Andrew Lang: The Life and Letters of John Gibson Lockhart

After the completion of his “Life of Sir Walter Scott,” Lockhart did not attempt, and probably did not even contemplate, any book on a great scale. Indeed, though he thought of amplifying and extending his “Life of Burns,” there is no evidence that he intended to write any book at all, except, perhaps, a version of the “Iliad.” The spring of ambition, long weakened by sorrows and disappointment, broke at the death of his wife. He became occupied with the education of his children, the pleasures of friendship, the observation of society, and the daily duties of editorial routine. These included, as it seems, a vast deal of consultation, both by word of mouth and by written notes, with Mr. Murray, with Croker, with Milman (for whose counsel Lockhart was wont to apply); and possibly there were other advisers—indeed, too many.

The Quarterly Reviews of old partook more than they now do of the nature of journalism. But writers in them were justly annoyed when interpolations into their work attacked, it may be, persons whom they admired. The most severe comments on Lockhart’s editorship which I have seen, occur in a private letter of a critic now dead. But opposite this gentleman’s name, in a diary of Lockhart’s, is written in Greek the quotation of that speech of Achilles: “Hateful to me, even as the gates of hell, is he that hideth one thing in his heart, and uttereth another.”

“Being asked,” says Lord Stanhope, “to write my reminiscences of my much lamented friend Mr. Lockhart, I feel on this occasion, as I have on many others, that nothing can supply the place of notes taken at the time. Even the most brilliant conversations, and the most lively traits of character, seem dim and more than half obliterated when viewed through the retrospect of years.

“It was not long ere my friendship with Mr. Lockhart engaged me—nothing loth—as a writer in the Quarterly Review. I contributed an article on the French Revolution, in reply to a new theory which Mr. Macaulay had just before in another review propounded. But when my article was finished, my friend in Sussex Place, without apprising me, placed it in Mr. Croker’s hands, and left him at liberty to add some further observations.1 Mr. Croker, as is well known, did not allow to lie dormant his great powers of caustic wit. No man knew better how to enliven a dry or difficult subject by the pungency of personal allusion; and no man was more fully aware of his own abilities in that respect. I remember, for example, a series of private notes from him to Sir Robert Peel in the autumn of 1841, when Mr. Croker was assiduously employed in the composition of a stinging article ‘against the Whigs.’ He declares himself so hard at work that he must for the present

1 The Revolution was Croker’s private province in the Review. He had to be consulted, otherwise trouble arose.

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decline all dinner engagements; and he adds as a postscript, ‘I am as busy as a wasp!’

“Mr. Croker, then being in full possession of my unfortunate proofs, proceeded to embody with them some comments by himself on a former publication by Lord John Russell. With the article so ‘amended’—if amended I must call it—the Quarterly came out in April 1833. But when on its appearance I saw how my handiwork had been dealt with, I was much annoyed and displeased. The disparaging remarks on Lord John Russell seemed to me open to objection in their tone and temper, and did not accord with my feeling of respect for that eminent man. I did not wish to be considered as their author, in case the entire article were ascribed to me. Accordingly, I published as a separate essay the article as it stood at first, declaring at the same time to Mr. Murray that I would never—no, never—write again for his Review.1

“In literature and politics, Mr. Lockhart has been very frequently censured as too bitter. So far as regards the literary field, he was convinced that, like other fields into which crowds are pressing, it requires a police—that a warning voice should keep it clear, so far as possible, of impudent pretence, as well as shallow ignorance. That duty had been discharged in a spirit of stern justice by Mr. Gifford and Lord Jeffrey. It was no less needful in Mr. Lockhart’s time; and the keen weapon of ridicule, which they knew so well how to wield, shone as bright in Mr. Lockhart’s hands.

“On the other point, and so far as politics are

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concerned, I may observe that Mr. Lockhart was warmly attached—by family tradition in the first place, and by settled conviction as he grew older—to the ancient institutions of his country in Church and State. It was his lot to live in days when, after a period of comparative tranquillity, these institutions were fiercely struck at and assailed. Perhaps the sentinels may have slumbered a little at their posts. Perhaps they had not always manifested the same energy and the same ability as the besiegers. It was under these circumstances that Mr. Lockhart threw himself into the breach. His courage rather rose as the dangers grew. Even at the worst of times—when, in 1831, the Duke of Wellington was mobbed through the streets of London on the very anniversary of Waterloo—when, in 1833, Sir Robert Peel, in the House of Commons, could scarcely muster around him the merest handful of his former followers,—even then the high spirit of the Quarterly writers never for an instant quailed.

The Crokerian interpolations into the article of Lord Mahon may be recognised by a babe in criticism. Mr. Croker never abstained from three things—personal sneers; the use of copious italics and of capital letters; and the impassioned defence, in season and out of season, of his beloved religion. These marks of Mr. Croker will be found in Lord Mahon’s review of Lord John Russell. Mr. Croker was the literary Thangbrand of Christianity, ever “spoiling for a fight,” like the militant Apostle of Iceland; he was an Anglican Berserk. Lord Mahon need not have feared that these qualities, or Mr. Croker’s italics, would be attributed to him; still, he did well to be angry.

