Notes

Introduction: Reclaiming Hogg’s Place in British

1. See Stuart Curran, Poetic Form and British Romanticism (Oxford, 1986). 2. David Duff, Romanticism and the Uses of Genre (Oxford, 2009), 22. 3. Duff includes The Three Perils of Man as an example of ‘the rough-mixing of genres’ in historical fiction, 186–7. 4. , ‘Extempore Effusion upon the Death of ’, in Last Poems, 1821–1850, ed. Jared Curtis (Ithaca, 1999), ll. 1–4. The poem first appeared in the Newcastle Journal on 5 December 1835. 5. ‘Yarrow Visited’ was Wordsworth’s contribution to Hogg’s proposed ‘Poetical Repository’. See R. P. Gillies, Memoirs of a Literary Veteran, 3 vols (, 1851), II, 148. 6. Stephen Gill, ‘ “The Braes of Yarrow”: Poetic Context and Personal Mem- ory in Wordsworth’s “Extempore Effusion Upon the Death of James Hogg” ’, Wordsworth Circle, 16.3 (Summer 1985), 120–5. 7. Thomas Gray, ‘Elegy Written in an English Country Church-yard’, Thomas Gray and William Collins: Poetical Works, ed. Roger Lonsdale (Oxford, 1977), ll. 55, 16. On the significance of unseen flowers, see Mina Gorji, John Clare and the Place of Poetry (Liverpool, 2009), 44–56. 8. Several portraits of Hogg (by Daniel Maclise, William Nicholson, Sir William Allan and John Watson-Gordon) are reproduced in Gillian Hughes’s James Hogg: A Life (, 2007). 9. Charles Rogers, Leaves from my Autobiography (London, 1876), 267. 10. Hogg to , 19 October 1817, Letters, I, 305. 11. Robert Morrison and Daniel S. Roberts, Introduction to Romanticism and Blackwood’s Magazine: ‘An Unprecedented Phenomenon’ (Basingstoke, 2013), 1–19 (2) (hereafter Romanticism and Blackwood’s). 12. Romanticism and Blackwood’s,1. 13. Marilyn Butler, Romantics, Rebels and Reactionaries: English Literature and its Background, 1760–1830 (Oxford, 1981), 69–93. 14. See Richard Cronin, Paper Pellets: British Literary Culture after Waterloo (Oxford, 2010), 1–17. 15. Don Juan,inByron: The Complete Poetical Works, ed. Jerome McGann, 7 vols (Oxford, 1980–93), V, XI.62.1. Mark Schoenfield examines how var- ious authors negotiated the periodical industry in British Periodicals and Romantic Identity: The ‘Literary Lower Empire’ (New York, 2009); see especially 201–38 on Hogg. For ‘fighting style in the magazine market’, see also David Stewart, Romantic Magazines and Metropolitan Literary Culture (Basingstoke, 2011), 52–84. 16. See Alker’s and Nelson’s introduction to James Hogg and the Literary Mar- ketplace, 1–20, and ‘Hogg and Working-Class Writing’ in The Edinburgh

258 Notes to Introduction 259

Companion to James Hogg, ed. Ian Duncan and Douglas Mack (Edinburgh, 2012), 55–63 (hereafter Companion). For discussion of how Hogg’s labouring- class background shaped the marketing and reception of individual works, see the critical introductions to the S/SC Collected Works. 17. ‘Memoir of the Author’s Life’, in AT, 11–52 (27) (hereafter ‘Memoir’). 18. Thomas C. Richardson traces the vicissitudes of Hogg’s relationship to the magazine and discusses its key facets in his two-volume edition of Hogg’s Contributions to Blackwood’s (S/SC). See also Richardson, ‘James Hogg and Blackwood’s Edinburgh Magazine’, in Alker & Nelson, 184–99. Hogg’s inter- ventions in post-Napoleonic periodical culture have also been illuminated by the work of Gillian Hughes and Peter Garside in the S/SC volumes of The Spy, Contributions to Annuals and Gift-Books and A Queer Book. See also Hughes, ‘The Edinburgh of Blackwood’s Edinburgh Magazine and James Hogg’s Fiction’, in Romanticism and Blackwood’s, 175–86. 19. Karl Miller, Doubles: Studies in Literary History (Oxford, 1985) and Electric Shep- herd: A Likeness of James Hogg (London, 2003); Ian Duncan, Scott’s Shadow (Princeton, 2007), 147–82. 20. Barbara Bloedé, ‘James Hogg’s Private Memoirs and Confessions of a Justified Sinner: The Genesis of the Double’, Études Anglaises, 26.2 (1973), 174–86; Douglas Gifford, James Hogg (Edinburgh, 1976), 142–3; Miller, Doubles,1–20, 16–17. 21. Karen Fang, Romantic Writing and the Empire of Signs: Periodical Culture and Post-Napoleonic Authorship (Charlottesville, 2010), 66. 22. Review of ‘Lives of Uneducated Poets’, Quarterly Review, 44 (January 1831), 52–82 (82). 23. Peter Murphy introduces Hogg to ‘help illuminate [the] accomplishment and ambition’ of Macpherson and Burns ‘by the counterpoint of failure’ in Poetry as an Occupation and an Art in Britain 1760–1830 (Cambridge, 1993), 94. Duncan describes Hogg’s Confessions as ‘a perversely exhilarating gloss on its author’s failure to emulate Sir ’s career as a wealthy and distinguished author’ in Scott’s Shadow, 286. 24. Gifford, 142. Richardson provides both the manuscript and published ver- sions of the ‘Ancient Chaldee Manuscript’ in Contributions to Blackwood’s,I, 26–30, 30–47. 25. Cronin, Paper Pellets, 103. 26. Cronin, Paper Pellets, 103. 27. J. G. Lockhart [signed ‘Z’], ‘The Cockney School of Poetry. No. 4’, Blackwood’s, 3 (August 1818), 519–24 (524), and ‘On the Cockney School of Poetry. No. 1’, Blackwood’s, 2 (October 1817), 38–41 (39). 28. Wordsworth, Preface to Lyrical , in Wordsworth and Coleridge, Lyrical Ballads 1798 and 1802, ed. Fiona Stafford (Oxford, 2013), 95–115 (97). 29. ‘Memoir’, 46. 30. For helpful overviews of the critical reception of Confessions, see essays by Peter Garside in The Edinburgh Companion to Scottish Romanticism, ed. Murray Pittock (Edinburgh, 2011), 178–89, and Penny Fielding in Companion, 132–9. 31. Duncan, Scott’s Shadow, 286. 32. Simpson, James Hogg: A Critical Study (1962), Gifford, James Hogg (1976), Groves, James Hogg: The Growth of a Writer (1988). 260 Notes to Chapter 1

33. Manning, The Puritan-Provincial Vision: Scottish and American Literature in the Nineteenth Century (1990), Fielding, Writing and Orality: Nationality, Culture, and Nineteenth-Century Scottish Fiction (1996) and and the Fictions of Geography: North Britain, 1760–1830 (2008), Mack, Scottish Fiction and the British Empire (2006), Duncan, Scott’s Shadow (2007), Pittock, Scottish and Irish Romanticism (2008). 34. Scotland and the Borders of Romanticism (2004), James Hogg and the Literary Marketplace (2009), The Edinburgh Companion to Scottish Romanticism (2011) and The Edinburgh Companion to James Hogg (2012). 35. Bold, James Hogg: A Bard of Nature’s Making (2007). 36. Murphy, Poetry as an Occupation and an Art in Britain 1760–1830 (1993), Russett, Fictions and Fakes: Forging Romantic Authenticity, 1760–1845 (2006), Simpson, Literary Minstrelsy, 1770–1830: Minstrels and Improvisers in British, Irish, and American Literature (2008), McLane, Balladeering, Minstrelsy, and the Making of British Romantic Poetry (2008), Schoenfield, British Periodicals and Romantic Identity: The ‘Literary Lower Empire’ (2009). 37. Review of The Three Perils of Woman, Blackwood’s, 14 (October 1823), 427–37.

1 Hogg’s Self-Positioning in The Poetic Mirror and the Literary Marketplace

1. ‘Description of the Patent Kaleidoscope, Invented by Dr. Brewster’, Blackwood’s, 3 (May 1818), 121–3 (121). 2. See M. M. Gordon, The Home Life of Sir (Edinburgh, 1869). 3. Rogers, Leaves from my Autobiography, 67. 4. See Chapter 5, 243–4, for further discussion. 5. The Letters of Percy Bysshe Shelley, ed. Frederick L. Jones, 2 vols (Oxford, 1964), II, 68–9 (69). 6. Maria Gisborne to Mary Shelley, 21 June 1818. Quoted by Jones, II, 69. 7. Crary, Jonathan, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (Cambridge, Mass., 1990), 116. 8. Crary, 133. 9. See William Christie, ‘Blackwood’s in the Scientific Culture of Edinburgh’, in Romanticism and Blackwood’s, 125–36. 10. David Brewster, A Treatise on the Kaleidoscope (Edinburgh and London, 1819), 6. 11. ‘Description of the Patent Kaleidoscope, Invented by Dr. Brewster’, 122. 12. Helen Groth, ‘Kaleidoscopic Vision and Literary Invention in an “Age of Things”: David Brewster, Don Juan, and “A Lady’s Kaleidoscope” ’, ELH, 74.1 (Spring 2007), 217–40. 13. Brewster, Treatise,6. 14. William Hone, The Table Book, 2 vols (London, 1827), 3. 15. Mina Gorji, ‘Every-day Poetry: William Hone, Popular Antiquarianism, and the Literary Anthology’, in Romanticism and Popular Culture in Britain and Ireland, ed. Philip Connell and Nigel Leask (Cambridge, 2009), 239–61 (243). 16. For further discussion of Hogg’s response to optical illusions, see Valentina Bold, ‘The Magic Lantern: Hogg and Science’, SHW, 7 (1996), 5–17. Notes to Chapter 1 261

17. Hogg, ‘Nature’s Magic Lantern’, Chambers’ Edinburgh Journal (28 September 1833), II, 273–4 (274). 18. Kritische Friedrich Schlegel Ausgabe, xviii. 448 (no. 190), quoted by Duff, 167. See Duff, Chapter 4. 19. William St Clair, The Reading Nation in the Romantic Period (Cambridge, 2004), 217. These figures provide records and estimates of book production rather than sales. 20. St Clair, 218. 21. Cronin, Paper Pellets, 229–44. 22. William Hazlitt, ‘On Reading Old Books’, London Magazine, 3 (February 1821), 143. 23. Barbara M. Benedict situates the anthology as part of an extensive eighteenth-century culture of collection in ‘Collecting and the Anthology in Early Modern Culture’, in Anthologies of British Poetry: Critical Perspec- tives from Literary and Cultural Studies, ed. Barbara Korte, Ralf Schneider and Stefanie Lethbridge (Amsterdam, 2001), 43–55. For further discussion of the anthology, see Leah Price, The Anthology and the Rise of the Novel (Cambridge, 2000). For the rise of the miscellany as part of the diversifica- tion of the Romantic era, see Andrew Piper, Dreaming in Books: The Making of the Bibliographic Imagination in the Romantic Age (Chicago, 2009), 121–52. 24. St Clair, 122–39. St Clair also discusses the role of anthologies in the print market, 66–83. 25. For the influence of culture on Romantic poetry, see Maureen N. McLane, Balladeering, Minstrelsy, and the Making of British Romantic Poetry (Cambridge, 2008). 26. Laura Mandell and Rita Raley, ‘Anthologies and Miscellanies’, http:// oldsite.english.ucsb.edu/faculty/rraley/research/anthologies/ (1997; last revised 2002). 27. Robert Southey, Preface to Specimens of the Later English Poets, 3 vols (London, 1807), I, iv. 28. Andrew Bennett, Romantic Poets and the Culture of Posterity (Cambridge, 1999). 29. Lucy Newlyn, Reading, Writing, and Romanticism: The Anxiety of Reception (Oxford, 2000). 30. ‘Essay, Supplementary to the Preface’, in The Prose Works of William Wordsworth, ed. W. J. B. Owen and Jane Worthington Smyser, 3 vols (Oxford, 1974), III, 62–84 (80) (hereafter Prose Works). 31. Prose Works, III, 79. 32. For more on Wordsworth’s views, see Frances Ferguson, ‘Wordsworth and the Meaning of Taste’, in The Cambridge Companion to Wordsworth,ed. Stephen Gill (Cambridge, 2003), 90–107. 33. Prose Works, III, 83. 34. Nigel Leask and Philip Connell, Introduction to Romanticism and Popular Culture in Britain and Ireland (Cambridge, 2009), 3–48 (7). Wordsworth, Preface to Lyrical Ballads, 95, 97. 35. Prose Works, III, 84. 36. Prose Works, III, 83. 37. QW, Night the First, ll. 513–14, 520. 38. ‘Memoir’, 20. 262 Notes to Chapter 1

39. ‘Memoir’, 20. 40. For the publishing history of ‘Donald Macdonald’, see The Forest Minstrel (S/SC), 348–50. For more on Hogg and song culture, see essays by Murray Pittock, ‘James Hogg: Scottish Romanticism, Song, and the Public Sphere’, and Kirsteen McCue, ‘Singing “more old songs than ever ploughman could”: The Songs of James Hogg and in the Musical Mar- ketplace’, in Alker & Nelson, 111–22, 123–37. 41. ‘Memoir’, 50. 42. Mark Schoenfield, ‘The Taste for Violence in Blackwood’s Magazine’, in Romanticism and Blackwood’s, 187–202 (193). Peter Murphy compares the anonymity of song culture to the communal ownership of the Blackwood’s ‘Noctes Ambrosianae’ in Poetry as an Occupation and an Art in Britain 1760–1830, 125. 43. See for example Byron’s Preface to Marino Faliero (1821). 44. Thomas Paine, Rights of Man,inRights of Man, Common Sense and Other Political Writings, ed. Mark Philp (Oxford, 1995), Part II, 272. 45. Erik Simpson explores the position of participants in minstrel contests, referring to Hogg, Hemans and Landon ‘as writers who could not afford a Shelleyan or Wordsworthian disdain of the marketplace’, in Literary Minstrelsy, 1770–1830: Minstrels and Improvisers in British, Irish, and American Literature (Basingstoke, 2008), 109. For Scott’s later views on the popular transmission of oral and printed ballads in his ‘Essay on Popular Poetry’ (1830), see Nigel Leask, ‘ “A degrading species of Alchymy”: Ballad Poetics, Oral Tradition, and the Meanings of Popular Culture’, in Romanticism and Popular Culture in Britain and Ireland (Cambridge, 2009), 51–71. 46. Schoenfield, ‘The Taste for Violence’, 193. 47. David Stewart, ‘Blackwoodian Allusion and the Culture of Miscellaneity’, in Romanticism and Blackwood’s, 113–23 (116). 48. See Jason Camlot, ‘Prosing Poetry: Blackwood’s and Generic Transposition, 1820–1840’, in Romanticism and Blackwood’s, 149–60 (151–3). 49. David Higgins, Romantic Genius and the Literary Magazine: Biography, Celebrity, Politics (London, 2005). 50. Letters, I, 198. 51. See Hughes, James Hogg, A Life, 124. 52. See Letters, I, 188–9. 53. Advertisement, The Poetic Mirror (London and Edinburgh, 1816), iv. 54. Southey, Specimens of the Later English Poets, I, xliii. 55. Review of The Poetic Mirror, Quarterly Review, 15 (July 1816) 468–75 (469). 56. David Groves, James Hogg: The Growth of a Writer (Edinburgh, 1988), 70–80; Valentina Bold, James Hogg: A Bard of Nature’s Making (Bern, 2007), 181–91. 57. David Bromwich, ‘Parody, Pastiche, and Allusion’, in Lyric Poetry: Beyond New Criticism, ed. Chaviva Hoˆsek and Patricia Parker (Ithaca, 1985), 328–44. Jill Rubenstein, ‘Parody as Genre Renewal: The Case of The Poetic Mir- ror’, SHW, 2 (1991), 72–80; Samantha Webb, ‘Inappropriating the Literary: Hogg’s Poetic Mirror Parodies of Scott and Wordsworth’, SHW, 13 (2002), 16–35. 58. Wordsworth, Preface to The Excursion, ed. Sally Bushell, James A. Butler and Michael C. Jaye (Ithaca, 2007), 38–41 (38). 59. Wordsworth, Preface to The Excursion, 38. Notes to Chapter 1 263

