initial commit of ebook 16715HEADmain

10 files changed, 30295 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/16715-8.txt b/16715-8.txt
new file mode 100644
index 0000000..3471d9f
--- /dev/null
+++ b/16715-8.txt
@@ -0,0 +1,9238 @@
+The Project Gutenberg EBook of Sir Walter Scott as a Critic of Literature
+by Margaret Ball
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Sir Walter Scott as a Critic of Literature
+
+Author: Margaret Ball
+
+Release Date: September 18, 2005 [EBook #16715]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK SIR WALTER SCOTT AS A CRITIC ***
+
+
+
+
+Produced by Ted Garvin, Lynn Bornath, and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+[Transcriber's note: All footnotes have been gathered at
+the end of the text.]
+
+
+SIR WALTER SCOTT
+
+AS A CRITIC OF LITERATURE
+
+
+BY
+
+MARGARET BALL, PH.D.
+
+
+
+New York
+THE COLUMBIA UNIVERSITY PRESS
+1907
+
+
+
+
+Copyright, 1907
+BY THE COLUMBIA UNIVERSITY PRESS
+Printed from type November, 1907
+
+
+PRESS OF
+THE NEW ERA PRINTING COMPANY
+LANCASTER, PA.
+
+
+
+
+PREFACE
+
+
+The lack of any adequate discussion of Scott's critical work is a
+sufficient reason for the undertaking of this study, the subject of
+which was suggested to me more than three years ago by Professor Trent
+of Columbia University. We still use critical essays and monumental
+editions prepared by the author of the Waverley novels, but the
+criticism has been so overshadowed by the romances that its importance
+is scarcely recognized. It is valuable in itself, as well as in the
+opportunity it offers of considering the relation of the critical to the
+creative mood, an especially interesting problem when it is presented
+concretely in the work of a great writer.
+
+No complete bibliography of Scott's writings has been published, and
+perhaps none is possible in the case of an author who wrote so much
+anonymously. The present attempt includes some at least of the books and
+articles commonly left unnoticed, which are chiefly of a critical or
+scholarly character.
+
+I am glad to record my gratitude to Professor William Allan Neilson, now
+of Harvard University, and to Professors A.H. Thorndike, W.W. Lawrence,
+G.P. Krapp, and J.E. Spingarn, of Columbia, for suggestions in
+connection with various parts of the work. From the beginning Professor
+Trent has helped me constantly by his advice as well as by the
+inspiration of his scholarship, and my debt to him is one which can be
+understood only by the many students who have known his kindness.
+
+MOUNT HOLYOKE COLLEGE,
+June, 1907.
+
+
+
+
+CONTENTS
+
+
+CHAPTER I.
+
+Introduction: An Outline of Scott's Literary Career                  1
+
+
+CHAPTER II.
+
+Scott's Qualifications as Critic                                     9
+
+
+CHAPTER III.
+
+Scott's Work as Student and Editor in the Field of Literary History
+
+   1. The Mediaeval Period
+       (a) Minstrelsy of the Scottish Border                        17
+       (b) Studies in the Romances                                  32
+       (c) Other Studies in Mediaeval Literature                    40
+
+   2. The Drama                                                     46
+
+   3. The Seventeenth Century: Dryden                               59
+
+   4. The Eighteenth Century
+       (a) Swift                                                    65
+       (b) The Somers Tracts                                        70
+       (c) The Lives of the Novelists, and Comments on other
+           Eighteenth Century Writers                               72
+
+
+CHAPTER IV.
+
+Scott's Criticism of His Contemporaries                             81
+
+
+CHAPTER V.
+
+Scott as a Critic of His Own Work                                  108
+
+
+CHAPTER VI.
+
+Scott's Position as Critic                                         134
+
+
+APPENDICES
+
+I. Bibliography of Scott, Annotated                                147
+II. List of Books Quoted                                           174
+Index                                                              179
+
+
+
+
+A DATED LIST OF SCOTT'S BOOKS, ASIDE FROM THE POEMS AND NOVELS, AND OF
+THE PRINCIPAL WORKS WHICH HE EDITED (PERIODICAL CRITICISM NOT INCLUDED).
+
+
+1802-3  Minstrelsy of the Scottish Border (edited).
+
+1804    Sir Tristrem (edited).
+
+1806    Original Memoirs written during the Great Civil War; the Life of
+        Sir H. Slingsby, and Memoirs of Capt. Hodgson (edited).
+
+1808    Memoirs of Capt. Carleton (edited).
+
+1808    The Works of John Dryden (edited).
+
+1808    Memoirs of Robert Carey, Earl of Monmouth, and Fragmenta Regalia
+        (edited).
+
+1808    Queenhoo Hall, a Romance; and Ancient Times, a Drama (edited).
+
+1809    The State Papers and Letters of Sir Ralph Sadler (edited).
+
+1809-15 The Somers Tracts (edited).
+
+1811    Memoirs of the Court of Charles II, by Count Grammont (edited).
+
+1811    Secret History of the Court of James the First (edited).
+
+1813    Memoirs of the Reign of King Charles I, by Sir Philip Warwick
+        (edited).
+
+1814    The Works of Jonathan Swift (edited).
+
+1814-17 The Border Antiquities of England and Scotland.
+
+1816    Paul's Letters.
+
+1818    Essay on Chivalry.
+
+1819    Essay on the Drama.
+
+1819-26 Provincial Antiquities and Picturesque Scenery of Scotland.
+
+1820    Trivial Poems and Triolets by Patrick Carey (edited).
+
+1821    Northern Memoirs, calculated for the Meridian of Scotland; and
+        the Contemplative and Practical Angler (edited).
+
+1821-24 The Novelists' Library (edited).
+
+1822    Chronological Notes of Scottish Affairs from 1680 till 1701
+        (edited).
+
+1822    Military Memoirs of the Great Civil War (edited).
+
+1824    Essay on Romance.
+
+1826    Letters of Malachi Malagrowther on the Currency.
+
+1827    The Life of Napoleon Buonaparte.
+
+1828    Tales of a Grandfather, first series.
+
+1828    Religious Discourses, by a Layman.
+
+1828    Proceedings in the Court-martial held upon John, Master of
+        Sinclair, etc. (edited).
+
+1829    Memorials of George Bannatyne (edited).
+
+1829    Tales of a Grandfather, second series.
+
+1829-32 The "Opus Magnum" (Novels, Tales, and Romances, with
+        Introductions and Notes by the Author).
+
+1830    Tales of a Grandfather, third series.
+
+1830    Letters on Demonology and Witchcraft.
+
+1830    History of Scotland.
+
+1831    Tales of a Grandfather, fourth series.
+
+1831    Trial of Duncan Terig, etc. (edited).
+
+       *       *       *       *       *
+
+1890    The Journal of Sir Walter Scott.
+
+1894    Familiar Letters of Sir Walter Scott.
+
+
+
+
+CHAPTER I
+
+INTRODUCTION
+
+    Importance of a study of Scott's critical and scholarly
+    work--Connection between his creative work and his
+    criticism--Chronological view of his literary career.
+
+
+Scott's critical work has become inconspicuous because of his
+predominant fame as an imaginative writer; but what it loses on this
+account it perhaps gains in the special interest attaching to criticism
+formulated by a great creative artist. One phase of his work is
+emphasized and explained by the other, and we cannot afford to ignore
+his criticism if we attempt fairly to comprehend his genius as a poet
+and novelist. The fact that he is the subject of one of the noblest
+biographies in our language only increases our obligation to become
+acquainted with his own presentation of his artistic principles.
+
+But though criticism by so great and voluminous a writer is valuable
+mainly because of the important relation it bears to his other work, and
+because of the authority it derives from this relation, Scott's
+scholarly and critical writings are individual enough in quality and
+large enough in extent to demand consideration on their own merits. Yet
+this part of his achievement has received very little attention from
+biographers and critics. Lockhart's book is indeed full of materials,
+and contains also some suggestive comment on the facts presented; but as
+the passing of time has made an estimation of Scott's power more safe,
+students have lost interest in his work as a critic, and recent writers
+have devoted little attention to this aspect of the great man of
+letters.[1]
+
+The present study is an attempt to show the scope and quality of Scott's
+critical writings, and of such works, not exclusively or mainly
+critical, as exhibit the range of his scholarship. For it is impossible
+to treat his criticism without discussing his scholarship; since,
+lightly as he carried it, this was of consequence in itself and in its
+influence on all that he did. The materials for analysis are abundant;
+and by rearrangement and special study they may be made to contribute
+both to the history of criticism and to our comprehension of the power
+of a great writer. In considering him from this point of view we are
+bound to remember the connection between the different parts of his
+vocation. In him, more than in most men of letters, the critic resembled
+the creative writer, and though the critical temperament seems to show
+itself but rarely in his romances, we find that the characteristic
+absence of precise and conscious art is itself in harmony with his
+critical creed.
+
+The relation between the different parts of Scott's literary work is
+exemplified by the subjects he treated, for as a critic he touched many
+portions of the field, which in his capacity of poet and novelist he
+occupied in a different way. He was a historical critic no less than a
+historical romancer. A larger proportion of his criticism concerns
+itself with the eighteenth century, perhaps, than of his fiction,[2] and
+he often wrote reviews of contemporary literature, but on the whole the
+literature with which he dealt critically was representative of those
+periods of time which he chose to portray in novel and poem. This
+evidently implies great breadth of scope. Yet Scott's vivid sense of the
+past had its bounds, as Professor Masson pointed out.[3] It was the
+"Gothic" past that he venerated. The field of his studies,
+chronologically considered, included the period between his own time and
+the crusades; and geographically, was in general confined to England and
+Scotland, with comparatively rare excursions abroad. When, in his
+novels, he carried his Scottish or English heroes out of Britain into
+foreign countries, he was apt to bestow upon them not only a special
+endowment of British feeling, but also a portion of that interest in
+their native literature which marked the taste of their creator. We find
+that the personages in his books are often distinguished by that love of
+stirring poetry, particularly of popular and national poetry, which was
+a dominant trait in Scott's whole literary career.
+
+With Scotland and with popular poetry any discussion of Sir Walter
+properly begins. The love of Scottish minstrelsy first awakened his
+literary sense, and the stimulus supplied by ballads and romances never
+lost its force. We may say that the little volumes of ballad chap-books
+which he collected and bound up before he was a dozen years old
+suggested the future editor, as the long poem on the Conquest of
+Grenada, which he is said to have written and burned when he was
+fifteen, foreshadowed the poet and romancer.
+
+Yet Scott's career as an author began rather late. He published a few
+translations when he was twenty-five years old, but his first notable
+work, the _Minstrelsy of the Scottish Border_, did not appear until
+1802-3, when he was over thirty. This book, the outgrowth of his early
+interest in ballads and his own attempts at versifying, exhibited both
+his editorial and his creative powers. It led up to the publication of
+two important volumes which contained material originally intended to
+form part of the _Minstrelsy_, but which outgrew that work. These were
+the edition of the old metrical romance _Sir Tristrem_, which showed
+Scott as a scholar, and the _Lay of the Last Minstrel_, the first of
+Scott's own metrical romances. So far his literary achievement was all
+of one kind, or of two or three kinds closely related. In this first
+period of his literary life, perhaps even more than later, his editorial
+impulse, his scholarly activity, was closely connected with the
+inspiration for original writing. The _Lay of the Last Minstrel_ was the
+climax of this series of enterprises.
+
+With the publication of the _Minstrelsy_, Scott of course became known
+as a literary antiquary. He was naturally called upon for help when the
+_Edinburgh Review_ was started a few weeks afterwards, especially as
+Jeffrey, who soon became the editor, had long been his friend. The
+articles that he wrote during 1803 and 1804 were of a sort that most
+evidently connected itself with the work he had been doing: reviews, for
+example, of Southey's _Amadis de Gaul_, and of Ellis's _Early English
+Poetry_. During 1805-6 the range of his reviewing became wider and he
+included some modern books, especially two or three which offered
+opportunity for good fun-making. About 1806, however, his aversion to
+the political principles which dominated the _Edinburgh Review_ became
+so strong that he refused to continue as a contributor, and only once,
+years later, did he again write an article for that periodical.
+
+In the same year, 1806, Scott supplied with editorial apparatus and
+issued anonymously _Original Memoirs Written during the Great Civil
+War_, the first of what proved to be a long list of publications having
+historical interest, sometimes reprints, sometimes original editions
+from old manuscripts, to which he contributed a greater or less amount
+of material in the shape of introductions and notes. These were
+undertaken in a few cases for money, in others simply because they
+struck him as interesting and useful labors. It is easy to trace the
+relation of this to his other work, particularly to the novels. He once
+wrote to a friend, "The editing a new edition of _Somers's Tracts_ some
+years ago made me wonderfully well acquainted with the little traits
+which marked parties and characters in the seventeenth century, and the
+embodying them is really an amusing task."[4] Among the works which he
+edited in this way the number of historical memoirs is noticeable. After
+the volume that has been mentioned as the first, he prepared another
+book of _Memoirs of the Great Civil War_; and we find in the list a
+_Secret History of the Court of James I._, _Memoirs of the Reign of King
+Charles I._, Count Grammont's _Memoirs of the Court of Charles II._, _A
+History of Queen Elizabeth's Favourites_, etc. Such books as these,
+besides furnishing material for his novels, led Scott to acquire a mass
+of information that enabled him to perform with great facility and with
+admirable results whatever editorial work he might choose to undertake.
+
+These labors Scott always considered as trifles to be dispatched in the
+odd moments of his time, but the great edition of _Dryden's Complete
+Works_, which he began to prepare soon after the _Minstrelsy_ appeared,
+was more important. This, next to the _Minstrelsy_, was probably the
+most notable of all Scott's editorial enterprises. It was published in
+eighteen volumes in 1808, the year in which _Marmion_ also appeared.
+When the poet was reproached by one of his friends for not working more
+steadily at his vocation, he replied, "The public, with many other
+properties of spoiled children, has all their eagerness after novelty,
+and were I to dedicate my time entirely to poetry they would soon tire
+of me. I must therefore, I fear, continue to edit a little."[5] His
+interest in scholarly pursuits appears even in his first attempt at
+writing prose fiction, since Joseph Strutt's unfinished romance,
+_Queenhoo Hall_, for which Scott wrote a conclusion, is of consequence
+only on account of the antiquarian learning which it exhibits.
+
+Having become seriously alarmed over the political influence of the
+_Edinburgh Review_, Scott was active in forwarding plans for starting a
+strong rival periodical in London, and 1809 saw the establishment of the
+_Quarterly Review_. By that time he had done a considerable amount of
+work in practically every kind except the novel, and he was recognized
+as a most efficient assistant and adviser in any such enterprise as the
+promoters of the _Quarterly_ were undertaking. Moreover, his own
+writings were prominent among the books which supplied material for the
+reviewer. He worked hard for the first volume. But after that year he
+wrote little for the _Quarterly_ until 1818, and again little until
+after Lockhart became editor in 1825. From that time until 1831 he was
+an occasional contributor.
+
+1814 was the year of _Waverley_. Before that the poems had been
+appearing in rapid succession, and Scott had been busy with the _Works
+of Swift_, which came out also in 1814. The thirteen volumes of the
+edition of _Somers' Tracts_, already mentioned, and several smaller
+books, bore further witness to his editorial energy. The last of the
+long poems was published in 1815, about the same time with _Guy
+Mannering_, the second novel, and after that the novels continued to
+appear with that rapidity which constitutes one of the chief facts of
+Scott's literary career. For a few years after this period he did
+comparatively little in the way of editorial work, but his odd moments
+were occupied in writing about history, travels, and antiquities.[6]
+
+In 1820 Scott wrote the _Lives of the Novelists_, which appeared the
+next year in Ballantyne's _Novelists' Library_. By this time he had
+begun, with _Ivanhoe_, to strike out from the Scottish field in which
+all his first novels had been placed. The martial pomp prominent in this
+novel reflects the eager interest with which he was at that time
+following his son's opening career in the army; just as _Marmion_,
+written by the young quartermaster of the Edinburgh Light Horse, also
+expresses the military ardor which was so natural to Scott, and which
+reminds us of his remark that in those days a regiment of dragoons was
+tramping through his head day and night. Probably we might trace many a
+reason for his literary preoccupations at special times besides those
+that he has himself commented upon. In the case of the critical work,
+however, the matter was usually determined for him by circumstances of a
+much less intimate sort, such as the appeal of an editor or the
+appearance of a book which excited his special interest.
+
+When Scott was obliged to make as much money as possible he wrote novels
+and histories rather than criticism. His _Life of Napoleon Buonaparte_,
+which appeared in nine volumes in 1827, enabled him to make the first
+large payment on the debts that had fallen upon him in the financial
+crash of the preceding year, and the _Tales of a Grandfather_ were among
+the most successful of his later books. His critical biographies and
+many of his other essays were brought together for the first time in
+1827, and issued under the title of _Miscellaneous Prose Works_. The
+world of books was making his life weary with its importunate demands in
+those years when he was writing to pay his debts, and it is pleasant to
+see that some of his later reviews discussed matters that were not less
+dear to his heart because they were not literary. The articles on
+fishing, on ornamental gardening, on planting waste lands, remind us of
+the observation he once made, that his oaks would outlast his laurels.
+
+By this time the "Author of Waverley" was no longer the "unknown." His
+business complications compelled him to give his name to the novels, and
+with the loss of a certain kind of privacy he gained the freedom of
+which later he made such fortunate use in annotating his own works. From
+the beginning of 1828 until the end of his life in 1832, Scott was
+engaged, in the intervals of other occupations, in writing these
+introductions and notes for his novels, for an edition which he always
+called the _Opus Magnum_. This was a pleasant task, charmingly done.
+Indeed we may call it the last of those great editorial labors by which
+Scott's fame might live unsupported by anything else. First came the
+_Minstrelsy of the Scottish Border_, then the editions of Dryden and
+Swift. Next we may count the _Lives of the Novelists_, even in the
+fragmentary state in which the failure of the _Novelists' Library_ left
+them; and finally the _Opus Magnum_. When, in addition, we remember the
+mass of his critical work written for periodicals, and the number of
+minor volumes he edited, it becomes evident that a study of Scott which
+disregards this part of his work can present only a one-sided view of
+his achievement. And the qualities of his abundant criticism, especially
+its large fresh sanity, seem to make it worthy of closer analysis than
+it usually receives, not only because it helps to reveal Scott's genius,
+but also on account of the historical and ethical importance which
+always attaches to the ideals, literary and other, of a noble man and a
+great writer.
+
+
+
+
+CHAPTER II
+
+SCOTT'S QUALIFICATIONS AS CRITIC
+
+    Wide reading Scott's first qualification--Scott the
+    antiquary--Character of his interest in history--His
+    imagination--His knowledge of practical affairs--Common-sense in
+    criticism--Cheerfulness, good-humor, and optimism--General aspect of
+    Scott's critical work.
+
+
+Wide and appreciative reading was Scott's first qualification for
+critical work. A memory that retained an incredible amount of what he
+read was the second. One of the severest censures he ever expressed was
+in regard to Godwin, who, he thought, undertook to do scholarly work
+without adequate equipment. "We would advise him," Scott said in his
+review of Godwin's _Life of Chaucer_, "in future to read before he
+writes, and not merely while he is writing." Scott himself had
+accumulated a store of literary materials, and he used them according to
+the dictates of a temperament which had vivid interests on many sides.
