Younghusband: Arrivals and Departures

  • Laurie Hovell McMillin


At the start of chapter 2, I imagined Bogle looking into a Tibetan adage as into a mirror, judging how his own image fit with the Tibetan prescription for a good man. When I look at the beginning of Younghusband’s India and Tibet, I can imagine a similar kind of mirror gazing: Younghusband begins by pondering Bogle, how the younger man related to Tibetans, what he was able to accomplish, and what kind of man he was. And tucked into the book is an image of the young Scot: an oval portrait of Bogle, framed in what appears to be gilt, gazes out from the pages of the first chapter. While Younghusband-like his readers-probably looked at the picture, there is a way that the representation can also be imagined as showing one’s own likeness in a mirror. It’s not an easy trick: the image is flat, the reproduction poor. It takes some creativity to imagine what Bogle might have looked like, how his earthly features might have been transposed to this flat mask with fluffy brown hair. The frame of this image, however, encourages such imagining, working as well for a portrait as for a looking glass.


Tibetan Plateau Refugee Settlement Royal Geographical Society Buddhist Idea Tibetan Refugee 
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© Laurie Hovell McMillin 2001

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  • Laurie Hovell McMillin

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