Exhibition co-curated with Dr. Annika Bautz and Dr. Melanie Wood, in association with The British Association for Romantic Studies Biennial Conference ‘Romanticism’s Debatable Lands 28-31 July 2005, University of Newcastle upon Tyne

Introduction

This exhibition contains Special Collections holdings which relate to the border region at the end of the Eighteenth and the beginning of the Nineteenth Century. It also records the appropriation of the borders and its myths in the writings of Romantic period poets and novelists.

The Romantic Movement was partly defined by its interest in the workings of Imagination, Passion, Nature, the Beautiful, the Picturesque, and the Sublime, as constituents of a reaction against the strict rules and rational thought of the Enlightenment. Romantic poets such as Wordsworth, Coleridge, Scott, Burns and Blake attached new values to ‘primitive’ culture, including the ‘Border ballads’. Border ballads – short stories in verse – tell of the lives of the people in the border region, which was marked by continuous warfare.

The heroes, the feuds, the raids, continued to be sung about for centuries after the border feuds had come to an end. History and historical imagination, too, became a new focus of attention in the Romantic Period, especially after Scott began writing his immensely popular historical novels, the first of which, Waverley, was published in 1814.

The exhibition takes place in conjunction with an international conference held at the University of Newcastle upon Tyne, 28th-31st July 2005, on “Romanticism’s Debatable Lands”. Delegates will visit the home of the Newcastle-based artist and wood-engraver Thomas Bewick, as well as Wallington Hall in Northumberland, home of the influential Trevelyan family (their papers forming a major collection at the Robinson Library).
Special Collections materials pertaining to Bewick and the Trevelyans have been included in the display.

Border Ballads

Ballads are narrative verse and those borne of the border regions celebrate lives and events from both the Anglo and Scottish sides. As James Reed points out:

“The Borders is not a line but an area, in many respects historically and traditionally almost an independent region, certainly so in the eyes of the inhabitants who gave us the Ballads”¹.

Most ballads date from the Fifteenth and Sixteenth Centuries but continued to be sung for hundreds of years and are being revived today. Many tell of real incidents, others give folklore stories a local setting. They belong to a popular art form, and thus for many centuries to an oral tradition, and are sung or spoken in either Scots or North-East dialect.

Until the Nineteenth Century, no one regarded border ballads as something that could be taken seriously, or even as something that merited interest – either for their own sake, the culture they told of, or their art. Few therefore existed in print.

The Romantic Movement occasioned an increased interest in folk art, antiquarian and ‘primitive’ poetry, the lives of ordinary people, and history. Thomas Chatterton (1752-1770) wrote his ‘Rowley’ poems in the late Eighteenth Century, which purported to be the works of a fifteenth-century poet and which were believed to be such even by the likes of Horace Walpole; James Macpherson (1736-1796) wrote epic poems that he passed off as translations of an epic in Gaelic by ‘Ossian’, supposedly dating from some vague period of early Scottish history, and widely accepted as such.

Poets such as William Wordsworth (1770-1850) and Samuel Taylor Coleridge (1772-1834) wrote about common life, most recognisably in Lyrical Ballads (1798). Walter Scott (1771-1832) was the first to attach cultural-historical significance to the border ballads.

He produced a collection of them in Minstrelsy of the Scottish Border (1802-3), stating in his introduction that with these volumes he wanted to:

“contribute somewhat to the history of [his] native country; the peculiar features of whose manners and character are daily melting into those of her sister and ally” ².

The popularity of this publication testifies to Romantic readers´ tastes for the local and the historical, as well as for a ‘primitive’ art form.

The influence of border ballads on local society and traditions is variously attested to.

They were sung to the whole family.

Thomas Bewick recalls how, in his childhood:

“the winter evenings were often spent in listening to the traditionary tales and songs, relating to men who had been eminent for their prowess and bravery in the border wars” ³.

They became integral to regional culture. The names of the border families are still to be found in the region today, those such as Armstrong, Graham, Robson, Elliot, Fenwick, Rutherford, Noble, and Reed. Words specific to the ballads and the lives they depict became part of local dialect, and often still are.

In The Fray Of Hautwessel, for example, the verb ‘to reave’ is used, which locals still use for ‘to rob’:

“The limmer thieves o´ Liddesdale
Wad na leave a kye in the hail countrie;
But an we gie them the caud steel,
Our gear they´ll reive it a´ awaye;
Sae pert they stealis I you say:
O´ late they came to Hawtwessyll,
And thowt they there wad drive a fray,
But Alec Rydly shotte tae well.”⁴
A main characteristic of border ballads is thus their local setting and impact on local culture.