+
+We may distinguish three points of view which were habitual to Scott,
+and which determined the direction of his creative work, as well as the
+tone of his criticism. These were--as all the world knows--the
+historical, the romantic, the practical.
+
+He was, as he often chose to call himself, an antiquary; he felt the
+appeal of all that was old and curious. But he was much more than that.
+The typical antiquary has his mind so thoroughly devoted to the past
+that the present seems remote to him. The sheer intellectual capacity of
+such a man as Scott might be enough to save him from such a limitation,
+for he could give to the past as much attention as an ordinary man could
+muster, and still have interest for contemporary affairs; but his
+capacity was not all that saved Scott. He viewed the past always as
+filled with living men, whose chief occupation was to think and feel
+rather than to provide towers and armor for the delectation of future
+antiquaries.[7] A sympathetic student of his work has said, "There is
+... throughout the poetry of this author, even when he leads us to the
+remotest wildernesses and the most desolate monuments of antiquity, a
+constant reference to the feelings of man in his social condition."[8]
+The past, to the author of _Kenilworth_, was only the far end of the
+present, and he believed that the most useful result of the study of
+history is a comprehension of the real quality of one's own period and a
+wisdom in the conduct of present day affairs.[9]
+
+The favorite pursuits of Scott's youth indicate that his characteristic
+taste showed itself early; indeed it is said that he retained his boyish
+traits more completely than most people do. We can trace much of his
+love of the past to the family traditions which made the adventurous
+life of his ancestors vividly real to him. The annals of the Scotts were
+his earliest study, and he developed such an affection for his
+freebooting grandsires that in his manhood he confessed to an
+unconquerable liking for the robbers and captains of banditti of his
+romances, characters who could not be prevented from usurping the place
+of the heroes. "I was always a willing listener to tales of broil and
+battle and hubbub of every kind," he wrote in later life, "and now I
+look back upon it, I think what a godsend I must have been while a boy
+to the old Trojans of 1745, nay 1715, who used to frequent my father's
+house, and who knew as little as I did for what market I was laying up
+the raw materials of their oft-told tales."[10] What attracted him in
+his boyhood, and what continued to attract him, was the picturesque
+incident, the color of the past, the mere look of its varied activity.
+The philosophy of history was gradually revealed to him, however, and
+his generalizing faculty found congenial employment in tracing out the
+relation of men to movements, of national impulses to world history. But
+however much he might exercise his analytical powers, history was never
+abstract to him, nor did it require an effort for him to conjure up
+scenes of the past. An acquaintance with the stores of early literature
+served to give him the spirit of remote times as well as to feed his
+literary tastes. On this side he had an ample equipment for critical
+work, conditioned, of course, by the other qualities of his mind, which
+determined how the equipment should be used.
+
+That Scott was not a dull digger in heaps of ancient lore was owing to
+his imaginative power,--the second of the qualities which we have
+distinguished as dominating his literary temperament. "I can see as many
+castles in the clouds as any man," he testified.[11] A recent writer has
+said that Scott had more than any other man that ever lived a sense of
+the romantic, and adds that his was that true romance which "lies not
+upon the outside of life, but absolutely in the centre of it."[12] The
+situations and the very objects that he described have the power of
+stirring the romantic spirit in his readers because he was alive to the
+glamour surrounding anything which has for generations been connected
+with human thoughts and emotions. The subjectivity which was so
+prominent an element in the romanticism of Shelley, Keats, and Byron,
+does not appear in Scott's work. Nor was his sense of the mystery of
+things so subtle as that of Coleridge. But Scott, rather than Coleridge,
+was the interpreter to his age of the romantic spirit, for the ordinary
+person likes his wonders so tangible that he may know definitely the
+point at which they impinge upon his consciousness. In Scott's work the
+point of contact is made clear: the author brings his atmosphere not
+from another world but from the past, and with all its strangeness it
+has no unearthly quality. In general the romance of his nature is rather
+taken for granted than insisted on, for there are the poems and the
+novels to bear witness to that side of his temperament; and the
+surprising thing is that such an author was a business man, a large
+landowner, an industrious lawyer.[13]
+
+Scott's imaginative sense, which clothed in fine fancies any incident or
+scene presented, however nakedly, to his view, accounts in part for his
+notorious tendency to overrate the work of other writers, especially
+those who wrote stories in any form. This explanation was hinted at by
+Sir Walter himself, and formulated by Lockhart; it seems a fairly
+reasonable way of accounting for a trait that at first appears to
+indicate only a foolish excess of good-nature. This rich and active
+imagination, which Scott brought to bear on everything he read, perhaps
+explains also his habit of paying little attention to carefully worked
+out details, and of laying almost exclusive emphasis upon main outlines.
+When he was writing his _Life of Napoleon_, he said in his _Journal_:
+"Better a superficial book which brings well and strikingly together the
+known and acknowledged facts, than a dull boring narrative, pausing to
+see further into a mill-stone at every moment than the nature of the
+mill-stone admits."[14] Probably his high gift of imagination made him a
+little impatient with the remoter reaches of the analytic faculties. Any
+sustained exercise of the pure reason was outside his province,
+reasonable as he was in everyday affairs. He preferred to consider
+facts, and to theorize only so far as was necessary to establish
+comfortable relations between the facts,--never to the extent of trying
+to look into the center of a mill-stone. It was not unusual for him to
+make very acute observations in the spheres of ethics, economics, and
+psychology, and to use them in explaining any situation which might seem
+to require their assistance; but these remarks were brief and
+incidental, and bore a very definite relation to the concrete ideas they
+were meant to illustrate.
+
+Scott was a business man as well as an antiquary and a poet. Mr.
+Palgrave thought Lockhart went too far in creating the impression that
+Scott could detach his mind from the world of imagination and apply its
+full force to practical affairs.[15] Yet the oversight of lands and
+accounts and of all ordinary matters was so congenial to him, and his
+practical activities were on the whole conducted with so much spirit and
+capability, that after emphasizing his preoccupation with the poetic
+aspects of the life of his ancestors, we must turn immediately about and
+lay stress upon his keen judgment in everyday affairs. To a school-boy
+poet he once wrote: "I would ... caution you against an enthusiasm
+which, while it argues an excellent disposition and a feeling heart,
+requires to be watched and restrained, though not repressed. It is apt,
+if too much indulged, to engender a fastidious contempt for the ordinary
+business of the world, and gradually to render us unfit for the exercise
+of the useful and domestic virtues which depend greatly upon our not
+exalting our feelings above the temper of well-ordered and well-educated
+society."[16] He phrased the same matter differently when he said: "'I'd
+rather be a kitten and cry, Mew!' than write the best poetry in the
+world on condition of laying aside common-sense in the ordinary
+transactions and business of the world."[17] "He thought," said
+Lockhart, "that to spend some fair portion of every day in any
+matter-of-fact occupation is good for the higher faculties themselves in
+the upshot."[18] Whether or not we consider this the ideal theory of
+life for a poet, we find it reasonable to suppose that a critic will be
+the better critic if he preserve some balance between matter-of-fact
+occupation and the exercise of his higher faculties. Sir Walter's maxim
+applies well to himself at least, and an analysis of his powers as a
+critic derives some light from it.
+
+The thing that is waiting to be said is of course that his criticism is
+distinguished by common-sense. Whether common-sense should really
+predominate in criticism might perhaps be debated; the quality
+indicates, indeed, not only the excellence but also the limitations of
+his method. For example, Scott was rather too much given to accepting
+popular favor as the test of merit in literary work, and though the
+clamorously eager reception of his own books was never able to raise his
+self-esteem to a very high pitch, it seems to have been the only thing
+that induced him to respect his powers in anything like an appreciative
+way.[19] His instinct and his judgment agreed in urging him to avoid
+being a man of "mere theory,"[20] and he sought always to test opinions
+by practical standards.
+
+More or less connected with his good sense are other qualities which
+also had their effect upon his critical work,--his cheerfulness, his
+sweet temper and human sympathy, his modesty, his humor, his
+independence of spirit, and his enthusiastic delight in literature. That
+his cheerfulness was a matter of temperament we cannot doubt, but it was
+also founded on principle. He had remarkable power of self-control.[21]
+His opinion that it is a man's duty to live a happy life appears rather
+quaintly in the sermonizing with which he felt called upon to temper the
+admiration expressed in his articles on _Childe Harold_, and it is
+implicit in many of his biographical studies. His own amiability of
+course influenced all his work. Satire he considered objectionable, "a
+woman's fault,"[22] as he once called it; though he did not feel himself
+"altogether disqualified for it by nature."[23] "I have refrained, as
+much as human frailty will permit, from all satirical composition,"[24]
+he said. For satire he seems to have substituted that kind of "serious
+banter, a style hovering between affected gravity and satirical
+slyness," which has been pointed out as characteristic of him.[25]
+Washington Irving noticed a similar tone in all his familiar
+conversations about local traditions and superstitions.[26]
+
+He was really optimistic, except on some political questions. In his
+_Lives of the Novelists_ he shows that he thought manners and morals had
+improved in the previous hundred years; and none of his reviews exhibits
+the feeling so common among men of letters in all ages, that their own
+times are intellectually degenerate. It is true that he looked back to
+the days of Blair, Hume, Adam Smith, Robertson, and Ferguson, as the
+"golden days of Edinburgh,"[27] but those golden days were no farther
+away than his own boyhood, and he had felt the exhilaration of the
+stimulating society which he praised. One of his contemporaries spoke of
+Scott's own works as throwing "a literary splendour over his native
+city";[28] and George Ticknor said of him, "He is indeed the lord of the
+ascendant now in Edinburgh, and well deserves to be, for I look upon him
+to be quite as remarkable in intercourse and conversation, as he is in
+any of his writings, even in his novels."[29] But he could hardly be
+expected to perceive the luster surrounding his own personality, and
+this one instance of regret for former days counts little against the
+abundant evidence that he thought the world was improving. Yet of all
+his contemporaries he was probably the one who looked back at the past
+with the greatest interest. The impression made by the author of
+_Waverley_ upon the mind of a young enthusiast of his own time is too
+delightful to pass over without quotation. "He has no eccentric
+sympathies or antipathies"; wrote J.L. Adolphus, "no maudlin
+philanthropy or impertinent cynicism; no nondescript hobby-horse; and
+with all his matchless energy and originality of mind, he is content to
+admire popular books, and enjoy popular pleasures; to cherish those
+opinions which experience has sanctioned; to reverence those
+institutions which antiquity has hallowed; and to enjoy, admire,
+cherish, and reverence all these with the same plainness, simplicity,
+and sincerity as our ancestors did of old."[30]
+
+By temperament, then, Scott was enthusiastic over the past and cheerful
+in regard to his own day; he was imaginative, practical, genial; and
+these traits must be taken into account in judging his critical
+writings. These and other qualities may be deduced from the most
+superficial study of his creative work. The mere bulk of that work bears
+witness to two things: first that Scott was primarily a creative writer;
+again, that he was of those who write much rather than minutely. It is
+obvious that to attack details would be easy. And since he was only
+secondarily a critic, it is natural that his critical opinions should
+not have been erected into any system. But while they are essentially
+desultory, they are the ideas of a man whose information and enthusiasm
+extended through a wide range of studies; and they are rendered
+impressive by the abundance, variety, and energy, which mark them as
+characteristic of Scott.
+
+
+
+
+CHAPTER III
+
+SCOTT'S WORK AS STUDENT AND EDITOR IN THE FIELD OF LITERARY HISTORY
+
+
+THE MEDIAEVAL PERIOD
+
+_Minstrelsy of the Scottish Border_
+
+    Scott's early interest in ballads--Casual origin of the
+    _Minstrelsy_--Importance of the book in Scott's career--Plan of the
+    book--Mediaeval scholarship of Scott's time--His theory as to the
+    origin of ballads and their deterioration--His attitude toward the
+    work of previous editors--His method of forming texts--Kinds of
+    changes he made--His qualifications for emending old poetry--Modern
+    imitations of the ballad included in the _Minstrelsy_--Remarks on
+    the ballad style--Impossibility of a scientific treatment of
+    folk-poetry in Scott's time--Real importance of the _Minstrelsy_.
+
+
+We think of the _Border Minstrelsy_ as the first work which resulted
+from the preparation of Scott's whole youth, between the days when he
+insisted on shouting the lines of _Hardyknute_ into the ears of the
+irate clergyman making a parish call, and the time when he and his
+equally ardent friends gathered their ballads from the lips of old women
+among the hills. But we have seen that the inspiration for his first
+attempts at writing poetry came only indirectly from the ballads of his
+own country. We learn from the introduction to the third part of the
+_Minstrelsy_ that some of the young men of Scott's circle in Edinburgh
+were stimulated by what the novelist, Henry Mackenzie, told them of the
+beauties of German literature, to form a class for the study of that
+language. This was when Scott was twenty-one, but it was still four
+years before he found himself writing those translations which mark the
+sufficiently modest beginning of his literary career. His enthusiasm for
+German literature was not at first tempered by any critical
+discrimination, if we may judge from the opinions of one or two of his
+friends who labored to point out to him the extravagance and false
+sentiment which he was too ready to admire along with the real genius of
+some of his models.[31] Apparently their efforts were useful, for in a
+review written in 1806 we find Scott, in a remark on Bürger, referring
+to "the taste for outrageous sensibility, which disgraces most German
+poetry."[32] His special interest in the Germans was an early mood which
+seems not to have returned. After the process of translation had
+discovered to him his verse-making faculty, he naturally passed on to
+the writing of original poems, and circumstances of a half accidental
+sort determined that the Scottish ballads which he had always loved
+should absorb his attention for the next two or three years.
+
+The publication of a book of ballads was first suggested by Scott as an
+opportunity for his friend Ballantyne to exhibit his skill as a printer
+and so increase his business. "I have been for years collecting old
+Border ballads," Scott remarked, "and I think I could with little
+trouble put together such a selection from them as might make a neat
+little volume to sell for four or five shillings."[33] From this casual
+proposition resulted _The Minstrelsy of the Scottish Border_, published
+in three volumes in 1802-3 and often revised and reissued during the
+editor's lifetime.
+
+This book and the prefaces to his own novels are likely to be thought of
+first when Scott is spoken of as a critic. The connection between the
+_Minstrelsy_ and the novels has often been pointed out, ever since the
+day of the contemporary who, on reading the ballads with their
+introductions, exclaimed that in that book were the elements of a
+hundred historical romances.[34] The interest of the earlier work is
+undoubtedly multiplied by the associations in the light of which we read
+it--associations connected with the editor's whole experience as an
+author, from the _Lay of the Last Minstrel_ to _Castle Dangerous_.
+
+Important as the _Minstrelsy_ is from the point of view of literary
+criticism, the material of its introductions is chiefly historical. The
+introduction in the original edition gives an account of life on the
+Border in the fifteenth and sixteenth centuries, with the outlines of
+many of the events that stimulated ballad-making, and an analysis of the
+temper of the Marchmen among whom this kind of poetry flourished; then
+by special introductions and notes to the poems an attempt is made to
+explain both the incidents on which they seem to have been founded, and
+parallel cases that appear in tradition or record. Some enthusiastic
+comment is included, of the kind that was so natural to Scott, on the
+effect of ballad poetry upon a spirited and warlike people. The writer
+continues: "But it is not the Editor's present intention to enter upon a
+history of Border poetry; a subject of great difficulty, and which the
+extent of his information does not as yet permit him to engage in." It
+was, in fact, nearly thirty years later[35] that Scott wrote the
+_Remarks on Popular Poetry_ which since that date have formed an
+introduction to the book, as well as the essay, _On Imitations of the
+Ancient Ballad_, which at present precedes the third part. The more
+purely literary side of the editor's duty--leaving out of account the
+modern poems written by Scott and others--was exhibited chiefly in the
+construction of texts, a matter of which I shall speak later, after
+considering his views of the origin and character of folk-poetry in
+general.
+
+But first we may recall the fact that Scott was following a fairly well
+established vogue in giving scholarly attention to ancient popular
+poetry. A revival of interest in the study of mediaeval literature had
+been stimulated in England by the publication of Percy's _Reliques_ in
+1765 and Warton's _History of English Poetry_ in 1774. In 1800 there
+were enough well-known antiquaries to keep Scott from being in any sense
+lonely. Among them Joseph Ritson[36] was the most learned, but he was
+crotchety in the extreme; and while his notions as to research were in
+advance of his time, his controversial style resembled that of the
+seventeenth century. George Ellis,[37] on the other hand, was
+distinguished by an eighteenth-century urbanity, and his combination of
+learning and good taste fitted him to influence a broader public than
+that of specialists. At the same time he was a delightful and
+stimulating friend to other scholars. Southey was becoming known as an
+authority on the history and literature of the Spanish peninsula. A
+review in the _Quarterly_ a dozen years later mentions these
+three,--Ellis, Scott, and Southey,--as "good men and true" to serve as
+guides in the remote realms of literature.[38] Ellis's friend, John
+Hookham Frere, had great abilities but was an incurable dillettante.
+Scott particularly admired a Middle-English version of _The Battle of
+Brunanburgh_ which Frere wrote in his school-boy days, and considered
+him an authoritative critic of mediaeval English poetry. Robert
+Surtees[39] and Francis Douce[40] were antiquaries of some importance,
+and both, like all the others named, were friends of Scott. Mr. Herford
+calls this period a day of "Specimens" and extracts: "Mediaeval romance
+was studied in Ellis's _Specimens_," he says, "the Elizabethan drama in
+Lamb's, literary history at large in D'Israeli's gently garrulous
+compilations of its 'quarrels,' 'amenities,' 'calamities,' and
+'curiosities.'"[41] But the scholarship of the time on the whole is
+worthy of respect. In the case of ballads and romances notable work had
+been done before Scott entered the field,[42] and he and his
+contemporaries were carrying out the promise of the half century before
+them--continuing the work that Percy and Warton had begun.