60. Hogg to Byron, 13 September 1814, Letters, I, 200, 201. 61. Lord Byron, ‘Some Observations Upon an Article in “Blackwood’s Maga- zine” ’ (1820), first published in Thomas Moore’s edition of Byron’s Works (1833). Lord Byron: The Complete Miscellaneous Prose, ed. Andrew Nicholson (Oxford, 1991), 88–119 (116). 62. Gillian Hughes, ‘ “I think I shall soon be qualified to be my own editor”: Peasant Poets and the Control of Literary Production’, John Clare Society Journal, 22 (July 2003), 6–16 (11). 63. Bromwich, 331. 64. Burns, ‘To J.S∗∗∗∗∗’, in Poems, Chiefly in the Scottish Dialect (Kilmarnock, 1786), 71. For further discussion of Burns’s negotiation of print culture, see Rhona Brown, ‘ “Guid black prent”: Robert Burns and the Contemporary Scottish and American Periodical Press’, in Robert Burns and Transatlantic Culture, ed. Sharon Alker, Leith Davis and Holly Faith Nelson (Farnham, 2012), 71–83. See also my essay, ‘ “Simple Bards, unbroke by rules of Art”: The Poetic Self-Fashioning of Burns and Hogg’, in Burns and Other Poets,ed. David Sergeant and Fiona Stafford (Edinburgh, 2012), 143–55. 65. Southey, ‘The Lay of the Laureate. Carmen Nuptiale’, in Robert Southey: Later Poetical Works, 1811–1838, ed. Tim Fulford and Lynda Pratt, 4 vols (London, 2012), III, Proem, ll. 49–54. 66. Francis Jeffrey, Review of The Lay of the Laureate. Carmen Nuptiale, Edinburgh Review, 26 (June 1816), 441–9 (443). 67. Hazlitt pits Southey’s dual selves against one in a devastating review of Wat Tyler in The Examiner (9 March 1817), 157–9. 68. See ‘The Critical Reception of Robert Southey’s Wat Tyler’: http://www.rc. umd.edu/editions/wattyler/contexts/reception.html. 69. ‘Review of The Lay of the Laureate’, 442. 70. Dedication to Don Juan,inByron: The Complete Poetical Works, V, ll. 1, 2, 5, 19–20. 71. Southey, Preface to A Vision of Judgement,inRobert Southey: Later Poetical Works, 1811–1838, III, 535–49 (543). 72. Dedication to Don Juan, ll. 39–40. 73. Murphy, 105–6. 74. Murphy, 108, 96, 94. Margaret Russett briefly considers The Poetic Mirror as part of a culture of forgery, agreeing with Murphy that ‘Hogg disinte- grates into a cacophony of competing voices’, in Fictions and Fakes: Forging Romantic Authenticity, 1760–1845 (Cambridge, 2006), 182. 75. See Gillian Hughes, ‘ “Native Energy”: Hogg and Byron as Scottish Poets’, The Byron Journal, 34.2 (2006), 133–42; Philip Cardinale, ‘Heroic Models in Hogg’s Russiade’, SHW, 12 (2001), 104–17; Gilbert and Mack, Introduction to QH, xxxix–xl. 76. Jane Stabler, Byron, Poetics and History (Cambridge, 2002). 77. See Nigel Leask, Robert Burns and Pastoral: Poetry and Improvement in Late Eighteenth-Century Scotland (Oxford, 2010). 78. See Douglas Mack, ‘Hogg’s Bardic Epic: Queen Hynde and Macpherson’s Ossian’, in Alker & Nelson, 139–56. 79. Peter Garside, ‘Hogg and Scott’s “First Meeting” and the Politics of Literary Friendship’, in Alker & Nelson, 21–41; Duncan, Scott’s Shadow, 183–214, 246–86. For comparison of Hogg’s and Scott’s storytelling, see also Penny 264 Notes to Chapter 1

Fielding, Writing and Orality: Nationality, Culture, and Nineteenth-Century Scottish Fiction (Oxford, 1996), 99–131. 80. For the literary treatment of Northern Britain, see Penny Fielding, Scotland and the Fictions of Geography: North Britain, 1760–1830 (Cambridge, 2008). See also Claire Lamont and Michael Rossington (eds), Romanticism’s Debat- able Lands (Basingstoke, 2007). 81. ‘Reminiscences of Former Days’, AT, 66. 82. David Fairer, Organising Poetry: The Coleridge Circle, 1790–1798 (Oxford, 2009); Felicity James, Charles Lamb, Coleridge and Wordsworth: Reading Friendship in the 1790s (Basingstoke, 2008). Hogg’s ideas are much closer to Burns’s ‘bardic fraternity’, as discussed by Liam McIlvanney in Burns the Radical: Poetry and Politics in Late Eighteenth-Century Scotland (East Linton, 2002), 97–119. 83. ‘Memoir’, 40. 84. Byron to Hogg, 24 March 1814, Byron’s Letters and Journals, ed. Leslie A. Marchand, 13 vols (London, 1973–94), IV, 86 (hereafter BLJ). 85. ‘Memoir’, 39. 86. Hogg to Byron, 30 July 1814, Letters, I, 192. Byron recommended Hogg to Murray in several letters, even suggesting that he publish the ‘Poetical Repository’; see BLJ, IV, 151, 162, 164, 167. For further discussion of their correspondence, see Douglas Mack, ‘Hogg, Byron, Scott, and John Murray of Albemarle Street’, Studies in , 35–6 (2007), 307–25. 87. Byron to Thomas Moore, 3 August 1814, BLJ, IV, 152. 88. Hogg to Byron, 13 September 1814, Letters, I, 201. 89. ‘To the Right Hon. Lord Byron’, in MND,1. 90. Hogg identifies the Old Testament, Shakespeare and Wordsworth’s poetic works as the richest sources of mottos and quotations in ‘Reminiscences of Former Days’, AT, 69. 91. Byron refers to Milton’s Paradise Lost and Cain and Abel in his earliest surviving letter to Hogg. See BLJ, IV, 84. 92. Anon., ‘On the Genius of Hogg’, Literary Speculum, 2 vols (London, 1822), II, 441. 93. For Scott’s acceptance of the dedication and support of Cain, see Scott to Murray, 17 December 1821, The Letters of Sir Walter Scott, ed. H. J. C. Grierson, 12 vols (London, 1932–37), VII, 37–8. 94. Byron to Murray, 23 August 1821, BLJ, VIII, 187 (original emphasis). 95. BLJ, VII, 200. 96. See Byron to Murray, 24 September 1821, BLJ, VIII, 219. The others were Scott, Crabbe, Moore, Campbell, Rogers, Gifford, Baillie, Irving and Wilson. 97. See Chapter 3, pp. 167, 171–3 for further discussion. 98. Duncan, Introduction to WET, xxvii. 99. See Gifford, 93; Duff, 186; Duncan, Scott’s Shadow, 194. 100. Wordsworth, Preface to Lyrical Ballads, 103. Percy Bysshe Shelley, ‘A Defence of Poetry’, in The Major Works, ed. Zachary Leader and Michael O’Neill (Oxford, 2009), 674–701 (696). 101. Shelley, ‘A Defence of Poetry’, 701. 102. See The Letters of John Keats 1814–1821, ed. Hyder Edward Rollins, 2 vols (Cambridge, Mass., 1958), I, 193, 387, II, 102. Notes to Chapter 2 265

103. Wordsworth, Preface to Lyrical Ballads, 98. 104. See Silvia Mergenthal, ‘James Hogg’s Lay Sermons and the Essay Tradition’, SHW, 2 (1991), 64–71. 105. ‘Reviewers’, LS, 99–107 (100). 106. For an informative account of Hogg’s dealings with publishers, see Peter Garside, ‘Hogg and the Book Trade’, in Companion, 21–30. 107. See Hans de Groot, ‘The Labourer and Literary Tradition: James Hogg’s Early Reading and Its Impact on Him as a Writer’, in Alker & Nelson, 81–92. 108. See Gérard Genette, Paratexts: Thresholds of Interpretation (1987), trans. Jane E. Levin (Cambridge, 1997). 109. Laurence Sterne, Tristram Shandy, ed. Howard Anderson (New York and London, 1980), 164. I discuss the importance of Tristram Shandy for Hogg in Chapter 4, pp. 181–8. 110. Carolyn Weber, ‘Delighting in the Indissoluble Mixture: The Motley Romanticism of James Hogg’, SHW, 17 (2006), 49–62. Weber describes Hogg’s ‘motley Romanticism’ as ‘the taking of disparate parts and placing them together so that they abide, ultimately, within a kind of harmony’ (50).

2 Hogg’s Eighteenth-Century Inheritance: The Queen’s Wake, National Epic and Imagined Ancestries

1. QW, [1813 version], cf. Introduction, l. 306 and Night the First, l. 955. 2. See Herbert Tucker, Epic: Britain’s Heroic Muse, 1790–1910 (Oxford, 2008), 148, 161, 235. 3. Michael O’Neill, ‘Romantic Re-appropriations of the Epic’, in The Cambridge Companion to the Epic, ed. Catherine Bates (Cambridge, 2010), 193–210 (193). See also Duff, 146–53. 4. Robert Southey, The Life and Correspondence of the Late Robert Southey, ed. Charles Cuthbert Southey, 6 vols (London, 1850), II, 121. See Curran, Chapters 7–8, and Tucker, Chapters 2–6. 5. Curran, 172. Tucker, 148, 146. 6. Curran, 181. 7. Leith Davis, Acts of Union: Scotland and the Literary Negotiation of the British Nation, 1707–1830 (Stanford, 1998), 153. 8. Tucker, 121–7 (122). 9. See Linda Colley, Britons: Forging the Nation 1707–1837 (London and New Haven, 1992) and Colin Kidd, Subverting Scotland’s Past: Scottish Whig His- torians and the Creation of an Anglo-British Identity, 1689–c.1830 (Cambridge, 1993). 10. Howard Weinbrot, Britannia’s Issue: The Rise of British Literature from Dryden to Ossian (Cambridge, 1993). 11. Katie Trumpener, Bardic Nationalism: The Romantic Novel and the British Empire (Princeton, 1997). 12. See Robert Crawford, Devolving English Literature (Oxford, 1992), Susan Manning, Fragments of Union: Making Connections in Scottish and American 266 Notes to Chapter 2

Writing (New York, 2002), Ina Ferris, The Achievement of Literary Authority: Gender, History, and the Novels (Ithaca, 1991), Pittock, Scottish and Irish Romanticism, Duncan, Scott’s Shadow, Davis, Acts of Union, and Leith Davis, Ian Duncan and Janet Sorensen (eds), Scotland and the Borders of Romanticism (Cambridge, 2004). 13. James Chandler, England in 1819: The Politics of Literary Culture and the Case of Romantic Historicism (Chicago, 1998). 14. McLane, 165. Erik Simpson, 2. 15. Erik Simpson, 104–33. 16. See Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism (London, 1983). 17. William Robertson, The History of Scotland, reprint of the 14th edn (1794), 2 vols (London, 1996), I, 1–2. 18. See Colin Kidd, ‘The Ideological Significance of Robertson’s History of Scotland’, in William Robertson and the Expansion of Empire, ed. S. J. Brown (Cambridge, 1997), 122–44. 19. Kidd, 137. 20. Karen O’Brien, Narratives of Enlightenment: Cosmopolitan Histories from Voltaire to Gibbon (Cambridge, 1997), 114. 21. See Fiona Stafford, The Last of the Race: The Growth of a Myth from Milton to Darwin (Oxford, 1994), 83–108. 22. Russett, 5. 23. ‘Memoir’, 17–18. 24. Burns, Poems, Chiefly in the Scottish Dialect, title page. 25. ‘Memoir’, 21. Hogg adapts Hamlet, I.5.77–9. References are to William Shakespeare: The Complete Works, Compact Edition, ed. Stanley Wells and Gary Taylor (Oxford, 1988). 26. ‘Memoir’, 23. 27. The Prelude (1805), in William Wordsworth, ed. Stephen Gill (Oxford, 1994), Book III, 82. 28. See Spy, 12–19, 44–51, 96–104. The Scottish Muses are identified on the contents page as those of Walter Scott, Thomas Campbell, ‘∗∗∗∗’ (Hogg), John Leyden, James Grahame, Hector Macneill, Rev. James Nichol, Rev. William Gillespie, James Montgomery, Thomas and Allan Cunningham, Joanna Baillie, Anne Bannerman, Jane Stuart and Mrs Grant of Laggan. 29. For Hogg’s muse, see Spy, 15–16 (16). 30. ‘Memoir’, 28. 31. See McLane, 191–4. 32. See McLane for a reading of QW as a form of ‘imitative authorship’, 186–8. 33. Review of QW, reprinted from the Scottish Review,inThe Analectic Magazine, III (February 1814), 104–25 (109). 34. Francis Jeffrey, Review of QW, 3rd edn, in Edinburgh Review, XXIV (Novem- ber 1814), 157–74 (158, 168). 35. For an account of the different editions and the poem’s afterlife post-1819, see Mack, QW, xlviii–lxxvi. 36. Anonymous reviews in the Edinburgh Star, 5 February 1813, 3; Monthly Review, 75 (December 1814), 435–7; The Analectic Magazine, III (February 1814), 109; and La Belle Assemblée, n.s. 12 (October 1815), 176–8. Notes to Chapter 2 267