He writes, and he is obviously thinking of Macaulay’s “Essays”: “On the present occasion we mean to confine ourselves within narrow limits, and to keep before us principally what critics nowadays are apt to regard as a humble and trivial function. For we adhere to our old-fashioned notion, that, when a man of rich endowments makes his first appearance, or offers the first specimen of what seems to be the main monument of his literary energy—but more especially when the book is of the graver class—it is the primary duty of reviewers to think not of themselves but of their author; to put the rein on indulgence in any sort of display except the display of his qualities; to aim, in short, at encouraging his zeal by awakening the curiosity and sympathy of his and their public . . . This excludes all chance of formal, original, or would-be original disquisition on the part of the journalist; and we suspect that even at present, when the case is really one of solid and serious claims, our friends are far from being displeased with a recurrence to the primitive notion of Nouvelles de la Republique des Lettres.”

There are other drawbacks. Lockhart had ever in his mind the Conservative character of his organ, and would make temporary defences of its ideas, with reference to the questions of the hour, where perhaps no such excursions were necessary. Now they are superseded and otiose, if the essays be taken as works of pure literature. They become journalism, as Lockhart knew and intended, and nothing is less

1 Mr. James Traill, son of Lockhart’s friend, Mr. Traill.

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permanent than journalism. It cannot be denied that, like Croker, he had a vein of the Christian apologist out of season.

Not much out of season are his remarks in this kind on Colonel Mure’s “History of Greek Literature.” The Colonel necessarily devoted much of his space to the Homeric question, the question of the unity and antiquity of the Homeric Epics. This unity had been assailed, as every one knows, by the learned Wolf, and ever since his day German criticism has been sedulously occupied with dissecting the poems, and tearing the poet into disjecta membra of all manner of diverse dates and authorships. Many, one might even say most, of these dissertations are marked by learning, indeed; but are also notable for perverse and wilful caprice of fancy, for utter insensibility to poetry, and for a blind indifference to the fact that most of the arguments against the unity of authorship in the Homeric poems are just as strong arguments against the unity of authorship of the Waverley Novels, of “Paradise Lost,” or of almost any other sustained work of imagination.

Lockhart was interested in Biblical criticism. He did not wish to burke it: he did wish that it should be studied; should, if possible, be answered, as the following letter shows. It is quoted here, as it illustrates his attitude to the important subject which he introduced into his discussion of Colonel Mure’s remarks in defence of the unity of Homer—

“With the Germans, eccentricity has long been the standard substitute for genius. . . . The attacks” (on Homer and on the Bible) “were conducted upon the very same principles, and it would be curious enough to exhibit in detail the precise parallels between the methods of working out these principles, the results announced, the overawing effect produced for the moment, the subsequent reaction of a scepticism against the sceptics, and the ultimate success of awakened reflection, honest investigation, and candid judgment in disentangling the whole vast web of sophistry. . . .”

Taste, learning, humour, and sense concur in Lockhart’s article on Colonel Mure, an article more vivacious by far than we can expect from the grave quarterly serials of to-day. The Teutonic love of “anything odd and startling in the way of theory,” combined with the Teutonic total “want of taste,” is displayed as the inspiration of German efforts to lacerate the sacred body of Homer. Analogies are found in German dealings with our own literature. “We are proved to be wholly wrong about Doll Tearsheet, whose genuine affection for Sir John ought to cover a multitude of early indiscretions, and who was uttering the deepest emotions of a true heart when she declared that she would never dress herself handsome till her little tidy boar-pig

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came back from the wars.” The German method is then illustrated in application to Byron and Scott. “Were Hogg and Scott dialectical forms of the same name? Was shepherd Gaelic for sheriff?” The wars of the White Rose and Prince Charles are probably the same with those of the Two Roses, and so on. Lockhart, of course, admits that “Wolf was himself a man of splendid talents”; and Wolf’s keen appreciation of Homer, when he reads Homer “for human pleasure,” is contrasted with the distorted vision of the critic reading for the establishment of a pet theory. Admiring the Homeric poems as he did, how could Wolf persuade himself that an unknown multitude of men composed these poems?

“Scott amused himself with an imitation of Crabbe: it is as clever as James Smith’s—but is that all? When Crabbe read it, the honest bard smiled and sighed. ‘Ah,’ said he, ‘this man has caught my trick; he can do all that I can do, but he can do something more.’” Is it very probable, Lockhart asks, that the presumed author of the nucleus of the “Iliad” would find plenty of poets, like those of Book ix. and Book xxiv., and of the “Odyssey,” who had “caught his trick, could do all that he could do, and something more”?

Lockhart then applies the pettifogging manner of the critics to Virgil and Milton, showing that they are as vulnerable as Homer. He next, more suo, makes long extracts from Colonel Mure: for

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instance, as to the Helen of the “Iliad” and the Helen of the “Odyssey.” “Our Colonel (nuper idoneus) is likely to understand such a development better than most meerschaumed professors.” But one cannot, however willing, follow Lockhart through an argument which is, perhaps, especially strong when he touches on the so-called Cyclic poets, and on the inconsistencies detected in the “Iliad.” These, in fact, are not more numerous and glaring than the inconsistencies in modern works of imagination, yet they are supposed to prove that each poem cannot have had one author. Lockhart rather regards them as a presumption that the author could write, than otherwise. For if he wrote he might never read his poem again, and, consequently, might never correct it. But if he was always reciting it in public, the errors could not escape his observation.