+
+Among the problems connected with ballad study, that which arises first
+is naturally the question of origins. Scott made no attempt to formulate
+a theory different in any main element from that which was held by his
+predecessors. He agreed with Percy that ballads were composed and sung
+by minstrels, and based his discussion on the materials brought forward
+by Percy and Ritson for use in their great controversy.[43] Ritson
+himself never doubted that ballads were composed and sung by individual
+authors, though he might refuse to call them minstrels. The idea of
+communal authorship, which Jacob Grimm was to suggest only half a dozen
+years after the first edition of the _Minstrelsy_, would doubtless have
+been rejected by Scott, even if he had considered it. But we have no
+evidence that he did so. Probably he did not, as he never felt the need
+of a new theory.[44]
+
+Scott's opinion in regard to the transmission of ballads followed
+naturally from his theory of their origin. His aristocratic instincts
+perhaps helped to determine his belief that ballads were composed by
+gifted minstrels, and that they had deteriorated in the process of being
+handed down by recitation. He called tradition "a sort of perverted
+alchymy which converts gold into lead." "All that is abstractedly
+poetical," he said, "all that is above the comprehension of the merest
+peasant, is apt to escape in frequent repetition; and the _lacunae_ thus
+created are filled up either by lines from other ditties or from the
+mother wit of the reciter or singer. The injury, in either case, is
+obvious and irreparable."[45] From this point of view Scott considered
+that the ballads were only getting their rights when a skilful hand gave
+them such a retouching as should enable them to appear in something of
+what he called their original vigor.[46]
+
+We may learn what qualities he considered necessary for an editor in
+this field, from the latter part of his _Remarks on Popular Poetry_, in
+which he discusses previous attempts to collect English and Scottish
+ballads. Of Percy he speaks in the highest terms, here and elsewhere. We
+have seen that he felt a strong sympathy with Percy's desire to dress up
+the ballads and make them as attractive to the public as their intrinsic
+charms render them to their friends. He did not of course realize the
+extent to which the Bishop reworked his materials, as the publication of
+the folio manuscript has since revealed it, and Ritson's captious
+remarks on the subject were naturally discounted on the score of their
+ill-temper. But it is not to be doubted that Ritson had an appreciable
+effect on Scott's attitude, by stirring him up to some comprehension of
+the things that might be said in favor even of dull accuracy. Ritson's
+collections are cited in their place, with a tribute to the extreme
+fidelity of their editor. It is a pity that this accurate scholar could
+not have had a sufficient amount of literary taste, to say nothing of
+good manners, to inspire others with a fuller trust in his method. Scott
+expresses impatience with him for seeming to prefer the less effective
+text in many instances, "as if a poem was not more likely to be
+deteriorated than improved by passing through the mouths of many
+reciters."[47] He admitted, however, that it was not in his own period
+necessary to rework the ballads as much as Bishop Percy had done, since
+the _Reliques_ had already created an audience for popular poetry. His
+purpose evidently was to steer a middle course between such graceful but
+sophisticated versions as were given in the _Reliques_, and the exact
+transcript of everything to be gathered from tradition, whether
+interesting or not, that was attempted by Ritson. In his later revisions
+he gave way more than at first to his natural impulse in favor of the
+added graces which he could supply.[48]
+
+It is easy to see how his own contributions of word and phrase might
+slip in, since his avowed method was to collate the different texts
+secured from manuscripts or recitation or both, and so to give what to
+his mind was the worthiest version. Believing that the ballads had been
+composed by men not unlike himself, he assumed, in the manner well known
+to classical text-critics, that his familiarity with the conditions of
+the ancient social order gave him some license for changing here and
+there a word or a line. In determining which stanzas or lines to choose,
+when choice was possible, he was guided by his antiquarian knowledge and
+by the general principle of selecting the most poetic rendering among
+those at his command. This was his way of showing his respect for the
+minstrel bards of whom he was fond of considering himself a successor.
+
+So far it is perfectly easy to take his point of view. But it is more
+difficult to reconcile his practice with his professions. We find this
+declaration in the forefront of the book: "No liberties have been taken
+either with the recited or written copies of these ballads, farther than
+that, where they disagreed, which is by no means unusual, the editor, in
+justice to the author, has uniformly preserved what seemed to him the
+best or most poetical rendering of the passage.... Some arrangement was
+also occasionally necessary to recover the rhyme, which was often, by
+the ignorance of the reciters, transposed or thrown into the middle of
+the line. With these freedoms, which were essentially necessary to
+remove obvious corruptions and fit the ballads for the press, the editor
+presents them to the public, under the complete assurance that they
+carry with them the most indisputable marks of their authenticity."[49]
+In the face of this fair announcement we are surprised, to say the
+least, at the number of lines and stanzas which scholars have discovered
+to be of Scott's own composition.[50]
+
+Occasionally his notes give some slight indication of his method of
+treatment, as for instance this, on _The Dowie Dens of Yarrow_: "The
+editor found it easy to collect a variety of copies; but very difficult
+indeed to select from them such a collated edition as might in any
+degree suit the taste of 'these more light and giddy-paced times.'"
+Notes on some others of the ballads say that "a few conjectural
+emendations have been found necessary," but no one of these remarks
+would seem really ingenuous in a modern scholar when we consider how far
+the "conjectural emendations" extended. Moreover, changes were often
+made without the slightest clue in introduction or note.[51]
+
+The case was complicated for Scott by the poetical tastes of his
+assistants. Leyden[52] was apparently quite capable of taking down a
+ballad from recitation in such a way as to produce a more finished poem
+than one would expect a traditional ballad to be. And Hogg,[53] who
+supplied several ballads from the recitations of his mother and other
+old people, was probably still less strict. "Sure no man," he is quoted
+as having said, "will think an old song the worse of being somewhat
+harmonious."[54] Yet it is easy to see that Scott's friends might have
+acted differently if his own practice had favored absolute fidelity to
+the texts.
+
+A remark in Scott's review of Evans's _Old Ballads_ seems a pretty
+definite arraignment of his own procedure. "It may be asked by the
+severer antiquary of the present day, why an editor, thinking it
+necessary to introduce such alterations in order to bring forth a new,
+beautiful, and interesting sense from a meagre or corrupted original,
+did not in good faith to his readers acquaint them with the liberties he
+had taken and make them judge whether in so doing he transgressed his
+limits. We answer that unquestionably such would be the express duty of
+a modern editor, but such were not the rules of the service when Dr.
+Percy first opened the campaign."[55]
+
+One wonders whether the "rules of the service" did not in Scott's
+opinion occasionally permit a little wilful mystification. The case of
+_Kinmont Willie_ tempts one to such an explanation. Besides the capital
+instance of his anonymity as regards the novels, Scott several times
+seemed to amuse himself in perplexing the public. There was the case of
+the _Bridal of Triermain_, which he tried by means of various careful
+devices to pass off as the work of a friend. But perhaps the best
+example appears in connection with _The Fortunes of Nigel_. He first
+designed the material of that book for a series of "private letters"
+purporting to have been written in the reign of James I., but when he
+had finally complied with the advice of his friends and used it for a
+novel, he said to Lockhart, "You were all quite right: if the letters
+had passed for genuine, they would have found favour only with a few
+musty antiquaries."[56] This suggests comparison with the conduct of his
+friend Robert Surtees, who palmed off upon him three whole ballads of
+his own and got them inserted in the _Minstrelsy_ as ancient, with a
+plausible tale concerning the circumstances of their recovery. Surtees,
+one is interested to observe, never dared tell Scott the truth, and
+Scott always accepted the ballads as genuine--a lack of discernment
+rather compromising in an editor, though one may perhaps excuse him on
+the ground of his confidence in his brother antiquary.[57]
+
+In one direction Scott seems to have been more conscientious than we
+might be inclined to suppose after seeing the discrepancy between the
+standard of exactness that his own statements lead us to expect and the
+results that actually appear. I believe that he intended to preserve the
+manuscript texts just as he received them, and that he would have wished
+to have them given to the public when the public was prepared to want
+them. To support this theory we have first the fact that most of his own
+emendations have been traced by means of the manuscripts which he
+used.[58] It is significant that in speaking of a poet who had altered a
+manuscript to suit a revised reading he grew indignant over that fault
+far more than over the mere change in the published version. _The Raid
+of the Reidswire_, he said, "first appeared in Allan Ramsay's
+_Evergreen_, but some liberties have been taken by him in transcribing
+it; and, what is altogether unpardonable, the manuscript, which is
+itself rather inaccurate, has been interpolated to favour his readings;
+of which there remain obvious marks."[59] Scott said also that the time
+had come for the publication of Percy's folio manuscript; though we must
+believe that he would not have wished to see the manuscript published
+until the ballads had become familiar to the world in what he considered
+a beautified form.
+
+The changes Scott made were usually in style rather than in substance.
+Often he merely substituted an archaic word for a modern one; but often
+whole lines and longer passages offered temptations which the poet in
+him could not resist, and he "improved" lavishly. For example, we have
+his note on _Earl Richard_--"The best verses are here selected from both
+copies, and some trivial alterations have been adopted from
+tradition,"--with the comment by Mr. Henderson--"The emendations of
+Scott are so many, and the majority relate so entirely to style, that no
+mere tradition could have supplied them."[60] His versions are in
+general characterized by a smoothness and precision of meter which to
+the student of ballads is very suspicious. But he seems occasionally to
+have altered or supplied incidents as well as phrases. The historical
+event which furnished the purpose for the expedition of Sir Patrick
+Spens seems to have been introduced into the ballad by Scott, and Mr.
+Henderson thinks that "when the deeds of his ancestors were concerned it
+was impossible for him to resist the temptation to employ some of his
+own minstrel art on their behalf."[61]
+
+Certainly Scott's qualifications for evolving true poetry out of the
+crude fragments that sometimes served as a basis formed a very unusual
+combination when they were united with his knowledge of early history
+and literature. He had such confidence in his own powers in this
+direction that he at one time intended to write a series of imitations
+of Scottish poets of different periods, from Thomas the Rhymer down, and
+thus to exhibit changes in language as well as variations in literary
+style.[62] He evidently thought that the ballads as they appeared in the
+_Minstrelsy_ were truer to their originals than were the copies he was
+able to procure from recitation. Lockhart gives him precisely the kind
+of praise he would have desired, in saying, "From among a hundred
+corruptions he seized with instinctive tact the primitive diction and
+imagery."[63]
+
+It is evident that Scott's public did not wish him to be more careful
+than he was in discriminating between new and old matter. One of his
+moments of strict veracity seems even to have occasioned some annoyance
+to the writer of the _Edinburgh_ article, who apparently preferred to
+believe in the antiquity of _The Flowers of the Forest_ rather than to
+learn that "the most positive evidence" proved its modern origin. The
+editor's introduction to the poem seems perfectly clear; he names his
+authority and quotes two verses which are ancient;[64] but the reviewer
+says with a perverse irritability: "Mr. Scott would have done well to
+tell us how much he deems ancient, and to give us the 'positive
+evidence' that convinced him _the whole_ was not so."[65] This review
+was, however, for the most part favorable.
+
+The fact that Scott included modern imitations of the ballad in his book
+is another indication that his attitude was like that of his
+predecessors.[66] Doubtless these helped the _Minstrelsy_ to sell, but a
+more modern taste would choose to put them in a place by themselves, not
+in a collection of old ballads. An essay on _Imitations of the Ancient
+Ballad_ was written, as were the _Remarks on Popular Poetry_, for the
+1833 edition. It is chiefly interesting for its autobiographical matter,
+though it also contains criticisms of Burns and other writers of ballad
+poetry--"a species of literary labour which the author has himself
+pursued with some success."[67] Scott's statement that the ballad style
+was very popular at the time he began to write, and that he followed the
+prevailing fashion, was one of many examples of his modesty, taken in
+connection with the remark in another part of the essay to the effect
+that this style "had much to recommend it, especially as it presented
+considerable facilities to those who wished at as little exertion or
+trouble as possible to attain for themselves a certain degree of
+literary reputation." To complete the comparison, however, we need an
+observation found in one of Scott's reviews, on the spurious ballad
+poetry, full of false sentiment, sometimes written in the eighteenth
+century. "It is the very last refuge of those who can do nothing better
+in the shape of verse; and a man of genius should disdain to invade the
+province of these dawdling rhymers."[68]
+
+Scott's criticism of ballad style probably suffered from his interest in
+modern imitations of ballads. Perhaps also the real quality of ancient
+popular poetry was a little obscured for him by his belief that it was
+written by professional or semi-professional poets. If he wrote _Kinmont
+Willie_, he succeeded in catching the right tone better than anyone
+since him has been able to do, but even in this poem there are turns of
+phrase that remind one of the _Lay of the Last Minstrel_ rather than of
+the true folk-song.[69] After his first attempts at versifying he
+received from William Taylor, of Norwich, who had made an earlier
+translation of Bürger's _Lenore_, a letter of hearty praise intermingled
+with very sensible remarks about the tendency in some parts of Scott's
+_Chase_ toward too great elaboration.[70] Scott's answer was as follows:
+"I do not ... think quite so severely of the Darwinian style, as to deem
+it utterly inconsistent with the ballad, which, at least to judge from
+the examples left us by antiquity, admits in some cases of a
+considerable degree of decoration. Still, however, I do most sincerely
+agree with you, that this may be very easily overdone, and I am far from
+asserting that this may not be in some degree my own case; but there is
+scarcely so nice a line to distinguish, as that which divides true
+simplicity from flatness and _Sternholdianism_ (if I may be allowed to
+coin the word), and therefore it is not surprising, that in endeavouring
+to avoid the latter, so young and inexperienced a rhymer as myself
+should sometimes have deviated also from the former."[71] This was
+Scott's earliest stage as a man of letters, and he evidently learned
+more about ballads later. But there appears in much of his criticism on
+the subject a limitation which may be assigned partly to his time, and
+partly, no doubt, to the fact that he was a poet and could not forget
+all the sophistications of his art.
+
+The true nature of ballad poetry could hardly be understood until
+scholars had investigated the structure of primitive society in a way
+that Scott's contemporaries were not at all prepared to do. Even Scott,
+with all his intelligent interest in bygone institutions and modes of
+expression, could hardly have foreseen the anthropological researches
+which the problem of literary origins has since demanded. We do not
+find, then, that Scott's work on ballads was marked by any special
+originality in point of view or method. _The Minstrelsy of the Scottish
+Border_ was a notable book because it did better what other men had
+tried to do, and especially because of the charm and effectiveness of
+its historical comment. It was more trustworthy than Percy's collection
+and more graceful than Ritson's; it was richer than other books of the
+kind in what people cared to have when they wanted ballads, and yet was
+not, for its time, over-sophisticated. Scott's conclusions cannot now be
+accepted without question, but the illustrations with which he sets them
+forth and the wide reading and sincere love of folk-poetry which
+evidently lie behind them produce a pleasant effect of ripe and
+reasonable judgment. The admirable qualities of the book were at once
+recognized by competent critics, and it will always be studied with
+enthusiasm by scholars as well as by the uncritical lover of ballads.
+
+
+_Studies in the Romances_
+
+    Scott's theory as to the connection between ballads and
+    romances--His early fondness for romances--His acquaintance with
+    Romance languages--His work on the _Sir Tristrem_--Value of his
+    edition--Special quality of Scott's interest in the Middle
+    Ages--General theories expressed in the body of his work on
+    romances--His type of scholarship.
+
+Ballads and romances are so closely related that Scott's early and
+lasting interest in the one form naturally grew out of his interest in
+the other. He held the theory that "the romantic ballads of later times
+are for the most part abridgments of the ancient metrical romances,
+narrated in a smoother stanza and more modern language."[72] It is not
+surprising, then, that a considerable body of his critical work has to
+do with the subject of mediaeval romance.
+
+Throughout his boyhood Scott read all the fairy tales, eastern stories,
+and romances of knight-errantry that fell in his way. When he was about
+thirteen, he and a young friend used to spend hours reading together
+such authors as Spenser, Ariosto, and Boiardo.[73] He remembered the
+poems so well that weeks or months afterwards he could repeat whole
+pages that had particularly impressed him. Somewhat later the two boys
+improvised similar stories to recite to each other, Scott being the one
+who proposed the plan and the more successful in carrying it out. With
+this same friend he studied Italian and began to read the Italian poets
+in the original. In his autobiography he says:[74] "I had previously
+renewed and extended my knowledge of the French language, from the same
+principle of romantic research. Tressan's romances, the Bibliothèque
+Bleue, and Bibliothèque de Romans, were already familiar to me, and I
+now acquired similar intimacy with the works of Dante, Boiardo, Pulci,
+and other eminent Italian authors." Writing some years later he
+remarked: "I was once the most enormous devourer of the Italian romantic
+poetry, which indeed is the only poetry of their country which I ever
+had much patience for; for after all that has been said of Petrarch and
+his school, I am always tempted to exclaim like honest Christopher Sly,
+'Marvellous good matter, would it were done.' But with Charlemagne and
+his paladins I could dwell forever."[75] Scott learned languages easily,
+and he read Spanish with about as much facility as Italian. Don Quixote
+seems often to be the guide with whom he chooses to traverse the fields
+of romance.[76] In Scott's boyhood one of his teachers noticed that he
+could follow and enjoy the meaning of what he read in Latin better than
+many of his school-fellows who knew more about the language, and it was
+the same all through his life--he got what he wanted from foreign
+literatures with very little trouble.
+
+Scott constantly refers to the work of Percy, Warton, Tressan,[77]
+Ritson, and Ellis, in the study of ancient romances, but in editing _Sir
+Tristrem_ he made one part of the field his own, and became the
+authority whom he felt obliged to quote in the Essay on Romance.
+
+Thomas the Rhymer of Erceldoune was at first an object of interest to
+Scott because of the ballad of _True Thomas_ and the traditions
+concerning him that floated about the countryside. The "Rhymer's Glen"
+was afterwards a cherished possession of Scott's own on the Abbotsford
+estate. In the Advocates' Library at Edinburgh, of which Scott was in
+1795 appointed a curator, was an important manuscript that contained
+among other metrical romances one professing to be a copy of that
+written by Thomas of Erceldoune on Sir Tristrem. From a careful piecing
+together of evidence furnished by this poem and by Robert of Brunne,
+with the assistance of certain legal documents which supplied dates,
+Scott built up about the old poet a theory that he elaborated in his
+edition of _Sir Tristrem_, published in 1804, and that continued to
+interest him vividly as long as he lived. It reappears in many of his
+critical writings[78] and also in the novels. In the _Bride of
+Lammermoor_ Ravenswood goes to his death in compliance with the prophecy
+of Thomas quoted by the superstitious Caleb Balderstone. And in _Castle
+Dangerous_ Bertram, who is unconvincing perhaps because he is endowed
+with the literary and antiquarian tastes of a Walter Scott himself, is
+actuated by an irrepressible desire to discover works of the Rhymer.
+
+Scott's edition of _Sir Tristrem_ gives--besides the text, introduction,
+and notes--a short conclusion written by himself in imitation of the
+original poet's style. Much of his theory has fallen. He considered this
+_Sir Tristrem_ to be the first of the written versions of that story, a
+supposition that was not long tenable. The poem is now known to be based
+upon a French original, and many scholars think the name Erceldoune was
+arbitrarily inserted by the English translator; though Mr. McNeill, the
+latest editor, thinks there is a "reasonable probability" in favor of
+Scott's opinion that the author was the historic Thomas, who flourished
+in the thirteenth century. It is important, however, that Scott's
+scholarship in the matter passed muster at that time with such men as
+Ellis, who wrote the review in the _Edinburgh_, in which he said, "Upon
+the whole we are much disposed to adopt the general inferences drawn by
+Mr. Scott from his authorities, and have great pleasure in bearing
+testimony to the very uncommon diligence which he has evinced in
+collecting curious materials, and to the taste and sagacity with which
+he has employed them.... With regard to the notes, they contain an
+almost infinite variety of curious information, which had been hitherto
+unknown or unnoticed."[79] John Hookham Frere said, as quoted in a
+letter by Ellis, "I consider _Sir Tristrem_ as by far the most
+interesting work that has as yet been published on the subject of our
+earliest poets."[80] Scott's opinions were in 1824 thought to be of
+sufficient importance, either from their own merits or on account of his
+later fame, to call forth a dissertation appended to the edition of
+Warton's _History of English Poetry_ published in that year.
+
+The first edition of the text swarms with errors, according to
+Kölbing,[81] a recent editor of the romance, and later editions are
+still very inaccurate.[82] It could hardly be expected that a man with
+Scott's habits of mind would edit a text accurately. But no one of that
+period was competent to construct a text that would seem satisfactory
+now. The study of English philology was not sufficiently developed in
+that direction, nor did scholars appreciate either the difficulties or
+the requirements of text-criticism. It is not to be wondered at that
+Scott failed, in this instance as well as afterwards in the case of the
+text of Dryden, to give a version that would stand the minute scrutiny
+of later scholarship.