37. Review of QW,inAnalectic Magazine, III, 109. 38. John Morrison, ‘Random Reminiscences of Sir Walter Scott, of the Ettrick Shepherd, Sir , &c., &c. – No. 1’, Tait’s Edinburgh Magazine, 10 (1843), 569–78 (574). See also Miller, Electric Shepherd, 59. 39. Cf. the ‘houseless heads and unfed sides’ of King Lear, III.4.30. Quotations are from the 1623 Folio text, the version in Hogg’s copy of The Works of Shakespear, 8 vols (Edinburgh, 1761), VI. 40. For more on Hogg and Ossian, see Bold, James Hogg: A Bard of Nature’s Mak- ing, 90–2, 135–6. For Hogg’s copies of Fingal (London, 1762) and Temora (London, 1763), see Gillian Hughes, ‘Hogg’s Personal Library’, SHW,19 (2008), 32–65 (45). 41. Henry Mackenzie, unsigned essay in Lounger, 97 (9 December, 1786), repro- duced in Robert Burns: The Critical Heritage, ed. Donald A. Low (London, 1974), 67–71 (70). Cf. Bernard Barton, ‘O Heaven-taught Shepherd!’, in ‘Stanzas addressed to the Ettrick Shepherd on the publication of the Queen’s Wake’, 21 April 1813, published as a preface to the second edition (1814). See QW, 391–3. 42. Burns, ‘The Vision’, Duan First, l. 35, in The Poems and Songs of Robert Burns, ed. James Kinsley, 3 vols (Oxford, 1968), I, 103–13 (104). 43. See Hogg, Anecdotes of Scott, ed. Jill Rubenstein (Edinburgh, 1999), 54–5, and Scott, ,inThe Poetical Works of Sir Walter Scott, ed. J. Logie Robertson (Oxford, 1904), Introduction to Canto Second (102) and Scott’s note XXII on Mary Scott, 182–3. Hogg quotes this passage from Marmion in Spy, 36–8. 44. QW includes Hogg’s ballad, ‘Mary Scott’. 45. Walter Scott, The Minstrelsy of the Scottish Border, 2nd edn, 3 vols (Edinburgh, 1803), I, xxxvi (hereafter Minstrelsy). 46. Minstrelsy, I, xxxvi. 47. Minstrelsy, I, lxiii. 48. Walter Scott, The Lay of the Last Minstrel (1805), Facsimile of 1st edn (Oxford, 1992), Introduction, ll. 1–12. 49. For further discussion, see Stafford, Last of the Race, 162–6. 50. Walter Scott to Harriet Scott, Duchess of Buccleuch, 22 March 1813, Letters of Walter Scott, III, 238. 51. For Scott’s complicated genealogical interplay, see John Sutherland, The Life of Walter Scott (Oxford, 1995), 98–105. 52. See ‘Memoir’, 34. Princess Charlotte died in childbirth in 1817, but Hogg kept the dedication in subsequent editions of the poem. 53. Letitia E. Landon, Introduction to The Golden Violet (London, 1827). For Warton’s discussion of the Provençal Troubadours as originators of metrical romance and possible descendants of the Scandinavian scalds, see Thomas Warton, The History of English Poetry, 3 vols (London, 1774–81), I, 109–18, 147, and the opening dissertation, ‘Of the Origin of Romantic Fiction in Europe’. 54. See Trumpener, 6. 55. See Stafford, Last of the Race, 83–108. 56. Warton, The History of English Poetry, I, ii. 57. The Latin translation of Lodbrog’s song (stanzas XXV and XXIX) from Olaus Wormius’s Treatise de Literatura Runica appeared in Sir William 268 Notes to Chapter 2

Temple’s essay, ‘Of Heroic Virtue’, in Miscellanea, 3 vols (London, 1680, 1690, 1701), II, 93. 58. Thomas Warton, Poems on Several Occasions (London, 1748), 157–9. 59. William Collins, ‘An Ode on the Popular Superstitions of the Highlands of Scotland’ (published 1788), Poetical Works, ll. 40–52. 60. QW, title page. Adapted from Collins’s ‘Ode to Fear’, ll. 54–7. 61. Thomas Gray, ‘The Bard. A Pindaric Ode’, Poetical Works, ll. 15–22. 62. Stafford, Last of the Race, 97–101. 63. Gray, ‘The Bard’, ll. 44, 48. 64. Stafford, Last of the Race, 99. 65. For further discussion of Gray’s ‘The Bard’ in a British context and its rep- resentation of the triumph of poetry under Elizabeth Tudor, see Weinbrot, 384–98. 66. Gray, ‘The Bard’, l. 142. 67. James Macpherson, Preface to Fragments of Ancient Poetry,inThe Poems of Ossian and Related Works, ed. Howard Gaskill (Edinburgh, 1996), 5. 68. Macpherson, Fragments of Ancient Poetry,inPoems of Ossian, Fragment VIII, 18. 69. See Fiona Stafford, The Sublime Savage: A Study of James Macpherson and the Poems of Ossian (Edinburgh, 1988), 144–9, 151–60. 70. Hugh Blair, ‘Critical Dissertation on the Poems of Ossian’ (1763), in Macpherson, Poems of Ossian, 349. 71. See Nick Groom, The Making of Percy’s ‘Reliques’ (Oxford, 1999), 85–105. 72. Reliques of Ancient English Poetry, ed. Thomas Percy, 3 vols (London, 1765), I, xv. 73. For Macpherson, see Stafford, The Sublime Savage, 177–8. For Percy, see Kathryn Sutherland, ‘The Native Poet: The Influence of Percy’s Minstrel from Beattie to Wordsworth’, Review of English Studies, n.s. 33 (1982), 414–33. For Beattie’s influence on Hogg and Clare, see David Hill Radcliffe, ‘Crossing Borders: The Untutored Genius as Spenserian Poet’, John Clare Society Journal, 22 (July 2003), 51–67. 74. For Scott’s response to antiquarian debates about minstrels, see McLane, 146–60. 75. Erik Simpson, 119. 76. Catherine Gallagher, Nobody’s Story: The Vanishing Acts of Women Writers in the Marketplace, 1670–1820 (Oxford, 1994). 77. Russett, 172. Russett sees Hogg as ‘a hero’ for his ‘resistance to the cultural project that forged ...the fiction of authenticity we father on Romanticism’, but at the cost of ‘a coherent ego’ (191). 78. See Chapter 1, pp. 45 and 263 n74. 79. Confessions, 81. 80. Fiona Robertson, Legitimate Histories: Scott, Gothic and the Authorities of Fiction (Oxford, 1994), 74. 81. Jayne Lewis, Mary Queen of Scots, Romance and Nation (London, 1998). Hogg receives only a fleeting mention as a poet who wrote ‘considerably more than’ Wordsworth on Mary, Queen of Scots, 153. Chalmers’s work on Mary is not mentioned. 82. Lewis, 124–46, 160–5, 109. 83. Sophia Lee, The Recess, ed. April Alliston (Kentucky, 2000), 326. Notes to Chapter 2 269

84. John Sutherland (237–9) suggests a parallel between Queen Caroline of Brunswick and Mary, Queen of Scots in (1820). Lewis shares this interpretation, 147–50. 85. Ina Ferris, ‘Melancholy, Memory, and the “Narrative Situation” of History in Post-Enlightenment Scotland’, in Scotland and the Borders of Romanticism, ed. Leith Davis, Ian Duncan and Janet Sorensen (Cambridge, 2004), 77–93 (87). 86. The concurrent preparation of the first volume of JR and the fifth edition of QW is clear in Blackwood’s letter to Hogg on 7 December 1819, advising him about London publishers for JR and mentioning his receipt of a list of subscribers for QW, in the National Library of Scotland, (Copy) MS 30001 fol. 165. 87. JR, I, vi. For more on Hogg and , see Murray G. H. Pittock, Poetry and Jacobite Politics in Eighteenth-Century Britain and Ireland (Cambridge, 1994), Chapter 7. 88. Karen O’Brien, ‘Robertson’s Place in the Development of Eighteenth- Century Narrative History’, in William Robertson and the Expansion of Empire, ed. Stewart J. Brown (Cambridge, 1997), 74–91 (86). 89. O’Brien, Narratives of Enlightenment, 108. 90. Edmund Burke, Reflections on the Revolution in France, ed. Conor Cruise O’Brien (Harmondsworth, 1986), 169. 91. Hogg depicts Elizabeth’s jealousy in ‘A Story of Good Queen Bess’, Blackwood’s, 29 (1831), 579–93. For other literary representations of Elizabeth I, see Michael Dobson and Nicola J. Watson, England’s Elizabeth: An Afterlife in Fame and Fantasy (Oxford, 2002). 92. For further discussion, see my essay, ‘Hogg, Mary, Queen of Scots, and the Illustrations to The Queen’s Wake’, QW, lxxxvii–cxiii. 93. Edmund Spenser, The Faerie Queene, ed. A. C. Hamilton, 2nd edn (London, 2007), Book V, Canto ix, stanza 28 (hereafter FQ). 94. FQ, V.ix.29. 95. FQ, V.ix.25. 96. For further hints of Spenser’s criticism of Elizabeth, see Elizabeth Heale, The Faerie Queen: A Reader’s Guide, 2nd edn (Cambridge, 1999), 140–5. 97. FQ, V.ix.38. 98. FQ, V.ix.48. 99. Letters of Walter Scott, I, 328. 100. See Robin MacLachlan, ‘Hogg and the Art of Brand Management’, SHW,14 (2003), 1–15, and Silvia Mergenthal, ‘Naturae Donum: Comments on Hogg’s Self-Image and Image’, SHW, 1 (1990), 71–9. 101. See Mack, QW, 418n. 102. Hogg, Anecdotes of Scott, 9, 61. 103. William Dunbar, ‘Lament for the Deth of the Makkaris’, in Sir David Dalrymple of Hailes, Ancient Scottish Poems (Edinburgh, 1770), 74–8 (76), ll. 53–6. 104. Priscilla Bawcutt, Dunbar the Makar (Oxford, 1992), 25–6. 105. Modern editors such as James Kinsley and Priscilla Bawcutt agree with Ramsay. 106. Hailes, 274. 270 Notes to Chapter 3

107. Alan Grant, in ‘A Presentation Copy of The Queen’s Wake’(Newsletter of the James Hogg Society, 8 (1989), 21–2), lists Hogg’s annotations: the bards are John Morrison, Revd William Gillespie, William Tennant, John Wilson, Tom Hamilton, John Grieve, Revd James Gray and Allan Cunningham. For Hogg’s revisions for the fifth edition, see Mack, QW, lxxi–lxxv. 108. ‘Memoir’, 27. 109. For more on Gray, see Hughes’s notes in Spy, 562–3, and Hogg’s ‘Memoir’ in AT, 26, 28–9. 110. Monthly Review, LXXV (December 1814), 435–7 (435). 111. Spy, 101. 112. BLJ, III, 219–20. 113. For further discussion of this passage, see Mack, QW, lvii–lviii. 114. See Chapter 1, p. 27.

3 By Accident and Design: Burns, Shakespeare and Hogg’s Kaleidoscopic Techniques, from the Theatre and The Poetic Mirror to Queen Hynde

1. ‘Memoir’, 18. 2. ‘Memoir’, 18. 3. ‘Memoir’, 18. See Douglas Mack, ‘Hogg as Poet: A Successor to Burns?’, in Love and Liberty: Robert Burns a Bicentenary Celebration, ed. Kenneth Simpson (East Lothian, 1997), 119–27. 4. See Miller, Electric Shepherd, 341. 5. ‘Memoir’, 18. 6. The Works of Robert Burns; with an account of his life, and a criticism of his writings, ed. James Currie, 4 vols, 3rd edn (Edinburgh, 1802), I, 44. 7. Robert Burns to Bruce Campbell, 13 November 1788, The Letters of Robert Burns, 2nd edn, ed. G. Ross Roy, 2 vols (Oxford, 1985), I, 335. 8. Burns, Poems, Chiefly in the Scottish Dialect, 70. 9. Burns, Poems, Chiefly in the Scottish Dialect, 75. 10. Robert Burns to Dr John Moore, 2 August 1787, Letters of Robert Burns,I, 146. 11. See Robert Crawford, The Bard: Robert Burns, A Biography (London, 2009). 12. See Gillian Hughes, ‘James Hogg and the “Bastard Brood” ’, SHW, 11 (2000), 56–68. 13. See ‘Memoir’, 18. 14. For eighteenth- and nineteenth-century representations of the meteor, see Roberta J. M. Olson and Jay M. Pasachoff, Fire in the Sky: Comets, Meteors, the Decisive Centuries, in British Art and Science (Cambridge, 1998). 15. ‘Memoir’, 23. 16. QH, I.1097. 17. Cf. Shakespeare’s use of the meteor to suggest a political rebellion from an ‘obedient’ orbit in Henry IV, Part I, V.1.15–21. 18. Cf. Hogg’s use of the meteor as an image of self-destruction in The Pilgrims of the Sun,inMND, II.405–12, 440–56. 19. ‘Ode to the Genius of Shakespeare’, l. 36. First published in Edinburgh Evening Courant, 4 May 1815, and later in The Poetical Works of James Hogg, Notes to Chapter 3 271

4 vols (Edinburgh, 1822), IV, 252–4. See also Hughes, James Hogg, A Life, 137–8. 20. The Mountain Bard (S/SC), 200. For Hogg’s early playwriting, see Mack’s introduction to The Bush Aboon Traquair and The Royal Jubilee (S/SC), xiii–xv. 21. HJ, 21, 118. Cf. ‘Life of Robert Burns’, Currie, I, 61–2. 22. Samuel Johnson, ‘Preface to Shakespeare’, in Johnson on Shakespeare,ed. Arthur Sherbo, 2 vols (New Haven, 1968), II, 57–113 (88, 89). 23. Johnson, ‘Preface to Shakespeare’, 84. QW, Night the First, l. 510. 24. Michael Dobson, The Making of the National Poet: Shakespeare, Adaptation and Authorship, 1660–1769 (Oxford, 1992), 8. 25. Spy, 135. For the ‘Old Price’ riots, see Marc Baer, Theatre and Disorder in Late Georgian London (Oxford, 1992). 26. Spy, 135. 27. ‘Memoir’, 28. See Hughes, James Hogg, A Life, 86–7. 28. Spy, 130. 29. For Hogg’s plagiarism, see Hughes’s introduction to Spy, xxxii–xxxiv. 30. Spy, 515. 31. Coleridge to Thomas Poole, 13 February 1813, Collected Letters of Samuel Taylor Coleridge, ed. Earl Leslie Griggs, 6 vols (Oxford, 1956–71), III, 437. 32. Letters, I, 140. 33. Letters, I, 140. 34. Letters, I, 140. 35. Hogg showed his play to John Grieve, William Roscoe, Bernard Barton, Capell Lofft, Eliza Izet, Walter Scott, James Gray and George Goldie. See Letters, I, 139–41, 147–9, 150–3, 157, 170–3. 36. See Letters, I, 150. 37. J. H. Craig of Douglas, The Hunting of Badlewe, A Dramatic Tale (London and Edinburgh, 1814), viii. 38. See Letters, I, 179, 182, 185. 39. For Hogg’s earlier use of Holinshed’s Scottish Chronicle, 2 vols (Arbroath, 1805), see QW, 178, 186, 442n, 445n. 40. Badlewe, IV.2, 105. 41. See ‘Hogg and the Theatre’, in Companion, 105–12. 42. Miller, Electric Shepherd, 124–7. 43. Miller, Electric Shepherd, 126–7. 44. ‘Memoir’, 42. 45. ‘Memoir’, 41. 46. Title page, The Poetic Mirror (London and Edinburgh, 1816); quoted from The Winter’s Tale, IV.4.264–5 (hereafter WT). 47. WT,IV.4.258–63. 48. Hamlet, III.2.17–19. 49. The Eclectic Review, 2nd series, 6 (November 1816), 507–11 (507). 50. Scots Magazine, 79 (January 1817), 46–51 (46). 51. Quarterly Review, 15 (July 1816), 463–75 (463). 52. Quarterly Review, 463. 53. Critical Review, fifth series, 4 (November 1816), 456–71 (458). 54. Critical Review, 4, 466. 272 Notes to Chapter 3

