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Stepping Back to an Early Age: James Hogg's Three Perils of Woman and the Ion of Euripides David Groves
Studies in Scottish Literature Volume 21 | Issue 1 Article 15 1986 Stepping Back to an Early Age: James Hogg's Three Perils of Woman and the Ion of Euripides David Groves Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Groves, David (1986) "Stepping Back to an Early Age: James Hogg's Three Perils of Woman and the Ion of Euripides," Studies in Scottish Literature: Vol. 21: Iss. 1. Available at: https://scholarcommons.sc.edu/ssl/vol21/iss1/15 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. David Groves Stepping Back to an Early Age: James Hogg's Three Perils of Woman and the Ion of Euripides James Hogg's Three Perils of Woman; or. Love. Leasing. and Jealousy is a brilliant, searching, and enigmatic work which loosely but vividly re-casts Euripides' tragedy of 1011 in both nineteenth- and eighteenth-century Scotland. Written one year before Hogg's Confessions, The Three Perils of Woman is indebted to Ion for some aspects of plot and character, and follows Euripides in profoundly questioning the nature of divine justice by examining the sufferings of \\iomen. The novel presents questions, rather than answers, and so most of its 1823 reviewers were petrified by its "vulgarity" and its "shockingly irreverent" approach. Such a work was clearly unfit for women: one critic felt obliged to "make it a sealed book" for his wife and daughters, while another felt that Hogg's "occasional bursts of a higher strain" were unfortunately contaminated "with grosser passages, that must banish 'The three perils of Woman' from the toilets of those who would wish to learn what the perils are."l At first sight the work can be confusing in its division into overlapping volumes, "Perils," letters, and tales. -
Extempore Effusion’ •Janette Currie
ROMANTIC T EXTUALITIES LITERATURE AND PRINT CULTURE, 1 7 8 0 – 1 8 4 0 (previously ‘Cardiff Corvey: Reading the Romantic Text’) Issue 15 (Winter 2005) Centre for Editorial and Intertextual Research Cardiff University Romantic Textualities is available on the web @ www.cf.ac.uk/encap/romtext ISSN 1748-0116 Romantic Textualities: Literature and Print Culture, 1780–1840, 15 (Winter 2005). Online: Internet (date accessed): <www.cf.ac.uk/encap/romtext/issues/rt15.pdf>. © 2006 Centre for Editorial and Intertextual Research Published by the Centre for Editorial and Intertextual Research, Cardiff University. Typeset in Adobe Garamond Pro 11 / 12.5, using Adobe InDesign cs; images and illustrations prepared using Adobe Illustrator cs and Adobe PhotoShop cs; final output rendered with Ado- be Acrobat 6 Professional. Editor: Anthony Mandal, Cardiff University, UK. Reviews Editor: Tim Killick, Cardiff University, UK. Advisory Editors Peter Garside (Chair), University of Edinburgh, UK Jane Aaron, University of Glamorgan, UK Stephen Behrendt, University of Nebraska, USA Emma Clery, University of Southampton, UK Benjamin Colbert, University of Wolverhampton, UK Edward Copeland, Pomona College, USA Caroline Franklin, University of Swansea, UK Isobel Grundy, University of Alberta, Canada David Hewitt, University of Aberdeen, UK Gillian Hughes, University of Stirling, UK Claire Lamont, University of Newcastle, UK Robert Miles, University of Victoria, Canada Rainer Schöwerling, University of Paderborn, Germany Christopher Skelton-Foord, University of Durham, UK Kathryn Sutherland, University of Oxford, UK Aims and Scope: Formerly Cardiff Corvey: Reading the Romantic Text (1997–2005), Romantic Textualities: Literature and Print Culture, 1780–1840 is a twice-yearly journal that is commit- ted to foregrounding innovative Romantic-studies research into bibliography, book history, intertextuality, and textual studies. -
Ainsley Mcintosh, Ed., Marmion: a Tale of Flodden Field, Edinburgh: Edinburgh UP, 2018, the Edinburgh Edition of Walter Scott’S Poetry
The Wenshan Review of Literature and Culture．Vol 13.2．June 2020．209-212. DOI: 10.30395/WSR.202006_13(2).0009 Ainsley McIntosh, ed., Marmion: A Tale of Flodden Field, Edinburgh: Edinburgh UP, 2018, The Edinburgh Edition of Walter Scott’s Poetry. Pp. 486. £90. ISBN 9781474425193. Kang-yen Chiu Walter Scott’s Marmion: A Tale of Flodden Field was published in February 1808 when the poet was thirty-seven years old. The first edition of 2,000 copies sold out in less than two months, and with a third edition by the end of May, a total of 8,000 copies were sold in a little over three months. Marmion remained a best-seller throughout the nineteenth century. The Brontë sisters were admirers of the poem and it is mentioned in Charlotte Brontë’s Jane Eyre (1847). Marmion, a historical romance having the Battle of Flodden in 1513 as its focus, along with The Lay of the Last Minstrel (1805) and The Lady of the Lake (1810), has been regarded as the best of Scott’s poetry. These three works were translated into Chinese between the 1980s and 1990s, and they remain the only poems by Scott that have Chinese translations.1 In marked contrast to his novels, with the earliest Chinese translation of the Waverley Novels (Ivanhoe), by Lin Shu ( , 1852-1924), appearing in 1905, the Chinese have been introduced to Scott’s poetry only relatively recently, and it is probably the case that most Chinese speaking readers today are unaware of the fact that Scott began his literary career as a poet, and that writing poetry was an activity that spanned his whole career. -