¹ Reed, p. 10.
² Minstrelsy, 1821 ed., p. cxxxvii.
³ Thomas Bewick, A Memoir (published posthumously in 1862) p.10; here quoted from Reed, p.13.
⁴ The Fray Of Hautwessel; An Ancient Border Ballad, (Newcastle: Richardson, 1842), p.7.

The Borders

Although the border between England and Scotland was mostly agreed in 1237, disputes over some stretches continued for centuries. The border land on either side remained unstable and dangerous, with little enforcement of law and order.
Apart from the major battles between the English and the Scots, such as the battles at Otterburn (1388) and at Flodden Field (1513), minor border feuds continued to be fought vehemently. On both sides of the border there were powerful combative clans such as the Armstrongs, on the Scots side, and the Grahams on the English. People owed allegiance first to kin and laird and only then to the authorities in London or Edinburgh.

Family feuds and fierce hatred led to continuous warfare, against which laws could avail little. After the union of the crowns in 1603 and the union of parliaments in 1707 border raids slowly came to an end.

One area in particular continued to be contested after 1237: a stretch in the west, between the Rivers Esk and Sark, which came to be known as the ‘Debatable Land’. Both England and Scotland claimed it, but neither had any jurisdiction over it, so that border warfare continued unhindered.

As one website puts it:

“Such was the trouble caused by the Debatable Land that both Scotland and England were forced into making a joint declaration that ‘all Scotsmen and Englishmen from this time forth shall be free to rob, burn, spoil and slay any person or animals or goods belonging to all who inhabit the Debatable Lands.”⁵

Gilnockie Tower is an example of a border stronghold. It was built in the early sixteenth century, in the Debatable Land, by the Armstrongs, still stands today and is still owned by the family.

Not until 1552 did England and Scotland agree about how to divide the Debatable Land. However, the peace which this led to was an uneasy one. ‘The Scots Dyke’, a ditch with earth thrown up on either side forming two parallel banks, still marks the boundary.

⁵The Debatable Land [last accessed June 2008]

Travel

During the Eighteenth Century, travel opportunities had been limited. It had been expensive, slow, and dangerous, as well as restricted by wars. Between 1785 and 1790, routes across Britain were expanded and improved. The defeat of Napoleon and the subsequent peace achieved by the Holy Alliance (Austria, Britain, France, Prussia and Russia) at the signing of the Congress of Vienna in 1815 effectively removed many European impediments to travel.

Thus people in the Romantic Age had more opportunity to travel than ever before. The Romantics also developed new aesthetic approaches to appreciating Nature, as well as a taste for the historical and for ‘authentic’ experience. All these factors contributed to making the period one in which an increasing number of people both travelled and became enthusiastic consumers of travel accounts and journals.

Not only did European travel become more popular, but also journeys within Britain. Walter Scott’s poems and novels, such as The Lady of the Lake (1810) and Rob Roy (1818), encouraged travel northward, to Scotland.
The Border region, too, became more popular as a place to visit, as numerous travel guides and journals, with such titles as A Tour through the Northern Counties of England and the Borders of Scotland (1802), or The Border Tour throughout the most important and interesting places in the Counties of Northumberland, Berwick, Roxburgh and Selkirk (1826), testify.

At the same time, publications like Wilson’s Historical, Traditionary, and Imaginative Tales of the Borders and of Scotland with an Illustrative Glossary of the Scottish Dialect (1804-1835) tried to capture the regional identity of the borders and point to an existing interest in its traditions.

A Local Artist: Thomas Bewick (1753-1828)

The artist and wood-engraver Thomas Bewick was born at Cherryburn, Northumberland, in August 1753, as the eldest of eight children. Early on he demonstrated his talent for drawing with an especially keen eye for nature.

At the age of 14, Bewick was apprenticed to the Newcastle engraver Ralph Beilby (1743-1817). After acquiring basic skills in engraving by first working with the hard elements of silver and copper, Bewick was employed to make cuts on wood for a number of local printers, and soon all requests Beilby received for work on wood were directed to Bewick, who eventually became his partner.

Bewick’s technique involved engraving the end, rather than the length, of the close-grained boxwood. It was a more delicate and intricate technique and could achieve much more detail than metal engraving, but large boxwood blocks were expensive. Bewick used small blocks, rarely more than four inches across.