It may seem a pity that Lockhart did not try his method on the weaker points of Biblical criticism, which are full of entertaining opportunities. But orthodoxy is too apt to leave ridicule to its opponents, and to neglect the legitimate diversion of comparing the contradictory dogmas and mythological ingenuities of competing Biblical theorists.

Lockhart traces the black threads of these errors running through the brilliant warp and woof of Hook’s social and literary success. He follows Hook’s regret and remorse, through his diaries, and in the veiled confessions of his novels. This jester had the gloomiest of faces behind his merry mask. He filled—strange as it seems now—Hook filled the Athenæum Club with revel and glee. His favourite corner in the dining-room was called Temperance Corner. “Many grave and dignified persons being frequent guests, it would hardly have been seemly to be calling for repeated supplies of a certain description; but the waiters well understood what the oracle of the corner meant by ‘Another

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glass of toast and water,’ or ‘A little more lemonade.’”

In Lockhart’s diaries I observed, before reading this remark, that he dined pretty often at the Athenæum, and I wondered why. Causa patet!

As the little “Life of Hook” is not now very common on the railway bookstalls, I extract a story of Hook and Coleridge, already once referred to in this book. The “friend” who shared and describes the revel is, of course, Lockhart himself.

“The first time I ever witnessed Hook’s improvisations was at a gay young bachelor’s villa near Highgate,1 when the other lion was one of a very different breed, Mr. Coleridge. Much claret had been shed before the Ancient Mariner proclaimed that he could swallow no more of anything, unless it were punch. The materials were forthwith produced—the bowl was planted before the poet, and as he proceeded with the concoction, Hook, unbidden, took his place at the piano. He burst into a bacchanal of egregious luxury, every line of which had reference to the author of the ‘Lay Sermons’ and the ‘Aids to Reflection.’

1 The residence of the late Frederick Mansell Reynolds—then a gay character enough, though best known as author of the novel entitled “Miserrimus.” He was son to the popular dramatist.

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The room was becoming excessively hot. The first specimen of the new compound was handed to Hook, who paused to quaff it, and then, exclaiming that he was stifled, flung his glass through the window. Coleridge rose with the aspect of a benignant patriarch, and demolished another pane—the example was followed generally—the window was a sieve in an instant—the kind host was farthest from the mark, and his goblet made havoc of the chandelier. The roar of laughter was drowned in Theodore’s resumption of the song—and window and chandelier and the peculiar shot of each individual destroyer had apt, in many cases exquisitely witty, commemoration. In walking home with Mr. Coleridge, he entertained and me with a most excellent lecture on the distinction between talent and genius, and declared that Hook was as true a genius as Dante—that was his example.”

Lockhart, as we learn from the “Memoir of Mr. Murray,” was rather unwilling to write this essay. He had conceived that he could not please Mr. Murray by his work—an example of the presence of “the black dog.” Again, he did not care for the coldness and want of geniality which he found in Wilkie—characteristics constantly censured in himself. None the less, “a manse bairn” himself, he enters with zest into the history of the early days of this illustrious child of the manse. Wilkie, as a boy, caricatured the minister in the pulpit, with a bit of soft charcoal, on the bald pate of the venerable and slumbering miller of Pitlessie! The freak was a Scævolæ studiis haud alienunt. It is a temp-

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tation to linger over a crowd of anecdotes and amusing reflections.

The malignant Lockhart extracts in full the charming sketch of Hogg at Altrive, with his rural hospitality, and his noble compliment to Wilkie:—

“‘Mr. Wilkie—sir,’ exclaimed the Shepherd, seizing him by the hand, ‘I cannot tell you how proud I am to see you in my house, and how glad I am to see you so young a man.’

“When I told Scott of Hogg’s reception of Wilkie, ‘The fellow!’ said he; ‘it was the finest compliment ever paid to man.’”

In commenting on Wilkie’s criticisms of the great Italian painters, Lockhart shows his usual keen but unobtrusive interest in and knowledge of their art. He had taste and skill enough and practice enough to know “how difficult it is,” but he never dealt in technical terminology and the special argot of the studio. The essay on Wilkie is a worthy pendant to that on Theodore Hook.

The study of Crabbe’s Life (No. 100) is briefer, more of a reviewal, yet marked by sympathy and personal knowledge. If ever it is reprinted it should be accompanied by Lockhart’s criticism of Crabbe’s poetry. Another interesting, though rather painful, essay is devoted to Dr. Beattie’s “Life of Thomas Campbell.” The poet’s letters are not of much merit, and do not display, Lockhart says, “that ever-glowing necessity of the brain and blood to which we owe the correspondences of Cicero, Erasmus, Voltaire, Scott, Byron—of Goethe, whose signet bore a star with the words ohne hast, ohne rast; and, we may safely add by anticipation, the name of Southey” (1849). Had Lockhart’s correspondence with his friends been better preserved, his own name might well have been added to those of the great men of letters who shine in this field, with the names also of Cowper, Gray, Carlyle, Macaulay, and Thackeray. Campbell’s genius, however, he says, “seldom animates the page that was meant for a private eye.” “What he did with his eye set on immortality was first thrown out with vehement throes, half pain, half rapture, and then polished with anxious and timid toil; the happiest of the first suggestions not seldom suffering grievous mutilation, sometimes eclipse, in this cold process. Let us be thankful for what has escaped such risks. It is no wonder that an author so framed, and compelled to give a considerable space of every day to joyless, uncon-

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genial tasks, should have found no stock of spirit and pleasantry for a copious and lively epilogue of correspondence.”

