# Dictionary of National Biography, 1912 supplement/Buchanan, Robert Williams

​BUCHANAN, ROBERT WILLIAMS (1841–1901), poet and novelist, born at Caverswall, Staffordshire, on 18 August 1841, was only surviving child of Robert I Buchanan (1813-1886) by his wife Margaret Williams (d. 1894), daughter of a socialistic lawyer of Stoke-upon-Trent. The father, originally a tailor of Ayr, was at the time of his son's birth an itinerant lecturer in support of Robert Owen's socialist scheme, and soon took to journalism in London. Buchanan went early to schools at Hampton Wick and Merton. At home he saw and heard his father's socialist friends, who included Louis Blanc, Caussidiere, and the Chartist champion of co-operation, Lloyd Jones [q. v.]. His father, on principle, denied him all religious training and inculcated hostility to religion.
About 1850 the family went to Glasgow, where the father for several years owned and edited the 'Sentinel,' the 'Glasgow Times,' and the 'Penny Post,' journals expounding his socialistic views. After attending a preparatory school, Buchanan went successively to a Rothesay boarding-school, to Glasgow Academy, and to Glasgow high school. In 1857-8 he completed his education by joining the junior classes of Greek and Latin at Glasgow University. An ardent devotee of the theatre, he revelled as a boy in Vandenhoff's presentation of King Lear, and made the acquaintance of various actors, among them the youthful Henry Irving, 'a quiet, studious young man.' A fellow-student at the university, David Gray [q. v.], became a close friend, and together they read Anderson's 'British Poets.'
Owing to his father's financial embarrassments, Buchanan went to London in 1860, being presently followed by Gray, who died next year. Their experiences of hardship and Gray's brief career are vividly delineated by Buchanan in ' David Gray and other Essays' (1868). In 1863 William Black [q. v. Suppl. I], the novelist, who was an early Glasgow friend, stayed in Buchanan's lodgings in Camden Town on first coming to London (Wemyss Reid, William Black, pp. 38-41). Buchanan had already made some contributions to Glasgow newspapers. In London he obtained employment on the 'Athenæum' and other periodicals, and formed many literary acquaintances. Dickens accepted some contributions to 'All the Year Round,' and gave him helpful introductions to Edmund Yates and others. He sought the acquaintance of T. L. Peacock, G. H. Lewes who gave him practical advice George Eliot, Browning, and other prominent writers. Under Peacock's influence he produced what he calls his ' pseudo-classic poems,' 'Undertones' (1863) (Miss Jay's Robert Buchanan, p. 103; Van Doren, Life of Peacock, 1911, pp. 164-5). After a weary and exacting struggle his work gradually won recognition. At length, in 1865, he published 'Idyls and Legends of Inverburn, which strongly appealed to Alexander Strahan the publisher ​and Roden Noel [q. v.], thenceforth two valued friends. His 'London Poems' (1866) established his reputation as a graphic writer of narrative poetry whose sympathies with humble life were deep.
With improved prospects, Buchanan settled near Oban, 1866-74, living as a country gentleman and writing steadily, both verse, chiefly narrative, and prose sketches and criticisms. 'Ballad Stories of the Affections' (translated from Danish) appeared in 1866, 'North Coast and other Poems' in 1867, 'The Book of Orm,' a mystical study, in 1870, 'Napoleon Fallen,' a lyrical drama (2 edits.) and 'The Drama of Kings ' in 1871, 'St. Abe and his Seven Wives,' a tale in verse of Salt Lake City (anonymously), in 1872, and 'White Rose and Red,' a love story in verse, in 1873. Vivacious ballads like 'The Starling ' (in 'London Poems '), 'Phil Blood's Leap,' and the 'Wedding of Shon McLean ' (in 'Ballads of Life, Love, and Humour,' 1882) powerfully impressed the general reader. The 'Wedding' originally appeared in the 'Gentleman's Magazine' (July 1874). In prose his best efforts of this period were 'The Land of Lorne,' vivid sketches of a yachting tour to the Hebrides (1871), and critical essays on contemporary authors collected from magazines entitled 'Master Spirits ' (1874). The poet soon outran his income, and in order to retrieve his position he gave at the rooms in Hanover Square, London, in 1869, two readings from his works; but the physical strain prevented him from continuing them. In 1870 Gladstone granted him a civil list pension of 100l.
