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Scottish Eccentrics: the Tradition of Otherness in Scottish Poetry from Hogg to Macdiarmid

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Scottish Eccentrics: the Tradition of Otherness in Scottish Poetry from Hogg to Macdiarmid SCOTTISH ECCENTRICS: THE TRADITION OF OTHERNESS IN SCOTTISH POETRY FROM HOGG TO MACDIARMID by Gioia Angeletti VOLUME II Thesis submitted for the degreeof PhD Department of Scottish Literature Faculty of Arts, University of Glasgow, October 1997 itVr. +ý. 1 t2 Cý- 'Xrl °K°"''.Irir3 CHAPTER 5 JOHN DAVIDSON: DRAMATIC ECCENTRICITY AND OTHERNESS PART I The 302 outcast ................................................... PART II The old and the new: tradition and subversion in Davidson's 329 poetry ................................... i. The ballads 335 ..................................................................... ii. The 373 music-hall poems.................................................... iii. Urban 392 poems................................................................ iv. The Testaments last 409 and poems..................................... CHAPTER 6 JAMES YOUNG GEDDES PART I i. Another case of a Scottish 435 eccentric ............................... ii. Life and 445 works .............................................................. PART II Poetry ideas 449 and ............................................ CONCLUSION i. Hugh MacDiarmid and the legacy of eccentricity............ 502 ii. Epilogue: the `strange procession' 520 continues .................. BIBLIOGRAPHY ................................................:........................................ 527 302 CHAPTER 5 JOHN DAVIDSON: DRAMATIC ECCENTRICITY AND OTHERNESS BROADBENT. [... ] I find the world quite good enough for me: rather a jolly place, in fact. KEEGAN [looking at hin: with quiet wonder] You are satisfied? BROADBENT. As a reasonableman, yes. I seeno evils in the world -- except, of course, natural evils -- that cannot be remediedby freedom, self-government and English institutions [... ]. KEEGAN. You feel at home in the world, then? BROADBENT. Of course. Don't you? KEEGAN [front the very depths of his nature] No. ' PART I The outcast `No one is to write my life now or at any time, but let all men study and discuss in private and in public my poems and plays, especially my Testaments and Tragedies. '2 Unlike JamesYoung Geddes,John Davidson received critical acknowledgementboth from his contemporariesand subsequentwriters, and various critical and biographical Bernard Shaw, John Bull's Other Island, ed. by Dan 11.Laurence (London: Penguin Books, 1984), IV, p. 141. 2 SeeR. D. MacLeod, John Davidson. A Study in Personality (Glasgow: W&R Holmes Ltd., 1957), p. 3. 303 ' Similarly James studies of his work and personality have already appeared. to Thomson, he was one of the Scots who, in the later nineteenth century,*. crossed the Scottish border to try his fortune as a literary man in the centralised cultural he environment of metropolitan London. He moved to the capital in 1889, and there started to frequent some of the most fashionable literary circles of the day, and to publish his articles in the most ä la mode and prestigiousjournals. Consequently,the present section might appear inappropriately entitled. Nonetheless,Davidson did live as an outcast and remained, like JamesThomson, another Ishmael figure of Scottish literature throughout his life. As Tom Hubbard has pointed out, `Davidson despised equally the dour philistinism of Scotland and the fashionablelanguor of London', ' and my present concern is to explain why he always remained an outsider within the contemporary cultural and social establishment. Keegan, in Shaw's John Bull's Other Island, personifies the same feelings which haunted and disrupted Davidson's psyche: the sense'ofbeing out of place in the surrounding world, a perpetual outsider everywhere, cursed and obsessedwith his rootlessness and non-belonging. From the beginning of his career, Davidson expressedhis post-romantic and pre-existentialist exile from the world in terms shifting between loud self-assertivenessand quiet submissiveness,and his tragic end may be explainedby his life-long inability to resolve these violent tensions, or to find a way of enduring existencein a world which lie felt alien and alienating. Most critics seem to agree that on March 23rd 1909 Davidson left his house in Penzance,Cornwall, with suicidal intentions.' In the last years of his life, the divergence between his aspirations and failed reality became intolerable for him, and when he realised that he no longer had a mission to accomplish,he saw suicide as the only possible way out. Defeat or victory? The question is doubtless more complex than it may seem. Davidson was neither a pusillanimous nor an irresponsible person. Nevertheless, neither his 3 Inter alia: Mary O'Connor, John Davidson (Edinburgh: Scottish Academic Press, 1987); John Sloan, John Davidson. First of the Moderns (Oxford: Clarendon Press, 1995); Benjamin Townsend, John Davidson. Poet ofArmageddon (New Haven: Yale University Press, 1961). 