Lockhart was probably disappointed to some degree in his anticipations of Southey’s published correspondence. His own essay on Southey’s “Life,” though interesting, is more or less narquois. “His style of writing to third parties about those with whom he was content to co-operate, so much to his own pecuniary benefit, for more than a quarter of a century, does not seem to us very becoming.”1 He and Southey never “took to” each other. Of all faults Lockhart most detested vanity, a failing which has its amiable side in the comfort yielded by “a canty conceit o’ oursel’.” For this the Scotchman prayed!

With more of canty conceit, Lockhart would have been a happier, a more successful, and a more popular man. Mr. Christie has remarked on his contempt and intolerance of vanity. Now, the vanity of Southey, though most innocent, was very great: we have given an example in his remarks on his own book, “The Doctor,” and Lockhart collected a spicilegium of instances in his review of Southey’s “Life.”

Wilson replied, and sent notes very hostile to Wordsworth. These, he said, must be published complete, or not at all. Lockhart answers:—

Wilson repeated that he was in earnest about his remarkable notes on Wordsworth. Lockhart answers:—

These interesting letters, proving the continued kindness of the relations between Wilson and Lockhart, occurred in a mass of domestic correspondence with Mr. and Mrs. Hope Scott. They make us regret the loss of so many of Lockhart’s literary epistles. It is conceivable that Professor Wilson’s severe illness, alluded to in the first letter, may have affected his ideas about Wordsworth. As Lockhart returned all Wilson’s “sheets” of unfriendly Reminiscences, they are not, of course, to be found among the few letters of his at Abbotsford.

To return to Lockhart as a journalist: it may

1 This letter seems to be lost.

2 Gloucester Place, Edinburgh—Wilson’s house.

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be remembered that Southey succeeded in making Lockhart believe that he was not the author of “The Doctor”; Lockhart therefore reviewed his contributor in the Quarterly Review (No. cl.) with perfect freedom. Southey was thus in the position of those listeners who, proverbially, hear little good of themselves. Lockhart praised much of “The Doctor” very highly, and justly, but the author’s peculiar uproarious humour he regarded as hardly consistent with perfect sanity. That Southey was vain, that his humour (what he had of it) was noisy, that his tenacity of opinion bordered on the bigoted, must be admitted; but, in a work where he is mentioned, it is impossible to leave him without a tribute to his honourable and generous character, to his wide and multifarious learning, to all that makes his name one of the brightest and most stainless in the chronicles of British literature. He and Lockhart saw very little of each other personally, and circumstances blessed the beginning of their acquaintance with “a slight aversion.”

The mass of Lockhart’s Quarterly articles cannot possibly be criticised here in detail. Not many of the papers deserve our dislike; among these are the review of Moore’s “Sheridan,” which displeased Sir Walter, and the critique of Leigh Hunt’s unhappy “Lord Byron and his Contemporaries.” The book was une mauvaise action: perhaps it could not be passed over. But, despite Lockhart’s reputation for skill in satire, it must be said that, in satire (except in the “chaff” about Tennyson), he is always at his worst, and is always at his best when he is most sympathetic

These comments on Lockhart as a Reviewer may conclude with a note of his to an unsuccessful and tedious contributor unknown1:—

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William Lowther, first earl of Lonsdale (1757-1844) Tory peer and patron of William Wordsworth; he was created earl of Lonsdale in 1807.

William Lowther, second earl of Lonsdale (1787-1872) The son of the first earl (d. 1844); educated at Harrow and Trinity College, Cambridge, he was a Tory MP for Cockermouth (1808-13), and Westmorland (1813–31, 1832-41).

Thomas Babington Macaulay, baron Macaulay (1800-1859) English poet, critic, and historian, author of The History of England from the Accession of James the Second, 5 vols (1849-61).

Robert Mackay [Rob Donn] (1793-1873) Scottish Gaelic poet employed as a herder and gamekeeper; his poems were first collected in 1829.

Sir Daniel Macnee (1806-1882) Scottish portrait painter and president of the Royal Scottish Academy (1876).

Ellen Ryder Maginn [née Bullen] (d. 1859) The daughter of a clergyman, in 1824 she married the writer William Maginn in Christ Church, Cork.

William Maginn (1794-1842) Irish translator, poet, and Tory journalist who contributed to Blackwood's and Fraser's Magazines under a variety of pseudonyms.

Cardinal Henry Edward Manning (1808-1892) Educated at Harrow and Balliol College, Oxford (where he was tutored by Herman Merviale), he converted to Catholicism under the influence of John Henry Newman (1851), becoming archbishop of Westminster in 1865.

Harriet Martineau (1802-1876) English writer and reformer; she published Illustrations of Political Economy, 9 vols (1832-34) and Society in America (1837).

Queen Mary of Scotland (1542-1587) The controversial queen of Scotland (1561-1567) who found a number of champions in the romantic era; Sir Walter Scott treats her sympathetically in The Abbott (1820).

Henry Hart Milman (1791-1868) Educated at Eton and Brasenose College, Oxford, he was a poet, historian and dean of St Paul's (1849) who wrote for the Quarterly Review.