In the 'Spectator' on 15 Sept. 1866 Buchanan had published under the pseudonym 'Caliban' a poem called 'The Session of the Poets,' in which he wrote insolently of Swinburne, and satirically of other leading poets of the day. In a pamphlet on Swinburne's 'Poems and Ballads' (1867), W. M. Rossetti retorted by calling Buchanan 'a poor but pretentious poetaster.' Reviewing Matthew Arnold's 'New Poems' (1867) Swinburne attacked David Gray's 'poor little book' in a merciless foot-note (Essays and Studies p. 153). Buchanan now retaliated with vehemence. In October 1871 Buchanan under the pseudonym of Thomas Maitland contributed to the 'Contemporary Review' an article entitled 'The Fleshly School of Poetry,' severely handling the Pre-Raphaelites and especially Dante Gabriel Rossetti. A bitter controversy followed (Rossetti's Family Letters, ii. 249). Rossetti protested in the 'Athenæum' against 'The Stealthy School of Criticism ' 16 Dec. 1871), while Swinburne, with biting causticity, denounced Buchanan in 'Under the Microscope' (1872). Having re- vised and amplified his attack, Buchanan in 872 issued it as a pamphlet with his name and the title 'The Fleshly School of Poetry and other Phenomena of the Day.' The warfare was long continued. Swinburne, under the mocking signature of 'Thomas Maitland St. Kilda,' renewed his attack on Buchanan in a letter entitled 'The Devil's Due,' published in the 'Examiner' on 28 Dec. 1875. Buchanan brought an action for libel against the proprietor of the newspaper, Peter Taylor, and after three days' trial (29 June–1 July 1876) won 150l. damages. Subsequently Buchanan acknowledged the extravagance of his assault, and sought to make reparation by dedicating to his 'old enemy,' i.e. Rossetti, his novel 'God and the Man' (1881). He wrote in the 'Academy' on 1 July 1882, 'Mr. Rossetti, I freely admit now, never was a Fleshly Poet at all,' and he eulogised Rossetti's work in 'A Look round Literature' (1887).
Leaving Oban in 1874, Buchanan in search of health settled at Rossport, co. Mayo. A collection of his poems in three volumes appeared that year, and although it was censured for its irregularities, improved his position. 'Balder the Beautiful,' an ambitious but heavy poem, followed in 1877, and was received with indifference. Meanwhile, Buchanan turned to prose fiction. In 1876 came out his first novel, 'The Shadow of the Sword' (new edit. 1902), which proved thoroughly readable, and was the forerunner of a long series, two of which, 'A Child of Nature' (1881) and 'Father Anthony' (not issued till 1898), were coloured by his Irish experience. Wearying of Irish life after 1877, Buchanan presently settled in London, which thenceforth remained his headquarters. His literary activity was now at its height. His most powerful novel, 'God and the Man,' a vivid study of a family feud, appeared in 1881, and hardly a year passed till near his death without the issue of a new book of fiction from his pen. He did not abandon poetry, but published less. For the opening of the Glasgow International Exhibition in May 1888 he composed a patriotic ode, which was set to music by Sir Alexander Mackenzie. 'The City of Dream,' an epic poem (1888), the chief poem of his latter years, illustrates his mystical vein and love of mythology.
While a boy at Glasgow Buchanan wrote ​a fairly successful pantomime, and comparatively early in his literary career he thought of writing for the stage. After some preliminary trials he wrote and produced successfully at the Connaught Theatre, London, in 1880 a drama called 'A Nine Days' Queen.' From that time till 1897 he was independently or conjointly responsible for a long series of plays, which showed theatrical skill and won the public ear. He also engaged in theatrical management from time to time. He dramatised his two novels, 'The Shadow of the Sword' (1881) and 'God and the Man' (with the title 'Stormbeaten') (1883), the latter venture proving profitable. In 1883 he became lessee of the Globe Theatre for the purpose of producing 'Lady Clare,' his version of Georges Ohnet's 'Le Maitre de Forges.' He secured a run of over a hundred nights. In 1884 he visited America, and there staged in Philadelphia the melodrama 'Alone in London,' a composite work by himself and his sister-in-law, Harriett Jay, which was triumphantly produced at the Olympic Theatre in London in 1885. Two plays, 'Sophia' (1886) and 'Joseph's Sweetheart' (1888), which were produced by Thomas Thorne and his company at the Vaudeville Theatre, were based respectively on Fielding's 'Tom Jones' and 'Joseph Andrews.' An adaptation of 'Roger La Honte,' entitled 'A Man's Shadow,' was very popular at the Haymarket Theatre, 1889-90, with (Sir) Herbert Beerbohm Tree in the chief character. In co-operation with Mr. G. R. Sims he wrote for the Adelphi, during 1890-3, a series of melodramas, including 'The English Rose,' 'The Trumpet Call,' 'The White Rose,' 'The Lights of Home,' and 'The Black Domino.' Meanwhile Buchanan's 'Clarissa Harlowe' and 'Miss Tomboy' (adapted from Vanbrugh's 'Relapse') both appeared at the Vaudeville in 1890, Winifred Emery being heroine in each. In the same year 'The Bride of Love,' a rendering of the story of Cupid and Psyche, was produced at the Adelphi. During the same season Buchanan leased the Lyric Theatre, where he brought out 'Sweet Nancy,' a dramatic version of Miss Rhoda Broughton's novel 'Nancy.' On Dostoievski's 'Crime and Punishment' he based 'The Sixth Commandment' (1890). 'The Charlatan' (1894) was one of his later successes, with (Sir) Herbert Beerbohm Tree as chief exponent. There followed in 1895 'The Strange Adventures of Miss Brown.' 'His last dramatic experiment was 'Two Little Maids from School,' adapted from 'Les Demoiselles de St. Cyr' (1898).