55. Sales of PM slackened after Hogg’s authorship became known in 1817. Writ- ing to the publisher, George Boyd, on 8 March 1820, Hogg mentions that there were 750 copies of each edition, Letters, II, 16. He had recently urged Boyd to buy the 226 unsold copies of the second edition, Letters, II, 8. 56. WT, IV.3.34, 57–8. Cf. Luke 10.30–37. 57. WT, IV.3.85–90. 58. William Shakespeare, The Winter’s Tale, ed. Susan Snyder and Deborah T. Curren-Aquino (Cambridge, 2007), 172. 59. WT, IV.3.23. 60. Hogg to John Aitken, 20 December 1817, Letters, I, 315. 61. See Miller, Electric Shepherd, 140–4, and Hughes, James Hogg, A Life, 147–8. 62. WT, IV.4.257–9. For Hogg’s attempt to increase sales of PM in 1817 by pre- tending to be a witness, ‘J. P. Anderson’, to Mr Hogg having received the poems in manuscript form, see Letters, I, 320–1. 63. According to Hogg’s ‘Memoir’ (39), Southey, Wilson, Wordsworth, Lloyd, Morehead, Pringle and Paterson had all sent him poems, but Wordsworth later withdrew his poem. Hogg included Thomas Pringle’s ‘Epistle to R.S. ∗∗∗∗’inPM as an imitation of Scott. 64. See ‘The Scottish Muses’, Spy, 15–16. 65. Miller, Electric Shepherd, 118. ‘Memoir’, 40. 66. ‘Memoir’, 40. 67. See Herbert Grabes, The Mutable Glass: Mirror-Imagery in Titles and Texts of the Middle Ages and the English Renaissance, trans. Gordon Collier (Cambridge, 1982). 68. William Hazlitt, ‘On Mr Wordsworth’s “Excursion” ’, Examiner (2 October 1814), 636–8 (636). 69. William Hazlitt, ‘My First Acquaintance with Poets’, in The Complete Works of William Hazlitt, ed. P. P. Howe, 21 vols (London, 1930–34), XVII, 106–22 (118). 70. Hogg, Anecdotes of Scott, 9, 61. 71. Eclectic Review, 2nd series, 6 (December 1816), 585–9 (585). 72. AT, 68. 73. AT, 68. 74. Samuel Taylor Coleridge, Christabel: Kubla Khan, A Vision; The Pains of Sleep (London, 1816), 3, 47. 75. Augustan Review, 3 (December 1816), 556–78 (566). 76. Augustan Review, 3, 568. 77. Augustan Review, 3, 571. 78. Hogg to Thomas Pringle, 1 February 1819, Letters, I, 399. 79. BLJ, III, 219–20. 80. ‘Memoir’, 39. 81. Robertson, The History of Scotland, I, 1–2. See my discussion on pp. 67–8. 82. For more on the mock-epic genre, see Ritchie Robertson, Mock-Epic Poetry from Pope to Heine (Oxford, 2009). 83. Henry Fielding, Preface to Joseph Andrews, ed. Martin C. Battestin (Oxford, 1967), 4, and Tom Jones, ed. John Bender and Simon Stern (Oxford, 1996), 453. 84. For Hogg’s appropriation of history, see Mack’s and Gilbert’s introduction to QH, xvi–xviii. Notes to Chapter 3 273

85. ‘Memoir’, 42. 86. ‘Memoir’, 42. 87. Mack and Gilbert explain in their edition that the manuscript of QH at the Huntington Library, California, indicates that Hogg began composing the poem in 1817, abandoned it at Book Third, line 1071, and resumed and completed it in 1824, xiv. This supports Hogg’s account of the poem’s composition in ‘Memoir’, 42. 88. For eighteenth-century debates on the origins of the Picts, see The Problem of the Picts, ed. F. T. Wainwright (Perth, 1980), 1–53. 89. William Wordsworth, ‘Ode: Intimations of Immortality from Recollections of Early Childhood’, in Poems, in Two Volumes, and Other Poems, 1800–1807, ed. Jared Curtis (Ithaca, NY, 1983), l. 64. 90. Wordsworth, ‘Ode’, ll. 146, 152. 91. Johnson, ‘Preface to Shakespeare’, 84. 92. WT, IV.4.82–3, 97. 93. For discussion of Romantic responses to Shakespeare, see Jonathan Bate, Shakespeare and the English Imagination (Oxford, 1986). Bate only mentions Hogg as the recipient of a letter from Byron (224–5). 94. Johnson, ‘Preface to Shakespeare’, 66. 95. Johnson, ‘Preface to Shakespeare’, 67. 96. ‘Memoir’, 43. 97. ‘Memoir’, 43. 98. See Sharon Alker and Holly Faith Nelson, ‘Marginal Voices and Transgressive Borders in Hogg’s Epic, Queen Hynde’, SHW, 12 (2001), 25–39. 99. Duncan, Scott’s Shadow, Chapter 1. 100. Andrew Lincoln, ‘Walter Scott and the Birth of the Nation’, Romanticism, 8.1 (2002), 1–17 (16). 101. Valentina Bold, ‘The Royal Jubilee: James Hogg and the House of Hanover’, SHW, 5 (1994), 1–19 (19). Mack, Introduction to The Bush Aboon Traquair and The Royal Jubilee (S/SC). 102. Cf. JR [First Series], 45–7. 103. Macpherson, Fingal,inPoems of Ossian, Book II, 65. Cf. the ‘streamer of light’ in ‘King Edward’s Dream’, in QW, Night the Third, l. 922. 104. See QH, 263, n. 76. 105. King Lear, II.2.173. 106. See III.1181, 1189, 1270, 1391, 1082. 107. Hamlet, IV.2.27–9. 108. Paine, 234. 109. See Mack on Hogg’s friendships with radical sympathisers, QW, xi–xxv. 110. Paine, 235. 111. See Spy,4. 112. Byron, Don Juan,inByron: The Complete Poetical Works, V, Canto VI, stanzas 26 and 37. 113. See Byron, Don Juan, Canto II, stanzas 19–23. 114. Review of QH,inLiterary Gazette (25 December 1824), 817–19 (817). 115. Literary Gazette, 817. 116. Review of QH,inMonthly Review, second series (April 1825), 368–72 (369, 368). 274 Notes to Chapter 4

117. ‘Noctes Ambrosianae’, Blackwood’s, 17 (January 1825), 114–30 (123). Miller, Electric Shepherd, 257.

4 Exploding Authority and Inheritance: Reading the Confessions of a Justified Sinner as a Kaleidoscopic Novel

1. Westminster Review, 2 (October 1824), 560–2 (560), and The Examiner (1 August 1824), 482–3 (483). 2. Westminster Review, 560, and New Monthly Magazine, 12 (November 1824), 506. 3. See for example, British Critic, n.s. 22 (July 1824), 68–80 (79), News of Liter- ature and Fashion (17 July 1824), 95–6, and Quarterly Theological Review and Ecclesiastical Record, 1 (December 1824), 99–100 (100). 4. British Critic, 69. 5. André Gide, Introduction to Confessions (London, 1947), ix–xvi (ix, x). 6. Duncan, Scott’s Shadow, 286. 7. See, for example, Gary Kelly, ‘Romantic Fiction’, in The Cambridge Compan- ion to British Romanticism, ed. Stuart Curran (Cambridge, 1993), 196–215 (214–15) and English Fiction of the Romantic Period 1789–1830 (London, 1989), 21. 8. I discuss scholarship on Hogg’s relationships to Scott and magazine culture in the Introduction and Chapter 1. For the use of oral tradition, see Fielding, Writing and Orality, and Mack, Scottish Fiction and the British Empire. Gothic approaches to the Confessions which take into account the importance of national identity include Russett, 155–91, Pittock, Scottish and Irish Roman- ticism, 211–34, and Ina Ferris, ‘Scholarly Revivals: Gothic Fiction, Secret History, and Hogg’s Private Memoirs and Confessions of a Justified Sinner’in Recognizing the Romantic Novel: New Histories of British Fiction, 1780–1830, ed. Jillian Heyt-Stevenson and Charlotte Sussman (Liverpool, 2008), 267–84. 9. Hans de Groot, ‘The Labourer and Literary Tradition’, in Alker & Nelson. 10. HJ, 18, 129. Hughes, ‘Hogg’s Personal Library’, 47. 11. Thomas Keymer, Sterne, the Moderns, and the Novel (Oxford, 2002), 72–82. 12. Keymer, Sterne, 165–83. 13. De Quincey’s experiments with the apparition of the Brocken in Suspiria de Profundis (1845) lead to his conception of the ‘Dark Interpreter’, a sinister second self who appears both inside and outside his mind. See Thomas De Quincey, Suspiria de Profundis,inConfessions of an English Opium-Eater and Other Writings, ed. Grevel Lindop (Oxford, 1996), 156. For further discussion, see Marina Warner, Fantastic Metamorphoses, Other Worlds: Ways of Telling the Self (Oxford, 2002), 179–86. 14. See my discussion in Chapter 2, pp. 67–8. 15. See Pittock, Scottish and Irish Romanticism, 217–18. 16. Sterne, 164. 17. Hogg, The Private Memoirs and Confessions of a Justified Sinner (London, 1824), frontispiece and title page. 18. For Duncan’s discussion of Hogg’s ‘Authenticity Effects’ in a Scottish context, see Scott’s Shadow, 272–86. 19. British Critic, 71. Notes to Chapter 4 275

20. Samuel Johnson, Rambler, No. 4 (31 March 1750), in The Rambler, ed. W. J. Bate and Albrecht B. Strauss, 3 vols (New Haven, 1969), I, 19–25 (22). 21. Johnson, Rambler, No. 4, I, 24. 22. See Chapter 1, pp. 17–22. 23. A number of Romantic-era miscellanies included wordless pages and spaces for readers to personalise their copies with dedications and notes. For further discussion, see Piper, 128–38. 24. Blackwood’s, 3 (May 1818), 121–3 (121, 122). 25. In his introduction, Brewster also explains his loss of proprietorship of his invention. The rapidity with and extent to which the kaleidoscope was pirated confirmed its popularity across the social scale, but his patent was too late; he made no money from his popular invention, despite its widespread cultural impact. 26. Brewster, Treatise, 63. 27. Brewster, Treatise, 64. 28. Brewster, Treatise, 66. 29. William Godwin, ‘Essay of History and Romance’, in Political and Philosoph- ical Writings of William Godwin, ed. Mark Philp, 7 vols (London, 1993), V: Educational and Literary Writings, ed. Pamela Clemit, 290–301 (296, 297). 30. Godwin, 297, 301. 31. Godwin, 299. Walter Scott, ‘An Essay on Romance’ for the Encyclopaedia Britannica,inThe Miscellaneous Prose Works of Sir Walter Scott, 6 vols (Edinburgh, 1834), VI, 127–216 (127). Scott wrote the essay after finishing St Ronan’s Well in late November or early December 1823. 32. See Ian Duncan, Modern Romance and Transformations of the Novel: The Gothic, Scott, Dickens (Cambridge, 1992), and Fiona Robertson. 33. For discussion of the ‘legitimation debate’ in Britain in relation to Scott’s late romances, see Miranda J. Burgess, British Fiction and the Production of Social Order 1740–1830 (Cambridge, 2000), 186–234. 34. For the use of dates, see P. D. Garside’s ‘Historical and Geographical Note’, Confessions, 200–10. Garside also sees the birth of the two sons as lying on either side of the Revolution divide (200). 35. Nicola J. Watson, Revolution and the Form of the British Novel, 1790–1825 (Oxford, 1994), 173. 36. Burke, 115. 37. See Garside, in Confessions, 201–2. 38. Burke, 101, 99, 119, 120. 39. Burke, 192. Cf. Mark 12.1–12. 40. Burke, 192. 41. Burke, 195. 42. Confessions, 228, n.70(b). 43. Burke, 192, 195. 44. Burke, 127. 45. Miller, Electric Shepherd, 224. 46. Michael York Mason, ‘The Three Burials in Hogg’s Justified Sinner’, Studies in Scottish Literature, 13 (1978), 15–23. 47. Burke, 195. 48. For Duncan’s reading of Hogg’s response to Enlightenment philosophical theories of sympathy, see Scott’s Shadow, 264–72; ‘Sympathy, Physiognomy, 276 Notes to Chapter 4