John Milton (1608-1674) English poet and controversialist; author of Comus (1634), Lycidas (1638), Areopagitica (1644), Paradise Lost (1667), and other works.

David Macbeth Moir [Delta] (1798-1851) Scottish physician and popular lyric poet; he was the "Delta" of Blackwood's Magazine.

Thomas Moore (1779-1852) Irish poet and biographer, author of the Irish Melodies (1807-34), The Fudge Family in Paris (1818), and Lalla Rookh (1817); he was Byron's close friend and designated biographer.

William Mure (1799-1860) Classical scholar, educated at Westminster School, at the University of Edinburgh; he published in the Edinburgh Review and Quarterly Review.

Anne Murray [née Elliot] (1782-1854) The daughter of the Scottish bookseller Charles Elliot; she married the second John Murray in 1807.

John Murray II (1778-1843) The second John Murray began the Quarterly Review in 1809 and published works by Scott, Byron, Austen, Crabbe, and other literary notables.

John Murray III (1808-1892) The son of the Anak of publishers; he successfully carried on the family publishing business.

Cardinal John Henry Newman (1801-1890) Educated at Trinity College, Oxford, and Fellow of Oriel, he was a leader of the Oxford Movement before becoming a Roman Catholic in 1845.

Samuel Parr (1747-1825) English schoolmaster, scholar, and book collector whose strident politics and assertive personality involved him in a long series of quarrels.

Sir Robert Peel, second baronet (1788-1850) Byron's schoolmate at Harrow, afterwards prime minister from 1834-1835 and 1841-1846.

Henry William Pickersgill (1782-1875) English portrait painter who exhibited at the Royal Academy in 1806, to which he was elected in 1826. Among his sitters were Hannah More, Jeremy Bentham, William Godwin and William Wordsworth.

Robert Pollok (1798-1827) Scottish poet and clergyman, author of the oft-reprinted The Course of Time (1827) issued shortly before his early death.

Edward Quillinan (1791-1851) A poet of Irish Catholic descent who pursued a military career while issuing several volumes published by his father-in-law Edgerton Brydges; after the death of his first wife Jemima he married Dora Wordsworth in 1841.

Frederic Mansel Reynolds (1801-1850) Son of the dramatist Frederick Reynolds; he edited The Keepsake and published a novel, Miserrimus: a Tale (1833).

David Roberts (1796-1864) Scottish-born artist employed as a scene-painter before travelling in the Middle-East and exhibiting at the Royal Academy from 1826.

Patrick Robertson [Peter] (1794-1855) Scottish judge, poet, wit, and friend of John Wilson; familiarly known as “Peter,” in 1848 he was elected lord rector of Marischal College.

François de La Rochefoucauld (1613-1680) French courtier and moralist; author of Réflexions ou sentences et maximes morales (1665).

John Ruskin (1819-1900) Art critic and social reformer; he published Modern Painters, 5 vols (1843-60) and The Stones of Venice (1851-53).

John Russell, first earl Russell (1792-1878) English statesman, son of John Russell sixth duke of Bedford (1766-1839); he was author of Essay on the English Constitution (1821) and Memoirs of the Affairs of Europe (1824) and was Prime Minister (1865-66).

Andrew Rutherfurd (1791-1854) Originally Greenfield; he was educated at Edinburgh University and was Scottish advocate (1812); solicitor-general in the Melbourne administration and Whig MP for Leith boroughs (1839-1851).

James Scott [The Odontist] (1830 fl.) The first dental specialist to practice in Glasgow, he was a member of the Royal Philosophical Society of Glasgow (1803), afterward pilloried in Blackwood's as “The Odontist.”. Blackwood's describes him as deceased in 1831.

Sir Walter Scott, baronet (1771-1832) Scottish poet, novelist, antiquary, biographer, editor, and sheriff.

William Shakespeare (1564-1616) The Bard of Avon.

James Smith (1775-1839) Solicitor and author; with his brother Horace he wrote Rejected Addresses (1812) and Horace in London (1813).

William Henry Smith (1808-1872) Writer for the Athenaeum, Blackwood's, and Westminster Review; he published A Discourse on Ethics of the School of Paley (1839).

Robert Southey (1774-1843) Poet laureate and man of letters whose contemporary reputation depended upon his prose works, among them the Life of Nelson, 2 vols (1813), History of the Peninsular War, 3 vols (1823-32) and The Doctor, 7 vols (1834-47).

Philip Henry Stanhope, fifth earl Stanhope (1805-1875) Historian and man of letters, the son of the fourth earl; he published The History of England from the Peace of Utrecht to the Peace of Versailles, 1713-1783, 7 vols, (1836-53).

Robert Surtees (1779-1834) English antiquary and historian educated at Christ Church, Oxford; his county history of Durham began appearing in 1816. Reginal Heber and Charles Kirkpatrick Sharpe were among his schoolmates and Sir Walter Scott was a friend.

Sir Henry Taylor (1800-1886) Poet, writer for the Quarterly Review, and autobiographer; he was author of the tragedy Philip van Artevelde (1834).

Alfred Tennyson, first baron Tennyson (1809-1892) English poet who succeeded William Wordsworth as Poet Laureate in 1850; he published Poems, chiefly Lyrical (1830) and Idylls of the King (1859, 1869, 1872).

