Notes Introduction: Reclaiming Hogg’s Place in British Romanticism 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. William Wordsworth, ‘Extempore Effusion upon the Death of James Hogg’, 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 (London, 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 (Edinburgh, 2007). 9. Charles Rogers, Leaves from my Autobiography (London, 1876), 267. 10. Hogg to William Blackwood, 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 Walter Scott’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 Ballads, 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 Scotland 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 David Brewster (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 ballad 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).