Download James Hogg and British Romanticism: A Kaleidoscopic Art by Meiko O'Halloran PDF

By Meiko O'Halloran

This examine argues for Hogg's centrality to British Romanticism, resituating his paintings relating to lots of his extra well-known Romantic contemporaries. Hogg creates a special literary variety which, the writer argues, is healthier defined as 'kaleidoscopic' in view of its similarities with David Brewster's kaleidoscope, invented in 1816.

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Extra resources for James Hogg and British Romanticism: A Kaleidoscopic Art

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Brewster became the editor of the Edinburgh Magazine, a periodical devoted to science and literature, from 1801, and took up residence in the city a year or so after Hogg moved there in 1810. By the 1820s, Hogg was in the habit of calling at Brewster’s home in the Borders, Allerly, just outside Melrose, when he went to sell his sheep at Melrose fair. 4 His conversations with Brewster himself may have been influential on Hogg’s thinking too. It is possible that Hogg had heard about the kaleidoscope that Brewster demonstrated to the Royal Society the year before he composed The Poetic Mirror.

Notwithstanding the bold formal experiments of many Romantic poets and the proliferation of genre-mixing across a host of other literary forms in the period, there were still deeply élitist prejudices about what could be considered ‘high’ art in the public sphere, as reflected in critical reviews and sales. Many of Hogg’s works deliberately resist neat categorisation into ‘high’ or ‘low’ forms. Throughout his career, he was attracted to popular and inclusive models of literature which could accommodate stylistic diversity, as well as admiring the work of writers who belonged to a polite and rarefied pantheon.

In reaching for immortality, he brings about his own death, but it transpires that the Wordsworthian trope of the solitary traveller is only a vehicle for the poet’s solipsistic interest in himself. After pursuing at length the fears of the young boy who is left holding the man’s horse and the imaginary projections which lead the horse to escape, the poetic speaker, ‘Wordsworth’, relates his own arrival at the scene some months later, in the company of several poets: Hogg (the ‘bard obscure | From Scotland’s barren wastes’), Southey (‘The changeful and right feeble bard now stiled | The Laureate’) and Wilson, here introduced as an unworthy Lake poet (‘he too of the Palmy Isle, | .

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