William Makepeace Thackeray (1811-1863) English novelist; author of Vanity Fair (1848), Pendennis (1850) and Henry Esmond (1852).

Thomas Thomson (1768-1852) Scottish lawyer and man of letters; he was one of the projectors of the Edinburgh Review and succeeded Sir Walter Scott as president of the Bannatyne Club (1832-52).

Thomas Thomson (1773-1852) Friend of James Mill and professor of chemistry at the University of Glasgow; he contributed to the Quarterly Review.

James Traill (1794-1873) Of Hobbister, Orkney; educated at Balliol College (Snell Exhibitioner) and the Middle Temple, he was a police magistrate in London. Traill was John Christie's second in the duel with John Scott.

James Christie Traill (1826-1899) The son of James Traill; he was a London barrister who published on law and succeeded to the family estate of Hobbister, Orkney.

Patrick Fraser Tytler (1791-1849) Sottish barrister, son of Alexander Fraser Tytler; he published The Life of the Admirable Crichton (1819), History of Scotland (1828-43), and other works.

Queen Victoria (1819-1901) Queen of England, 1837-1901.

Virgil (70 BC-19 BC) Roman epic poet; author of Eclogues, Georgics, and the Aenead.

Voltaire (1694-1778) French historian and man of letters; author of, among many other works, The Age of Louis XIV (1751) and Candide (1759).

Ralph Wardlaw (1779-1853) Educated at Glasgow University, he was a Scottish Congregational Minister and a founder of the Glasgow Anti-Slavery Society in 1823.

Arthur Wellesley, first duke of Wellington (1769-1852) Soldier and statesman; commander in the Peninsular Campaign (1809-1813), he defeated Napoleon at Waterloo and was prime minister (1828-1830).

Sir David Wilkie (1785-1841) Scottish-born artist whose genre-paintings were much admired; he was elected to the Royal Academy in 1811.

John Wilson [Christopher North] (1785-1854) Scottish poet and Tory essayist, the chief writer for the “Noctes Ambrosianae” in Blackwood's Magazine and professor of moral philosophy at Edinburgh University (1820).

Friedrich August Wolf (1759-1824) German philologist who taught at the University of Halle.

Christopher Wordsworth, bishop of Lincoln (1807-1885) Son of Christopher, master of Trinity College; he was headmaster of Harrow (1836-44) and bishop of Lincoln (1868-85).

William Wordsworth (1770-1850) With Coleridge, author of Lyrical Ballads (1798), Wordsworth survived his early unpopularity to succeed Robert Southey as poet laureate in 1843.

William Wordsworth (1810-1883) The second son of William Wordsworth; of St. Ann's Hill, Carlisle, he was a justice of the peace.

Blackwood's Edinburgh Magazine. (1817-1980). Begun as the Edinburgh Monthly Magazine, Blackwood's assumed the name of its proprietor, William Blackwood after the sixth number. Blackwood was the nominal editor until 1834.

The Edinburgh Review, or Critical Journal. (1802-1929). Founded by Francis Jeffery, Sydney Smith, and Henry Brougham, the Edinburgh Review was for decades a principal organ of Whig opinion in Britain.

John Bull. (1820-1892). A scurrilous Tory weekly newspaper edited by Theodore Hook.

The Quarterly Review. (1809-1967). Published by John Murray, the Quarterly was instigated by Walter Scott as a Tory rival to the Edinburgh Review. It was edited by William Gifford to 1824, and by John Gibson Lockhart from 1826 to 1853.

Sir John Barrow, first baronet (1764-1848) “Dry Rot—Mr. Kyan's Patent” in Quarterly Review. Vol. 49 (April 1833): 125-135. Once incorrectly attributed to John Gibson Lockhart.

William Beattie (1793-1875) Life and Letters of Thomas Campbell. 3 vols (London: Moxon, 1849).

Sir John Bowring (1792-1872) Servian Popular Poetry. (London: For the Author, 1827). Translated by Bowring.

Samuel Taylor Coleridge (1772-1834) Aids to Reflection in the formation of a Manly Character: on the several Grounds of Prudence, Morality, and Religion, illustrated by select Passages from our Elder Eivines, especially from Archbishop Leighton. (London: Taylor and Hessey, 1825). There were two New York editions in 1817.

Samuel Taylor Coleridge (1772-1834) A Lay Sermon, addressed to the higher and middle Classes, on the existing Distresses and Discontents. (Gale and Fenner, 1817). With The Statesman's Manual (1816), this work comprised the “Lay Sermons.”

Samuel Taylor Coleridge (1772-1834) Specimens of the Table Talk of the late Samuel Taylor Coleridge. 2 vols (London: John Murray, 1835). Edited by Henry Nelson Coleridge.

John Wilson Croker (1780-1857) The Life of Samuel Johnson, including a Journal of a Tour to the Hebrides. A new Edition, with numerous Additions and Notes. 5 vols (London: J. Murray, 1831). Boswell's Life of Johnson with new material by John Wilson Croker.

John Wilson Croker (1780-1857) “Poems by Alfred Tennyson” in Quarterly Review. Vol. 49 (April 1833): 81-96. Once attributed to John Gibson Lockhart.

