe 4, 5, 14, 30, Tatler, The 27 61, 64, 93, 104–6, 107–8, 188, 228; Taylor, John 63, 211, 231 Adonais 4, 93, 188; Alastor 5; terror fiction, rise of 6, 171, 273–4, 275 ‘Mont Blanc’ 106–7; Prometheus theft 189, 192, 217, 220–1 Unbound 5; Revolt of Islam 61; Thelwall, John 189 Rosalind and Helen 5; The Cenci 61 Thomson, Revd Andrew 76 short story, the 6, 11–12, 163–74 Thurtell, John 195–8, 199n21 (Killick). See also tales Tickler, Timothy 7, 42–3, 117, 176, Siddons, Harriet 242 180, 181, 183, 187, 196, 198, 208, Simpson, James 242 231, 234, 242, 243 Sinclair, Catherine 6 Tighe, Mary 241 slave trade 36 Tilloch, Alexander 133 Smith, Adam 27, 267 Times, The 76, 229 Smith, S. Alexander ‘The Philosophy of Topham, Jonathan 132 Poetry’ 150, 156–8 Toryism 1, 2, 4, 41, 42, 101, 106, 108, Smith, William Henry 247 137–8, 139, 140, 141, 142, 143, 150, Smollett, Tobias 6 183, 189, 195, 196, 223, 230, 231, Society of Booksellers 28 233, 239, 240, 241, 244, 246, 263–4, Southey, Caroline Bowles. See Bowles, 272 Caroline translation 30, 36, 40, 44, 178, 211, Southey, Robert 27, 102, 110n5, 116, 255, 256, 257, 259, 260, 262; ‘Chaldee 117, 189 Manuscript’ 26, 28, 37, 177, 180 Spectator, The 27 Treaty of Union 175 sport 12, 13, 40, 183, 187, 195–6, Trott, Nicola 208, 209 215–25 (Strachan) Trumpener, Katie 269, 277n12 Spring, Thomas 196 Stableford, Brian 18n46 utilitarianism 138, 256, 259, 261 Staël, Germaine de, Corinne 242 Standard 235 Vandenhoff, John 242 Steell, Sir John Robert 204, 206, 207 Vernon, Di 240 Sterne, Laurence Tristam Shandy violence 10, 12, 54, 187–200 150–1 (Schoenfield), 222, 224 Stewart, David xvi, 11 Voltaire 89 Stewart, Dugald 25, 243, 267 Stillinger, Jack 104 Wainewright, T.G. 117 Stirling Journal 77 Walker, John 128 Strachan, John xvi, 13, 81, 110n2, 114 Wallace, Sir William 241 Strout, Alan Lang 9, 166, 167, 169 Waller, Edmund 155 Strutt, Joseph 221 Walton, Izaak 221 Stuart, James 188, Warren, Robert 101–2, 113, Stuart, Louisa 192, Warren, Samuel 3, 6, 171 Swann, Elsie 206, 207 Wastle, William 40, 208

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Waterloo 8, 194, 218, 222, 223 241, 243–4, 245, 247, 257–8, 260, Watkins, John 211 261–2, 268, 273; ‘Christopher in his Waugh (bookseller) 242 Sporting Jacket’ 215, 216, 217–20, Weare, William 195–6 222–3; early days of Blackwood’s 24, Weathercock, Janus (pseud. of 25–6, 27, 28, 29, 30, 35, 36, 37, Wainewright) 117 38, 39, 45n22; Lights and Shadows Wedderburn, Sir David and Lady 240, of Scottish Life 167; ‘On the Late 243, 245 National Calamity’ 29; Recreations of Weekly Instructor 133 Christopher North 208; relationship Weimar 24, 175 with De Quincey 57–67 (Morrison); Wellek, René 140 and short stories 166, 167–8, 171; Wellesley Index 9 The City of the Plague 203; The Wellington, Arthur Wellesley, Convict 243; The Isle of Palms 27, Lord 142, 194, 218 203, 205, 207, 250n30. See also North, Werner, Abraham Gottlob 128, 130, Christopher 131 Witness 133 Wernerian Natural History Society 127, Wollstonecraft, Mary 218, 219, 221, 128, 129, 131, 134, 166, 173–4n16 257; A Vindication of the Rights of West Indies 36 Woman 218 Westmorland Gazette 140 Woodhouse, Richard 3, 62 Wheatley, Kim 118 Wordsworth, Catherine 49 Whiggism 2, 24, 41, 60, 131, 133, 134, Wordsworth, William 13, 14, 27, 57, 137–8, 141, 143, 176, 177, 179, 188, 58, 63, 64, 93, 102, 104, 110n5, 119, 189, 196, 231, 232, 233, 240, 241, 120, 121, 127, 178, 187, 189, 195, 242, 243, 245, 246 198, 205, 209, 210, 216–17, 218, 219, Whitbread, Sam 196 220–1, 246; Letter to a Friend of Robert Wilberforce, William 258 Burns 205; ‘Lines Written at a Small Williams, John 64, 65, 140, 198 Distance from my House’ 220; Williams, Raymond 269, 276n1 The Prelude 216–17, 219, 220, 221 Wilson, Horace Hayman 14, 256, wrestling 215, 222, 223, 224 260–1; Mrichchakati, or the Toy- Wu, Duncan 35 Cart 262–3 Wilson, James 128 Yorke, Oliver (pseud. of Maginn) 183 Wilson, John 2, 3, 4, 6, 7, 9, 10, 11, Young, Robert 132 12–13, 14, 75, 80, 93, 102, 109, 119, 126, 128, 139, 149, 152, 154, Z. (pseud. of Lockhart) 26, 27, 91, 93, 156, 176, 177, 178, 179, 180, 181, 94, 95, 96, 113, 114, 116, 117–18, 193–5, 203–14 (Cronin), 215–25 119, 122n19 (Strachan), 227, 230, 233, 235, zoology 127

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