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In James Hogg’s The Private Memoirs and Confessions of a Justified Sinner (1824), when the eponymous “justified sinner,” Robert Wringhim, first contemplates the possibility of publishing his memoirs he declares, “I thought if once I could print my own works, how I would astonish mankind, and confound their self wisdom and their esteemed morality – blow up the idea of any dependence on good works, and morality, forsooth!” (152). Wringhim’s confessional text, said to be uncannily recovered from his grave and presented as an authentic manuscript by an “Editor”, recounts how he comes to take the Calvinist doctrine of predestination to its antinomian extreme – becoming convinced by a mysterious figure, Gil-Martin, who may be either a figment of his diseased imagination or the devil himself, that as one of the ‘elect’ he may never truly sin. He is led to commit fratricide, which at first enables him to become heir to the estate of Dalcastle, but his narrative ultimately culminates in exile and suicide. Wringhim claims that he cannot remember the murderous deeds and licentious actions he is accused of committing while resident at Dalcastle, and faced with conflicting evidence, the reader is left to guess whether he is at times in a delusional state or possessed by the devil. The unaccountability of Wringhim’s experience by either rational scientific or traditional supernatural explanations was recognised, albeit unappreciatively, by its earliest reviewers (see: “Hogg’s Confessions”). Modern critics have come to view this technique as one of the most powerful aspects of Hogg’s masterpiece and as pervading his corpus as a whole; however, André Gide’s contention in his introduction to the pivotal Cresset edition, that the fantastic aspects of Confessions are “always psychologically explicable, without having recourse to the supernatural” (xv), has reverberated through Hogg scholarship, with scholars providing psychoanalytic and modern psychiatric interpretations, as well as working to identify aspects of early nineteenth-century scientific and medical culture that may have informed the text. 1

‘The Embodied Damnation of James Hogg’s Justified Sinner’