+
+His sympathies were rather with the scholar who opens the store of old
+poetry to the public, than with him who uses his erudition simply for
+the benefit of erudite people. The diction of the Middle Ages was
+interesting to him only as it reflected the customs and emotions of its
+period. He used the romances as authorities on ancient manners. The
+_Chronicles_ of Froissart, because they give "a knowledge of
+mankind,"[83] were almost as much a hobby with him as Thomas the Rhymer,
+and in this case also he endows characters in his novels with his own
+fondness for the ancient writer.[84] The fruit of Scott's acquaintance
+with Froissart appears prominently in his essay on _Chivalry_ and in
+various introductions to ballads in the _Minstrelsy_, as well as in the
+novels of chivalry. Scott at one time proposed to publish an edition of
+Malory, but abandoned the project on learning that Southey had the same
+thing in mind.[85]
+
+The first periodical review Scott ever published was on the subject of
+the _Amadis de Gaul_, as translated by Southey and by Rose. The article
+is long and very carefully constructed, and expresses many ideas on the
+subject of the mediaeval romance in general that reappear again and
+again, particularly in the essay on _Romance_ written in 1823 for the
+_Encyclopĉdia Britannica_. Among these general ideas that found frequent
+expression in his critical writings, one which in the light of his
+creative work becomes particularly interesting to us is his judgment on
+the distinctions between metrical and prose romances. He always
+preferred the poems, though he was so interested in the prose stories
+that he talked about them with much enthusiasm, and it sometimes seems
+as if he liked best the kind he happened to be analyzing at the moment.
+
+Other matters that necessarily presented themselves when he was treating
+the subject of romance were the problem of the sources of narrative
+material, especially the perplexed question concerning the development
+of the Arthurian cycle, and the problem, already discussed in connection
+with ballads, concerning the character of minstrels. The minstrels
+reappear throughout Scott's studies in mediaeval literature, and were
+perhaps more interesting to him than any other part of the subject.
+Though, as we have seen, he formulated a compromise between the opposing
+opinions of Percy and Ritson, no one who reads the description of the
+Last Minstrel can doubt what was the picture that he preferred to carry
+in his mind.
+
+His ideas on the subject of the origin and diffusion of narrative
+material were those of the sensible man trying to look at the matter in
+a reasonable way. Here again he adopted an attitude of compromise, in
+that he admitted the partial truth of various theories which he
+considered erroneous only in so far as any one of them was stretched
+beyond its proper compass. "Romance," he said, "was like a compound
+metal, derived from various mines, and in the different specimens of
+which one metal or other was alternately predominant."[86]
+
+On the subject of the Arthurian cycle, the origin of which has never
+ceased to be matter for debate, he held essentially the opinions that
+the highest French authority has adopted that Celtic traditions were the
+foundation, and that the metrical romances preceded those in prose.[87]
+The important offices of French poets in giving form to the story he
+underestimated. When he said, "It is now completely proved, that the
+earliest and best French romances were composed for the meridian of the
+English court,"[88] he fell into the error that has not always been
+avoided by scholars who have since written on the subject, of feeling
+certitude about a proposition in which there is no certainty.
+
+Scott's work on romances, though it does not always rise above
+commonplaceness, escapes the perfunctory quality of hack writing by
+virtue of his keen interest in the subject. He continued to like this
+prosaic kind of literary task even while he was writing novels with the
+most wonderful facility. We may judge not only by the fact that he
+continued to write reviews at intervals throughout his life, but by an
+explicit reference in his _Journal_: "I toiled manfully at the review
+till two o'clock, commencing at seven. I fear it will be uninteresting,
+but I like the muddling work of antiquities, and besides wish to record
+my sentiments with regard to the Gothic question."[89]
+
+It is evident that Scott did not himself find the "muddling work of
+antiquities" dull, because he realized, emotionally as well as
+intellectually, the life of past times. This led him to form broader
+views than the ordinary student constructs out of his knowledge of
+special facts. An admirable illustration of this characteristic occurs
+in the essay on Romance, at the point where Scott is discussing the
+social position of the minstrels, in the light of what Percy and Ritson
+had said on the subject. He goes on: "In fact, neither of these
+excellent antiquaries has cast a general or philosophic glance on the
+necessary condition of a set of men, who were by profession the
+instruments of the pleasure of others during a period of society such as
+was presented in the Middle Ages." There follows a detailed and very
+interesting account of what the writer's own "philosophic glance" leads
+him to believe. The method is useful but dangerous; in the same essay
+occurs an amusing example of what philosophy may do when it is given
+free rein. Within two pages appear these conflicting statements: "The
+Metrical Romances, though in some instances sent to the press, were not
+very fit to be published in this form. The dull amplifications, which
+passed well enough in the course of a half-heard recitation, became
+intolerable when subjected to the eye." "The Metrical Romances in some
+instances indeed ran to great length, but were much exceeded in that
+particular by the folios which were written on the same or similar
+topics by their prose successors. Probably the latter judiciously
+reflected that a book which addresses itself only to the eyes may be
+laid aside when it becomes tiresome to the reader; whereas it may not
+always have been so easy to stop the minstrel in the full career of his
+metrical declamation." Flaws like this may be picked in the details of
+Scott's method, just as we may sometimes find fault with the lapses in
+his mediaeval scholarship. We do him no injustice when we say that aside
+from certain aspects of his work on the ballads and _Sir Tristrem_, his
+achievement was that of a popularizer of learning.
+
+But if he lacked some of the authority of erudition, he escaped also the
+induration of pedantry. In writing of remote and dimly known periods,
+critics are perhaps most apt to show their defects of temper, and Scott
+often commented on the acerbity of spirit which such studies seem to
+induce. "Antiquaries," he said, "are apt to be both positive and
+polemical upon the very points which are least susceptible of proof, and
+which are least valuable if the truth could be ascertained; and which
+therefore we would gladly have seen handled with more diffidence and
+better temper in proportion to their uncertainty."[90] Of Ritson he says
+many times in one form or another that his "severe accuracy was
+connected with an unhappy eagerness and irritability of temper." Scott
+rode his own hobbies with an expansive cheerfulness that did not at all
+hinder them from being essentially serious.
+
+
+_Other Studies in Mediaeval Literature_
+
+    Scott's attitude on the Ossianic controversy--His slight
+    acquaintance with other northern literatures--Anglo-Saxon
+    scholarship of the time--Character of his familiarity with
+    Middle-English poetry--His opinions in regard to Chaucer--General
+    importance of Scott's work on mediaeval literature.
+
+Part of Scott's critical work on mediaeval literature falls outside the
+limits of the two divisions we have been considering--those of ballad
+and romance. He knew comparatively little about the early poetry of the
+northern nations, but at some points his knowledge of Scottish
+literature made the transition fairly easy to the literature of other
+Teutonic peoples. But he was especially bound to be interested in the
+Gaelic, for a Scotsman of his day could hardly avoid forming an opinion
+in regard to the Ossianic controversy then raging with what Scott
+thought must be its final violence. He did not understand the Gaelic
+language,[91] but he had a vivid interest in the Highlanders. The
+picturesque quality of their customs made it natural enough for him to
+use them in his novels, and by the "sheer force of genius," says Mr.
+Palgrave, who considers this Scott's greatest achievement, "he united
+the sympathies of two hostile races."[92]
+
+As early as 1792 Scott had written for the Speculative Society an essay
+on the authenticity of Ossian's poems, and one of his articles for the
+_Edinburgh Review_ in 1805 was on the same subject, occasioned by a
+couple of important documents which supported opposite sides, and which,
+he said, set the question finally at issue. This article represents
+Scott the critic in a typical attitude. The material was almost
+altogether furnished in the works which he was surveying.[93] His task
+was to distinguish the essential points of the problem, to state them
+plainly, and to weigh the evidence on each side. In this he shows
+notable clearness of thought, and also, throughout the rather long
+treatment of a complicated subject, great lucidity in arrangement and
+statement. He was led by this study to change the opinion which he had
+held in common with most of his countrymen, and to adopt the belief that
+the poems were essentially creations of Macpherson, with only the names
+and some parts of the story adopted from the Gaelic.[94] Other
+references to Ossian occur in Scott's writings, and it is evident in
+this case, as in many others, that an investigation of the matter in his
+early career, whether from original or from secondary sources, gave him
+material for allusion and comment throughout his life. For, as we have
+constant occasion to remark in studying Scott, with a very definite
+grasp of concrete fact he combined a vigorous generalizing power, and
+all the parts of his knowledge were actively related. He seems to have
+made little preparation for some of his most interesting reviews, but to
+have utilized in them the store gathered in his mind for other purposes.
+
+Of the northern Teutonic languages Scott had slight knowledge, though he
+was always interested in the northern literatures. In a review of the
+_Poems of William Herbert_, of which the part most interesting to the
+reviewer consisted of translations from the Icelandic, Scott says: "We
+do not pretend any great knowledge of Norse; but we have so far traced
+the 'Runic rhyme' as to be sensible how much more easy it is to give a
+just translation of that poetry into English than into Latin." In the
+same review we find him saying, after a slight discussion of the style
+of Scaldic poetry, "The other translations are generally less
+interesting than those from the Icelandic. There is, however, one poem
+from the Danish, which I transcribe as an instance how very clearly the
+ancient popular ballad of that country corresponds with our own." So we
+see him drawing from all sources fuel for his favorite fire--the study
+of ballads. Very characteristically also Scott suggests that the author
+should extend his researches to the popular poetry of Scandinavia,
+"which we cannot help thinking is the real source of many of the tales
+of our minstrels."[95] It seems probable that Scott's acquaintance with
+northern literatures came partly through his ill-fated amanuensis, Henry
+Weber.[96] His acknowledgement in the introduction to _Sir Tristrem_
+would indicate this, taken together with other references by Scott to
+Weber's attainments.
+
+Scott could hardly be called a student of Anglo-Saxon, though he was
+perhaps able to read the language. His remarks on the subject may,
+however, mean simply that he was familiar with early Middle English.[97]
+In his essay on Romance he referred to Sharon Turner's account of the
+story of Beowulf, but called the poem Caedmon, and made no correction
+when he added the later footnote in regard to Conybeare's fuller and
+more interesting analysis published in 1826.[98] The researches of these
+men indicate the state of Anglo-Saxon scholarship in England. Sharon
+Turner's very inaccurate description of _Beowulf_ was published in 1805.
+Danish scholars made the first translations of the poem, but no one
+could give a really scholarly text or translation until the year after
+Scott died, when the first edition by J.M. Kemble appeared. There were
+students of the language, however, who were doing good work in feeling
+their way toward a comprehension of its special qualities. One of these
+was George Ellis. In his _Specimens_ he published examples of
+Anglo-Saxon and Middle-English poetry, and his information was helpful
+in enlarging Scott's outlook. Scott's own knowledge of Anglo-Saxon
+literature did not amount to enough to be of importance by itself, but
+it served perhaps to fortify the basis of his generalizations about all
+early poetry.
+
+A review of the _Life and Works of Chatterton_ gave Scott an opportunity
+to discuss the characteristics of Middle-English poetry, but his general
+thesis, that the Rowley poems exhibit graces and refinements which are
+in marked contrast to the tenuity of idea and tautology of expression
+found in genuine works of the period, is supported by an argument which
+seems to be based on a characterization of the romances rather than on a
+close acquaintance with other Middle-English poetry. We notice a similar
+quality in what Scott says elsewhere concerning Frere's translation into
+Chaucerian English of the _Battle of Brunanburgh_: "This appears to us
+an exquisite imitation of the antiquated English poetry, not depending
+on an accumulation of hard words like the language of Rowley, which in
+everything else is refined and harmonious poetry, nor upon an
+agglomeration of consonants in the orthography, the resource of later
+and more contemptible forgers, but upon the style itself, upon its
+alternate strength and weakness, now nervous and concise, now diffuse
+and eked out by the feeble aid of expletives."[99] Of Middle-English
+poets other than Chaucer and the author or translator of _Sir Tristrem_,
+Laurence Minot was the one to whom Scott alluded most frequently,
+doubtless because in Ritson's edition of Minot that poet had become more
+accessible than most of his contemporaries. Whatever detailed work Scott
+did on the poetry of this period was chiefly in connection with _Sir
+Tristrem_, which has naturally been considered in relation with his
+other studies in romances.
+
+Scott's familiarity with Chaucer appears in his numerous quotations from
+that poet, but usually the passages are cited to illustrate mediaeval
+manners rather than for any specifically literary purpose. Yet there are
+Chaucer enthusiasts among the characters of _Woodstock_ and _Peveril of
+the Peak_.[100] Chaucer's fame was well enough established so that Scott
+seems on the whole to have taken his merit for granted, and not to have
+said much about it except in casual references.[101] Among general
+readers he must have been comparatively little known, however,
+notwithstanding the respect paid him by scholars. In 1805 we find Scott
+writing to Ellis that his scheme for editing a collection of the British
+Poets had fallen through, for, he said, "My plan was greatly too liberal
+to stand the least chance of being adopted by the trade at large, as I
+wished them to begin with Chaucer. The fact is, I never expected they
+would agree to it."[102]
+
+Scott's review of Godwin's _Life of Chaucer_, one of the best known of
+his periodical essays, is altogether concerned with the manner in which
+Godwin did his work, and so exhibits Scott's ideas on the subject of
+biography and his methods of reviewing rather than his attitude towards
+Chaucer's poetry. His most definite remarks concerning Chaucer are to be
+found in his comments upon Dryden's _Fables_, as for example: "The
+Knight's Tale, whether we consider Chaucer's original poem, or the
+spirited and animated version of Dryden, is one of the best pieces of
+composition in our language";[103] "Of all Chaucer's multifarious
+powers, none is more wonderful than the humour with which he touched
+upon natural frailty, and the truth with which he describes the inward
+feelings of the human heart."[104] Yet he once called _Troilus and
+Criseyde_ "a somewhat dull poem."[105] _The Cock and the Fox_, on the
+other hand, he speaks of as "a poem which, in grave ironical narrative,
+liveliness of illustration, and happiness of humorous description,
+yields to none that ever was written."[106]
+
+In estimating the importance of Scott's studies on any one period we
+have to think of them as part of a greater whole. The wide range of his
+investigations would evidently make it impossible to expect a complete
+treatment of all the subjects he might choose to discuss, and we have
+found, in fact, that his criticism of mediaeval literature led to
+systematic results in no other lines than those of the ballad and the
+romance. But these were large and important matters. Moreover, to all
+that he wrote in connection with the Middle Ages there attaches a
+special interest; for with that work he made his real start in
+literature; and it reflected the peculiarly delightful vein in his own
+nature which was constant from youth to age, and which gave to his poems
+and novels some of their most brilliant qualities.[107]
+
+
+THE DRAMA
+
+    Scott's fondness for the drama and his acquaintance with actors--His
+    ideas about plot structure--His own dramatic experiments--His
+    opinion of the theaters of his day--His knowledge of English
+    dramatic literature--Familiarity with Elizabethan plays shown in his
+    novels--His Essay on the Drama--Ancient drama--French
+    drama--Dramatic unities--German drama--Elizabethan
+    drama--Shakspere--Ben Jonson--Dryden and other Restoration
+    dramatists--Morality of theater-going--Character of Scott's interest
+    in the drama.
+
+Like most of his characteristics, Scott's taste for the theater was
+exhibited in his childhood. We find him reverting, in a review written
+in 1826,[108] to his rapturous emotions on the occasion of seeing his
+first play; and in the private theatricals which he and his brothers and
+sister performed in the family dining-room he was always the manager. In
+1810 he was active in helping to bring out in Edinburgh the _Family
+Legend_ of his friend Joanna Baillie.[109] One of the actors on that
+occasion was Daniel Terry,[110] who became an intimate friend of
+Scott's. For Terry Scott wrote _The Doom of Devorgoil_, but the piece
+was not found suitable for presentation. Several of the novels were more
+successfully dramatized by the same friend, so that we find the "Author"
+humorously complaining in the "Introductory Epistle" to _The Fortunes of
+Nigel_, "I believe my muse would be _Terry_fied into treading the stage
+even if I should write a sermon." Among Scott's friends were several
+other actors, particularly Mrs. Siddons and her brother John Kemble, and
+the comedian Charles Mathews. In Scott's review of _Kelly's
+Reminiscences and the Life of Kemble_ we find recorded many of the
+discriminations he was fond of making in regard to the talents of
+particular actors.
+
+In his childhood Scott felt well qualified to take the part of Richard
+III., for he considered that his limp "would do well enough to represent
+the hump."[111] After a similar fashion we find him commenting on the
+improbabilities of the tragedy of _Douglas_: "But the spectator should,
+and indeed must, make considerable allowances if he expects to receive
+pleasure from the drama. He must get his mind, according to Tony
+Lumpkin's phrase, into 'a concatenation accordingly,'[112] since he
+cannot reasonably expect that scenes of deep and complicated interest
+shall be placed before him, in close succession, without some force
+being put upon ordinary probability; and the question is not, how far
+you have sacrificed your judgment in order to accommodate the fiction,
+but rather, what is the degree of delight you have received in
+return."[113]
+
+Scott disclaimed any special knowledge of stage-craft. "I know as little
+about the division of a drama as the spinster about the division of a
+battle, to use Iago's simile,"[114] he once wrote to a friend. Yet as a
+critic he had of course some general ideas about the making of plays,
+without having worked out any subtle theories on the subject. In
+criticising a play by Allan Cunningham, who had asked for his judgment
+on it, he remarked first that the plot was ill-combined. "If the mind
+can be kept upon one unbroken course of interest, the effect even in
+perusal is more gratifying. I have always considered this as the great
+secret in dramatic poetry, and conceive it one of the most difficult
+exercises of the invention possible, to conduct a story through five
+acts, developing it gradually in every scene, so as to keep up the
+attention, yet never till the very conclusion permitting the nature of
+the catastrophe to become visible,--and all the while to accompany this
+by the necessary delineation of character and beauty of language."[115]
+And again he said to the same person, "I hope you will make another
+dramatic attempt; and in that case I would strongly recommend that you
+should previously make a model or skeleton of your incidents, dividing
+them regularly into scenes and acts, so as to insure the dependence of
+one circumstance upon another, and the simplicity and union of your
+whole story."[116] Here we find Scott giving advice which by his own
+admission he was not himself able to follow in the composition of
+fiction. "I never could lay down a plan, or having laid it down I never
+could adhere to it," he wrote in his journal[117]. And the "Author" in
+the introductory epistle to _Nigel_ remarks, "It may pass for one good
+reason for not writing a play, that I cannot form a plot."