and Scottish Romantic Fiction’, in Recognizing the Romantic Novel: New Histories of British Fiction, 1780–1830, 285–305; and ‘Fanaticism and Enlight- enment in Confessions of a Justified Sinner’, in Alker & Nelson, 57–70. 49. Walter Scott, , ed. Kathryn Sutherland (Oxford, 1985), 212. 50. See Carey’s introduction to Confessions (Oxford, 1969), xvi. The Pilgrim’s Progress from this World to That which is to Come, ed. James Blanton Wharey, 2nd edn, rev. by Roger Sharrock (Oxford, 1960), 163. 51. See BLJ, VI, 77, 82. 52. Byron, Don Juan, Canto II, stanza 86. Samuel Taylor Coleridge, The Rime of the Ancient Mariner,inThe Collected Works of Coleridge: Poetical Works,ed. J. C. C. Mays, 3 vols (Princeton, 2001), I (Part 1), Book III, l. 157. 53. Byron, Don Juan, II, stanza 55. Coleridge, The Rime of the Ancient Mariner, III, ll. 216, 220. 54. Byron, Don Juan, II, stanzas 91–3. 55. See Genesis 9.12–17. 56. Byron, Don Juan, II, stanza 95. 57. See Chapter 1, p. 56. 58. Iain McCalman, Radical Underworld: Prophets, Revolutionaries, and Pornographers in London, 1795–1840 (Cambridge, 1988); Jon Mee, Dangerous Enthusiasm: William Blake and the Culture of Radicalism in the 1790s (Oxford, 1992). 59. William Blake, The Marriage of Heaven and Hell,inBlake: The Complete Poems, ed. W. H. Stevenson, 3rd edn (Harlow, 2007), ‘Proverbs of Hell’, l. 67, 6 (hereafter MHH). 60. See Joseph Viscomi, Blake and the Idea of the Book (Princeton, 1993). 61. Jean H. Hagstrum, William Blake, Poet and Painter: An Introduction to the Illu- minated Verse (Chicago, 1964), 10. See also W. J. T. Mitchell, Blake’s Composite Art: A Study of the Illuminated Poetry (Princeton, 1978), and Mee on ‘Blake the Bricoleur’, in Dangerous Enthusiasm, 1–19. 62. Duff, 182. 63. Confessions, 67. 64. William Blake to Dr Trusler, 23 August 1799, in The Letters of William Blake, ed. Geoffrey Keynes (London, 1968), 29. 65. MHH, ‘A Memorable Fancy’, ll. 177–8; II, ll. 11–12. 66. MHH, II, l. 7, and ‘A Memorable Fancy’, pl. 21. 67. MHH, ‘The Voice of the Devil’, ll. 53–4. 68. MHH, ‘A Memorable Fancy’, ll. 73–6. 69. See Mack, ‘Hogg’s Politics and the Presbyterian Tradition’, Companion, 67. 70. See Duff, 176–85 (178). 71. Duff, 186–7, 167–8. 72. See Duff, 184. 73. See G. A. Starr, ‘The Bump Above Robert Wringhim’s Ear: Phrenology in Hogg’s Confessions of a Justified Sinner’, SHW, 19 (2008), 81–9. 74. Westminster Review (October 1824), 561. 75. QH, I.1067, 1078. See Chapter 3, pp. 120 and 156–8, for further discussion. 76. See Mack, Scottish Fiction and the British Empire, 159–66. 77. The Examiner (1 August 1824), 483. Universal Review, 2 (September 1824), 108–12 (110). 78. John Keats to George and Tom Keats, 21, 27 (?) December 1817, in Letters of John Keats, I, 193. Notes to Chapter 5 277

79. Keats to Richard Woodhouse, 27 October 1818, in Letters of John Keats,I, 386–8 (387).

5 Imploding the Nation: Aesthetic Conflict in Tales of the Wars of Montrose

1. For further discussion of the early critical reception, see Hughes’s introduc- tion, Montrose, xxix–xxxii. 2. On Hogg’s treatment of historical fiction, see, for example, Duncan, Scott’s Shadow, 183–214, Mack, Scottish Fiction and the British Empire, and John MacQueen, The Rise of the Historical Novel: The Enlightenment and Scottish Lit- erature (Edinburgh, 1989). On Hogg’s short stories, see Fielding, Writing and Orality, 122–31, Tim Killick, British Short Fiction in the Early Nineteenth Cen- tury: The Rise of the Tale (Aldershot, 2008), and John Plotz, ‘Hogg and the Short Story’, in Companion, 113–21. 3. ‘The Spirit of the Time’, Tait’s Edinburgh Magazine, 1 (April 1832), 64. 4. Richard Cronin, Romantic Victorians: English Literature, 1824–1840 (Basingstoke, 2002), 2. 5. Allan Cunningham, Biographical and Critical History of the British Literature of the Last Fifty Years (Paris, 1834), 325. 6. Cunningham, 325. 7. For Hogg’s situation in the publishing market, see Garside, ‘Hogg and the Book Trade’, in Companion, 21–30. See also Hughes’s introduction to AT for Blackwood’s complaints about the impact of the Reform Bill on publishing, xxi. 8. Letters, II, 269. 9. Letters, III, 190. 10. Letters, III, 255. 11. For further positioning of Hogg’s response to Smith’s stadial theory, see Mack, ‘Hogg’s Politics and the Presbyterian Tradition’, in Companion, 64–72. 12. Caroline McCracken-Flesher, ‘Hogg and Nationality’, in Companion, 73–81 (74). 13. McCracken-Flesher, 74. 14. For further discussion, see Janette Currie’s introduction to Contributions to Annuals and Gift-Books (S/SC) and Gillian Hughes’s ‘Magazines, Annuals, and the Press’, in Companion, 31–6. 15. Killick, 35. 16. Killick, 35. 17. Hogg to John Macrone, 17 June 1833, Letters, III, 159. 18. Hogg to Cochrane, [8 November–13 December 1834], Letters, III, 244–5. 19. Hughes provides a full account of the genesis of the collection in Montrose, xi–xvii. Cf. Gifford, 202. 20. Letters, III, 244, 245. 21. See Chapter 1, pp. 57–8, for discussion of Hogg’s dedication to A Queer Book. 22. See Hughes, Montrose, xi–xvii. 23. New Monthly Magazine, 44 (June 1835), 237–8 (238). 24. New Monthly Magazine, 44, 238. 278 Notes to Chapter 5

25. Gillian Hughes, ‘The Struggle with “anarchy and confusion” in Tales of the Wars of Montrose’, SHW, 3 (1992), 18–30 (18). 26. Literary Gazette, 21 March 1835, 179–80 (179). 27. For Hogg’s sermon on ‘Reviewers’, see also Chapter 1, p. 56. LS, 99. 28. LS, 100. 29. LS, 100, 105. 30. LS, 106. 31. Sharon Alker and Holly Faith Nelson, ‘Hogg and Working-Class Writing’, in Companion, 55–63 (62). 32. Jon Klancher, The Making of English Reading Audiences 1790–1832 (Madison, 1987), 4. St Clair. 33. See WET, xxxi–xxxii. 34. John Sutherland, 226. 35. Gifford (199) notes Sir Simon’s similarity to Don Quixote. 36. Mack, Scottish Fiction and the British Empire, 130, 145. 37. See Mack, introduction to Walter Scott, The Tale of (Harmondsworth, 1999), xii–xxix. 38. Antony Hasler, introduction to Hogg, The Three Perils of Woman, xxvi. 39. Hasler, xxvi. 40. Duncan, Scott’s Shadow, 171, 220. 41. Letters, III, 92. 42. Plotz, ‘Hogg and the Short Story’, 115. See also John Plotz, ‘The Whole Hogg’, Review essay of the S/SC Collected Works, Novel, 43.1 (2010), 38–46. 43. Plotz, ‘Hogg and the Short Story’, 116. Plotz points out that all seven of the categories of poetic authority identified by Maureen McLane ‘undergird Hogg’s tales’ (117). See also McLane, 181–211. 44. See Gifford, 189, 191. 45. See Hughes, James Hogg: A Life, 291–4. Hogg was in London when the Reform Act was passed on 22 March 1832 and had attended some of the parliamentary debates at Westminster during his visit (see 259). 46. Letters, II, 436. 47. Letters, III, 267. Peel had heard of Hogg’s straitened circumstances and sent him an unsolicited gift of £100 on 9 March 1835. 48. See Letters, III, 260–1, 263–5. 49. ‘Reviewers’, LS, 99. 50. See also ‘Soldiers’ in LS, 40–7. 51. See Montrose, 282, n.98(c–d). 52. See Fingal and Carthon: A Poem, in Macpherson, Poems of Ossian, 100, 133. 53. Macpherson, Carthon, 133. 54. ‘For now we see through a glass darkly, but then face to face: now I know in part, but then shall I know even as also I am known’, I Corinthians 13.12. 55. See Blackwood’s, 28 (October 1830), 680–7. 56. Montrose, 138. Macpherson had four illegitimate children. Juliet was the younger of his two daughters. She married David Brewster in July 1810. 57. Baillie was similarly careful to stress the veracity of her sources. See Joanna Baillie: A Selection of Plays and Poems, ed. Amanda Gilroy and Keith Hanley (London, 2002), 127–31. 58. For Hogg’s response to Scott’s production, see Chapter 3, p. 124. For com- parison of the three authors’ treatment of the story, see my essay, ‘National Notes to Chapter 5 279

Discourse or Discord? Transformations of The Family Legend by Baillie, Scott, and Hogg’, in Alker & Nelson, 43–55. 59. Cf. ‘Tibby Hislop’s Dream’ and ‘Mary Burnet’ in Hogg, The Shepherd’s Calendar. 60. Cf. Baillie, The Family Legend,inSelection, V.3. 61. Sterne, 5. 62. Cf. Baillie, The Family Legend,inSelection, III.2. 63. See Walter Scott, , ed. J. H. Alexander (Edinburgh, 1995), Chapter 7. 64. ‘Memoir’, 18. 65. See AT, xlix–l. 66. See Hogg’s notes to ‘The Fray of Elibank’ in The Mountain Bard, 52. 67. See ‘The Battle of Philiphaugh’, from Minstrelsy of the Scottish Border, III, in Montrose, Appendix 2, 232–5. 68. Fielding, Writing and Orality, 129. 69. Fielding, Writing and Orality, 129. 70. McLane, 192. 71. For further discussion of Hogg’s use of sources, see Gillian Hughes, ‘ “Wat Pringle o’ the Yair” ’: History or Tradition?’, SHW, 6 (1995), 50–3. 72. See, for example, Amanpal Garcha, From Sketch to Novel: The Development of Victorian Fiction (Cambridge, 2009) and Richard C. Sha, The Visual and Verbal Sketch in British Romanticism (Philadelphia, 1998). Select Bibliography

The Collected Works of James Hogg

The volumes of the Stirling/South Carolina Research Edition (S/SC) of The Col- lected Works of James Hogg (General Editors: Douglas S. Mack, Gillian Hughes, Suzanne Gilbert and Ian Duncan) which have been published to date are:

1. The Shepherd’s Calendar, ed. Douglas S. Mack (Edinburgh, 1995) 2. The Three Perils of Woman, ed. David Groves, Antony Hasler and Douglas S. Mack (Edinburgh, 1995) 3. A Queer Book, ed. P. D. Garside (Edinburgh, 1995) 4. Tales of the Wars of Montrose, ed. Gillian Hughes (Edinburgh, 1996) 5. A Series of Lay Sermons, ed. Gillian Hughes (Edinburgh, 1997) 6. Queen Hynde, ed. Suzanne Gilbert and Douglas S. Mack (Edinburgh, 1998) 7. Anecdotes of Scott, ed. Jill Rubenstein (Edinburgh, 1999) 8. The Spy, ed. Gillian Hughes (Edinburgh, 2000) 9. The Private Memoirs and Confessions of a Justified Sinner, ed. P. D. Garside, with an Afterword by Ian Campbell (Edinburgh, 2001) 10. The Jacobite Relics of Scotland [First Series], ed. Murray G. H. Pittock (Edinburgh, 2002) 11. Winter Evening Tales, ed. Ian Duncan (Edinburgh, 2002) 12. The Jacobite Relics of Scotland [Second Series], ed. Murray G. H. Pittock (Edinburgh, 2003) 13. Altrive Tales, ed. Gillian Hughes (Edinburgh, 2003) 14. The Queen’s Wake, ed. Douglas S. Mack (Edinburgh, 2004) 15. The Collected Letters of James Hogg: Volume 1, 1800–1819, ed. Gillian Hughes, with Douglas S. Mack, Robin MacLachlan and Elaine Petrie (Edinburgh, 2004) 16. Mador of the Moor, ed. James E. Barcus (Edinburgh, 2005) 17. Contributions to Annuals and Gift-Books, ed. Janette Currie and Gillian Hughes (Edinburgh, 2006) 18. The Collected Letters of James Hogg: Volume 2, 1820–1831, ed. Gillian Hughes, with Douglas S. Mack, Robin MacLachlan and Elaine Petrie (Edinburgh, 2006) 19. The Forest Minstrel, ed. P. D. Garside and Richard D. Jackson, with musical notation by Peter Horsfall (Edinburgh, 2006) 20. The Mountain Bard, ed. Suzanne Gilbert (Edinburgh, 2007) 21. The Collected Letters of James Hogg: Volume 3, 1832–1835, ed. Gillian Hughes, with Douglas S. Mack, Robin MacLachlan and Elaine Petrie (Edinburgh, 2008) 22. The Bush Aboon Traquair and The Royal Jubilee, ed. Douglas S. Mack (Edinburgh, 2008)

280 Select Bibliography 281

23. Contributions to Blackwood’s Edinburgh Magazine Volume 1: 1817–1828,ed. Thomas C. Richardson (Edinburgh, 2008) 24. Midsummer Night Dreams and Related Poems, ed. Jill Rubenstein and com- pleted by Gillian Hughes with Meiko O’Halloran (Edinburgh, 2008) 25. Highland Journeys, ed. Hans de Groot (Edinburgh, 2010) 26. Contributions to Blackwood’s Edinburgh Magazine Volume 2: 1829–1835,ed. Thomas C. Richardson (Edinburgh, 2012) 27. The Three Perils of Man, ed. Judy King and Graham Tulloch (Edinburgh, 2012) 28. Songs by the Ettrick Shepherd, ed. Kirsteen McCue (Edinburgh, 2014) 29. Contributions to Musical Collections and Miscellaneous Songs, ed. Kirsteen McCue (Edinburgh, 2015)

Works by James Hogg

Scottish Pastorals (Edinburgh, 1801) A Tour in the Highlands in 1803, a facsimile reprint of the 1888 edn (Edinburgh, 1986) The Mountain Bard; Consisting of Ballads and Songs Founded on Facts and Legendary Tales (Edinburgh and London, 1807) The Forest Minstrel; A Selection of Songs, Adapted to the Most Favourite Scottish Airs (Edinburgh, 1810) The Spy. A Periodical Paper, of Literary Amusement and Instruction (Edinburgh, 1810–11) The Queen’s Wake: A Legendary Poem, 1st edn (Edinburgh and London, 1813) The Queen’s Wake: A Legendary Poem, 5th edn (Edinburgh and London, 1819) (‘J. H. Craig’), The Hunting of Badlewe, A Dramatic Tale (London and Edinburgh, 1814) The Pilgrims of the Sun (Edinburgh and London, 1815) The Poetic Mirror, or The Living Bards of Britain (London and Edinburgh, 1816) Mador of the Moor (Edinburgh, 1816) Dramatic Tales, 2 vols (London and Edinburgh, 1817) The of Bodsbeck; and Other Tales, 2 vols (Edinburgh and London, 1818) The Jacobite Relics of Scotland: being the songs, airs, and legends of the adherents of the House of Stuart, 2 vols (Edinburgh and London, 1819, 1821) The Royal Jubilee (Edinburgh and London, 1822) The Poetical Works of James Hogg, 4 vols (Edinburgh and London, 1822) The Private Memoirs and Confessions of a Justified Sinner (London, 1824) The Private Memoirs and Confessions of a Justified Sinner, with an introduction by André Gide (London, 1947) The Private Memoirs and Confessions of a Justified Sinner, ed. John Carey (Oxford, 1969) The Private Memoirs and Confessions of a Justified Sinner, ed. Karl Miller (London, 2006) The Private Memoirs and Confessions of a Justified Sinner, ed. Ian Duncan (Oxford, 2010) Queen Hynde, A Poem in Six Books (London and Edinburgh, 1824) ‘A Horrible Instance of the Effects of Clanship’, Blackwood’s, 28 (October 1830), 680–7 Altrive Tales: Collected Among the Peasantry of Scotland, and From Foreign Adventures by the Ettrick Shepherd (London, 1832) 282 Select Bibliography

