‘Poetical Works of the Ettrick Shepherd’ (1838)

I love this wee set of books. The illustrations are great but the author has a style about him that makes me want to read more. They’re a bit battered, not to falling apart, but the spines have faded away and the pages, as you can see, are super foxed and have dark stains all over the place. This won’t prevent us getting a wee read of it as everything’s still nice and legible. I decided to upload it as a favourite anecdote of the author’s is related in Chambers’ ‘Book of Days‘ for 4th of April. There are a LOT of notes attached to his poetry which provide historical context and added information to scenes and these may be worth some posts to themselves, as they appear to be interesting and random enough. I’ve included the start to his Memoirs in volume 5 because he had me laughing from the get-go and I may type up that too, as I’m a fan of authors who don’t take themselves too seriously. I may get to this set sooner than I thought.

 

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vols.1-5, Glasgow: Blackie and Son, Spines.

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vols.1-5, Glasgow: Blackie and Son, Frpnt Cover.

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vols.1-5, Glasgow: Blackie and Son, Inside Front Cover.

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.1, Glasgow: Blackie and Son, Frontispiece;

“(Signed) James Hogg

THE ETTRICK SHEPHERD.

FROM THE ORIGINAL IN THE POSSESSION OF

ALLAN CUNNINGHAM ESQUIRE.”

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.1, Glasgow: Blackie and Son, Title Page;

“Fingal’s Cave.”

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ vol.1, Glasgow: Blackie and Son, Publisher’s Page.

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.1, Glasgow: Blackie and Son, Advertisement, pp.v-vi.

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.1, Glasgow: Blackie and Son, Illustration, p.viii;

“KINCRAIGY.”

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.1, Glasgow: Blackie and Son, Illustration, p.274a;

“The Martyrs’ Tomb.

GREY FRIARS CHURCH-YARD, EDINBURGH.”

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.1, Glasgow: Blackie and Son, Illustration, p.284a;

“BOTHWELL CASTLE.

FROM THE ORIGINAL PAINTING IN POSSESSION OF THE PUBLISHERS.

Published by Blackie & Son, Glasgow..”

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.1, Glasgow: Blackie and Son;

“END OF VOL. I.

GLASGOW:

PRINTED BY W. G. BLACKIE & CO.,

VILLAFIELD,” p.352.

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.2, Glasgow: Blackie and Son, Frontispiece;

“MARY LEE.

                                                            Pilgrims of the Sun.”

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.2, Glasgow: Blackie and Son, Title Page;

“Aikwood.

THE RESIDENCE OF MICHAEL SCOTT.”

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.2, Glasgow: Blackie and Son, Publisher’s Page.

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.2, Glasgow: Blackie and Son, Illustration, p.vi;

“SAINT MARY’S LOCH.”

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.3, Glasgow: Blackie and Son, Frontispiece;

“A SCOTTISH SHEPHERD BOY.

FROM THE ORIGINAL PAINTING IN POSSESSION OF RICHARD JENNER ESQ.”

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.3, Glasgow: Blackie and Son, Title Page;

“Iona.”

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.3, Glasgow: Blackie and Son, Publisher’s Page.

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.3, Glasgow: Blackie and Son, Illustration, p.vi;

“ABBOTSFORD.”

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.3, Glasgow: Blackie and Son;

   “Scotticisms -..,” p.356.

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.4, Glasgow: Blackie and Son, Frontispiece;

“DUNSTAFFNAGE.”

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.4, Glasgow: Blackie and Son, Title Page;

“Selkirk.”

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.4, Glasgow: Blackie and Son, Publisher’s Page.

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.4, Glasgow: Blackie and Son, Illustration, p.vi;

“KILCHURN CASTLE, LOCH AWE.

LOOKING TO GLEN ORCHAY.”

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.5, Glasgow: Blackie and Son, Frontispiece;

“GLENCOE.

FROM THE ORIGINAL PAINTING IN POSSESSION OF THE PUBLISHERS.”

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.5, Glasgow: Blackie and Son, Title Page;

“Kelso Abbey.”

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.5, Glasgow: Blackie and Son, Publisher’s Page.

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.5, Glasgow: Blackie and Son, Illustration, p.x;

“JEDBURGH.”

James Hogg (1838), ‘Poetical Works of the Ettrick Shepherd,’ Vol.5, Glasgow: Blackie and Son, Autobiography, p.1.

“MEMOIR

OF

THE AUTHOR’S LIFE.

∼∼∼∼∼

   I LIKE to write about myself;* in fact, there are few things which I like better; it is so delightful to call up old reminiscences. Often have I been laughed at for what an Edinburgh editor styles my good-natured egotism, which is sometimes any thing but that; and I am aware that I shall be laughed at again. But I care not:..

   * [This is an auspicious opening for an Autobiography, and highly characteristic of the Shepherd. Many have affected, and some, perhaps, have even felt, a reluctance at entering upon a history of their own life, depoling the dire necessity which obliges them, for the sake of truth and justice, to outrage the habitual modesty of their nature, by speaking of themselves; but the Shepherd neither feels, nor thinks it necessary to pretend to feel, and reluctance of the kind: he jumps with glee to his work, and at once acknowledges that he like to write about himself; in fact, he adds, there are few things which he likes better. The candour of this avowal must prepare the reader, at theoutset, for a very frank and open-hearted narrative – amd indeed he will not be disappointed in that matter – yet the author’s history of himself and his friends must be taken with the usual allowance for that child-like love of exaggeration and mystery in which Hogg sometimes indulged, but which his honest simplicity always rendered so transparent that no body was deceived by it.]”