Eg Phd, Mphil, Dclinpsychol
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Digging up the Kirkyard: Death, Readership and Nation in the Writings of the Blackwood’s Group 1817-1839. Sarah Sharp PhD in English Literature The University of Edinburgh 2015 2 I certify that this thesis has been composed by me, that the work is entirely my own, and that the work has not been submitted for any other degree or professional qualification except as specified. Sarah Sharp 3 Acknowledgements I would like to thank my supervisor Penny Fielding for her continued support and encouragement throughout this project. I am also grateful for the advice of my secondary supervisor Bob Irvine. I would like to acknowledge the generous support of the Wolfson Foundation for this project. Special thanks are due to my parents, Andrew and Kirsty Sharp, and to my primary sanity–checkers Mohamad Jahanfar and Phoebe Linton. -
The Poets and Poetry of Scotland
THE POETS AND POETRY OF SCOTLAND. PERIOD 1777 TO 1876. THOMAS CAMPBELL Born 1777 — Died 1844. THOMAS CAMPBELL, so justly and himself of the instructions of the celebrated poetically called the "Bard of Hope," was Heyne, and attained such proficiency in Greek bom in High Street, Glasgow, July 27, 1777, and the classics generally that he was re- and was the youngest of a family of eleven garded as one of the best classical scholars of children. His father was connected with good his day. In speaking of his college career, families in Argyleshire, and had carried on a which was extended to five sessions, it is prosperous trade as a Virginian merchant, but worthy of notice that Professor Young, in met with heavy losses at the outbreak of the awarding to Campbell a prize for the best American war. The poet was particularly translation of the Clouds of Aristophanes, pro- fortunate in the. intellectual character of his nounced it to be the best exercise which had parents, his father being the intimate friend of ever been given in by any student belonging the celebrated Dr. Thomas Reid, author of the to the university. In original poetry he Inquiry into the. Human Mind, after whom he was also distinguished above all his class- received his Christian name, while his mother mates, so that in 1793 his "Poem on Descrip- was distinguished by her love of general litera- tion" obtained the prize in the logic class. ture, combined with sound understanding and Amongst his college companions Campbell a refined taste. Campbell afforded early indi- soon became known as a poet and wit; and on cations of genius; as a child he was fond of one occasion, the students having in vain made ballad poetry, and at the age of ten composed repeated application for a holiday' in commem- verses exhibiting the delicate appreciation of oration of some public event, he sent in a peti- the graceful flow and music of language for tion in verse, with which the professor was so which his poetry was afterwards so highly dis- pleased that the holiday was granted in com- tinguished. -
Scottish Art: Then and Now
Scottish Art: Then and Now by Clarisse Godard-Desmarest “Ages of Wonder: Scotland’s Art 1540 to Now”, an exhibition presented in Edinburgh by the Royal Scottish Academy of Painting, Sculpture and Architecture tells the story of collecting Scottish art. Mixing historic and contemporary works, it reveals the role played by the Academy in championing the cause of visual arts in Scotland. Reviewed: Tom Normand, ed., Ages of Wonder: Scotland’s Art 1540 to Now Collected by the Royal Scottish Academy of Art and Architecture, Edinburgh, The Royal Scottish Academy, 2017, 248 p. The Royal Scottish Academy (RSA) and the National Galleries of Scotland (NGS) have collaborated to present a survey of collecting by the academy since its formation in 1826 as the Scottish Academy of Painting, Sculpture and Architecture. Ages of Wonder: Scotland’s Art 1540 to Now (4 November 2017-7 January 2018) is curated by RSA President Arthur Watson, RSA Collections Curator Sandy Wood and Honorary Academician Tom Normand. It has spawned a catalogue as well as a volume of fourteen essays, both bearing the same title as the exhibition. The essay collection, edited by Tom Normand, includes chapters on the history of the RSA collections, the buildings on the Mound, artistic discourse in the nineteenth century, teaching at the academy, and Normand’s “James Guthrie and the Invention of the Modern Academy” (pp. 117–34), on the early, complex history of the RSA. Contributors include Duncan Macmillan, John Lowrey, William Brotherston, John Morrison, Helen Smailes, James Holloway, Joanna Soden, Alexander Moffat, Iain Gale, Sandy Wood, and Arthur Watson. -