‘Nature’s Magic Lantern’, Chambers’s Edinburgh Journal, 28 September 1833, 273–4 Tales of the Wars of Montrose (Edinburgh, 1835) The Ettrick Shepherd and William Motherwell (eds), The Works of Robert Burns,5 vols (London, [c. 1840])

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accidents (leading to creative ballads and ballad culture, 15, 29, 31, discovery), 6, 17, 115, 120, 138, 47, 54, 63, 87, 94, 96, 107–8, 127, 148, 177, 181, 190, 232 133–9, 252, 261n25, 262n45; see accident and design, 19, 114–23, also oral tradition 133, 148, 151, 160–7, 177, 185, Ballantyne publishers, 219 224, 225, 232 Bannerman, Anne, 266n28 see also destiny bardic tradition, 23, 29, 40–1, 64–5, Addison, Joseph, 56, 71, 126 83–9, 96 Aédan mac Gabrain, King of Dalriada, in Burns’s work, 70, 76, 264n82 151 in Collins’s work, 68, 84–6 Aeolian harp, 74, 112 in Gray’s work, 23, 68, 86–7, 92, 110 Alison, Archibald, 4 Hogg as a bard, 8, 14, 16, 24, 32, Alker, Sharon, 8, 163, 227, 258n16 70–5, 78, 91, 94–6, 104–8, Almanach des Muses,33 123–4, 139–41, 153–60, 175–6 Altrive (Hogg’s farm), 221 in Hogg’s work, 1, 22–6, 29, 37–47, American Revolution, 10 59–113, 134–9, 141–50 ancestry, 14, 76, 77, 130, 164–5, 191, modern bards, 1, 23, 32, 35–7, 192, 193, 229, 251–3, 267n51 47–51, 78–9, 108–13, 219–20, literary and cultural, 13, 14, 23, 47, 264n82, 270n107 59–69, 72–4, 80, 82–112, 120, see also Macpherson: Ossian; 139, 256 minstrel tradition; oral see also Hogg: Queen’s Wake, The tradition; Shakespeare Anderson, Benedict, 65; see also Barton, Bernard, 127–8, 267n41, ‘imagined community’ 271n35 Anderson, Robert, 24 Bate, Jonathan, 273n93 Annabel, Queen, 129–31 Bawcutt, Priscilla, 108 Anniversary, The,34 Beattie, James, 89, 95, 268n73 anonymity, 31, 57, 60, 79, 92, 95, Benedict, Barbara M., 261n23 262n42 Bennett, Andrew, 27, 112–13 Hogg’s use of, 1, 35, 128, 134, 136, Beregon (Beregonium), 151, 153, 168, 137, 139, 150, 172, 179, 234 174, 176 anthology, the, 5, 14, 16, 24–7, 32, Bible and the biblical, 52, 56, 155, 35–6, 45–7, 62, 135, 138, 142, 157, 190, 192, 195, 203, 205, 230, 256–7, 261 209–11, 264n90 parody, 137 Bacon, Roger, 21 I Corinthians, 278n54 Baer, Marc, 271n25 Genesis, 52, 201, 276 Baillie, Joanna, 14, 49, 230, 264n96, Job, 56 266n28 Psalms, 3 Family Legend, The, 124, 244, Blackwood, William, 7, 8, 137, 236, 278n57, 278–9n58, 279 269n86, 277n7 Plays on the Passions, 130 Blackwood’s Edinburgh Magazine,4, Bakhtin, Mikail, 233 7–10, 18, 19, 30, 31, 34, 48, 58,

296 Index 297

93, 95, 109, 137, 145, 152, 179, Poems, Chiefly in the Scottish Dialect, 183, 187, 194, 222, 223, 243, 259, 41, 70, 117 260, 262n42, 269 ‘Tam o’ Shanter’, 69, 115 ‘Ancient Chaldee Manuscript’, 9, ‘To James Smith’, 117 137, 259n24 ‘The Vision’, 71 ‘Noctes Ambrosianae’, 4, 9, 57–8, Butler, Marilyn, 258n13 82, 145, 163, 176–7, 262n42 Byron, George Gordon (sixth Lord), 1, Blair, Hugh, 68, 88 8, 14, 17, 21, 22, 24, 31, 34, 46, Blake, William, 15, 22, 55, 89, 90, 150, 72, 89, 112, 113, 129, 133, 149, 181, 204–7, 226 150, 176, 200–2, 218, 219, 256 Marriage of Heaven and Hell, The, and Hogg, 39–40, 47–53, 264n86 204–6 Hogg’s representation of, 46, 134, Songs of Experience, 204 139, 144 Boccaccio, 73 use of kaleidoscope, 20, 200–2 Bold, Valentina, 12, 36, 165, 260n16, Cain, 51–2, 264n93 262n56 Childe Harold’s Pilgrimage, 50, 51–2 Bothwell, Earl of, 76, 101 Dedication to Don Juan, 44–5 Brewster, Sir David, 4, 6–7, 16–22, 48, Deformed Transformed, The, 53, 209 142, 186–8, 275n25 Don Juan, 20, 53, 62, 151, 173–5, Brewster’s accidental discovery, 17 200 Letters on Natural Magic,22 English Bards and Scotch Reviewers, 36, 50, 148–9 Treatise on the Kaleidoscope, A, 19, Manfred, 200 188 Vision of Judgement, The,45 see also kaleidoscope Brewster, Lady Juliet, 18, 243 Calvinism, 50, 179, 182, 188, 190, Brocken Spectre, 199–200, 202 205; see also elect, the; Bromwich, David, 36, 40 Predestination Brontës, 4 Camlot, Jason, 262n48 Brown, Rhona, 263n64 Campbell, Thomas, 49, 149, 264n96, Browning, Elizabeth Barrett, 256 266n28 Buccleuch, Charles, fourth Duke of, canon-making, 1–2, 7, 12, 14, 21, 77, 78 23–47, 61, 62, 64, 65, 82, 138–9, Buchan, Earl of (‘Wolf of Badenoch’), 143, 148–50, 176, 256–7; see also 129, 131–2 commerce; literary marketplace Bunyan, John, 200 Carey, John, 200 Burgess, Miranda, 275n33 Catholicism, 67, 75–6, 102, 191, 237 Burke, Edmund, 99, 101, 189–95 celebrity, 50, 113, 138 Reflections on the Revolution in France, Cervantes, 15, 181, 184, 230, 250 100–1, 192–5 Chalmers, Alexander, 24 Burney, Frances, 93 Chalmers, George, 97–8 Burns, Robert, 4, 10, 14, 41, 45, 47, 50, Chambers, Robert, 253 53, 55, 61, 69–71, 73, 75, 76, 94, chameleon, 134, 172, 174; see also 105, 106, 107, 115–22, 123, 151, Hogg: ‘cameleon art’ 153, 160, 170, 176, 177, 182, 248, Chandler, James, 64 259n23, 263, 264n82 chapbooks, 30, 54 memorial in Dumfries, 119 Charles II, King, 78 ‘Farewell Ye Bonnie Banks of Ayr’, Charles Edward Stuart (Bonnie Prince 107 Charlie), 99, 168 298 Index

Charlotte, Princess of Wales, 41, 78, Rime of the Ancient Mariner, The, 24, 267n52 147, 168, 201–2 Chatterton, Thomas, 17, 219 Colley, Linda, 63 Chaucer, Geoffrey, 24, 28, 61 Collins, William, 14, 23, 68, 75, 84–7, childhood, conceptions of, 66, 71, 96 105, 153 ‘Ode to Fear’, 85 choice, importance of, 2, 6–7, 18, 19, ‘An Ode on the Popular 22, 46, 118, 121, 133, 141–5, Superstitions of the Highlands 178–9, 186–8, 191, 227–8 of Scotland’, 84–5 Christie, Jonathan Henry, 8 commerce, 10, 16, 23–47, 60, 138; see Christie, William, 260n9 also literary marketplace ‘Christopher North’ (pseud.), 57, 82, competition, 17, 31, 47–53, 81, 90, 93, 145; see also Wilson 220–1 clans, 76, 85, 154, 164, 230, 240, 243, poetic contests, 8, 14, 31, 44, 48, 49, 244 59–61, 64–5, 72–3, 78–9, 80–2, Hogg’s depiction of, 226, 228, 230, 86, 88–94, 112, 153, 171, 233, 237, 243–8 220–1, 262n45 Clare, John, 10, 268n73 conflict, 8–9, 16, 24, 36, 63, 66, 189, 224–6, 254 class, 6, 24, 26, 28, 49, 81, 89, 133, creative, 45, 49, 121, 204–8, 217, 136, 161, 167–8, 170–1, 234, 243 252–3 Hogg’s treatment of, 15, 42, 175, aristocratic poets, 49, 81, 89, 92 197, 217, 221, 224–6, 234, labouring-class poets, 8, 10, 12, 31, 239–43 34, 55–6, 62, 64–5, 69–73, 94, national, 88, 151, 170, 220 106, 116, 178, 220, 227, 253 Conrad, Joseph, 257 meritocracy, 10, 31, 106, 167, 169, Constable, Archibald, 34, 137 173, 177 Covenanters and Covenanting wars, politics, 8, 11, 231–2 155, 191, 194, 230, 231, 238, prejudice against Hogg, 11, 13, 128, 248–9, 250 176, 179, 258–9n16 Covent Garden Theatre, 124 self-taught poets, 4, 11, 23, 30–2, Cowper, William, 4, 24 35, 47, 55, 65, 70, 72, 105, 109, Crabbe, George, 3, 4, 218, 264n96 122, 160 Crary, Jonathan, 19 see also patronage Croker, John Wilson, 35–6, 135–6 Cochrane, James, 223, 224 Cronin, Richard, 8, 10, 24–5, 218 ‘Cockney School of Poetry’, 11, 48, Culloden, 54, 131 256 Cunningham, Allan, 4, 10, 34, 48, Coleridge, Hartley, 256 219–20, 266n28, 270n107 Coleridge, Samuel Taylor, 1, 3, 4, 5, Cunningham, Thomas, 266n28 23, 24, 45, 46, 47, 48, 49, 55, 71, Curran, Stuart, 2, 62 89, 125, 136, 143, 148, 149, 207, Currie, James, 116, 118, 119, 182 218, 219, 257 Hogg’s depiction of, 139, 143, 144, Dalriada, 151, 152, 165, 170 146–7, 148 Dante, 52, 201 Biographia Literaria, 45, 55 ‘Dark Interpreter’, 182–3, 211, 274n13 Christabel, 143, 146, 172 Darnley, Lord Henry, 97, 101 ‘Kubla Khan’, 147 Davenport, Richard Alfred, 33–4 Remorse, 127 David II, King, 129 Index 299

Davis, Leith, 63, 64 Elizabeth I, Queen, 82, 98, 102–3, 110, De Quincey, Thomas, 146, 182–3, 221, 170, 268n65, 269 274n13 Elizabethan age and culture, 27–8, death, 59, 84, 119, 182, 232 61, 63, 65, 72, 81–2, 87, 91, 96, Hogg’s depiction of, 37–9, 91, 127 101, 110, 155, 165–6, 212, 228, Ellis, George, 26 232–3, 235–9, 240–3, 244–6 Enlightenment, 22, 64, 67, 82, 189, see also Wordsworth: ‘Extempore 221, 275–6 Effusion on the Death of James epic poetry, 2, 5, 48, 54, 59–65, 68, Hogg’ 72–3, 82–9, 94–104, 110–12, 205, Defoe, Daniel, 15, 181, 230, 234 242 destiny, 45, 116–17, 153, 162–3, 167, mock epic, 5, 14, 53, 115, 123, 168, 171, 176, 177, 178–9, 188, 150–77, 214 198, 232 see also Hogg: Queen’s Wake, The, Dirom, General Alexander, 18 Queen Hynde; Homer; dissent, 191, 206 Macpherson; Virgil Don Quixote, see Cervantes Ettrick, 4, 71, 74–6, 79, 95, 107, 109, doubles, 9, 15, 21–2, 43–5, 184, 194, 111, 119, 123, 251 208–16 Ettrick Shepherd (Hogg’s persona), Drury Lane (theatre), 127 3–4, 9, 30, 31, 53, 56, 59–61, 73–7, Dryden, John, 21, 33, 52, 158 79–80, 86–7, 91–2, 95–6, 99–101, Du Bellay, 100 105, 111–12, 120–2, 125–6, 147, duelling, 8, 214 150, 153–8, 163–9, 171–6, 213, Duff, David, 2, 22, 205, 207, 258n3, 228–9, 244, 247, 252–4 265n3 in Blackwood’s, 9–10, 176–7 Dunbar, William, 3, 108 Eugenius III, King, 151, 166 Duncan, Ian, 9, 12, 48, 54, 64, 164, 179, 229, 231, 259n23, 274n18, Fairer, David, 49 275n48 fame, 11, 14, 25, 27, 30–1, 42–3, 46, 50, 59, 61–2, 69, 72, 80–1, 90, Edgeworth, Maria, 93 92–4, 108, 112, 116, 127, 152, Edinburgh, 9, 18, 30, 34, 55, 164 155, 178, 219, 249 and Hogg, 47, 70–2, 76, 78–80, Fang, Karen, 9 105–6, 109–10, 119, 123–5, 129, Faust, 53, 195, 200, 213 137, 249, 251 Ferguson, Frances, 261n32 literati, 23, 70, 128, 227 Fergusson, Robert, 108 Royal Society of Edinburgh, 17 Ferris, Ina, 64, 98, 274n8 University, 219 Fielding, Henry, 150, 151, 158, 164, see also Hogg: Confessions, ‘Some 181 Remarkable Passages in the Life Fielding, Penny, 12, 252, 264n80, of An Edinburgh Baillie’ 274n8, 277n2 Edinburgh Magazine, 18, 34 Ford, Ford Madox, 257 Edinburgh Review,7,8,41,73 Forum debating society, 55 Edinburgh Theatre Royal, 124–5 Fraser’s Magazine,48 Edward I, King, 86–7, 110 free will, 198, 233; see also choice elect, the, 26, 27, 41–2, 188, 192, 193, French Revolution, 8, 10, 189; see also 195, 196, 198, 203, 205, 214 Burke; Paine 300 Index