+
+The few experiments that he made he did not seem to regard seriously at
+any time, though he was rather favorably impressed on rereading the
+_Doom of Devorgoil_ after it had lain unused for several years.[118] Of
+_Halidon Hill_ he said, "It is designed to illustrate military
+antiquities and the manners of chivalry. The drama (if it can be called
+one) is in no particular either designed or calculated for the
+stage."[119] He seems to have been "often urged" to write plays, if one
+may trust Captain Clutterbuck's authority, and the effectiveness of the
+many poetical mottoes improvised by the Author of Waverley for the
+chapters of his novels, and subscribed "Old Play,"[120] was naturally
+used as an argument.[121] Scott's own judgment in the matter was
+expressed thus: "Nothing so easy when you are full of an author, as to
+write a few lines in his taste and style; the difficulty is to keep it
+up. Besides, the greatest success would be but a spiritless imitation,
+or, at best, what the Italians call a _centone_ [_sic_] from
+Shakspeare."[122] When Elliston became manager of Drury Lane in 1819 he
+applied to Scott for plays, but without effect.[123] Scott seems never
+to have felt any concern over the fact that the dramatized versions of
+his novels were often very poor, but Hazlitt wished that he would "not
+leave it to others to mar what he has sketched so admirably as a
+ground-work," for he saw no good reason why the author of Waverley could
+not write "a first-rate tragedy as well, as so many first-rate
+novels."[124]
+
+Scott felt that to write for the stage in his day was a thankless and
+almost degrading occupation. "Avowedly I will never write for the stage;
+if I do, 'call me horse.'" he said in a letter to Terry.[125] Again in
+a letter to Southey: "I do not think the character of the audience in
+London is such that one could have the least pleasure in pleasing
+them.... On the whole, I would far rather write verses for mine honest
+friend Punch and his audience";[126] and to a would-be tragedian he
+said: "In the present day there is only one reason which seems to me
+adequate for the encountering the plague of trying to please a set of
+conceited performers and a very motley audience,--I mean the want of
+money."[127] This degraded condition of the London stage Scott thought
+to be a consequence of limiting the number of theaters. We can hardly
+suppose, however, that he was pessimistic in regard to the written drama
+of his day, when he could say of Byron, "There is one who, to judge from
+the dramatic sketch he has given us in Manfred, must be considered as a
+match for Aeschylus, even in his sublimest moods of horror";[128] or
+when he could place Joanna Baillie in the same class with
+Shakspere[129].
+
+Scott probably did much reading in the drama in his early life. We know
+that by 1804 he had "long since" annotated his copy of Beaumont and
+Fletcher sufficiently so that he wished to offer it to Gifford, who,
+Scott erroneously understood, was about to edit their dramas.[130] The
+edition of Dryden, published in 1808, shows familiarity with Elizabethan
+as well as Restoration dramatists. He seems to have had first-hand
+knowledge of such men as Ford, Webster, Marston, Brome, Shirley,
+Chapman, and Dekker, whom he mentions as being "little known to the
+general readers of the present day, even by name."[131] But 1808 was
+the very year in which appeared Lamb's _Specimens of English Dramatic
+Poets_ and Coleridge's first course of lectures on Shakspere. The old
+dramatists were beginning to come to their own, through the sympathetic
+appreciation of the Romantic critics. Scott never refers, however, to
+the work of Lamb, Coleridge, or Hazlitt[132] in this field and we
+conclude that his researches in dramatic literature were the recreation
+of a man who realized that his business lay in another direction. But in
+preparing the _Dryden_, he doubtless read more widely in Restoration
+drama than he would otherwise have done. Throughout his life he
+continued to read plays at intervals, as we know from occasional
+references in the _Journal_; but after the _Dryden_ appeared we can
+point to no time in his career when such reading was his especial
+occupation. His familiarity with Elizabethan drama he showed even more
+emphatically than by serious critical writings on the subject, in his
+fragments from mythical "Old Plays,"[133] in his frequent references to
+single plays, and in the substance of some of the novels, particularly
+_The Fortunes of Nigel_ and _Woodstock_, which make use of settings,
+situations, and characterizations suggested by the drama.[134] Mr. Lang
+says of _The Fortunes of Nigel_, "The scenes in Alsatia are a distinct
+gain to literature, a pearl rescued from the unread mass of
+Shadwell."[135]
+
+His serious critical writings on the subject comprise little else than
+his _Essay on the Drama_, which appeared in the supplement to the
+_Encyclopĉdia Britannica_, published in 1819, and the discussions given
+in connection with Dryden's plays.[136] Although the Essay was written
+ten years later than the _Dryden_, we have no reason to think that Scott
+changed his views or added greatly to his knowledge in the interval, and
+using these two sources we may discuss his account of the drama in
+general without regard to the particular date at which his opinions were
+expressed.
+
+His exposition in the _Essay on the Drama_ rested on the basis furnished
+by a historical study of the stage. He did not, of course, pretend to
+have formed his own conclusions on all points, and we find him quoting
+from various authorities, sometimes naming them and sometimes only
+indicating, perhaps, that he was "abridging from the best antiquaries."
+This, however, was chiefly in connection with the ancient drama. As I
+have already remarked, we do not find him referring to recent studies on
+the English drama. And though Scott had forgotten all his Greek we
+observe that he is bold enough to disagree with "the ingenious Schlegel"
+in regard to the comparative value of the Greek New Comedy. In his
+treatment of the ancient drama the main point for note is the success
+with which he gives a broad and connected view of the subject. His
+account of the drama in France needs correction in certain
+respects,[137] but it seems to indicate some first-hand knowledge and
+very definite opinions. He quotes Molière frequently throughout his
+writings, and always speaks of him with admiration; but with no other
+French dramatist does he seem to have been familiar to such a degree.
+Judging French tragic poets too much from the Shaksperian point of view,
+he was not prepared to do them justice.[138] On the dramatic unities, of
+which he remarked, "Aristotle says so little and his commentators and
+followers talk so much," Scott wrote, here and elsewhere, with decision
+and vivacity. The unities of time and place he calls "fopperies," though
+time and place, he admits, are not to be lightly changed.[139] He
+connects the whole discussion with the study of theatrical conditions,
+and never bows down to authority as such. He says, "Surely it is of less
+consequence merely to ascertain what was the practice of the ancients,
+than to consider how far such practice is founded upon truth, good
+taste, and general effect"; and again, "Aristotle would probably have
+formulated different rules if he had written in our time." And though he
+adopted and applied to the drama the Horatian dictum that the end of
+poetry is to instruct and delight, it was not because Horace and a long
+line of critics had said it, but because he thought it was true.
+Doubtless his phrase would have been different if he had not taken what
+was lying nearest, but his habit was never carefully to avoid the common
+phrase. His general opinion of French drama was decidedly unfavorable,
+and he thought it was doubtful whether their plays would ever be any
+nearer to nature. "That nation," he observes calmly, "is so unfortunate
+as to have no poetical language."
+
+His remarks on German drama are general in character, though we know
+that in his early days he was much interested in translating
+contemporary German plays. His version of Goethe's _Goetz von
+Berlichingen_ was the most important of these translations. A letter of
+Scott's contains the following reference to this play:[140] "The
+publication of Goetz was a great era ... in German literature, and
+served completely to free them from the French follies of unities and
+decencies of the scene, and gave an impulse to their dramas which was
+unique of its kind. Since that, they have been often stark mad but
+never, I think, stupid. They either divert you by taking the most
+brilliant leaps through the hoop, or else by tumbling into the custard,
+as the newspapers averred the Champion did at the Lord Mayor's dinner."
+
+When he is on English ground we can best trace Scott's individual
+opinions, yet even here he reflects some of the limitations of the less
+enlightened scholarship of his time, especially in connection with early
+Elizabethan writers. He passes from _Ferrex and Porrex_[141] and _Gammer
+Gurton's Needle_ directly to Shakspere, and quite omits Marlowe and the
+other immediate predecessors. He was not ignorant of their existence,
+for against a statement of Dryden's that Shakspere was the first to use
+blank verse we find in Scott's edition the note,--"This is a mistake.
+Marlowe and several other dramatic authors used blank verse before the
+days of Shakespeare";[142] and one of his youthful notebooks contains
+this comment on _Faustus_: "A very remarkable thing. Grand subject--end
+grand."[143] In 1831 Scott intended to write an article for the
+_Quarterly Review_ on Peele, Greene, and Webster, and in asking
+Alexander Dyce to have Webster's works sent to him he said, "Marlowe and
+others I have,--and some acquaintance with the subject, though not
+much."[144] Webster he considered "one of the best of our ancient
+dramatists." The proposed article was never written, because of Scott's
+final illness.
+
+In spite of his statement that "the English stage might be considered
+equally without rule and without model when Shakspeare arose," Scott did
+not seem inclined to leave the great man altogether unaccounted for, as
+some critics have preferred to do, for he says, "The effect of the
+genius of an individual upon the taste of a nation is mighty; but that
+genius in its turn is formed according to the opinions prevalent at the
+period when it comes into existence." These opinions, however, Scott
+assigns very vaguely to the influence of "a nameless crowd of obscure
+writers," and thinks it fortunate that Shakspere was unacquainted with
+classical rules. The critic had evidently made no attempt to define the
+influence of particular writers upon Shakspere. His criticism is at some
+points purely conventional, as for instance when he calls the poet "that
+powerful magician, whose art could fascinate us even by means of
+deformity itself "; but on the whole Scott seems to write about
+Shakspere in a very reasonable and discriminating way.
+
+He has a good deal to say of Ben Jonson, in other places as well as in
+this Essay on the Drama.[145] He was evidently well acquainted with that
+poet, and admired him without liking him. Somewhere he calls him "the
+dry and dogged Jonson,"[146] and again he speaks of his genius in very
+high terms. The contrast between Shakspere and Jonson moved him even to
+epigram:[147] "In reading Shakespeare we often meet passages so
+congenial to our nature and feelings that, beautiful as they are, we can
+hardly help wondering they did not occur to ourselves; in studying
+Jonson, we have often to marvel how his conceptions could have occurred
+to any human being." It was characteristic of Scott to note the fact
+that Shakspere wrote rapidly, Jonson slowly, for he was fond of getting
+support for his theory that rapid writing is the better.
+
+As early as 1804 Scott referred to _The Changeling_ as "an old play
+which contains some passages horribly striking,"[148] and in so doing
+voiced, as Mr. Swinburne says, "the first word of modern tribute to the
+tragic genius of Thomas Middleton."[149] Scott also praised Massinger
+highly, especially for his strength in characterization, and once called
+him "the most gentleman-like of all the old English dramatists."[150] He
+discussed Beaumont and Fletcher sympathetically, for he knew them well
+and frequently quoted from them. He named Shirley, Ford, Webster, and
+Dekker in a group, and spoke of the singular profusion of talents
+devoted in this period to the writing of plays, an observation which is
+made more explicitly later in the _Journal_, when he has just been
+reading an old play which, he says, "worthless in the extreme, is, like
+many of the plays in the beginning of the seventeenth century, written
+to a good tune. The dramatic poets of that time seem to have possessed
+as joint-stock a highly poetical and abstract tone of language, so that
+the worst of them often remind you of the very best."[151] This
+circumstance he accounts for by a reference to the audiences, and this
+in turn he seems to ascribe partly to the great number of theaters then
+open in London. He dwells so much on the evils of limiting the number of
+play-houses to two or three, that we may fairly consider it one of his
+hobbies, and it is possible that he had some slight influence toward
+increasing that public opposition to the theatrical monopoly which
+finally, in 1843, resulted in the nullification of the patents.
+
+Scott's discussion of Restoration drama is admirably vigorous and clear.
+He probably simplified the matter too much at some points, indeed, as
+for example in over-estimating the influence exerted upon the stage by
+Charles II. and his French tastes, and in tracing the origin of the
+French drama to romances. But in general his facts are right and his
+deductions fair. Mr. Saintsbury has accused him of depreciating Dryden's
+plays, especially the comedies, out of disgust at their indecency; yet
+in judging the period as a whole he seems to discriminate sufficiently
+between indelicacy and dulness. "The talents of Otway," he says, "in his
+scenes of passionate affection rival, at least, and sometimes excel
+those of Shakspeare." Again: "The comedies of Congreve contain probably
+more wit than was ever before embodied upon the stage; each word was a
+jest, and yet so characteristic that the repartee of the servant is
+distinguished from that of the master; the jest of the cox-comb from
+that of the humorist or fine gentleman of the piece." Lesser writers of
+the time are also sympathetically characterized,--Shadwell, for
+instance, whom he thought to be commonly underestimated.[152] The heroic
+play Scott discussed vivaciously in more than one connection, for, as we
+should expect, his sense of humor found its absurdities tempting.[153]
+On the rant in the _Conquest of Granada_ he remarked, "Dryden's apology
+for these extravagances seems to be that Almanzor is in a passion. But
+although talking nonsense is a common effect of passion, it seems hardly
+one of those consequences adapted to show forth the character of a hero
+in theatrical representation."[154] Scott's opinion of the form of these
+plays appears in the following comment: "We doubt if, with his utmost
+efforts, [Molière] could have been absolutely dull, without the
+assistance of a pastoral subject and heroic measure."[155] Concerning
+the indecency of the literature of the period Scott wrote emphatically.
+He was much troubled by the problem of whether to publish Dryden's works
+without any cutting, and came near taking Ellis's advice to omit some
+portions, but he finally adhered to his original determination: "In
+making an edition of a man of genius's works for libraries and
+collections ... I must give my author as I find him, and will not tear
+out the page, even to get rid of the blot, little as I like it."[156]
+
+The question of the morality of theater-going was one Scott felt obliged
+to discuss when he was writing upon the drama. He found its vindication,
+characteristically, in a universal human trait,--the impulse toward
+mimicry and impersonation,--and in the good results that may be supposed
+to attend it. In naming these he lays what seems like undue stress on
+the teaching of history by the drama, in language that might quite as
+well be applied to historical novels. His argument on the literary side
+also is stated in a somewhat too sweeping way:--"Had there been no
+drama, Shakespeare would, in all likelihood, have been but the author of
+_Venus and Adonis_ and of a few sonnets forgotten among the numerous
+works of the Elizabethan age, and Otway had been only the compiler of
+fantastic odes."[157] A final plea, in favor of the stage as a
+democratic agency--though this of course is not Scott's phrasing--seems
+slightly unusual for him, although not essentially out of character.
+"The entertainment," he says, "which is the subject of general
+enjoyment, is of a nature which tends to soften, if not to level, the
+distinction of ranks."[158] In another mood he admitted the greater
+likelihood that immoral plays would injure the public character than
+that moral plays would elevate it.[159]
+
+It is sufficiently apparent to any student of Scott's work that he was
+personally very fond of the drama. Many of the literary references and
+allusions which appear in great abundance throughout his writings are
+from plays, and show, as we have seen, a wide acquaintance with English
+dramatic writers, from Shakspere to such comparatively little-known
+playwrights as Suckling and Cowley. In the _Letters of Malachi
+Malagrowther on the Currency_, for example, Scott's unusual range of
+reading reveals itself even in connection with a subject remote from his
+ordinary field, and here as elsewhere he shows himself prone to quote
+from the drama.[160] But Scott was interested in plays for what he found
+in them of characters and manners, of witty and sententious speech, of
+situations and incidents, and only secondarily in the technical aspects
+of the drama. Reading his novels we could guess that he would care more
+for the concrete elements of a play than for the orderly march of events
+through the various stages of a formally proper construction. In this
+respect he differs from Coleridge; but indeed the two men may be
+contrasted at almost every point. In summing up this part of Scott's
+criticism we must remember also that it was chiefly incidental. Perhaps
+whatever qualities it exhibits are on this account particularly
+characteristic: at any rate his opinions on the drama were the reaction
+of an unusually capable mind upon a department of literature in which
+his reading was all the more fruitful because it followed the lines of a
+natural inclination.
+
+
+THE SEVENTEENTH CENTURY
+
+_Dryden_
+
+    Scott's preparations for his edition of Dryden--Wide Scope of the
+    work--Scott's estimation of Dryden--Grounds for putting Dryden above
+    Chaucer and Spenser--Admirable style of the biography--Comments by
+    Scott on other seventeenth century writers.
+
+The edition of _Dryden's Complete Works_ deserves further notice,
+especially since only eight of the eighteen volumes are occupied with
+the plays, and these have less commentary than other parts of the works.
+In 1805 Scott wrote to his friend George Ellis, "My critical notes will
+not be very numerous but I hope to illustrate the political poems, as
+_Absalom and Achitophel_, the _Hind and Panther_, etc., with some
+curious annotations. I have already made a complete search among some
+hundred pamphlets of that pamphlet-writing age, and with considerable
+success, as I have found several which throw light on my author."[161]
+He added that another edition of Dryden was proposed, and Ellis wrote in
+answer, "With regard to your competitors, I feel perfectly at my ease,
+because I am convinced that though you should generously furnish them
+with all the materials, they would not know how to use them; _non cuivis
+hominum contingit_ to write critical notes that anyone will read."[162]
+
+When Scott's Dryden was reëdited and reissued in 1882-93 by Professor
+Saintsbury, the new editor said: "It certainly deserves the credit of
+being one of the best-edited books on a great scale in English, save in
+one particular,--the revision of the text."[163] The elaborate
+historical notes are left untouched, as being "in general thoroughly
+trustworthy,"[164] though the editor considers them somewhat excessive,
+especially as sometimes containing illustrative material from perfectly
+worthless contemporaries. On the other hand, the "explanation of word
+and phrase is a little defective."[165]
+
+The most notable quality of the _Life of Dryden_ which composes the
+first of the eighteen volumes is its breadth of scope. Scott's aim may
+best be given in his own words in the Advertisement: "The general
+critical view of Dryden's works being sketched by Johnson with
+unequalled felicity, and the incidents of his life accurately discussed
+and ascertained by Malone, something seemed to remain for him who should
+consider these literary productions in their succession, as actuated by,
+and operating upon, the taste of an age where they had so predominant
+influence; and who might, at the same time, connect the life of Dryden
+with the history of his publications, without losing sight of the fate
+and character of the individual."[166]
+
+Errors of judgment appear in places; sometimes they are due to the
+imperfect scholarship of the time; sometimes they arise from prejudices
+of Scott's own. In the very first chapter we find him condemning Lyly
+and all writers of "conceited" language--particularly of course the
+Metaphysicals--with a thoroughness that a truly catholic critic ought
+probably to avoid. Scott had a constitutional dislike for a labored
+style, and at the same time a fondness for the direct and
+straightforward way of looking at things. So, though he was open to the
+emotional appeal of a poem like _Christabel_, he took no pleasure in the
+devious processes by which the cold intellect has sometimes tried to
+give fresh interest to familiar words and ideas. They quite prevented
+him from seeing the passion in the work of Donne, for example, and he
+considered all metaphysical poets, in so far as they showed the traits
+of their class, to be without poetical feeling.
+
+Scott placed Dryden after Shakspere and Milton as third in the list of
+English writers. I think he would even have been willing to say that
+Dryden was the third as a poet. For greatly as he admired Chaucer, Scott
+did not feel Chaucer's full power, and indeed it was only beginning to
+be possible to read Chaucer with any appreciation of his metrical
+excellence. Spenser, of whom he once wrote: "No author, perhaps, ever
+possessed and combined in so brilliant a degree the requisite qualities
+of a poet,"[167] was more of a favorite with Scott than Chaucer. But at
+another time he spoke of Drayton as possessing perhaps equal powers of
+poetry,[168] and he seems to have felt that Spenser becomes tedious
+through the continued use of his difficult stanza and even more because
+of the "languor of a continued allegory."[169] In comparing his
+judgments on Spenser and Dryden we may conclude that the critic found
+more in the later poet of that solid intellectual basis which he
+emphasizes in characterizing him. "This power of ratiocination," says
+Scott, "of investigating, discovering, and appreciating that which is
+really excellent, if accompanied with the necessary command of fanciful
+illustration and elegant expression, is the most interesting quality
+which can be possessed by a poet."[170] Again he lays emphasis on
+Dryden's versatility,--greater, he says, than that of Shakspere and
+Milton. In _Old Mortality_ Dryden is referred to as "the great
+High-priest of all the Nine." Scott would have called this another point
+of his superiority over Spenser, if he had made the comparison.