In all woodcutting, it is the white areas that are cut away, leaving the black lines on the surface to take the ink. Bewick, however, imagined the image in white as he engraved freehand, rather than following a previously drawn image on the block. This ‘white line technique’, combined with Bewick´s eye for natural details, especially for the posture and anatomy of animals, formed the basis of his mastery.
He also developed a method of slightly lowering the surface of some areas of the block to achieve more of a grey tone, giving the effect of distance. He thereby transformed a crude art into the most popular form of graphic art in Britain until the introduction of photography in the later Nineteenth Century.

Bewick provided tailpieces to other authors’ works, such as The Poetical Works of Robert Burns (1808), as well as working on his own publications. Beilby provided text to accompany the illustrations in Bewick’s first two books, A General History of Quadrupeds (1790) and A General History of British Birds (1797). Both books reveal a notable talent for rendering natural history subjects and their environments or landscapes.

As well as being something of an ‘artist of Nature’, Bewick saw himself as a tutor and moral guardian, producing books such as Select Fables (1784), a Hieroglyphic Bible (1790), The Dance of Death of the celebrated Hans Holbein (1825) and A Choice Collection of Hymns and Moral Songs (1781).

The influence of his work was long-lasting. He helped to create an interest in natural history and his depictions of rural scenes provide a record of life in Northumberland in the late Eighteenth Century. Throughout the Nineteenth Century, authors referred to Bewick in their publications, assuming their readers to be familiar with his work (since these references are often not explained).
Examples are Maria Edgeworth’s Belinda (1801), Charlotte Brontë’s Jane Eyre (1847), William Hazlitt’s portrait of ‘Mr Wordsworth’ (in The Spirit of the Age [1825]), Thomas Hood’s ‘Address to Mr. Dymoke, The Champion Of England’ (in The Poetical Works of Thomas Hood [1856]), and George Meredith’s One of Our Conquerors (1891).

Examples of works that mention Bewick:

What a creature to keep a hot warrior cool
When the sun’s in the face, and the shade’s far aloof!—
What a tailpiece for Bewick!—or piebald for Poole,
To bear him in safety from Elliston’s hoof!
Hood, T. ‘Address to Mr. Dymoke, the Champion of England,’
The Poetical Works of Thomas Hood (London: Moxon, n.d.) p. 386
Victorian Collection V827.72 HOO

“O! mamma,” said one of the little boys, “this is the very thing that is mentioned in Bewick’s History of Birds. Pray look at this goldfinch, Helena—now it is drawing up it’s little bucket—but where is Helena?—here’s room for you, Helena.”
Edgeworth, M. Belinda. Ch. XII; The Macaw.

I returned to my book—Bewick’s History of British Birds: the letter-press thereof I cared little for, generally speaking; and yet there were certain introductory pages that, child as I was, I could not pass quite as a blank. They were those which treat of the haunts of sea-fowl; of “the solitary rocks and promontories” by them only inhabited; of the coast of Norway, studded with isles from its southern extremity, the Lindeness, or Naze, to the North Cape—
. . . . With Bewick on my knee, I was then happy: happy at least in my way. I feared nothing but interruption, and that came too soon. The breakfast room-door opened.
Bront�, C. Jane Eyre. Vol. I (London: Nelson, n.d.) Ch. I; p. 2.
Copy loaned to exhibition by Professor Claire Lamont

[Wordsworth] also likes books of voyages and travels, and Robinson Crusoe. In art, he greatly esteems Bewick’s wood-cuts, and Waterloo’s sylvan etchings. But he sometimes takes a higher tone, and gives his mind fair play.
Hazlitt, W. ‘Mr. Wordsworth,’ in The Spirit of the Age.

Writers of the Romantic Period

The Romantic Age attached new values to folk art, antiquarian and primitive poetry, the lives of ordinary people, local culture, travel, and history, as well as to the individual as a subject interesting in itself and in its relationship to Nature. Not only was there an increased interest in collections of folk art and historical poetry, such as the border ballads, but early-nineteenth-century authors wrote works centring on these themes.

William Wordsworth’s (1770-1850) strong attachments to locations which particularly resonate with events allowed him, in The Prelude (1805), to chart his poetic development via naming and precise geography. He capitalises upon different environments to engage with the reader by describing a journey in such physical and metaphysical detail that it can literally be retraced, particularly those episodes which are rooted in the geography of the Lake District. His most potent responses are to aspects of the natural landscape and the impact of perpetual changes in Nature upon his understanding of place.