Gaelic, 68, 83, 86, 87, 94, 97, 151, Hagstrum, Jean, 205 239, 242 Hailes, Sir David Dalrymple of, 108 Gallagher, Catherine, 93 Hamilton, John, 30 Galt, John, 48, 230, 231 Hamilton, Captain Tom, 109, Garside, Peter, 48, 259, 265n106, 270n107 275n34, 277n7 Hamilton, William, of Bangour, 111 genealogy, see ancestry harps, 61, 74–5, 77, 91, 92, 105–7, Genette, Gérard, 265n108 110, 111–12, 146, 171 genre-mixing, 2, 5, 7, 16, 22, 32, 54, lyres, 60, 74, 85–6, 112 176, 180–1, 207, 212–13, 217, see also Aeolian harp 251; see also Duff Hasler, Anthony, 231 George IV, King, 164–5, 170, 218, 219 Hazlitt, William, 55, 146, 218, 257, ghosts, 23, 92, 111, 165, 166, 246 263n67 Gide, André, 12, 179 Characters of Shakespeare’s Plays, 125 Gifford, Douglas, 12, 223, 259, 278n35 Lectures on the Dramatic Literature of Gifford, William, 264n96 the Age of Elizabeth, 32, 96, 125 Gilbert, Suzanne, 263n75, 272n84, Lectures on the English Poets,32 273n87 ‘My First Acquaintance with Poets’, Gill, Stephen, 258n6 143–4 Gillespie, William, 266n28, 270n107 ‘On Mr Wordsworth’s “Excursion”’, Gillies, R. P., 258n5 143 Gisborne, Maria, 19 ‘On Reading Old Books’, 25, 31 Glorious Revolution, 189, 191, 220, Spirit of the Age, The,24 229 View of the English Stage, A, 125 Godwin, William, 189–90 Goethe, Johann Wolfgang von, see Heaven, 42, 52, 75, 79, 102, 154–5, Faust 192, 193, 200, 203, 204, 205, Goldie, George, 50, 128, 271n35 208–9, 267n41 Gordon, Sir John Watson-, 4, 258n8 Hell, 52, 141, 168, 184, 200, 204, 205, Gorji, Mina, 21, 258n7 214; see also Satan and the Satanic Gothic, 12, 13, 53, 54, 146, 181, 189, Hemans, Felicia, 3, 218, 256, 262n45 190–1, 200, 257 Higgins, David, 32 Goths, 82, 84, 88 Hogarth, William, 190 Grahame, James, 4, 266n28 Hogg, James Grant, Mrs Anne, of Laggan, 266n28 birthday, 115–16 Gray, James (Hogg’s nephew), 78, 109 ‘cameleon art’, 15, 94, 150, 181, Gray, James (the elder), 79, 106, 194, 202, 208–11 109–11, 116, 270, 271n35 changeable literary identity, 8–10, Gray, Thomas, 14, 23, 68, 75, 82, 110 13, 14, 29–31, 41, 45–6, 47–9, ‘The Bard. A Pindaric Ode’, 23, 57, 65, 94–5, 114–15, 120–3, 86–8, 90, 92, 95–6, 110, 268n65 213–15, 251 ‘Elegy Written in an English Collected Works of James Hogg, The Country Church-yard’, 4 (1995–), 5, 12, 256, 280–1 Grieve, John, 72, 78, 107, 109, 111, idea of himself as an author, 63–4, 248, 270n107, 271n35 72–3, 93–4, 114–23, 149–53, Groom, Nick, 88 166–7, 170–7, 208–16, 248–55 Groth, Helen, 20 ideal readers, 9, 15, 53–8, 163–77, Groves, David, 12, 36 181, 194, 204–7, 208–16, 227–8 Guthrie, Henry, 253 illegitimate daughters, 118, 119 Index 301

‘Naturæ Donum’ (gift of nature), 71, ‘Hymn to the Evening Star’, 20 105, 106, 120, 154, 161 ‘Isabel’, 146 portraits and monument of, 4, 18, Jacobite Relics, 99–100, 165, 269n86 258n8 ‘James Rigg’, 40, 145 pseudonyms, use of, 129, 272n62 ‘Julia M,Kenzie’, 18, 223, 228, 230, radical aesthetics, 6, 9, 13, 15, 22, 232, 243–8, 254 47, 53, 54, 61, 179–80 ‘Kilmeny’, 139 as a shepherd and farmer, 11, 21, ‘King Edward’s Dream’, 110–11 48, 61, 69–70, 107, 115, 119, Lay Sermons, 57–8, 222, 224 123, 219–20, 221 Mador of the Moor, 89, 122, 152 use of personae, 13, 30–1, 50, 52–3, ‘Malcolm of Lorn’, 91 56, 60, 69, 71–3, 94, 105, 115, ‘Mary Burnet’, 279n59 123–6, 133–9, 141, 151, 153, ‘Mary Montgomery’, 224 160, 167–75, 215, 221, 251 ‘Memoir of the Author’s Life’, 11, ‘The Adventures of Colonel Peter 29–30, 48–50, 57, 69–70, 109, Aston’, 223, 230, 232, 239–43, 115–16, 119, 132 254 Mountain Bard, The, 30, 70, 73, 105, Altrive Tales, 115, 222, 251 251, 279n66 Anecdotes of Scott, 9, 137, 259n24 ‘Nature’s Magic Lantern’, 21–2 Brownie of Bodsbeck, The, 231, 252 ‘Ode to the Genius of Shakespeare’, ‘The Cherub’, 146–7 122 Confessions of a Justified Sinner,9,12, ‘Old David’, 106–7 13, 15, 43, 53, 54, 69, 94–5, Pilgrims of the Sun, The, 50–2, 62, 132, 150, 171, 177, 178–216, 122, 139, 152, 270n18 217, 220, 228, 234–5, 240, 243, Poetic Mirror, The,1–2,5,7,14, 254, 259, 274n8, (reviews of) 16–47, 48–50, 54, 62, 69, 81, 94, 179, 212–13 108, 114–15, 122–3, 132–50, ‘The Curse of the Laureate’, 41–5 152, 153, 157–8, 171, 185, 220, ‘Donald Macdonald’, 29–30 221, 230, 249, (reviews of) 35–6, Dramatic Tales, 54, 129, 130, 132, 135–6, 139, 145, 148 152 ‘Poetical Repository’, 16, 17, 33–6, ‘Epistle to R. S. *****’, 144, 147, 45, 49, 138, 258n5, 264n86 272n63 Poetical Works, 148, 222, 270–1n19 ‘Farewell to Ettrick’, 107 ‘The Profligate Princes’, 129 ‘A few remarkable Adventures of Sir Queen Hynde, 5, 14, 53, 62, 114–15, Simon Brodie’, 223, 229, 119–23, 125, 130, 150–77, 180, 248–51 181, 196, 208, 212–13, 225, ‘The Flying Tailor’, 40, 146 226, 246, 247, 251, (reviews of) Forest Minstrel, The, 30, 48, 71, 105, 175–6 262n40 Queen’s Wake, The, 4, 14, 24, 29, 49, ‘The Fray of Elibank’, 279n66 54, 58, 59–113, 114–15, 116, ‘The Gude Greye Katt’, 1, 46, 122, 126–7, 128, 129, 132, 138, 139–41, 144–8, 173 139, 141, 146, 147–8, 150, 153, ‘The Guerilla’, 50, 144 159, 163, 171, 176, 181, 200, Highland Journeys, 181–2 229, 252, 254, 256, (reviews of) ‘A Horrible Instance of the Effects of 61, 73, 110–11 Clanship’, 243 Queer Book, A, 57–8, 222, 224 Hunting of Badlewe, The, 115, 122–3, ‘Reminiscences of Former Days’, 127–32, 135, 185 48–9, 57, 146, 221, 264n90 302 Index

Hogg, James – continued Hume, David, 67 ‘Reviewers’, see Hogg: Lay Sermons Hunt, Leigh, 36, 125 ‘The Scottish Muses’ (Spy), 71, 112, 139, 148 ‘imagined community’ (Benedict Scottish Pastorals, 5, 70, 74 Anderson), 65, 78, 108–11, 221 Shepherd’s Calendar, The, 222, 254, Imrie, David, 220 279n59 Inchbald, Elizabeth, 125 ‘Shepherd’s Calendar Tales’ (in Industrial Revolution, 10, 221 Blackwood’s), 10, 222 instinct, 6, 11, 17, 32, 36, 50–1, 54–7, ‘Some Remarkable Passages in the 112, 114–17, 125, 129–33, 138–9, Life of An Edinburgh Baillie’, 143, 150, 156–77, 178, 184, 220, 223, 228–9, 233, 234–9, 186–8, 190, 207–16, 226–7, 248 248, 253–4 Ireland and Irish, 64, 88, 129, 148, Spy, The, 8, 33, 48, 71–2, 78–9, 112, 152, 166, 168, 252 115, 122, 123–7, 128, 132, 139, Italy and Italians, 19, 52, 53, 81, 89, 91 148, 161, 172 Izet, Eliza, 271n35 ‘The Stranger’, 36–41, 144–6 ‘Tales and Anecdotes of the Pastoral Jacobite rebellion, 66; see also Life’, 10 Culloden Tales of the Wars of Montrose, 5, 15, Jacobite sympathies, 99–104, 165–6, 18, 171, 196, 216, 217–55, 168, 170, 191, 194, 196, 198 (reviews of) 224–6 James II, King, 27, 191–2, 229 Three Perils of Man, The, 2, 21, 54, James IV, King, 79 152, 202, 258n3 James VI of Scotland/I of England, Three Perils of Woman, The, 54, 152, King, 67, 79, 97, 100, 130, 235 202, 231, 245, (Wilson’s review James, Felicity, 49 of) 13 Jeffrey, Francis, 41, 44, 73, 256 ‘Tibby Hislop’s Dream’, 279n59 Jerdan, William, 220 ‘Wat o’ the Cleuch’, 144 Johnson, Dr Samuel, 4, 14, 34, 56, 68, ‘Wat Pringle o’ the Yair’, 223, 230, 123–4, 126, 159–62, 185–7 251–5, 279n71 Idler, The, 126 Winter Evening Tales, 52, 54, 152, Lives of the Most Eminent English 229, 254 Poets, 27–8 ‘The Witch of Fife’, 139, 256 ‘Preface to Shakespeare’, 124, ‘Young Kennedy’, 92 159–62 see also Ettrick Shepherd Rambler, The, 126 Hogg, Margaret (Hogg’s mother), 63, Joyce, James, 257 106 Hogg, Margaret, née Phillips (Hogg’s kaleidoscope, 4, 6, 15, 16–22, 142, wife), 125 145, 180, 186–8, 194, 200, 223–4, Hogg, Thomas Jefferson, 19 234–5, 275n25 Holinshed, Raphael, 129 and Byron, 200–2 Holyrood, 59, 78, 79, 96, 98, 105 see also Brewster Home, John, 84, 128–9 Kaleidoscope, The,20 Homer, 62, 88, 164, 168, 175 Kean, Edmund, 127 Hone, William, 20–1, 22, 44 Keats, John, 11, 14, 24, 40, 51, 52, 55, Hughes, Gillian, 12, 40, 217, 223–5, 63, 150, 214–15, 256 251, 258n8, 259n18, 267n40, Keepsake, The, 33, 222 270n109, 277, 279n71 Kemble, John Philip, 127 Index 303

Keymer, Thomas, 182 London Magazine,8,10 Kidd, Colin, 63, 67 Lyrical Ballads, 11, 24, 28, 55 Killick, Tim, 222, 277n2 Klancher, Jon, 227–8 Knox, Robert, 171 MacDonald, Flora, 168 Mack, Douglas, 12, 165, 207, 231, Laidlaw, David, 106–7 264n86, 266n35, 270, 271n20, Laidlaw, William (Hogg’s grandfather), 272n84, 273, 274n8, 277n2, 252 277n11 Laing, Malcolm, 97 Mackenzie, Henry, 75 , 3, 37–40, 48, 146 MacLachlan, Robin, 269n100 ‘Lake poets’, 37, 43, 45, 145, 148, 221 Maclise, Daniel, 48, 258n8 Lamb, Charles, 3, 56, 125 Macneill, Hector, 266 Lamont, Claire, 264n80 Macpherson, James, 14, 23, 45, 48, 63, Landon, Letitia Elizabeth, 64, 82, 90, 68, 75, 86, 87–9, 94, 97, 104, 256, 262n45 150–1, 163–4, 182, 240–2, 243–4, Langhorn, John, 111 259n23, 278n56 Leask, Nigel, 28, 262n45 and Ossian, 63, 65, 66–8, 74–5, 77, Lee, Sophia, 98 81, 87–9, 91–2, 97, 104, Lennox, Charlotte, 93 151, 182, 230, 240–2, 243–4, Lewis, Jayne, 98 254 Leyden, John, 111, 266 Carthon, 240–1 Lincoln, Andrew, 165 Fingal, 87, 151, 165–6, 240, 267n40 literary annuals, 4, 33–4, 221–2 Fragments of Ancient Poetry, 48, 68, literary marketplace, 2, 5–14, 16, 87, 182 23–37, 40–7, 52–3, 60–1, 63–5, Temora, 87, 151, 267n40 69–73, 90–5, 104–13, 114–16, Macrone, John, 223 122–3, 132–51, 152, 176–7, magazine culture, 4, 7–10, 24–5, 31–4, 178–9, 185, 207–8, 213–14, 46, 48, 137–8, 181, 221–2, 227, 218–22, 231–2 231–2; see also literary ‘high’ and ‘low’ literatures, 7, 16, marketplace 20–1, 23–32, 46–7, 50, 53, 58, Maginn, William (alias Morgan 61–2, 124–5, 133, 158, 175, ODoherty), 145, 176–7 222, 231–2 Mahoney, Charles, 257 money-making, 34, 57, 70, 93, 109, Maisonfleur, De, 100 113, 127, 134–9, 275n25 makars, 3, 49, 108 see also competition Mandell, Laura, 26 Lloyd, Charles, 146, 272n63 Locke, John, 183 Manning, Susan, 12, 64 Lockhart, John Gibson, 8–11, 34, 48, Marchand, Leslie, 264n84 137, 256 Mary Stuart, Queen of Scots, 14, 65, Lodbrog, Regner, King, 84, 88, 89, 67–8, 97–9, 100–4, 170, 268n81, 267–8n57 269n84; see also Hogg: Queen’s Lofft, Capell, 271n35 Wake, The Logan, John, 111 Mason, Michael York, 275n46 London, 3, 8, 10, 20, 23, 48–9, 79, 84, McCalman, Iain, 204 105, 124, 127, 204 McCracken-Flesher, Caroline, 221 and Hogg, 100, 127–9, 223, 269n86, McCue, Kirsteen, 262n40 278n45 McIlvanney, Liam, 264n82 304 Index

