The Poetical Works of Beattie, Blair, and Falconer With Lives, Critical Dissertations, and Explanatory Notes — Reading Notes
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For The Poetical Works of Beattie, Blair, and Falconer With Lives, Critical Dissertations, and Explanatory Notes — Reading Notes, the stored edition analysis reports 81,909 words, 5 hr 57 min estimated reading time, and 12 detected text sections.
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Magazine was due, walking as far as the little height of Auchcairnie, to watch and weary for the long-expected carrier's cart wending its slow way from the south and, when the parcel reached his hand, with eager, trembling fingers, opening it up, to have all the joy of virgin authorship awakened in his soul. In these days a poetic production from the country seemed a phenomenon--as great, to use an expression of De Quincey's, as if "a dragoon horse had struck up 'Rule Britannia,'" and no doubt, many an eyebrow in Auld Reekie rose in wonder, and many a voice exclaimed, "Who can this be?" when verses so good by J. B. Fordoun, flashed upon the public from time to time. But, although his poetry procured him more fame than he was then aware of, it brought him nothing more, and his way to competence and elevation in society, seemed as completely blocked up as ever.
It would seem that he had, from an early period of his life, looked forward to the Church as his profession; and, having taught for some time in Fordoun, he returned to Aberdeen, to prosecute those preparatory studies which he had for a while abandoned for a parish school and poetry. Here he attended the lectures of Dr Robert Pollock of Marischal College, and Professor John Lumsden of King's-and performed the exercises prescribed by both. It was at this time that he delivered a discourse in the Divinity Hall in language so lofty, that the Professor challenged him for writing poetry instead of prose--a story reminding us of similar facts in the history of Thomson, Pollok, and others whose names we do not mention--and corroborating the truth, that poetical genius and the halls of philosophy or theology are seldom congenial, and that "musty, fusty, crusty" old professors are in general harsh stepfathers to rising poets.
Whether from chagrin on account of this criticism--and this is the more probable, because Beattie was all along very sensitive to depreciation or abuse--or from some other cause, he determined to abandon the study of Divinity, and to follow teaching as a profession. In 1757, a vacancy occurring in the Grammar School of Aberdeen, Beattie offered himself as a candidate, but failed in the preliminary examination, as he had himself expected, from a want of circumstantial and minute acquaintance with the Latin tongue. A few months after, however, a second vacancy having taken place in the same school, he was elected without the form of a trial, and entered on the discharge of his duties in June 1758. He was now in a more advantageous and a more reputable post--and while discharging its duties with exemplary diligence, he found time for the cultivation of his poetical gift.
In 1760, through the exertions of his friends, especially the Earl of Erroll, and Mr Arbuthnott, Beattie was appointed Professor of Philosophy in Marischal College. It was thought at the time a startling experiment to appoint a man so young--and who had given no proof of peculiar proficiency in philosophical lore--to such an important chair; and was no doubt stigmatised as one of those arrant 'jobs' by which the history of Scotch Colleges has been often disgraced. In Beattie's case, however, as well as in the kindred one of Professor Wilson, the issue was more fortunate than might have been expected. He set manfully to work to supply his deficiencies--read and wrote hard--and in a few years had prepared a very respectable course of lectures--and became able to front, without shame, such men as Gerard and Gregory, Campbell and Reid--with whom he was now associated. In the same year appeared, in a very modest manner, "Proposals for Printing Original Poems and Translations." In 1761, the volume itself was published--consisting of the pieces formerly printed in the 'Scots Magazine', corrected and altered, and of some new productions. The book appeared simultaneously in Edinburgh and London, and was hailed with universal applause; the critics generally maintaining that no poetry so good had been written since Gray's; which they thought Beattie had taken for his model. He himself entertained, after a while, a very different opinion of their merits; he was, in fact, seized with a fastidious loathing for them; he destroyed every copy he could procure; and on republishing his poetry before his death, he acknowledged only four of these early effusions.
George Gilfillan's 1854 edition collects the verse of James Beattie, Robert Blair, and William Falconer, each prefaced by a substantial life-and-works essay. The catalog entry lists only "English poetry" as a subject, yet the volume's structure—with its critical dissertations and explanatory notes—positions it as a scholarly intervention rather than a simple anthology. Gilfillan, a Scottish minister and editor, frames the poets as moral exemplars, a lens that shapes both the biographical sketches and the selection of poems.
Biographical Framing as Critical Argument
Gilfillan's life of Beattie opens with precise geography—Laurencekirk in the Howe of the Mearns, under the Garvock Hills—and immediately judges Beattie's schoolmaster Milne as "destitute of taste." This evaluative tone persists: the editor praises Beattie's "future classical bent" while dismissing Ovid as "meretricious." The biographies are not neutral records but arguments about poetic value. Gilfillan selects details that align with his moral and aesthetic criteria, such as Beattie's brother overseeing his education after their father's early death. Readers should note that these prefaces are themselves interpretive acts, shaping how the poems that follow are received.
The Elegy as a Window onto Editorial Priorities
The excerpt from Blair's elegy on William Law reveals a poem dense with antithetical praise: Law is "scrupulously just, yet not severe; / Though cautious, open; courteous, yet sincere." The verse catalogues virtues in balanced couplets, a technique that mirrors Gilfillan's own biographical method of listing qualities. The editor's inclusion of this lengthy elegy—rather than only Blair's famous The Grave—suggests an interest in occasional poetry that exemplifies moral character. The poem's address to a "dear Shade" and its concern with fame and reputation resonate with Gilfillan's project of canon-making through biographical commemoration.
Catalog Subjects Versus Poetic Range
The catalog assigns only "English poetry" as a subject, but the volume's contents are more varied. Falconer's The Shipwreck is a narrative poem with technical nautical detail, while Beattie's The Minstrel traces the "progress of genius" in Spenserian stanzas. Blair's elegy employs heroic couplets for panegyric. The miscellanies include fables, songs, and political odes—such as Falconer's "The Demagogue" and an ode on the Duke of York's departure. This generic diversity is obscured by the broad subject heading. Gilfillan's editorial apparatus, with its lives and notes, attempts to unify these disparate works under a moral-aesthetic framework, but the poems themselves resist easy categorization.
Readers approaching this edition should treat Gilfillan's biographical introductions as primary sources for 19th-century literary criticism rather than transparent accounts. The volume rewards attention to the interplay between editorial framing and poetic text, especially where the poems complicate the editor's moral categories. Comparing the three poets' treatments of similar themes—melancholy, fame, nature—reveals the range of 18th-century verse beyond the catalog's simple label.
I keep thinking about that Gilfillan edition, the way the lives of Beattie and Blair sit so heavily beside their poems—as if the catalog of a person could ever hold what they actually sang. It reminded me of another book, A Hero and a Great Man — Context and Discussion, which lingers in the same quiet ache: how we name someone and miss them anyway. Strange, that tenderness.
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