Although his literary and dramatic profits were substantial, Buchanan, who was generous in his gifts to less successful writers, was always improvident, and he lost late in life all his fortune in disastrous speculation. In 1900 he was made bankrupt. An attack of paralysis disabled him late in that year, and he died in poverty at Streatham on 10 June 1901, being buried at Southend-on-Sea, Essex. On 2 Sept. 1861 Buchanan married Mary, daughter of Richard Jay, an engineer. She died without issue after a long illness in Nov. 1882. Just after her death Buchanan wrote a touching dedication to her for the 'Selected Poems' (1882). In his latter years he depended largely on the care of his sister-in-law, Miss Harriett Jay, who aided him in his dramatic work both as actress and as collaborator in authorship and management.
Buchanan wrote too much and too variously to achieve the highest results, but his lyric gift was strong, and there was abundant, if often ill-regulated, force in his novels and plays. He was loyal through life to the anti-religious tradition in which he was bred. In criticism his polemical spirit distorted his judgment, and his combative temperament precluded his making many friends. But with a few men, including Charles Reade, Roden Noel, and Mr. William Canton, his good relations were uninterrupted, and his work found a warm admirer in Mr. Lecky.
Besides the poetical work already mentioned he published: 1. 'Ballads of Life, Love, and Humour,' 1882. 2. 'The Earthquake,' 1885. 3. 'The Outcast,' 1891. 4. ' Buchanan's Poems for the People,' 1892. 5. 'The Wandering Jew,' 1893. 6. 'Red and White Heather' (a miscellany), 1894. 7. 'The Devil's Case,' 1896 (bitter but virile). 8. 'The Ballad of Mary the Mother,' 1897. 9. 'The New Rome,' 1900. The author published a collected edition of his 'Poems' (3 vols.) 1874, and a selection in 1882. His 'Poetical Works' appeared in 1884 and 1901. His prose work included, beside the volumes already mentioned, two characteristic miscellanies, 'A Look round Literature' (1887), and 'The Coming Terror and other Essays' (1891); and the following novels: 1. 'The Martyrdom of Madeline'; 2. 'Love Me for Ever'; and 3. 'Annan Water,' 1883. 4. 'Foxglove Manor,' and 5. 'The New Abelard,' 1884. 6. 'The Master of the Mine'; 7. 'Matt,' and 8. 'Stormy Waters,' 1885. 9. 'That Winter Night,' 1886. 10. 'The Heir of Linne,' 1887. 11. 'The Moment After,' 1890. 12. 'Come Live with ​Me and be My Love,’ 1891. 13. ‘Woman and the Man,’ 1893. 14. ‘Lady Kilpatrick’ and 15. ‘The Charlatan,’ 1895. 16. ‘Diana's Hunting.’ 17. ‘Marriage by Capture’; and 18. ‘Effie Hetherington,’ 1896. 19. ‘The Rev. Annabel Lee,’ 1898. 20. ‘Andromeda,’ 1900.
[Harriett Jay's Robert Buchanan: Some Account of his Life, 1903; A. S. Walker's Robert Buchanan, 1901; Miles's Poets and Poetry of the Nineteenth Century, vol. vi.; Stedman's Victorian Poets; Grant Wilson's Poets and Poetry of Scotland; Chambers's Cyclopædia of Eng. Lit.; Dante Gabriel Rossetti: Family Letters and Memoir, by W. M. Rossetti; Lives of Rossetti, by Joseph Knight (Great Writers) and A. C. Benson (English Men of Letters); W. Bell Scott's Autobiographical Notes, ii. 161 seq.; The Times, Scotsman, Glasgow Herald, 11 June 1901; Athenæum, 15 June 1901; information from Miss Harriett Jay and Dr. A. H. Millar, Dundee; Stage Cyclopædia, 1909.]
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