Allan Cunningham [Hidallan] (1784-1842) The Life of Sir David Wilkie; with his Journals, Tours, and Critical Remarks on Works of Art; and a Selection from his Correspondence. 3 vols (London: J. Murray, 1843). With a preface by Peter Cunningham.

Barbarina Brand, Lady Dacre [née Ogle] (1768-1854) Recollections of a Chaperon. 3 vols (London: Bentley, 1833). A novel; reviewed by Lockhart in the Quarterly.

Dante Alighieri (1265-1321) “The Inferno” in The Divine Comedy. (1320 c.). An allegorical description of Hell, the first of the three parts of the Divine Comedy, the others being the “Purgatorio” and “Paradiso.”

James Dennistoun of Dennistoun (1803-1855) “The Heirs of the Stuarts” in Quarterly Review. Vol. 81 (June 1847): 57-85.

George Robert Gleig (1796-1888) “Life of Lockhart” in Quarterly Review. Vol. 116 (October 1864): 439-482.

Johann Wolfgang Goethe (1749-1832) Faust. Eine Tragödie. (1808, 1832). A closet drama in two parts; Goethe worked on this poem for more than half a century.

James Hogg [The Ettrick Shepherd] (1770-1835) The Domestic Manners and Private Life of Sir Walter Scott. (Glasgow: 1834).

Homer (850 BC fl.) The Iliad. (800 BC c.). The tale of Troy, generally read in the translation by Alexander Pope.

Homer (850 BC fl.) The Odyssey. (800 BC c.). A Greek epic poem which in the romantic era was usually read in the translation by Alexander Pope.

James Henry Leigh Hunt (1784-1859) Lord Byron and some of his Contemporaries; with Recollections of the Author's Life, and of his Visit to Italy. (London: Colburn, 1828). Hunt's scathing portrait of Lord Byron won him few friends.

Alexander William Crawford Lindsay, 25th Earl of Crawford (1812-1880) Lives of the Lindsays; or, a Memoir of the Houses of Crawford and Balcarres. 4 vols (Wigan: C. S. Simms, 1840).

John Gibson Lockhart (1794-1854) “Captain Paton's Lament” in Blackwood's Magazine. Vol. 5 (September 1819): 735-36. Ascribed to “Dr. Scott”—the Odontist.

John Gibson Lockhart (1794-1854) “Coleridge's Table-Talk” in Quarterly Review. Vol. 53 (February 1835): 79-103.

John Gibson Lockhart (1794-1854) “Colonel Mure on the Literature of Ancient Greece: Homeric Controversy” in Quarterly Review. Vol. 87 (September 1850): 434-468.

John Gibson Lockhart (1794-1854) “The Copyright Question” in Quarterly Review. Vol. 69 (December 1841): 186-227.

John Gibson Lockhart (1794-1854) “Crabbe's Posthumous Tales” in Quarterly Review. Vol. 52 (August 1834): 184-203.

John Gibson Lockhart (1794-1854) “Croker's Edition of Boswell” in Quarterly Review. Vol. 46 (November 1831): 1-46.

John Gibson Lockhart (1794-1854) “The Doctor” in Quarterly Review. Vol. 51 (March 1834): 68-96. A review of Southey's anonymous olio.

John Gibson Lockhart (1794-1854) “Dr. Beattie's Life of Campbell” in Quarterly Review. Vol. 85 (June 1849): 32-81.

John Gibson Lockhart (1794-1854) “Life and Letters of Southey” in Quarterly Review. Vol. 88 (December 1850): 197-247.

John Gibson Lockhart (1794-1854) Life of Robert Burns. (Edinburgh: Constable and Co., 1828). Long considered a standard work.

John Gibson Lockhart (1794-1854) “Life of Crabbe, by his Son” in Quarterly Review. Vol. 50 (January 1834): 468-508.

John Gibson Lockhart (1794-1854) “Life of Sir David Wilkie” in Quarterly Review. Vol. 72 (September 1843): 397-452. A review of the biography by Allan Cunningham.

John Gibson Lockhart (1794-1854) “Lord Byron and Some of his Contemporaries” in Quarterly Review. Vol. 37 (March 1828): 402-426. A scathing review of Leigh Hunt's biography.

John Gibson Lockhart (1794-1854) “Lord Cockburn's Life of Jeffrey” in Quarterly Review. Vol. 91 (June 1852): 105-159. Written with Whitwell Elwin.

John Gibson Lockhart (1794-1854) “Memoirs of Sheridan, by Dr. Watkins and Mr. Moore” in Quarterly Review. Vol. 33 (March 1826): 561-593.

John Gibson Lockhart (1794-1854) Memoirs of the Life of Sir Walter Scott, bart.. 7 vols (Edinburgh: R. Cadell, 1837-38).

John Gibson Lockhart (1794-1854) “Recollections of a Chaperon, Aims and Ends” in Quarterly Review. Vol. 49 (April 1833): 228-247.

John Gibson Lockhart (1794-1854) “Rob Donn's Poems” in Quarterly Review. Vol. 45 (July 1831): 358-374.

John Gibson Lockhart (1794-1854) “Theodore Hook” in Quarterly Review. Vol. 72 (May 1843): 53-108.

John Gibson Lockhart (1794-1854) Theodore Hook: A Sketch. (London: John Murray, 1852). Reprinted from the Quarterly Review; fourth edition, 1853.