+
+Yet he saw Dryden's deficiencies. "It was a consequence of his mental
+acuteness that his dramatic personages often philosophized and reasoned
+when they ought only to have felt,"[171] Scott remarks and he frequently
+deplores Dryden's failure "in expressing the milder and more tender
+passions."[172] Of Dryden's great gift of style, Scott speaks in the
+highest terms. "With this power," he says, "Dryden's poetry was gifted
+in a degree surpassing in modulated harmony that of all who had preceded
+him and inferior to none that has since written English verse [_sic_].
+He first showed"--and here we see Scott's eighteenth-century
+affinities--"that the English language was capable of uniting smoothness
+and strength."[173]
+
+Such criticism as Scott gives on specific parts of Dryden's work is
+clear-cut, fair for the most part, and has the sanity and reasonableness
+which are the most noticeable qualities of his criticism in general. It
+would be easier to find illustrations of shrewdness than of subtlety
+among his notes, but his discriminations are often effective and
+satisfying. His discussion, for example, of prologues and epilogues
+considered in relation to the theatrical conditions which determined
+their character is admirable.[174] A note on "the cant of supposing that
+the _Iliad_ contained an obvious and intentional moral"[175] is also
+full of sense and vigor, but these qualities are so thoroughly diffused
+through the work that there is no need of particularizing. His praise of
+_Alexander's Feast_ may be referred to, however, as showing his
+characteristic delight in objective poetry.[176] As a lyric poet, he
+says, Dryden "must be allowed to have no equal."[177]
+
+The peculiarly congenial qualities of the subject may have had something
+to do with the fact that the style in which the _Life of Dryden_ is
+written is noticeably better than that of Scott's ordinary work. It is
+marked with a care and accuracy that were not, unfortunately, habitual
+to him. Perhaps it was an advantage that when he wrote the book he had
+not yet become altogether familiar with his own facility; certainly the
+substance and the manner of treatment unite in making this the most
+important of his critical biographies.
+
+Various references indicate that Scott was acquainted in at least a
+general way with English writers throughout the whole of Dryden's
+century. He speaks of the poems of Phineas Fletcher as containing "many
+passages fully equal to Spenser"[178]; he says that Cowley "is now ...
+undeservedly forgotten"[179]; he calls _Hudibras_ "the most witty poem
+that ever was written,"[180] but says, "the perpetual scintillation of
+Butler's wit is too dazzling to be delightful"[181]; he talks of Waller
+and quotes from him[182]; he refers to the charming quality of Isaac
+Walton's work;[183] and he adopts Samuel Pepys as a familiar
+acquaintance.[184] These references occur mostly in the _Dryden_ or in
+the novels, and we may conclude that the work for the _Dryden_ gathered
+up and strengthened all Scott's acquaintance with the literature of the
+seventeenth century, from Shakspere and Milton down to writers of
+altogether minor importance; and gave him material for many of the
+allusions that appear in his later work. It is probably true that there
+are more quotations from Dryden in Scott's books than from any other one
+author,[185] though lines from Shakspere occurred more often in his
+conversation and familiar letters.
+
+
+THE EIGHTEENTH CENTURY
+
+_Swift_
+
+    The preparation of _Swift's Complete Works_--Comparison of the
+    _Dryden_ and the _Swift_--The bibliographical problem presented by
+    Swift's works--Inaccuracies in the biography--Scott's success in
+    portraying a perplexing temperament--Judicious quality of his
+    literary criticism.
+
+As soon as the _Dryden_ was completed Scott was offered twice as much
+money as he had received for that work, for a similar edition of
+Swift.[186] He readily undertook the task, and in the midst of many
+other editorial engagements set to work upon it. The preparation of the
+book extended over the six years during which Scott ran the greater part
+of his poetical career. On its appearance one of his friends expressed
+the feeling which every student of Scott must have had in regard to the
+large editorial labors that he undertook, in saying, "I am delighted and
+surprised; for how a person of your turn could wade through, and so
+accurately analyze what you have done (namely, all the dull things
+calculated to illustrate your author), seems almost impossible, and a
+prodigy in the history of the human mind."[187] The work was first
+published in 1814. Ten years later it was revised and reissued; and
+Scott's _Swift_ has, like his _Dryden_, been the standard edition of
+that author ever since.
+
+In each case Scott had to deal with an important and varied body of
+literature in the two fields of poetry and prose, though the proportions
+were different; and in each case he had occasion for illustrative
+historical annotations of the kind that he wrote with unrivalled
+facility. He was master of the political intrigues of Queen Anne's reign
+no less completely than of the circumstances which gave rise to _Absalom
+and Achitophel_, and the fact that his notes are less voluminous in the
+_Swift_ is probably to be accounted for by the comparative absence of
+quaintness in the literary and social fashions of the eighteenth
+century.
+
+The peculiar conditions under which Swift's writings had appeared, and
+his remarkable indifference to literary fame, gave the editor
+opportunity to look for material which had not before been included in
+his works. The diligent search of Scott and his various correspondents
+enabled him to add about thirty poems, between sixty and seventy letters
+from Swift, and about sixteen other small pieces. The most noteworthy
+item among these additions was the correspondence between Swift and Miss
+Vanhomrigh, of which only a very small part had previously been made
+public.[188]
+
+Scott's notes seem to indicate that most of the necessary searching
+through newspapers and obscure pamphlets for forgotten work of Swift was
+performed by "obliging correspondents," and that the editor himself had
+only to pass judgment on what was brought to his attention. This
+impression may arise largely from his cordiality in expressing
+indebtedness to his helpers, but it is certain that his position as a
+popular poet gave Scott the assistance of many people who would not have
+been enlisted in the work by an ordinary editor. But Scott had the
+difficult task of deciding whether the unauthenticated pieces were to be
+assigned to Swift. The bibliography of Swift is still so uncertain that
+it is impossible to say how many of the small pamphlets in verse and
+prose added in this edition are really his work.[189] Scott had good
+reason for his additions in most cases, though sometimes, as he was
+aware, the Dean had merely revised the work of other people. The editor
+was occasionally over-credulous in attributing pieces to Swift, but he
+was perhaps oftener too generous in giving room to things which he knew
+had very little claim to be considered Swift's work. When he was in
+doubt he chose to err on the safe side, according to the principles set
+forth in the following note on the _Letter from Dr. Tripe to Nestor
+Ironside_: "The piece contains a satirical description of Steele's
+person, and should the editor be mistaken in conjecturing that Swift
+contributed to compose it, may nevertheless, at this distance of time,
+merit preservation as a literary curiosity."[190] The ample space
+afforded by the nineteen volumes of the book gives room to Arbuthnot's
+_History of John Bull_--because it was "usually published in Swift's
+works,"--to the verses addressed to the Dean and those written in memory
+of him, as well as to the prose and verse miscellanies of Pope and
+Swift, and the miscellanies and _jeux d'esprit_ of Swift and Sheridan.
+Swift's correspondence fills the last four and a half volumes.
+
+The biography, which occupies the first volume, is admirable in tone,
+but the facts Scott gives are less to be relied upon than the inferences
+and conclusions he derives from them. He corresponded with persons who
+were in a position to know about Swift from his friends and
+acquaintances, and probably he trusted too much to these "original
+sources." We find, as perhaps the most noteworthy instance, that the
+marriage to Stella is stated as an ascertained fact, on authority that
+is not now considered convincing. Later biographers of Swift,--Sir Henry
+Craik, Leslie Stephen, Mr. Churton Collins,--have borne witness to the
+human interest of Scott's biography, and its preeminence, in spite of
+inaccuracies, among all the Lives of Swift that have been written. But
+Mr. Churton Collins thinks Scott did not present a really clear view of
+Swift's mysterious character, and Craik says he took only the
+conventional attitude towards Swift's politics, misanthropy, and
+religion. The charge indicates Scott's weakness, and perhaps also much
+of his strength, as a biographer and critic, for he had no prejudice
+against the conventional as such, and was never anxious to exhibit
+special "insight" of any kind. Yet I think his portrayal of Swift has
+seemed to most readers a clear presentation of a real and comprehensible
+character.[191]
+
+Scott's remark when he undertook the work, that Swift was of his early
+favorites,[192] seems surprising when one remembers how his genial
+nature recoiled from misanthropy and cynicism; but his treatment of the
+Dean was so sympathetic that Jeffrey thought him decidedly too lenient,
+and was moved to express righteous indignation in the pages of the
+_Edinburgh Review_.[193] The rebuke was unnecessary, for Scott did not
+omit to record Swift's failings and to express wholesomely vigorous
+opinions concerning them, though he felt that they ought to be looked
+upon as evidences of disease rather than of guilt. He felt also, with
+perhaps some excess of charity but surely not such as could be in the
+least harmful, that "if the Dean's principles were misanthropical, his
+practice was benevolent. Few have written so much with so little view
+either to fame or to profit, or to aught but benefit to the
+public."[194] Jeffrey's condemnation of Scott's point of view was
+mingled with just praise. He said of the biography: "It is quite fair
+and moderate in politics; and perhaps rather too indulgent and tender
+towards individuals of all descriptions,--more full, at least, of
+kindness and veneration for genius and social virtue, than of
+indignation at baseness and profligacy. Altogether it is not much like
+the production of a mere man of letters, or a fastidious speculator in
+sentiment and morality; but exhibits throughout, and in a very pleasing
+form, the good sense and large toleration of a man of the world."
+
+The very practical motives that inspired most of Swift's pamphlets would
+naturally attract Scott. Probably it was the remembrance of the
+_Drapier's Letters_ that suggested to him a similar form of protest
+against proposed changes in the Scottish currency; certainly the
+_Letters of Malachi Malagrowther_ had an effect comparable to that of
+Swift's more consummately ingenious appeal. Another quality in Swift's
+work that would naturally arouse Scott's admiration was the remarkable
+directness and lucidity of the style. Scott appreciated the originality
+force of Swift, even when it was used in the service of satire.
+Sometimes, he says, "the intensity of his satire gives to his poetry a
+character of emphatic violence which borders upon grandeur."[195] The
+editor's discussion of _Gulliver's Travels_ an acute and illuminating
+little essay, contains one comment that gives an amusing revelation of
+his point of view. He says in regard to the fourth part of the story:
+"It is some consolation to remark that the fiction on which this libel
+on human nature rests is in every respect gross and improbable, and, far
+from being entitled to the praise due to the management of the first two
+parts, is inferior in plan even to the third."[196] This is a sound
+verdict, even if it does contain an extra-literary element. Scott
+surpassed most of his contemporaries, except the younger Romantic
+writers, in his ability to eliminate irrelevant considerations in
+estimating any literary work; and if occasionally his strong moral
+feeling appears in his criticism, it serves to remind us how much less
+often this happens than a knowledge of his temperament would lead us to
+expect. In spite of the qualities in his subject that might naturally
+bias Scott's judgment, his criticism throughout this edition of Swift
+seems on the whole very judicious. It defines the literary importance
+and brings out plainly the power of a man whose work presents unusual
+perplexities to the critic.
+
+
+_The Somers Tracts_
+
+    Character of the collection and of Scott's work on it--Occasional
+    carelessness--Purpose of the notes--Scott's attitude towards these
+    studies.
+
+While Scott was working on his _Dryden_ and before he began the _Swift_
+he undertook to edit the great collection which had been published fifty
+years before as _Somers' Tracts_. His task was to arrange, revise, and
+annotate pamphlets which represented every reign from Elizabeth to
+George I. He grouped them chronologically by reigns, and separated them
+further into sections under the headings,--Ecclesiastical, Historical,
+Civil, Military, Miscellaneous; he also added eighty-one pamphlets, all
+written before the time of James II. The largest number of additions in
+any one section was historical and had reference to Stafford. Among the
+miscellaneous tracts that he incorporated were Derrick's _Image of
+Ireland_ from a copy in the Advocates' Library, and Gosson's _School of
+Abuse_. Scott's statement in the Advertisement as to why he did not omit
+any of the original collection shows his unpedantic attitude toward the
+kind of studies which he was encouraging by the republication of this
+series. He says: "When the variety of literary pursuits, and the
+fluctuation of fashionable study is considered, it may seem rash to pass
+a hasty sentence of exclusion, even upon the dullest and most despised
+of the essays which this ample collection offers to the public. There
+may be among the learned, even now, individuals to whom the rabbinical
+lore of Hugh Broughton presents more charms than the verses of Homer;
+and a future day may arise when tracts on chronology will bear as high a
+value among antiquaries as 'Greene's Groats' Worth of Wit,' or 'George
+Peele's Jests,' the present respectable objects of research and
+reverence."
+
+In editing this collection Scott made little attempt to decide disputed
+problems of authorship when the explanation did not lie upon the
+surface. Indeed the following note regarding the tract called _A New
+Test of the Church of England's Loyalty_ shows that he sometimes
+neglected very obvious sources of information, for the piece is given in
+one of Defoe's own collections of his works: "This defence of whiggish
+loyalty," says Scott, "seems to have been written by the celebrated
+Daniel De Foe, a conjecture which is strengthened by the frequent
+reference to his poem of the True-born Englishman."[197] He was not
+often so careless, but the rapidity and range of his work during these
+years undoubtedly gave occasion for more than one lapse of accuracy,
+while at the same time it perhaps increased the effectiveness of his
+comment.
+
+His notes and introductions vary in length according to the requirements
+of the case, for he aimed to provide such material as would prevent the
+necessity of reference to other works. Matters that were obscure he
+explained, and he wrote little comment on those that were generally
+understood. When he left himself so free a hand he could indulge his
+personal tastes somewhat also, and we are not surprised to find an
+especial abundance of notes on an account of the Gowrie Conspiracy which
+presented a perplexing problem in Scottish history.
+
+The connection of _Somers' Tracts_ with other things that Scott did has
+already been remarked upon.[198] That he found some sort of stimulation
+in all his scholarly employments is sufficiently evident to anyone who
+studies his work as a whole, and this fact might well serve as a motive
+for such study. Yet it is only fair to remember that Scott was not a
+novelist during these years when he was performing his most laborious
+editorial tasks. We are accustomed to think of the brilliant use he was
+afterwards to make of the knowledge he was gaining, but the motives
+which influenced him were those of the man whose interest in literature
+and history makes scholarly work seem the most natural way of earning
+money. "These are studies, indeed, proverbially dull," he once wrote,
+speaking of Horace Walpole's antiquarian researches, "but it is only
+when they are pursued by those whose fancies nothing can enliven."[199]
+
+
+_The Lives of the Novelists, and Comments on Other Eighteenth Century
+Writers_
+
+    The _Novelists' Library_--Writers discussed--Value of the
+    _Lives_--General tone of competence in these essays--Scott's
+    catholic taste--Points of special interest in the
+    discussion--Relations of the novel and the drama--Supernatural
+    machinery in novels--Mistakes in the criticism of
+    Defoe--Realism--Motive in the novel--Aim of the prefaces--Scott's
+    familiarity with eighteenth century literature.
+
+It has already been said that a large part of Scott's critical work
+concerned itself with the eighteenth century. Of his greater editorial
+labors two may be considered as belonging to that period, for
+Ballantyne's _Novelists' Library_, though an enterprise which was
+commercially a failure and which consequently remained incomplete, may
+from the point of view of Scott's contributions fitly be compared with
+the _Dryden_ and the _Swift_. Such parts as were published appeared in
+1821. The bulk of the volumes and the small type in which they were
+printed were considered to be the cause of their failure, and it was not
+until the critical biographies were extracted and published separately,
+by Galignani the Parisian bookseller, in 1825, that they seem to have
+attracted notice.
+
+Scott wrote these _Lives of the Novelists_ at a time when his hands were
+full of literary projects, altogether for John Ballantyne's benefit. The
+author afterwards spoke of them as "rather flimsily written,"[200] but
+we may surmise that to the fact that they were not the result of special
+study is due something of their ripeness of reflection and breadth of
+generalization. "They contain a large assemblage of manly and sagacious
+remarks on human life and manners,"[201] wrote the _Quarterly_ reviewer.
+
+The writers considered were all British, with the exception of LeSage.
+The choice, or at least the arrangement, seems more or less haphazard.
+Richardson, Fielding, and Smollett naturally began the group, and Sterne
+followed after an interval. Johnson and Goldsmith were treated briefly,
+for the prefaces were to be proportioned to the amount of work by each
+author included in the text. Horace Walpole, Clara Reeve, and Mrs.
+Radcliffe represented the Gothic romance. Charles Johnstone, Robert
+Bage, and Richard Cumberland were among the inferior writers included.
+Henry Mackenzie, who was still living and was a personal friend of
+Scott, completes the list so far as it went before the series was
+terminated by the publisher's death. When Scott's _Miscellaneous Prose
+Works_ were collected he added the lives of Charlotte Smith and Defoe,
+but in each of these cases the biographical portion was by another hand,
+the criticism being his own.[202]
+
+The study of the novel as a _genre_ was naturally undeveloped at that
+time. Dunlop's _History of Prose Fiction_ had appeared in 1814,
+evidently a much more ambitious attempt than Scott's; but Scott could
+treat the British novelists with comparative freedom from the trammels
+of any established precedent. Of course his position as one who had
+struck out a wonderful new path in the writing of novels gave to his
+reflections on other novelists a very special interest. The _Lives of
+the Novelists_ are not to be neglected even now, and this is the more to
+be insisted on because the criticism of novels has been practiced with
+increasing zeal since Scott himself has become a classic and since his
+successors have made this field of literature more varied and popular,
+if not greater, than the first masters made it. A recent writer on
+eighteenth century literature says: "By far the best criticism of the
+eighteenth century novelists will be found in the prefatory notices
+contributed by Scott to Ballantyne's _Novelists' Library_."[203] But the
+same writer adds: "Sir Walter Scott, indeed, considered _Fathom_
+superior to _Jonathan Wild_, an opinion which must always remain one of
+the mysteries of criticism."[204]
+
+This comment indicates that there was no lack of assuredness in Scott's
+treatment, and we do indeed find a very pleasant tone of competence
+which, though liable to error as in the exaggerated praise bestowed upon
+Smollett, gives much of their effectiveness to the criticisms. The
+quality appears elsewhere in Scott's critical work, but it is perhaps
+especially noticeable here. For example, we find this dictum: "There is
+no book in existence, in which so much of the human character, under all
+its various shades and phases, is described in so few words, as in the
+_Diable Boiteux_."[205] The illustration is perhaps a trifle extreme,
+for Scott is not often really dogmatic. From this point of view as from
+others we naturally make the comparison with Johnson's _Lives of the
+Poets_, and we find that without being so sententious, so admirably
+compact in style, Scott is also not so dictatorial.
+
+We cannot accuse Scott of liking any one kind of novel to the exclusion
+of others. He ranks _Clarissa Harlowe_ very high;[206] he says _Tom
+Jones_ is "truth and human nature itself."[207] _The Vicar of Wakefield_
+he calls "one of the most delicious morsels of fictitious composition on
+which the human mind was ever employed." "We return to it again and
+again," he says, "and bless the memory of an author who contrives so
+well to reconcile us to human nature."[208] He praises _Tristram
+Shandy_, calling Uncle Toby and his faithful Squire, "the most
+delightful characters in the work, or perhaps in any other."[209] The
+quiet fictions of Maria Edgeworth and Jane Austen, the exciting tales of
+Mrs. Radcliffe, the sentiment of Sterne, even the satires of Bage,--all
+pleased him in one way or another. Scott's autobiography contains the
+following comment on his boyish tastes in the matter of novels: "The
+whole Jemmy and Jenny Jessamy tribe I abhorred, and it required the art
+of Burney, or the feeling of Mackenzie, to fix my attention upon a
+domestic tale. But all that was adventurous and romantic I devoured
+without much discrimination."[210] In later life he learned to exercise
+his judgment in regard to stories of adventure not less than those of
+the "domestic" sort, and perhaps the liking for quiet tales grew upon
+him; at any rate his taste seems remarkably catholic.