Disfigurement and Disability: Walter Scott's Bodies Fiona Robertson Were I Conscious of Any Thing Peculiar in My Own Moral
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by St Mary's University Open Research Archive Disfigurement and Disability: Walter Scott’s Bodies Fiona Robertson Were I conscious of any thing peculiar in my own moral character which could render such development [a moral lesson] necessary or useful, I would as readily consent to it as I would bequeath my body to dissection if the operation could tend to point out the nature and the means of curing any peculiar malady.1 This essay considers conflicts of corporeality in Walter Scott’s works, critical reception, and cultural status, drawing on recent scholarship on the physical in the Romantic Period and on considerations of disability in modern and contemporary poetics. Although Scott scholarship has said little about the significance of disability as something reconfigured – or ‘disfigured’ – in his writings, there is an increasing interest in the importance of the body in Scott’s work. This essay offers new directions in interpretation and scholarship by opening up several distinct, though interrelated, aspects of the corporeal in Scott. It seeks to demonstrate how many areas of Scott’s writing – in poetry and prose, and in autobiography – and of Scott’s critical and cultural standing, from Lockhart’s biography to the custodianship of his library at Abbotsford, bear testimony to a legacy of disfigurement and substitution. In the ‘Memoirs’ he began at Ashestiel in April 1808, Scott described himself as having been, in late adolescence, ‘rather disfigured than disabled’ by his lameness.2 Begun at his rented house near Galashiels when he was 36, in the year in which he published his recursive poem Marmion and extended his already considerable fame as a poet, the Ashestiel ‘Memoirs’ were continued in 1810-11 (that is, still before the move to Abbotsford), were revised and augmented in 1826, and ten years later were made public as the first chapter of John Gibson Lockhart’s Memoirs of the Life of Sir Walter Scott, Bart. -
Jon Craig and William Allan the Concept of Tax Expenditures Was De
FISCAL TRANSPARENCY, TAX EXPENDITURES, AND BUDGET PROCESSES: AN 1 INTERNATIONAL PERSPECTIVE Jon Craig and William Allan The concept of tax expenditures was developed in the United States and Germany in the 1960s and spread to a significant number of OECD countries in the 1980s. There has been a renewed international interest of late, with Brazil and Korea and a few non-OECD members adopting the practice of reporting tax expenditures to the public. This paper outlines the work being initiated through the IMF Code of Good Practices on Fiscal Transparency to promote the tax expenditure concept as a standard feature of national budget presentation. A. Fiscal Transparency and Tax Expenditures The international community has sought to promote more openness about the conduct of fiscal and other policies in member countries. To that end, the Fund staff developed a Code of Good Practices in Fiscal Transparency that was initially approved by the Executive Board of the Fund in April 1998, and a slightly modified version was approved by the Board on March 26, 2001. The fiscal transparency code defines a set of specific principles, and, under each of these principles, a set of operational good practices.2 Member countries implement the code on a voluntary basis. Countries indicate their commitment to transparency by participating in a Report on the Observance of Standards and Codes (ROSC), which involves, first, consideration of their practices against a self-assessment questionnaire and then an assessment by IMF staff against each of the good practices defined in the code, including suggestions of priority areas to improve transparency. -
Hogg, Byron, Scott, and John Murray of Albemarle Street Douglas S
Studies in Scottish Literature Volume 35 | Issue 1 Article 23 2007 Hogg, Byron, Scott, and John Murray of Albemarle Street Douglas S. Mack University of Stirling, Emeritus Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Mack, Douglas S. (2007) "Hogg, Byron, Scott, and John Murray of Albemarle Street," Studies in Scottish Literature: Vol. 35: Iss. 1, 307–325. Available at: https://scholarcommons.sc.edu/ssl/vol35/iss1/23 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Douglas S. Mack Hogg, Byron, Scott, and John Murray of Albemarle Street For a' that, and a' that, Its comin yet for a' that, That Man to Man the warld o'er, Shall brothers be for a' that. Robert Burns Towards the end of January 1813 the young Edinburgh publisher George Goldie brought out a new book-length poem, The Queen's Wake. Somewhat unpromisingly, the book was by a little-known and impecunious former shep herd called James Hogg, whose recent attempts to launch a career, first as a farmer and later as a journalist, had ended in failure. Unexpectedly, the poem was very well received by reviewers and by the reading public, and by the au tumn of 1814 both fame and fortune appeared to be within the grasp of the author of The Queen's Wake. -