McLane, Maureen, 12, 64, 72, 253, natural genius, see class: self-taught 261n25, 266n32, 268n74, poets 278n43 Nature, 11, 21–2, 30, 37, 39, 43, 51, Medina, Sir John, 102 57, 70–1, 74–5, 76, 105–7, 117–22, Mee, Jon, 204 143–4, 154–63, 174, 177, 199–202 Mergenthal, Silvia, 265n104, 269n100 Nature vs Nurture debate, 160–3, meteors, 86, 117, 119–22, 158, 174, 175 182, 270 Nelson, Holly Faith, 8, 163, 227, Miller, Karl, 9, 12, 132, 139, 177, 194 258n16 Milton, John, 21, 26, 42, 49, 52, 88, Newark Castle, 78 122, 148, 206, 264n91 Newlyn, Lucy, 27 minstrel tradition, 25, 31, 64–5, Nichol, Rev. James, 266n28 78–80, 82–9, 95–6 representations of minstrels, 3, 37, O’Brien, Karen, 67, 100 60, 64, 71, 79–80, 89, 90–1, O’Connell, Daniel, 236 99–100, 262n45 Odin, 84, 171, 174 see also Hogg: Forest Minstrel, The; O’Neill, Michael, 62, 257 Scott: Lay of the Last Minstrel, oral tradition, 8, 10, 23, 29–31, 40, 47, The, Minstrelsy of the Scottish 59, 72, 74, 76, 78, 83–8, 92–6, Border 106–8, 138, 181, 185, 189, 231, Mirror for Magistrates, 141 243–4, 246–7, 252–4, 262n45, miscellany, the, 2, 5–8, 16, 20–1, 22, 274n8 25–8, 33–4, 46, 62, 221, 231, Ossian, see Macpherson 261n23 miscellaneity, 15, 17, 22, 31–2, 35, Paine, Thomas, 31, 169 187, 224, 257 palimpsest, 66, 153–5, 156 see also Blackwood’s Edinburgh pamphlet, the, 8, 13, 54, 185, 189, Magazine; Hogg: ‘Poetical 205, 212 Repository’, Poetic Mirror, The; paratexts, 35, 44–5, 50–1, 57–8, 70, magazine culture 85–6, 96, 99–100, 133–4, 136, 146–7, 149, 224, 249, 267n52, Montgomery, James, 4, 266n28 275n23 Montrose, James Graham, first parody, 1–2, 9, 14, 107, 137, 178, 212, Marquis of, 217, 229–30, 248–53; 230, 240–3; see also Hogg: Poetic see also Hogg: Tales of the Wars of Mirror, The Montrose pastoral, 2, 3, 10–11, 47, 62, 65, 70–2, Moore, Dr John, 116, 118 94, 95–6, 105, 112, 127, 153, 157, Moore, Thomas, 50, 149, 219, 264n96, 160, 181; see also Hogg: Scottish Morrison, John, 73, 270n107 Pastorals Morrison, Robert, 7–8 patriotism, 29–30, 66, 91, 92, 110–11, Mount Benger (Hogg’s farm), 18 128, 153 Murphy, Peter, 12, 45, 94, 259n23, patronage, 8, 60, 73, 126–7, 176 262n42, 263n74 aristocratic, 14, 31, 60, 72, 73, Murray, John, 33, 34, 50, 52, 200, 76–80, 90, 97–8, 100–3, 237, 264n86 238–9 informal, 78–9, 109–10 Napoleonic wars, 10, 29, 164 Peel, Sir Robert, 236, 278n47 post-Napoleonic era, 8, 23, 24, 45, Percy, Bishop Thomas, 25, 68, 88 181, 189, 259n18 Peterkin, Alexander, 116, 118 Index 305

Philiphaugh, Battle of, 251, 252 Ronsard, 100 phrenology, 212 Roscoe, William, 128, 271n35 Pinkerton, John, 108 Ross, Alexander, 108 Piper, Andrew, 261n23, 275n23 Rousseau, Jean-Jacques, 52, 106 Pittock, Murray, 12, 64, 262n40, Royal Literary Fund, 220 269n87, 274n8 Rubenstein, Jill, 36 plagiarism, 126, 129 Runic poetry, 65, 68, 82–6, 88–9, Plotz, John, 233–4, 277n2 267–8n57 Poe, Edgar Allan, 4 Russett, Margaret, 12, 69, 94, 263n74, Poetical Register and Repository for 268n77, 274n8 Fugitive Poetry, 33–4 ‘polydoxy’, 233 St Clair, William, 24, 25, 227, Pope, Alexander, 52, 70, 80, 82, 122, 261n24 149, 150, 158, 164 St Columba, 151, 152, 165–6, 168, Porchester, Lord, 112 173 Predestination, 177, 186, 188, 192, St Mary’s Loch, 18, 75–6, 105 195, 196 Satan and the Satanic, 45, 51, 53, 173, Presbyterianism, 67, 117–18, 177 182, 205–6, 208–9, 211–12; see Price, Leah, 261n23 also Hogg: Confessions Pringle, Thomas, 34, 144, 147, satire, 9, 11, 16, 23, 35–6, 45, 50, 52–3, 272n63 80, 122, 151, 158, 173, 178–9, print culture, see literary marketplace 181–2, 185–6, 190, 205, 251; see also Hogg: Poetic Mirror, The Quarterly Review, 7, 35, 44, 135 Schlegel, Karl Wilhelm Friedrich von, 22, 207 Radcliffe, David Hill, 268n73 Schoenfield, Mark, 12, 30–1, 258n15 radicals, 20, 44, 55, 169, 191, 204, 206 Scott, Anne, first Duchess of Raley, Rita, 26 Buccleuch, 77, 78 Ramsay, Allan, 25, 108, 127 Scott, Harriet, Countess of Dalkeith Reform Act and debates, 218, 219, (Duchess of Buccleuch), 78 236, 277n7, 278n45 Scott, John, 8 Reformation, 67, 190, 193, 234 Scott, Michael, 21, 202 pre-Reformation, 52, 67, 75, 141 Scott, Sir Walter, 1, 3–4, 5, 14, 18, 22, Reveley, Henry, 19 24, 25, 31, 36–7, 46, 47–8, 49–53, review culture, 8, 10, 34, 56, 122 60–3, 72, 73, 75–80, 82–9, 94, 98, reviews of Hogg, 13, 35–6, 61, 73, 104, 106–7, 110, 111–12, 123, 110–11, 135–6, 139, 145, 148, 124, 130, 133, 134, 136, 149, 163, 175–6, 179, 212–13, 224–6 164, 179, 186, 189, 218–19, 222, Richardson, Thomas C., 259n18 231–2, 253, 262n45, 264, 266n28, Rizzio, David, 81, 89–92, 98, 103, 107, 267n51, 268n74, 275n33 109 creative practice and Hogg, 5, 31, Robert II, King, 129 47–8, 52, 53, 61, 63, 72, 73, Robert III, King, 129–30, 131 75–80, 83, 85–7, 89, 98, 106–7, Roberts, Daniel S., 7–8 111–12, 130, 136, 154, 163–5, Robertson, Fiona, 98 179–80, 181, 186, 189, 198–9, Robertson, Ritchie, 272n82 222, 230, 231–3, 244, 248, Robertson, William, 66–7, 81, 83, 97, 259n23, 278–9n58 100, 151, 183 Hogg’s depiction of, 37, 48–9, Rogers, Samuel, 4, 34, 149, 264n96 111–12, 139, 144, 146 306 Index

Scott, Sir Walter – continued Shakespeare, William, 14, 28, 51, 55, Abbot, The,98 96, 123–5, 149, 273–93 Bride of Lammermoor, The,53 and Hogg, 114–15, 122–5, 127, ‘An Essay on Romance’, 189, 129–34, 136–9, 141, 150–1, 275n31 159–63, 167–70, 185, 244, Fair Maid of Perth, The,98 264n90, 270–1n19 Lady of the Lake, The, 89, 104 and Samuel Johnson, 123–4, Lay of the Last Minstrel, The, 53, 60, 159–62, 185 63, 77–9, 89, 106 As You Like It, 131 Legend of Montrose, A, 232 Hamlet, 70, 123, 134, 136, 141, Letters on Demonology and Witchcraft, 165–6, 168, 169, 182, 212 22 Henry IV, Part I, 149, 270n17 Magnum Opus edition, 222 King Lear, 168, 267n39 Marmion, 62–3, 75, 112, 267n43 Macbeth, 130, 132, 246 Minstrelsy of the Scottish Border, 25, Midsummer Night’s Dream, A, 132 63, 70, 76, 89 Othello, 132 Redgauntlet, 198 Romeo and Juliet, 132, 141 Waverley, 130 Titus Andronicus, 123, 246 , 3, 10, 18, 76, 111, Twelfth Night, 131 119, 123, 157, 183, 212, 230, Winter’s Tale, The, 54, 133–41, 248–54 160–1, 246 poetry and tradition, 23, 25, 37, Shelley, Mary, 19 47, 75–7, 86, 89, 90, 104–12 Shelley, Percy Bysshe, 19, 47, 51, 52, see also Scott: Minstrelsy of the 55, 62, 150, 262n45 Scottish Border short story, the, 4, 10, 15, 152, 181, Scottish civil war (1644–45), 15, 220, 217, 222, 277n2; see also Hogg: 230, 240; see also Hogg: Tales of Altrive Tales, Shepherd’s Calendar, the Wars of Montrose The, Tales of the Wars of Montrose, , 48, 75, 78, 82, Winter Evening Tales 84–6, 177, 181, 230, 232, 241–2, Siddons, Henry, 125 244, 252 Siddons, Sarah, 127 Highland clearances, 165 Simpson, Erik, 12, 64, 90, 262n45 Highland poets, 38, 63, 75, 81, Simpson, Louis, 12 87–9, 91–2, 97, 104, 106, Smith, Adam, 112, 277n11 243–4 Smith, Egerton, 20 Highland Society of London, 100 Smith, James and Horace, 36, 135 Highland Society of Scotland Smith, William, 44 Committee, 97 Smollett, Tobias, 181 see also Hogg: Highland Journeys; Sorensen, Janet, 64 Macpherson: Ossian Southey, Robert, 1, 4, 14, 23, 26, 34, Scottish Lowlands, 48, 86, 91, 118, 42–5, 50, 52, 62, 129, 133, 136, 230 148, 149–50, 219, 263n67 Dumfries, 18, 70, 119 Hogg’s representation of, 16, 37–8, Lowland poets, 37, 78, 81 41–6, 48–9, 139, 145 Scottish national identity, 30, 60–9, Annual Anthology, The,26 97, 151–65, 183, 189, 190, 220–1, Joan of Arc,62 229–33; see also Hogg: Queen ‘The Lay of the Laureate’, 41 Hynde, Queen’s Wake, The Lives and Works of the Uneducated Seditious Meetings Bill, 44 Poets,35 Index 307

Specimens of the Later English Poets, Union, Act of (1707), 65–8, 97, 124, 26–7, 28, 29, 35 154, 164, 183, 189 Vision of Judgement, A,45 Union of the Crowns, 79, 97 Wat Tyler,44 Spenser, Edmund, 14, 21, 27–8, 41, 51, 148 Vardill, Anna Jane, 20 Colin Clouts Come Home Again, 105 Virgil, 157, 164, 168, 175 Faerie Queene, The, 61, 102–3, 141 Voltaire, 33 Shepheardes Calender, The, 157 Spenserian stanza, 41, 52, 89 spiritual autobiography, 13, 69, Wales and Welsh, 23, 64, 87, 110, 115–19, 209 154 Stabler, Jane, 47 Walpole, Horace, 184 Stafford, Fiona, 68, 87, 268n73 Warner, Marina, 274n13 Steele, Richard, 56 Warton, Thomas (the elder), 83–4 Sterne, Laurence, 14, 58, 158, 166, Warton, Thomas (the younger), 82, 180–7, 190, 211, 247, 257 83, 96, 267n53 Stevenson, R. L., 257 Webb, Samantha, 36 Stewart, David, 31, 258n15 Weber, Carolyn, 58 Stoker, Bram, 257 Weinbrot, Howard, 63–4, 268n65 Stuart, Jane, 266n28 Whig, 8, 67, 191, 194, 197 Sutherland, John, 267n51 William IV, King, 218 Sutherland, Kathryn, 268n73 Wilson, John, 1, 8–9, 11, 13, 34, 37–9, Swift, Jonathan, 80, 109, 181 46, 82, 109, 133, 137, 139, 145, Sym, Robert (alias Timothy Tickler), 146, 148, 149, 219, 264n96, 48, 57, 145 270n107, 272n63; see also ‘Christopher North’ Tait’s Edinburgh Magazine, 218 Wishart, George, 253 ‘Tam Lean of Carterhaugh’, 107–8 Woodhouse, Richard, 256 Taylor, Jefferys, 20 Wordsworth, Dorothy, 146 Taylor, John, 256 Temple, Sir William, 84 Wordsworth, William, 1, 2–4, 11, 14, Tennant, William, 109, 270n107 24, 26, 27–9, 31, 34, 45–6, 47, 48, Tennyson, Lord Alfred, 4, 220, 221 50, 51, 55, 70–1, 89, 112, 133, Thackeray, William Makepeace, 220 136, 148, 149, 176, 218–19, 221, theatre, 52, 114–15, 123–5, 127, 212, 256, 264n90 244 Hogg’s depiction of, 16, 23–4, Hogg as a playwright, 123, 127–32 36–41, 48–9, 139, 143–6, 148, Hogg’s theatre criticism, 14, 115, 149–50 122, 125–6, 143, 150, 158 ‘Essay, Supplementary to the role-playing, 35–6, 46–7, 53, 57, 93, Preface’ (in Poems), 27–9 125–6, 131–41, 146–51, 158, Excursion, The, 36, 39–40, 51, 143, 163–76, 178–9, 208, 212–14, 146, 147, 256 248–51 ‘Extempore Effusion on the Death see also Hogg: use of personae of James Hogg’, 2–4, 218, 256, Tory, 8, 44, 169, 194, 236 258n4 Trumpener, Katie, 64, 83 ‘Ode: Intimations of Immortality’, Trusler, Dr, 206 153–5 Tucker, Herbert, 62–3 Poems (1815), 2, 27–9 308 Index

Wordsworth, William – continued Wormius, Olaus, 267n57 Preface to Lyrical Ballads, 11, 28, 55 Wu, Duncan, 256–7 Prelude, The,3,62 ‘The Recluse’, 36, 40 ‘Yarrow Unvisited’, 3 Yarrow, 3, 75–6, 93, 108, 111, 219, ‘Yarrow Visited’, 3 258n5