+
+The most interesting portions of the _Lives of the Novelists_ are those
+which show us, by the frequent recurrence of the same subjects, what
+parts of the theory of novel-writing had particularly engaged Scott's
+attention. For example we find him discussing, most fully in the _Life
+of Fielding_, the reasons why a successful novelist is likely not to be
+a successful playwright. The way in which he looks at the matter
+suggests that he was thinking quite as much of the probability of
+failure in his own case should he begin to write plays, as of the
+subject of the memoir; for Fielding wrote his plays before his novels,
+but the argument assumes a man who writes good novels first and bad
+plays afterwards. One of his statements seems rather curious and hard to
+explain,--"Though a good acting play may be made by selecting a plot and
+characters from a novel, yet scarce any effort of genius could render a
+play into a narrative romance." Perhaps he expected the "Terryfied"
+versions of _Guy Mannering_ and _Rob Roy_ to hold the stage longer than
+fate has permitted them to do. From another point of view also he was
+interested in the connection of the novel and the drama. He felt that
+the direction of the drama in the modern period had been largely
+determined by the influence of successful novels; and he probably
+overestimated the effect of the "romances of Calprenède and Scudéri" on
+heroic tragedy.[211]
+
+A subject which recurs even oftener than that of the distinction between
+drama and novel is the question of supernatural machinery in novels.
+Horace Walpole is commended for giving us ghosts without furnishing
+explanations. Indeed the _Castle of Otranto_ is highly praised;[212] but
+so also is Mrs. Radcliffe's work, except on the one point of the attempt
+to rationalize mysteries. The kind of romance which she
+"introduced"[213] is compared with the melodrama, and its particular
+mode of appeal is analyzed in very interesting fashion. In the _Life of
+Clara Reeve_ the proper treatment of ghosts is discussed at length, for
+that author had contended that ghosts should be very mild and of "sober
+demeanour." Scott justifies her practice, but not her theory, on the
+following grounds: "What are the limits to be placed to the reader's
+credulity, when those of common-sense and ordinary nature are at once
+exceeded? The question admits only one answer, namely, that the author
+himself, being in fact the magician, shall evoke no spirits whom he is
+not capable of endowing with manners and language corresponding to their
+supernatural character."
+
+Scott writes with much enthusiasm about Defoe's famous little
+ghost-story, _The Apparition of Mrs. Veal_, praising Defoe's wonderful
+skill in making the unreal seem credible. In connection with this tale
+Scott developed a very interesting anecdote to explain the fact that
+Drelincourt's _Defence against the Fear of Death_ is recommended by the
+apparition. "Drelincourt's book," he says, "being neglected, lay a dead
+stock on the hands of the publisher. In this emergency he applied to De
+Foe to assist him (by dint of such means as were then, as well as now,
+pretty well understood in the literary world) in rescuing the
+unfortunate book from the literary death to which general neglect seemed
+about to consign it." Scott goes on to assert that the story was simply
+a consummately clever advertising device. He may have found the germ of
+his hypothesis in a bookseller's tradition, but he states it as an
+assured fact, and doubtless believed it firmly because it seemed so
+beautifully reasonable. His explanation became the basis of later
+statements on the subject, and now obliges everyone who discusses Defoe
+to supply a contradiction; for the truth is that Drelincourt's book was
+so highly popular as to have gone through several editions before the
+ghost of Mrs. Veal mentioned it. Moreover, if Scott's little tale was
+fictitious, Defoe's, on the other hand, was really a reporter's version
+of an experience actually related by the person to whom he assigns it,
+and his skill in achieving verisimilitude was perhaps in this case less
+wonderful than his critics have generally supposed.[214]
+
+On the subject of realism, Scott was not in general very rigid. In his
+_Life of Richardson_ he says: "It is unfair to tax an author too
+severely upon improbabilities, without conceding which his story could
+have no existence; and we have the less title to do so, because, in the
+history of real life, that which is actually true bears often very
+little resemblance to that which is probable."[215] But this is perhaps
+only a plea for one kind of realism. He also refers to the question of
+historical "keening," and concludes that it is possible to have so much
+accuracy that the public will refuse to be interested, as _Lear_ would
+hardly be popular on the stage if the hero were represented in the
+bearskin and paint which a Briton of his time doubtless wore.[216]
+
+The motive of the novel is a subject which naturally engages the
+attention of the novelist-critic. Romantic fiction, he thinks may have
+sufficient justification if it acts as an opiate for tired spirits. A
+significant antithesis between his point of view in this matter and the
+more common attitude taken by critics in his time is illustrated by two
+reviews of Mrs. Shelley's _Frankenstein_, to which we may refer, though
+the book was later than those included in the _Novelists' Library_.
+Scott wrote in _Blackwood's_: "We ... congratulate our readers upon a
+novel which excites new reflections and untried sources of
+emotion."[217] The _Quarterly_ reviewer took the opposite and more
+conservative attitude and expressed himself thus: "Our taste and our
+judgment alike revolt at this kind of writing, and the greater the
+ability with which it may be executed the worse it is--it inculcates no
+lesson of conduct, manners, or morality; it cannot mend, and will not
+even amuse its readers, unless their taste has been deplorably
+vitiated--it fatigues the feelings without interesting the
+understanding; it gratuitously harasses the heart, and wantonly adds to
+the store, already too great, of painful sensations."[218] In general
+Scott minimizes the effect of any moral that may be expressed in the
+novel, but occasionally he seems inconsistent, when he is talking of
+sentiments that are peculiarly distasteful to him.[219] But his thesis
+is that "the direct and obvious moral to be deduced from a fictitious
+narrative is of much less consequence to the public than the mode in
+which the story is treated in the course of its details."[220] In the
+_Life of Fielding_ he says of novels: "The best which can be hoped is
+that they may sometimes instruct the youthful mind by real pictures of
+life, and sometimes awaken their better feelings and sympathies by
+strains of generous sentiment, and tales of fictitious woe. Beyond this
+point they are a mere elegance, a luxury contrived for the amusement of
+polished life."
+
+He conceived that his prefaces might be useful to warn readers against
+any ill effects that might otherwise result from the reading of the
+accompanying texts; and our comments on the _Lives of the Novelists_ may
+fitly close with a quotation which shows the writer's attitude toward
+the novels and his own criticisms upon them. The passage is taken from
+the _Life of Bage_. "We did not think it proper to reject the works of
+so eminent an author from this collection, merely on account of
+speculative errors.[221] We have done our best to place a mark on these;
+and as we are far from being of opinion that the youngest and most
+thoughtless derive their serious opinions from productions of this
+nature, we leave them for our reader's amusement, trusting that he will
+remember that a good jest is no argument; that the novelist, like the
+master of a puppet-show, has his drama under his absolute authority, and
+shapes the events to favour his own opinions; and that whether the Devil
+flies away with Punch, or Punch strangles the Devil, forms no real
+argument as to the comparative power of either one or other, but only
+indicates the special pleasure of the master of the motion."
+
+Scott was deeply in sympathy with the literature of the century within
+which he was born. To the evidence of his _Swift_ and of the _Lives of
+the Novelists_ it may be added that he contemplated making a complete
+edition of Pope, and that he professed to like _London_ and _The Vanity
+of Human Wishes_ the best of all poems. James Ballantyne said, rather
+ambiguously, "I think I never saw his countenance more indicative of
+high admiration than while reciting aloud from those productions."[222]
+In one of his letters Scott spoke of the "beautiful and feeling verses
+by Dr. Johnson to the memory of his humble friend Levett, ... which with
+me, though a tolerably ardent Scotchman, atone for a thousand of his
+prejudices."[223] Not only did he admire the great biography, but he
+called Boswell "such a biographer as no man but [Johnson] ever had, or
+ever deserved to have."[224] But he once said that many of the
+_Ramblers_ were "little better than a sort of pageant, where trite and
+obvious maxims are made to swagger in lofty and mystic language, and get
+some credit only because they are not understood."[225]
+
+Among other eighteenth century writers, Addison is distinguished by high
+praise in a few casual references,[226] but Scott once admitted that he
+did not like Addison so much as he felt to be proper.[227] A collection
+of Prior's poems Scott calls "an English classic of the first
+order."[228] He speaks of Parnell as "an admirable man and elegant
+poet,"[229] and mentions "the ponderous, persevering, and laborious
+dullness of Sir Richard Blackmore."[230] But these observations are of
+little importance except as they indicate that Scott had read the
+authors of the eighteenth century and acquiesced in the conventional
+judgments upon them. It is seldom in his brief and casual comments that
+Scott is particularly interesting as a critic, except when he is
+speaking of living writers, for he lacked the gift of conciseness. When
+he has a large canvas he is at his best, and this he has in the
+principal works described in this chapter:--_The Minstrelsy of the
+Scottish Border_, the _Works of Dryden_, the _Works of Swift_, and the
+_Lives of the Novelists_.
+
+
+
+
+CHAPTER IV
+
+SCOTT'S CRITICISM OF HIS CONTEMPORARIES
+
+    Scott's freedom from literary jealousy--His disapproval of the
+    typical reviewer's attitude--Jeffrey, Gifford, and Lockhart--His own
+    practice in regard to reviewing--His informal critical
+    remarks--Opportunity for favorable judgments afforded by the number
+    of important writers in his period.
+
+    Poets--Burns--Coleridge--Relation of _Christabel_ to
+    Scott's work--Scott's dislike for extreme
+    Romanticism--Wordsworth--Southey--Scott's review of
+    _Kehama_--Byron--Scott's opinion of Byron's
+    character--Campbell--Moore--Allan Cunningham--Hogg--Crabbe--Joanna
+    Baillie--Matthew Lewis--Scott's judgment on his early taste for
+    poetry--Absence of comment on the work of Lamb, Landor, Hunt,
+    Hazlitt, and DeQuincey.
+
+    Novelists--Jane Austen--Maria Edgeworth--Cooper--Personal relations
+    between Scott and Cooper--Scott's verdict on Americans in
+    general--Washington Irving--Goethe--Fouqué--Scott's interest in men
+    of action.
+
+
+To study Scott's relations with contemporary writers is a very pleasant
+task because nothing shows better the greatness of his heart. His
+admirable freedom from literary jealousy was an innate virtue which he
+deliberately increased by cultivation, taking care, also, never to
+subject himself to the conditions which he thought accounted for the
+faults of Pope, who had "neither the business nor the idleness of life
+to divide his mind from his Parnassian pursuits."[231] "Those who have
+not his genius may be so far compensated by avoiding his foibles," Scott
+said; and some years later he wrote,--"When I first saw that a literary
+profession was to be my fate, I endeavoured by all efforts of stoicism
+to divest myself of that irritable degree of sensibility--or, to speak
+plainly, of vanity--which makes the poetical race miserable and
+ridiculous."[232] The record of his life clearly shows that his kindness
+towards other men of letters was not limited to words. One who received
+his good offices has written,--"The sternest words I ever heard him
+utter were concerning a certain poet: 'That man,' he said, 'has had much
+in his power, but he never befriended rising genius yet.'"[233] We may
+safely say that Scott enjoyed liking the work of other men. "I am most
+delighted with praise from those who convince me of their good taste by
+admiring the genius of my contemporaries,"[234] he once wrote to
+Southey.
+
+It is commonly supposed that Scott's amiability led him into absurd
+excesses of praise for the works of his fellow-craftsmen, and indeed he
+did say some very surprising things. But when all his references to any
+one man are brought together, they will be found, with a few exceptions,
+pretty fairly to characterize the writer. His _obiter dicta_ must be
+read in the light of one another, and in the light, also, of his known
+principles. Temperamentally modest about his own work, he was also
+habitually optimistic, and the combination gave him an utterly different
+quality from that of the typical _Edinburgh_ or _Quarterly_ critics.
+
+His disapproval of their point of view he expressed more than once.[235]
+It seemed to him futile and ungentlemanly for the anonymous reviewer to
+seek primarily for faults, or "to wound any person's feelings ... unless
+where conceit or false doctrine strongly calls for reprobation."[236]
+"Where praise can be conscientiously mingled in a larger proportion than
+blame," he said, "there is always some amusement in throwing together
+our ideas upon the works of our fellow-labourers." He thought, indeed,
+that vituperative and satiric criticism was defeating its own end, in
+the case of the _Edinburgh Review_ since it was overworked to the point
+of monotony. Such criticism he considered futile as well on this account
+as because he thought it likely to have an injurious effect on the work
+of really gifted writers.
+
+An admirer of both Jeffrey and Scott, who once heard a conversation
+between the two men, has recorded a distinction which is exactly what we
+should expect.[237] He says: "Jeffrey, for the most part, entertained
+us, when books were under discussion, with the detection of faults,
+blunders, absurdities, or plagiarisms: Scott took up the matter where he
+left it, recalled some compensating beauty or excellence for which no
+credit had been allowed, and by the recitation, perhaps, of one fine
+stanza, set the poor victim on his legs again."
+
+On Jeffrey Scott's verdict was, "There is something in his mode of
+reasoning that leads me greatly to doubt whether, notwithstanding the
+vivacity of his imagination, he really has any _feeling_ of poetical
+genius, or whether he has worn it all off by perpetually sharpening his
+wit on the grindstone of criticism."[238] His comment on Gifford's
+reviews was to the effect that people were more moved to dislike the
+critic for his savagery than the guilty victim whom he flagellated.[239]
+In the early days of _Blackwood's Magazine_ Scott often tried to repress
+Lockhart's "wicked wit,"[240] and when Lockhart became editor of the
+_Quarterly_ his father-in-law did not always approve of his work. "Don't
+like his article on Sheridan's life,"[241] says the _Journal_. "There is
+no breadth in it, no general views, the whole flung away in smart but
+party criticism. Now, no man can take more general and liberal views of
+literature than J.G.L."[242]
+
+With these opinions, Scott was not likely often to undertake the
+reviewing of books that did not, in one way or another interest him or
+move his admiration; and he would lay as much stress as possible on
+their good points. Gifford told him that "fun and feeling" were his
+forte.[243] In his early days he was probably somewhat influenced by
+Jeffrey's method, and his articles on Todd's _Spenser_ and Godwin's
+_Life of Chaucer_ indicate that he could occasionally adopt something of
+the tone of the _Edinburgh Review_. Years afterwards he refused to write
+an article that Lockhart wanted for the _Quarterly_, saying, "I cannot
+write anything about the author unless I know it can hurt no one
+alive"[244] but for the first volume of the _Quarterly_ he reviewed Sir
+John Carr's _Caledonian Sketches_ in a way that Sharon Turner seriously
+objected to, because it made Sir John seem ridiculous.[245] Some of
+Scott's critics would perhaps apply one of the strictures to himself:
+"Although Sir John quotes Horace, he has yet to learn that a wise man
+should not admire too easily; for he frequently falls into a state of
+wonderment at what appears to us neither very new nor very
+extraordinary."[246] But if admiration seems to characterize too great a
+proportion of Scott's critical work, it is because he usually preferred
+to ignore such books as demanded the sarcastic treatment which he
+reprehended, but which he felt perfectly capable of applying when he
+wished. Speaking of a fulsome biography he once said, "I can no more
+sympathize with a mere eulogist than I can with a ranting hero upon the
+stage; and it unfortunately happens that some of our disrespect is apt,
+rather unjustly, to be transferred to the subject of the panegyric in
+the one case, and to poor Cato in the other."[247]
+
+Besides Scott's formal reviews, we find cited as evidence of his extreme
+amiability his letters, his journal, and the remarks he made to friends
+in moments of enthusiasm. These do indeed contain some sweeping
+statements, but in almost every case one can see some reason, other than
+the desire to be obliging, why he made them. He was not double-faced.
+One of the nearest approaches to it seems to have been in the case of
+Miss Seward's poetry, for which he wrote such an introduction as hardly
+prepares the reader for the remark he made to Miss Baillie, that most of
+it was "absolutely execrable." His comment in the edition of the
+poems--the publication of which Miss Seward really forced upon him as a
+dying request--is sedulously kind, and in _Waverley_ he quotes from her
+a couple of lines which he calls "beautiful." But the essay is most
+carefully guarded, and throughout it the editor implies that the woman
+was more admirable than the poetry. Personally, indeed, he seems to have
+liked and admired her.[248]
+
+The catalogue of Scott's contemporaries is so full of important names
+that his genius for the enjoyment of other men's work had a wide
+opportunity to display itself without becoming absurd. An argument early
+used to prove that Scott was the author of _Waverley_ was the frequency
+of quotation in the novels from all living poets except Scott himself,
+and he felt constrained to throw in a reference or two to his own poetry
+in order to weaken the force of the evidence.[249] The reader is
+irresistibly reminded of the following description, given by Lockhart in
+a letter to his wife, of a morning walk taken by Wordsworth and Scott in
+company: "The Unknown was continually quoting Wordsworth's Poetry and
+Wordsworth ditto, but the great Laker never uttered one syllable by
+which it might have been intimated to a stranger that your Papa had ever
+written a line either of verse or prose since he was born."[250]
+
+Scott's opinions in regard to his fellow craftsmen may best be given
+largely in his own words--words which cannot fail to be interesting,
+however little evidence they show of any attempt to make them quotable.