4Torn Hubbard,`Irony and Enthusiasm:the Fiction of JohnDavidson', Scottish Literary Journal, 11 (1984),71-82 (p. 75). 5 Both the contemporarypapers and Davidson's critics confirm this hypothesis. 304 financial difficulties his love for his unremitting struggle against the disgrace of nor divert him from desperate wife and sonswere strong enough reasonsto such a act. Davidson took that leap into darkness,like Smith, the eponymous protagonist is Hamlet-like of Davidson's Spasmodic play who, like his creator, the victim of a body tension betweenthe contemplativeand active life, and of the dualism of mind and his Davidson's with which Davidson had to deal throughout his life. In essay on have novels, Tom Hubbard offers a fascinating explanation of the reasonswhich might led to his final breakdown. Hubbard characterises Davidson's consciousness as divided into two opposite tendencieswhich emerge in his works: on the one hand passive scepticism, also identified with irony, and on the other, active idealism, or enthusiasm. As long as these two forces formed what Hubbard calls a `discordia concors'6 within the poet's consciousness,a coexistenceof contrasting bents which do not provoke any psychological laceration, he could exploit the creative force deriving from them. Unfortunately Davidson, contrary to Hogg and, in a different sense, MacDiarmid, was not able to achieve this, and the result was tragic. In other words, as Hubbard puts it: The most tragic aspect of his life and work [... ] was the split in his own sensibility. In most of his fiction, the ironic and the creative enthusiastic, the Hamlet and the Quixote, coexisted in a discordia concors. As with Stevenson'sJekyll and Hyde, however, when the one atrophied the other, the survival of either was no longer assured.(p. 79) Critics are still wondering whether Davidson took his life in a moment of temporary delirium or as a deliberate act. Suicide is a recurrent theme in Davidson's - works, ' and it is also an inherent part of his all-embracing philosophical outlook. 6 Hubbard, p. 79. Hamlet and Don Quixote are here used as antonomasia of two opposite types of human nature, the ironist and the enthusiast respectively, a distinction which Hubbard drew from Lena Milman's translation of a lecture by Turgenev which appearedin The Fortnightly Review, 332 (1894), 191-205. 7 The theme crops up in Smith, in the Testamentsand Tragedies, and in the eclogue `Laminas'. sui Thus, to decide whether to consider it as his ultimate act against the Christian God he had rejected or as an extreme manifestation of strong will and protest against the world, it is necessaryto turn to his literary and philosophical output. Since Davidson's art is one in which poetry and philosophy are inseparable,his ideas will be tackled in depth in Section 11,which focuses on his most representative poems. Suffice it to say in this context that one of the axiomatic principles on which his philosophy is founded is the notion of irony. Irony invests everything, according to Davidson: It is centric, the adamantineaxis of the universe. At its poles are the illusions we call matter and spirit, day and night, pleasure and pain, beauty and ugliness [... ] Irony is the enigma within the enigma, the open secret,the only answer vouchsafedthe eternal riddle [... ] 8 Irony is evident in both the subject-matter and the style of his works. Hence their wide and heterogeneousrange of themes and characters,and the shifting poetic tone. Davidson's ironic vision allows him to deal with reciprocally contradictory themes such as his sympathy for the social underdog and his belief in the strong man, the outre egocentric and individualist, or the depiction of the countryside in some poems and the representationof urban life in others. In addition to such a thematic variety, his poetry presents continuous stylistic fluctuations. Most of his works are characterisedby a juxtaposition lyrical of and prosaic aspects,of tragic and comic tones, in a way which resemblesthe multifariousnessof Carlyle's writing, In one of his poems, called `The Outcast', Davidson addresseshis own soul through the voice of the most self-assertive and stoic of his personae, and in the concluding lines he launcheshis paradoxical reaction: Thoughon all hands The powersunsheathe ß John Davidson, `Letters to the Editor. Irony', Speaker, 22 April 1899, p. 455. 306 Their lightning-brands And from beneath, And from above One curse be hurled With scorn, with love Affront the world. ' His disappearancefrom the world was his ultimate and extreme ironical act: to affront the world by an act of self-denialand revolt. Perhapsnot the entire world but certainly many were shakenby the tragic news. Hugh
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