He is also influenced by that regional oral tradition which celebrated and chronicled the deeds of common men and which, in dialects, memorialised the names and monuments of the Border wars.

With a focus on history, Walter Scott (1771-1832) wrote poems and novels about his native Scotland (though later also about other countries), emphasising its beauties of nature and past ways of life. Real historical figures never play major parts; instead Scott writes about ordinary members of society affected by specific historical conditions. >

His first novel, Waverley (1814), describes the Jacobite rising of 1745. Its hero is the fictitious Edward Waverley, who finds himself in the midst of Civil War before he has given the rights and wrongs of either side much thought. Bonnie Prince Charlie only appears as a peripheral, though impressive, character. The novel ends with the defeat of the Jacobite army, and the destruction of the Highlands way of life. Typical for Scott is his sympathy and passion for the old ways while at the same time realising the necessity of their decline in favour of progress.

James Hogg (1770-1835) was born and lived for most of his life in Ettrick Forest in the Scottish Borders. Coming from a family who had been shepherds for generations, he became known as the ‘Ettrick Shepherd’ and is still regarded as a ‘peasant poet’.

It was Walter Scott who discovered Hogg’s poetic gift, and the two remained friends. Hogg wrote and collected poems and ballads, always in connection with Scotland and the borders, and often in Scots idiom. (He also wrote prose, most notably The Private Memoirs and Confessions of a Justified Sinner [1824]). The Forest Minstrel (1810) is one of his collections of poetry; The Queen’s Wake (1813) is one of his own compositions and combines the old ballad style with flights of the imagination.

Lord Byron’s (1788-1824) force of personality, life, as well as his works captured not only British but Europe’s imagination and made him infamous. He was a keen traveller and his poetry was written and set in many different places.
His long and immensely popular poem Childe Harold’s Pilgrimage (1812-1818) describes the travels, experiences and reflections of Childe Harold, a pilgrim. His life and journey correspond in many aspects to Byron’s own, although he denied any such parallels.

Harold journeys to a variety of countries such as Portugal, Spain, and Belgium, reflecting on events and people, as well as on the beauties of the Alps and the Rhine.

Byron was friends with Percy Bysshe Shelley (1792-1822) and his wife, Mary (1797-1851), and stayed near them at the Lake of Geneva in the summer of 1816.>

It was during this sojourn that they famously held the ghost story contest which generated Mary Shelley’s gothic novel, Frankenstein.

Large parts of Frankenstein are set in Geneva, as well as more distant shores once Frankenstein chases his creation to the end of the world.

Jane Austen (1775-1817) set her novels in rural England and wrote about the life of early-nineteenth-century gentry, yet Romantic influences feature in her works, too. There are references to Romantic poets, as when Anne Elliot and Captain Benwick discuss Scott and Byron in >Persuasion (1817).
Kathryn Sutherland, in her introduction to Mansfield Park (1814), points out that:

“Fanny is a Romantic heroine, and only surprisingly so because we tend to think of Romanticism as a peculiarly masculine and poetic phenomenon, and one with which Austen had little to do. In [her] … subjectivity, … solitude, … diet of poetry, …contemplation of nature, … Fanny is formed as a contemporary of Wordsworth and Coleridge.”

(Penguin xvii)

Austen’s novels centre on domestic themes, but they, too, can be read as products of, and as commenting on, her literary and cultural context, including the Romantic Movement.

The Trevelyans of Wallington

Wallington Hall in Cambo, Northumberland, came into the possession of the Trevelyan family when Walter Calverley Trevelyan married Elizabeth, daughter of William Blackett, the house having belonged to the Blacketts since 1688 until Sir William’s death in 1728.

The Trevelyan Papers are one of the largest and most important archives in the Robinson Library’s Special Collections, complementing other notable collections – the Gertrude Bell, Mary Moorman and Lady Bridget Plowden papers – all of whom can be plotted on the Trevelyan family tree. The Trevelyan Papers are heavily used by a wide variety of researchers and informed the recent refurbishment of Wallington Hall.

The archive contains mostly manuscript material, including correspondence with some of the children while they were at boarding school, but also plant specimens collected by Walter Calverley, political documents and election ephemera, sketches and slides.

The Trevelyans were influential, having enjoyed active interests in politics, art, science and travel and counted several eminent people among their friends.