One Word More on Scott's Anonymity Thomas R
Studies in Scottish Literature Volume 14 | Issue 1 Article 12 1979 One Word More on Scott's Anonymity Thomas R. Dale Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Dale, Thomas R. (1979) "One Word More on Scott's Anonymity," Studies in Scottish Literature: Vol. 14: Iss. 1. Available at: https://scholarcommons.sc.edu/ssl/vol14/iss1/12 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Thomas R. Dale One Word More on Scott's Anonymity Mr. Seamus Cooney in his "Scott's Anonymity--Its Motives and Consequences" (BBL, 10 (1973), pp. 207-219) presents a compre- hensive survey of the various motives or implied by Scott for maintaining the anonymity of the Wavepley Novels from 1814 to 1827. Besides the many motives suggested in Scott's prefaces--some obviously playfully, others with some appearance of sincerity--Mr. Cooney points out another more po tent motive, probably only partly realized by Scott himself. This is the psychological need for anonymity in the writing process itself. Scott, it appears, adopted a number of narra tive personae different from his "real" self and felt that with disclosure of his authorship his novel-writing would corne to an end. (Why this did not apply to the poems is not mentioned.) The intention of this note is to corroborate but modify Mr. -
'Only Worthy Successor': the Career of James Hogg, 1801-1834
Conclusion The ‘Only Worthy Successor’: The Career of James Hogg, 1801-1834 1. The ‘Great Dead Poet’ and the ‘Gifted Living’: The Influence of Burns’s Poetic Legacy upon James Hogg In an article entitled ‘Some Observations on the Poetry of the Agricultural and that of the Pastoral District of Scotland, illustrated by a Comparative View of the Genius of Burns and the Ettrick Shepherd’ (printed in Blackwood’s Edinburgh Magazine in February 1819), John Wilson presents a ‘comparative view’ of Robert Burns and James Hogg that proved to be quite influential in the reception history of both poets. Viewing Burns as representative of ‘agricultural’ verse and Hogg of ‘pastoral’ due to their respective biographies, Wilson analy- ses the sources of their genius as expressed primarily in their writing. He contends that such an approach does not diminish their accomplishments, but merely highlights their particular differences as Scottish poets in their own ‘native dominions’: he writes, ‘There can be nothing more delightful than to see these two genuine children of Nature following the voice of her inspiration in such different haunts, each happy in his own native dominions, and powerful in his own legitimate rule’.1 This leads Wilson to remark upon the poets’ common class status, which is categorised as ‘peasant’. Of this unlikely source of distinction, Wilson observes that ‘most philosophical Englishmen acknowledge that there is a depth of moral and religious feeling in the peasantry of Scotland, not to be found among the best part of their population’ (309). Such linking of class and nation in the verse of Burns and Hogg leads Wilson to speculate upon the distinct character of the Scottish ‘peasantry’, a subject first addressed in the posthumous assessment of Burns by James Currie, his first editor.2 Wilson boldly asserts that ‘we do not feel any consciousness of national prejudice, when we say, that a great poet could not be born among the English peasantry’ (309). -
Margaret Oliphant: Gender, Identity, and Value in the Victonan Penodical Press
University of Alberta Margaret Oliphant: Gender, Identity, and Value in the Victonan Penodical Press Rhonda-Lea Carson-Batchelor O A thesis submitted to the Faculty of Graduate Shidies and Research in partial fulfillrnent of the requirements for the degree of Doctor of Philosophy. Department of English Edmonton, Alberta Fa11, 1998 National Library Bibliothèque nationale 1+1 ,mada du Canada Acquisitions and Acquisitions et Bibliographie Senrices services bibliographiques 395 Wellington Street 395, ~e Weilington OttawaON KIAW Ottawa ON KIA ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Biblothèque nationale du Canada de reproduce, Loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform., vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/lfilm, de reproduction sur papier ou sur fonnat électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract The Victorian penod saw the rise of many women to professiond eminence in literary fields. Margaret Oliphant (1 828- l897), novelist, biographer, literary critic, social commentator, and historian, was just one who participated in the cultural debate about the changing place, role, and value of women within society and the workplace--'the woman questiony--buther conservative and careful feminism has attracted linle critical attention (or esteem) to her fiction.