Robert Mackay [Rob Donn] (1793-1873) Songs and Poems: in the Gaelic Language. (Inverness: R. Douglas, 1829). Edited with a memoir by Mackintosh Mackay

John Milton (1608-1674) Paradise Lost. A Poem written in Ten Books. (London: 1667). A biblical epic on the fall of man, in blank verse.

David Macbeth Moir [Delta] (1798-1851) Sketches of the Poetical Literature of the past Half-Century in Six Lectures delivered at the Edinburgh Philosophical Association. (Edinburgh: Blackwood, 1851). Reprinted 1856

Thomas Moore (1779-1852) Memoirs of the Life of the Right Honourable Richard Brinsley Sheridan. 2 vols (London: Hurst, Rees, Orme, Brown, and Green, 1825). Moore's first venture into biography was successful enough that he was elected to produce the authorized life of Byron.

William Mure (1799-1860) A Critical History of the Language and Literature of Antient Greece. 5 vols (London: Longman, Brown, Green, and Longmans, 1850).

Frederic Mansel Reynolds (1801-1850) “Miserrimus.” On a Grave-stone in Worcester Cathedral is this Inscription, Miserrimus; with neither Name, Date, nor Comment. Not published. (London: Davison, Simmons, and Co., 1832). Second edition 1833.

Sir Walter Scott, baronet (1771-1832) Ballantyne's Novelist's Library. 10 vols (London: Hurst, Robinson and Co., 1821-1824). A collection of classic English novels with biographical introductions by Sir Walter Scott.

Sir Walter Scott, baronet (1771-1832) “The Poacher” in Edinburgh Annual Register. (Edinburgh: 1809). In the manner of George Crabbe, written 1811 (the Annual Register was slow in appearing).

Sir Walter Scott, baronet (1771-1832) Waverley: or, 'Tis Sixty Years Since. 3 vols (Edinburgh: Constable, 1814). Scott's first historical novel, set against the backdrop of the Jacobite rising of 1745.

Sir Walter Scott, baronet (1771-1832) Waverley Novels. 48 vols (Edinburgh: Cadell & Co., 1829-33). The Magnum Opus edition, with the author's revisions and new prefaces. Collected editions began appearing in 1820.

Samuel Smiles (1812-1904) A Publisher and His Friends: Memoir and Correspondence of the late John Murray, with an Account of the Origin and Progress of the House, 1768-1843. 2 vols (London: John Murray, 1891).

William Henry Smith (1808-1872) “Southey” in Blackwood's Magazine. Vol. 69 (March-April 1851): 349-367, 385-405.

Robert Southey (1774-1843) The Doctor &c.. 7 vols (London: Longman, Rees, Orme, Brown, Green and Longman, 1834-1847). A rambling biographical satire that contains the first publication of the story of The Three Bears.

Robert Southey (1774-1843) The Life and Correspondence of Robert Southey. 6 vols (London: Longman, Brown, Green, and Longmans, 1849-1850). Edited by Charles Cuthbert Southey.

Philip Henry Stanhope, fifth earl Stanhope (1805-1875) “Lord John Russell, The Causes of the French Revolution” in Quarterly Review. Vol. 49 (April 1833): 152-174. Reprinted in Historical Essays without the offensive emendations by John Wilson Croker.

Philip Henry Stanhope, fifth earl Stanhope (1805-1875) “Tytler's History—Mary Queen of Scots” in Quarterly Review. Vol. 67 (March 1841): 303-344.

John Sterling (1806-1844) “Poems by Alfred Tennyson” in Quarterly Review. Vol. 70 (September 1842): 385-416.

Sir Henry Taylor (1800-1886) Philip Van Artevelde: a Dramatic Romance in two parts. (London: E. Moxon, 1834). There were several later editions.

Alfred Tennyson, first baron Tennyson (1809-1892) Poems. (London: Edward Moxon, 1833).

Alfred Tennyson, first baron Tennyson (1809-1892) Poems. 2 vols (London: E. Moxon, 1842).

Alfred Tennyson, first baron Tennyson (1809-1892) The Princess: a Medley. (London: Edward Moxon, 1847). On the theme of women's education; the basis for Gilbert and Sullivan's Princess Ida.

Patrick Fraser Tytler (1791-1849) History of Scotland. 9 vols (Edinburgh: William Tait, 1828-1843).

Christopher Wordsworth, bishop of Lincoln (1807-1885) Memoirs of William Wordsworth. 2 vols (London: Moxon, 1851). By the poet's nephew.

William Wordsworth (1770-1850) The Prelude, or, Growth of a Poet's Mind; an Autobiographical Poem. (London: E. Moxon, 1850). Begun 1798-99.

INFORMATION FROM TEI HEADER

Source Description:

Author: Lang, Andrew, 1844-1912

Title: The Life and Letters of John Gibson Lockhart (London: John C. Nimmo, 1897).

Electronic Edition:

Series: Lord Byron and his Times: http://lordbyron.org

Encoding Description: Any dashes occurring in line breaks have been removed. Obvious and unambiguous compositors’ errors have been silently corrected.

Markup and editing by: David Hill Radcliffe

Completed January 2011

Publication Statement:

Publisher: Center for Applied Technologies in the Humanities, Virginia Tech

Availability: Published under Creative Commons Attribution-Noncommercial-Share Alike 3.0 Unported License