Jane Bewick, daughter of Thomas, corresponded with Walter Calverley, for example.

Walter Calverley Trevelyan (1797-1879) was a leading temperance campaigner, amateur botanist and geologist. He and his wife, Pauline (1816-1866) patronised Pre-Raphaelite painters and sculptors and the WCT papers include items from their friends John Ruskin, A.C. Swinburne and William Bell Scott. >
One of Sir Walter’s many interests was phrenology: a number of items refer to the activities of the Phrenological Association.⁶

Charles Edward Trevelyan (1807-1886) spent his early career in the East India Company, living in India during the 1820s and 1830s. During this time he worked to improve the living conditions and education of the local population.

He continued to have an impact upon social reform when living in England. Not only did he serve as Assistant Secretary to the Treasury and campaign for relief during the Irish Famine but he also co-authored a report on Civil Service reform, for which he is sometimes known as the ‘father of the modern Civil Service’.

He proposed that educational standards and competitive examinations should determine entry into the Civil Service rather than continue the practice of appointing administrators from the aristocracy, who were not necessarily best-qualified to do the job.

George Otto Trevelyan (1838-1928) was an historian, Liberal M.P. and served as Chief Secretary for Ireland.

Charles Philips Trevelyan (1870-1958) had a substantial political presence and his papers reflect this. He was a Liberal and then Labour M.P. who founded the Union of Democratic Control (WWI) and who was President of the Board of Education. The Trevelyan (Charles Philips) Archive include diaries and other items from Molly (1881-1966), his wife and half-sister of Gertrude Bell.

The archive also includes letters from George Macauley Trevelyan (1876-1962), father to Mary Moorman. >

In 1942, Charles Philips Trevelyan gave the house and its contents to the National Trust. The library is currently being catalogued: “the Trevelyan family were enthusiastic readers – so avid was Macauley that family tradition relates that he would read Shakespeare while shaving and occasionally the excitement of the action – and the inattention to the other matter in hand – led to splashes of blood on the pages!”⁷

⁶ Phrenology, as defined in the OED: The theory originated by Gall and Spurzheim, that the mental powers of the individual consist of separate faculties, each of which has its organ and location in a definite region of the surface of the brain, the size or development of which is commensurate with the development of the particular faculty; hence, the study of the external conformation of the cranium as an index to the development and position of these organs, and thus of the degree of development of the various faculties.

⁷ ‘Cataloguing the Library,’ The National Trust North East News. Summer 2005.

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A Life of Fine Details: Thomas Bewick (1753-1828): Artist, Engraver, Tutor.
University of Newcastle upon Tyne Special Collections exhibition booklet
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Austen, J.
Mansfield Park
(London: Bentley, 1837)
Victorian Collection V823.74 AUS

Austen, J.
Northanger Abbey and Persuasion (London: Bentley, 1837)
Victorian Collection V823.74 AUS

Austen, J.
Sense and Sensibility
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The Babes in the Wood
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Bautz, A.
Gilnockie Tower.
Photograph (2005)

Bewick, T.
A Curious Hieroglyphick Bible
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Bewick, T.
History of British Birds
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Bradshaw-Bewick 761 BEW

Bewick, T. [Ms. of a poem in Tyneside dialect, headed by a pen and ink drawing of a woman and child]
Manuscript Album 5

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Brontë, C.
Jane Eyre
(London: Nelson, [n.d.])
Copy kindly lent by Professor Claire Lamont

Broughton,
J.C. H. Historical Illustrations of the Fourth Canto of Childe Harold
(London: Murray, 1818)
Victorian Collection V821.76 BYR (Hob)

Burns, R.
The Poetical Works of Robert Burns: With his Life: Ornamented with Engravings on Wood by Mr. Bewick
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Burman Alnwick 163

Byron, G.G.
Childe Harold’s Pilgrimage in The Poetical Works of Lord Byron
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Byron, G.G.
Childe Harold’s Pilgrimage: A Romaunt
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[Correspondence between Jane Bewick and Sir Walter Calverley and Lady Pauline Trevelyan]
Trevelyan Papers WCT 88

Dixon, J.H.
Lay the Bent to the Bonny Broom: A Border Ballad
(Newcastle upon Tyne: Richardson, 1843)
Robert White Collection W821.04 LAY

Dixon, J.H.
Lord Beichan: A Border Ballad
(Newcastle upon Tyne: Richardson, 1843)
Robert White Collection W821.04 LOR

