Balancing Relatability and Alterity in Teaching Scottish Restoration Literature:A Case Study Holly Faith Nelson (bio) and Sharon Alker (bio) As those in the field well know, teaching Restoration literature poses significant challenges. Renegade writers like Margaret Cavendish, Aphra Behn, and the Earl of Rochester can appeal to students who enjoy their more nonconforming or titillating works, but much of the literature published between 1660 and 1689 is decidedly occasional, highly intertextual, and often generically novel, leading many students to perceive it as irrelevant, inexplicable, or dull. One of our students passionately exclaimed during a class discussion that "reading Dryden was like smashing his head against a desk," an experience intensified by what he and some others perceive as the exasperatingly monotonous heroic couplet. Teaching literature from the period that is written in Scottish dialect poses even more challenges, especially for students who have had no prior exposure to it. Many North American students equate reading works of literature in the Scots vernacular (from any historic period) with trying to acquire a second language on the fly. Making matters worse, a great many students approach such texts with an inaccurate sense of the Scot and Scotland, (mis)informed, for instance, by such television series as Outlander, with its stereotypical vision of the romantic Highlander.1 [End Page 217] Adding to these pedagogical challenges is the common desire of students to be assigned works they consider "relatable"—literary texts that speak to their lived experience. For many students, Restoration Scottish works, especially those in Scots dialect, seem alien in the extreme, at least at first glance.2 This is certainly the case when students first confront, for example, poems like "Blythsome Bridal," attributed to the Scots poet Francis Sempill of Beltrees (c. 1616–1682), whose jaunty description of guests at a wedding is more likely to inspire in students a sense of estrangement than relatability: And there will be Judan Maclawrie,And blinking daft Barbara Macleg,Wi' flae-lugged sharny-fac'd Lawrie,And shangy-mou'd halucket Meg.And there will be happer-ars'd Nansy,And fairy-fac'd Flowrie by name;Muck Madie, and fat-hippit Grisy,The lass wi' the gowden wame. And there will be Girn-again-Gibbie,With his glakit wife Jenny Bell,And misle-shinn'd Mungo Macapie,The lad that was skipper himsel.There lads and lasses in pearlingsWill feast in the heart o' the ha';On sybows, and rifarts, and carlings,That are baith sodden and raw.3 How then can we deeply engage students with little-known Restoration Scottish works, particularly given that many are not available in print editions and a significant number, such as George Mackenzie's prose romance, Aretina; Or, The Serious Romance. Written originally in English (1660), or William Clarke's The grand Tryal, or Poetical Exercitations upon the Book of Job (1685), are substantial in length, employ florid language, and center on subject matter that initially feels impenetrable to most students? In this article, we will share several tactics for inspiring students to attend closely to and embrace works of Scottish Restoration literature that may initially elude them. These tactics are part of a wider pedagogical strategy: the application of a hermeneutic of alterity to texts that complements and complicates rather than wholly abandons or replaces the hermeneutic of relatability that appeals to students, but is often denigrated by university teachers. In adopting this hybrid interpretive method in the classroom, we are indebted to the layered reading practice outlined by Rita Felski in Uses of Literature, which involves a fusion of "modes of textual engagement," [End Page 218] most notably "historical and phenomenological" approaches to works of literature.4 Felski contends that teaching literature should involve a significant dose of reader "recognition": readers should feel themselves "addressed, summoned, called to account" "in the pages" they read and find "traces" of themselves mirrored in them.5 However, she explains that during moments of recognition readers still experience a sense of profound difference or alterity that creates in them "a revised or altered sense" of self: "Recognition is about knowing, but also about the limits of knowing and knowability, and about how self-perception is mediated by...
Read full abstract