The Fray of Hautwessell, An Ancient Border Ballad
(Newcastle upon Tyne: Richardson, 1842)
Robert White Collection W821.04 FRA

Haddington, W.G.
Journal through the Counties of Berwick, Roxburgh, Selkirk, Dumfries, Ayr, Lanark, East, West and Mid Lothians in the Year 1817
(Edinburgh: Haddington, 1818)
Robert White Collection W941.4 HAD

Hogg, J. (ed.),
The Forest Minstrel: A Selection of Songs, Adapted to the Most Favourite Scottish Airs: Few of them Ever Before Published
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The Long Pack: A Northumbrian Tale
(Alnwick: Davison, [18–?])
Burman Alnwick C2 and C4

Hogg, J.
The Queen’s Wake: A Legendary Poem
(Edinburgh: Goldie, 1813)
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Winter Evening Tales: Collected Among the Cottagers in the South of Scotland
(Edinburgh: Oliver & Boyd, 1820)
1801-1850 Coll. 723.79 HOG

Hood, T.
The Poetical Works of Thomas Hood
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Hood, T.
The Serious Poems of Thomas Hood
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Victorian Collection V827.72 HOO

Hood, T.
Whims and Oddities
(London: Tilt, 1827)
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An Historical, Topographical, and Descriptive View of the County of Northumberland
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Map of the County of Cumberland
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Maps 020

Map of the County of Northumberland
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Map of Northumberland
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Map of Northumberland and the Border
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The Border Tour throughout the most important and interesting Places in the Counties of Northumberland, Berwick, Roxburgh and Selkirk
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Edwin Clarke Local Collection Clarke 37

Memoir of Thomas Bewick
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Edwin Clarke Local Collection Clarke 1504

Meredith, G.
One of Our Conquerors
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Victorian Collection V823.89

The Newcastle Songster; Being a Collection of Songs, Descriptive of Language and Manners of the Common People of Newcastle upon Tyne and the Neighbourhood
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Friends 32

The Noble Laird of Thornyburne: A Northumbrian Border Ballad
(London: Saunders & Otley, 1855)
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[Phrenology (miscellaneous manuscript items)]
Trevelyan Papers WCT 284

Prints taken from Bewick woodblocks for the City of Newcastle upon Tyne Library.
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Scott, W.
Waverley, or, ‘Tis Sixty Years Since.
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Robert White Collection W823.73 SCO

Scott, W.
Guy Mannering; or, The Astrologer. Vol. I
(Edinburgh: Constable; London: Longman, Rees, Orme & Brown, 1815)
Robert White Collection W823.73 SCO

Scott, W.
Minstrelsy of the Scottish Border. 5th ed.
(Edinburgh: CFonstable, 1821)
Robert White Collection W821.04 SCO

Scott, W.
Rob Roy
(Edinburgh: Constable; London: Longman, Hurst, Rees, Orme, and Brown 1818)
Robert White Collection W823.73 SCO

Shelley, M. (ed.)
The poetical works of Percy Bysshe Shelley
(London: Moxon, 1839)
Victorian Collection V821.77 SHE

Shelley, M.
Frankenstein, or, The modern Prometheus
(London: Bentley, 1839)
Victorian Collection V823.79 SHE

Shelley, M.
Rambles in Germany and Italy in 1840, 1842, and 1843
(London: Moxon, 1844)
Robert White Collection W914.3 SHE

Shelley, P.B.
Queen Mab; A Philosophical Poem
(London, Printed by P. B. Shelley, 1813)
Rare Books RB821.77 SHE

Surtees, R.
The raid of Featherstonehaugh: A Border Ballad
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Thomas Bewick in Newcastle.
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Warner, R.
A Tour through the Northern Counties of England, and the Borders of Scotland
(Bath: Cruttwell, 1802)
Clarke Local Collection Clarke 1084, Clarke 1085

Wilson, J.M.
Wilson’s Historical, Traditionary, and Imaginative Tales of the Borders, and of Scotland
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Qualities of Movement: Travel and Environment in Modern Epic Literature.
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The Miscellaneous Poems of William Wordsworth
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Wordsworth, W.
The Prelude, or, Growth of a Poet’s Mind
(London: Moxon, 1850)
1801-1850 Coll. 821.71 WOR

Wordsworth, W.
We Are Seven
(Alnwick: Davison, [18–?])
Burman Alnwick 459