+
+In considering Scott's estimation of his contemporaries it is
+chronologically proper to mention Burns first. As a boy of fifteen Scott
+met Burns, an event which filled him with the suitable amount of awe. He
+was most favorably impressed with the poet's appearance and with
+everything in his manner. The boy thought, however, that "Burns'
+acquaintance with English poetry was rather limited, and also, that
+having twenty times the abilities of Allan Ramsay and of Ferguson, he
+talked of them with too much humility as his models."[251] Scott's
+admiration of Burns was always expressed in the highest and, if one may
+say so, the most affectionate terms. He refused to let himself be named
+"in the same day" with Burns.[252] "Long life to thy fame and peace to
+thy soul, Rob Burns!" he exclaimed, in his _Journal_; "when I want to
+express a sentiment which I feel strongly, I find the phrase in
+Shakespeare--or thee."[253] On another day he compared Burns with
+Shakspere as excelling all other poets in "the power of exciting the
+most varied and discordant emotions with such rapid transitions."[254]
+Again, "The Jolly Beggars, for humorous description and nice
+discrimination of character, is inferior to no poem of the same length
+in the whole range of English poetry."[255] Scott wished that Burns
+might have carried out his plan of dramatic composition, and regretted,
+from that point of view, the excessive labor at songs which in the
+nature of things could not all be masterpieces.[256]
+
+Of writers who were more precisely contemporaries of Scott, the Lake
+Poets and Byron are the most important. The precedence ought to be given
+to Coleridge because of the suggestion Scott caught from a chance
+recitation of _Christabel_ for the meter he made so popular in the
+_Lay_.[257] Fragments from _Christabel_ are quoted or alluded to so
+often in the novels[258] and throughout Scott's work that we should
+conclude it had made a greater impression upon him than any other single
+poem written in his own time, if Lockhart had not spoken of Wordsworth's
+sonnet on Neidpath Castle as one which Scott was perhaps fondest of
+quoting.[259] _Christabel_ is not the only one of Coleridge's poems
+which Scott used for allusion or reference, but it was the favorite. "He
+is naturally a grand poet," Scott once wrote to a friend. "His verses on
+Love, I think, are among the most beautiful in the English language. Let
+me know if you have seen them, as I have a copy of them as they stood in
+their original form, which was afterwards altered for the worse."[260]
+The _Ancient Mariner_ also made a decided impression on him, if we judge
+from the fact that he quoted from it several times.[261] Scott evidently
+felt that Coleridge was a most tantalizing poet, and once intimated that
+future generations would in regard to him feel something like Milton's
+desire "to call up him who left half told the story of Cambuscan
+bold."[262] "No man has all the resources of poetry in such profusion,
+but he cannot manage them so as to bring out anything of his own on a
+large scale at all worthy of his genius.... His fancy and diction would
+have long ago placed him above all his contemporaries, had they been
+under the direction of a sound judgment and a steady will."[263] Such,
+in effect, was the opinion that Scott always expressed concerning
+Coleridge, and it is practically that of posterity. In _The Monastery_
+Coleridge is called "the most imaginative of our modern bards." In
+another connection, after speaking of the "exquisite powers of poetry he
+has suffered to remain uncultivated," Scott adds, "Let us be thankful
+for what we have received, however. The unfashioned ore, drawn from so
+rich a mine, is worth all to which art can add its highest decorations,
+when drawn from less abundant sources."[264] These remarks are worth
+quoting, not only because of their wisdom, but also because Scott had
+small personal acquaintance with Coleridge and was rather repelled than
+attracted by what he knew of the character of the author of
+_Christabel_. His praises cannot in this case be called the tribute of
+friendship, and his own remarkable power of self-control might have made
+him a stern judge of Coleridge's shortcomings.
+
+One of his most interesting comments on Coleridge is contained in a
+discussion of Byron's _Darkness_, a poem which to his mind recalled "the
+wild, unbridled, and fiery imagination of Coleridge."[265] _Darkness_ is
+characterized as a mass of images and ideas, unarranged, and the critic
+goes on to warn the author against indulging in this sort of poetry. He
+says: "The feeling of reverence which we entertain for that which is
+difficult of comprehension, gives way to weariness whenever we begin to
+suspect that it cannot be distinctly comprehended by anyone.... The
+strength of poetical conception and beauty of diction bestowed upon such
+prolusions [_sic_], is as much thrown away as the colors of a painter,
+could he take a cloud of mist or a wreath of smoke for his canvas." It
+is disappointing that we have no comment from Scott upon Shelley's
+poetry, but we can imagine what is would have been.[266] Scott's
+position as the great popularizer of the Romantic movement in poetry
+makes particularly interesting his very evident though not often
+expressed repugnance to the more extreme development of that movement.
+
+Wordsworth's peculiar theory of poetry seemed to Scott superfluous and
+unnecessary, though he was never, so far as we can judge, especially
+irritated by it.[267] Of Wordsworth and Southey he wrote to Miss Seward:
+"Were it not for the unfortunate idea of forming a new school of poetry,
+these men are calculated to give it a new impulse; but I think they
+sometimes lose their energy in trying to find not a better but a
+different path from what has been travelled by their predecessors."[268]
+Scott paid tribute in the introduction to _The Antiquary_ to as much of
+Wordsworth's poetical creed as he could acquiesce in when he said, "The
+lower orders are less restrained by the habit of suppressing their
+feelings, and ... I agree with my friend Wordsworth that they seldom
+fail to express them in the strongest and most powerful language." In a
+letter to Southey Scott calls Wordsworth "a great master of the
+passions,"[269] and in his _Journal_ he said: His imagination "is
+naturally exquisite, and highly cultivated by constant exercise."[270]
+At another time he compared Wordsworth and Southey as scholars and
+commented on the "freshness, vivacity, and spring" of Wordsworth's
+mind.[271]
+
+The personal relations between Scott and Wordsworth were, as Wordsworth's
+tribute in _Yarrow Revisited_ would indicate, those of affectionate
+intimacy. And if Scott took exception to Wordsworth's choice of subjects
+and manner, Wordsworth used the same freedom in disagreeing with Scott's
+poetical ideals. "Thank you," he wrote in 1808, "for _Marmion_, which I
+have read with lively pleasure. I think your end has been attained. That
+it is not in every respect the end which I should wish you to purpose to
+yourself, you will be well aware, from what you know of my notions of
+composition, both as to matter and manner."[272] When, in 1821, Chantrey
+was about to exhibit together his busts of the two poets, Scott wrote:
+"I am happy my effigy is to go with that of Wordsworth, for (differing
+from him in very many points of taste) I do not know a man more to be
+venerated for uprightness of heart and loftiness of genius. Why he will
+sometimes choose to crawl upon all fours, when God has given him so
+noble a countenance to lift to heaven, I am as little able to account
+for as for his quarrelling (as you tell me) with the wrinkles which time
+and meditation have stamped his brow withal."[273]
+
+These remarks upon Wordsworth and Coleridge touch merely the fringe of
+the subject, and indeed we do not find that Scott exercised any such
+sublimated ingenuity in appreciating these men as has often been
+considered essential. We can see that he admired certain parts of their
+work intensely, but we look in vain for any real analysis of their
+quality. But as he never had occasion to write essays upon their poetry,
+it is perhaps hardly fair to expect anything more than the general
+remarks that we actually do find, and as far as they go they are
+satisfactory.
+
+Like most of his distinguished contemporaries, Scott held the work of
+Southey in surprisingly high estimation.[274] Southey, more than anyone
+else except Wordsworth, and more than Wordsworth in some ways, was the
+"real poet" of the period, devoting his whole heart to literature and
+his whole time to literary pursuits. Scott commented on the fact,
+saying, "Southey's ideas are all poetical," and, "In this respect, as
+well as in many others, he is a most striking and interesting
+character."[275] Nevertheless Scott found it easy to criticise Southey's
+poems adversely, as we may see from his correspondence. Writing to Miss
+Seward he pointed out flaws in the story and the characterization of
+_Madoc_,[276] yet after repeated readings he saw enough to convince him
+that _Madoc_ would in the future "assume his real place at the feet of
+Milton."[277] _Thalaba_ was one of the poems he liked to have read aloud
+on Sunday evenings.[278] A review of _The Curse of Kehama_, in which he
+seemed to express the opinion that this surpassed the poet's previous
+work, illustrates his professed creed as to criticism. He wrote to Ellis
+concerning his article: "What I could I did, which was to throw as much
+weight as possible upon the beautiful passages, of which there are many,
+and to slur over the absurdities, of which there are not a few.... This
+said _Kehama_ affords cruel openings for the quizzers, and I suppose
+will get it roundly in the _Edinburgh Review_. I could have made a very
+different hand of it, indeed, had the order of the day been _pour
+déchirer_."[279] If Scott had to make an effort in writing the review,
+he made it with abundant energy. Some absurdities are indeed mentioned,
+but various particular passages are characterized in the most
+enthusiastic way, with such phrases as "horribly sublime," "impressive
+and affecting," "reminds us of the Satan of Milton, yet stands the
+comparison," "all the gloomy power of Dante." It may be noted that Scott
+used Milton's name rather freely in comparisons, and that for Dante his
+admiration was altogether unimpassioned,[280] but the review, after all,
+is on the whole very laudatory.[281] In it Scott awards to Southey the
+palm for a surpassing share of imagination, which he elsewhere gave to
+Coleridge. Possibly Scott was the less inclined to be severe over the
+absurdities of _Kehama_ because Southey agreed with his own theory as to
+the evil of fastidious corrections.[282] At any rate he seems to have
+been quite sincere in saying to Southey, in connection with the
+poet-laureateship which, according to Scott's suggestion, was offered to
+him in 1813, "I am not such an ass as not to know that you are my better
+in poetry, though I have had, probably but for a time, the tide of
+popularity in my favour."[283]
+
+Much as Scott admired Southey, Wordsworth, and Coleridge, he considered
+Byron the great poetical genius of the period. He once spoke of Byron as
+the only poet of transcendent talents that England had had since
+Dryden.[284] At another time his comment was: "He wrote from impulse,
+never from effort; and therefore I have always reckoned Burns and Byron
+the most genuine poetical geniuses of my time, and half a century before
+me. We have ... many men of high poetical talent, but none, I think, of
+that ever-gushing and perennial fountain of natural water."[285] The
+likenesses between Byron's poetical manner and Scott's own must have
+made it easy for the elder poet to recognize the power of the younger,
+since Scott was innocent of all repining or envy over the fact which he
+so freely acknowledged in later years, that Byron "beat" him out of the
+field.[286] From the time of the appearance of the first two cantos of
+_Childe Harold_ he acknowledged the author's "extraordinary power,"[287]
+and even before that he had tried to soften Jeffrey's harsh treatment of
+_Hours of Idleness_.[288] In 1814 he was ready to say, "Byron hits the
+mark where I don't even pretend to fledge my arrow."[289]
+
+It was Byron, rather than Scott, who realized the debt of the new
+popular favorite to the old; and their personal relations were of the
+pleasantest, though they were never intimate as Scott was with Southey
+and Wordsworth. As poets, Scott and Byron seem to have understood each
+other thoroughly.[290] None of the other great poets of the period did
+justice to Scott, nor did he succeed so well in defining the power of
+any of the others. His first review of _Childe Harold_ is the most
+important of all his articles on the poetry of his time; and his remarks
+written at the death of Lord Byron, though brief, are not less full of
+good judgment. Originality, spontaneity, and the ability and inclination
+to write rapidly were traits Scott admired most in Byron, and in the
+vigor and beauty of the poems he found the fine flower of all these
+qualities. "We cannot but repeat our conviction," he says, "that poetry,
+being, in its higher classes, an art which has for its elements
+sublimity and unaffected beauty, is more liable than any other to suffer
+from the labour of polishing.... It must be remembered that we speak of
+the higher tones of composition; there are others of a subordinate
+character where extreme art and labour are not bestowed in vain. But we
+cannot consider over-anxious correction as likely to be employed with
+advantage upon poems like those of Lord Byron, which have for their
+object to rouse the imagination and awaken the passions."[291]
+
+Byron's temperament was far from being of a sort that Scott could
+admire, though he was very susceptible to his personal charm: "Byron's
+countenance is a thing to dream of," he once said;[292] but he felt that
+popular estimation did Byron injustice. His articles on this poet
+contain some of his most characteristic moral reflections. Something of
+Byron's gloominess Scott attributes to the sensitive poetic organization
+which he felt that Byron had in an extreme degree; but more to the
+perverted habit of looking within rather than around upon the realities
+of life, in which Providence intended men to find their happiness. The
+philosophy is not novel or brilliant; it is only very sincere and very
+just; and it supplies to Scott's criticism of Byron that element of
+moral reflection which we feel was necessary to the occasion.[293]
+
+But though Scott never failed to express disapproval of Byron's attitude
+toward life, he kept his criticism on this point essentially distinct
+from his judgment on the poetry. In a way it was impossible to separate
+the two subjects, and the public demanded some discussion of the man
+when his poetry was reviewed. But Scott's verdict on the importance of
+the poems as such was unaffected by his disapproval of the author's
+point of view. He praised _Don Juan_ no less heartily than _Childe
+Harold_.
+
+His criticism of _Don Juan_ is, however, to be gathered only from short
+and incidental remarks, as he never reviewed the poem. A satire written
+by R.P. Gillies is commemorated thus in Scott's _Journal_: "This poem
+goes to the tune of _Don Juan_, but it is the champagne after it has
+stood two days with the cork drawn."[294] He called Byron "as various in
+composition as Shakspeare himself"; and added, "this will be admitted by
+all who are acquainted with his _Don Juan_.... Neither _Childe Harold_,
+nor any of the most beautiful of Byron's earlier tales, contain more
+exquisite morsels of poetry than are to be found scattered through the
+cantos of _Don Juan_."[295] The defence of _Cain_ which Scott wrote in
+accepting the dedication of that poem to himself is well known.[296] He
+calls it a "very grand and tremendous drama," and continues, "Byron has
+certainly matched Milton on his own ground. Some part of the language is
+bold, and may shock one class of readers, whose tone will be adopted by
+others out of affectation or envy. But then they must condemn the
+_Paradise Lost_, if they have a mind to be consistent."
+
+Scott's comments on Byron are closely paralleled by those of Goethe, who
+considered that Byron had the greatest talent of any man of his
+century.[297] The opinions of continental critics in general were
+similar. Among English critics Matthew Arnold aroused many protests when
+he ranked Byron as one of the two greatest English poets of the
+nineteenth century, but his views seem perfectly rational now; and
+though he remarked upon the extravagance of Scott's phrases his own
+verdict was not very unlike that we have been considering.
+
+Scott's enthusiasm about the literature of his own time seems natural
+enough when we consider that the list of his notable contemporaries is
+far from exhausted after Burns, the Lake Poets, and Byron have been
+named. Campbell was a poet of whose powers he thought very highly, but
+who, he believed had given only a sample of the great things he might do
+if he would cease to "fear the shadow of his own reputation." Before he
+wrote about Byron Scott had given in his review of _Gertrude of Wyoming_
+an exposition of his opinion as to the dangers of extreme care in
+revision. "The truth is," he says, "that an author cannot work upon a
+beautiful poem beyond a certain point without doing it real and
+irreparable injury in more respects than one."[298] He felt that
+Campbell had worked, in many cases, beyond the "certain point." For the
+"impetuous lyric sally," like the _Mariners of England_ and the _Battle
+of the Baltic_, Scott rightly thought that Campbell excelled all his
+contemporaries. Moore was another lyrist whose poetry Scott greatly
+admired. In Moore's case, as in Southey's, the contemporary estimate was
+higher than can now be maintained, but Moore is to-day underrated. From
+what Scott says about him we conclude that the man's personality and his
+way of singing added much to the exquisiteness of his songs. "He seems
+almost to think in music," Scott said, "the notes and words are so
+happily suited to each other";[299] and, "it would be a delightful
+addition to life if T.M. had a cottage within two miles of one."[300]
+Allan Cunningham was a young protege of Scott whose songs, "Its hame and
+it's hame," and "A wet sheet and a flowing sea," seemed to him "among
+the best going."[301] Another poet who received Scott's good offices was
+Hogg, whose relations with the greater man are described so vividly and
+at some points so amusingly by Lockhart. Scott called him a "wonderful
+creature for his opportunities."[302]
+
+For the poet Crabbe, Scott, like Byron and Wordsworth,[303] had a steady
+and high admiration. In the Sunday evening readings that Lockhart
+describes as being so pleasant a feature of the life of the family in
+Edinburgh, Crabbe was perhaps the chief standing resource after
+Shakspere.[304] His work was particularly recommended to the young
+people of the family,[305] and when the venerable poet visited the
+Scotts in 1822, he was received as a man whom they always looked upon as
+nobly gifted. Scott once wrote of him: "I think if he had cultivated the
+sublime and the pathetic instead of the satirical cast of poetry, he
+must have stood very high (as indeed he does at any rate) on the list of
+British poets. His _Sir Eustace Grey_ and _The Hall of Justice_ indicate
+prodigious talent."[306] Scott did not like Crabbe's choice of
+subjects,[307] but he appreciated the "force and vigour" of a poet whom
+students of our own day are once more beginning to admire, after a
+period during which he was practically ignored.
+
+Scott's very high estimation of Joanna Baillie has already been
+mentioned.[308] In this case as in many others he was proud and happy in
+the personal friendship of the writer whose works he admired. He once
+wrote to Miss Edgeworth: "I have always felt the value of having access
+to persons of talent and genius to be the best part of a literary man's
+prerogative."[309] Almost the earliest of the writers for whose
+friendship Scott felt grateful was Matthew Lewis, famed as the author of
+_The Monk_. Lewis was also something of a poet, and was really helpful
+to Scott in giving him advice on literary subjects. Though Scott
+perceived that Lewis's talents "would not stand much creaming"[310] he
+continued to regard him as one who had had high imagination and a "finer
+ear for rhythm than Byron's."
+
+Scott felt that his own taste in respect to poetry became more rigorous
+as he grew older. In 1823 in a letter to Miss Baillie he commented on
+Mrs. Hemans as "somewhat too poetical for my taste--too many flowers, I
+mean, and too little fruit--but that may be the cynical criticism of an
+elderly gentleman; for it is certain that when I was young I read verses
+of every kind with infinitely more indulgence, because with more
+pleasure than I can now do--the more shame for me now to refuse the
+complaisance which I have had so often to solicit."[311] Similarly he
+speaks in the preface to _Kenilworth_ of having once been delighted with
+the poems of Mickle and Langhorne: "There is a period in youth when the
+mere power of numbers has a more strong effect on ear and imagination
+than in after-life." With these comments we may put Lockhart's sagacious
+remark: "His propensity to think too well of other men's works sprung,
+of course, mainly from his modesty and good nature; but the brilliancy
+of his imagination greatly sustained the delusion. It unconsciously gave
+precision to the trembling outline, and life and warmth to the vapid
+colours before him."[312] This and his kindness would account for the
+latter half of the observation made by his publisher: "I like well
+Scott's ain bairns--but heaven preserve me from those of his
+fathering."[313]
+
+I have found no reference to Landor, a poet whom Southey and Wordsworth
+read with eagerness, but Mr. Forster makes this statement in his
+_Biography of Landor_: "Among Landor's papers I found a list, prepared
+by himself, of resemblances to passages of his own writing to be found
+in Scott's _Tales of the Crusaders_. There were several from _Gebir_....
+The poem had made a great impression on Scott, who read it at Southey's
+suggestion."[314] Forster also notes the fact that Southey, in a letter
+to Scott written in 1812, spoke very highly of Landor's _Count
+Julian_.[315] I am similarly unable to cite any comment by Scott on the
+writings of Lamb. Was it because Scott's genius clung to Scotland and
+Lamb's to London, that the two seemed so little to notice each other? It
+does seem odd that Scott never refers to the delightful _Specimens of
+English Dramatic Poets_. At one time Lamb wrote to Sir Walter asking a
+contribution toward a fund that was being raised to help William Godwin
+out of pecuniary troubles, and Scott replied, through the artist Haydon,
+with a cheque for ten pounds and a pleasant message to Mr. Lamb, "whom I
+should be happy to see in Scotland, though I have not forgotten his
+metropolitan preference of houses to rocks, and citizens to wild rustics
+and highland men."[316] Hazlitt and Hunt were two other writers whose
+literary work Scott ignored.[317] This, as well as his neglect of Lamb's
+and DeQuincey's essays, may be due largely to the fact that he seldom
+read newspapers and magazines, and these writers were journalists and
+contributors to periodicals. Voracious reader as Scott was, he had to
+economize time somewhere, and the hours saved from papers could be given
+to books. We do find one or two references to these men as political
+writers. Scott hoped Lockhart would learn, as editor of the _Quarterly_,
+to despise petty adversaries, for "to take notice of such men as Hazlitt
+and Hunt in the _Quarterly_ would be to introduce them into a world
+which is scarce conscious of their existence."[318]
+
+Among novelists, those of Scott's contemporaries to whom he gave the
+highest praise were women. This is, however to be expected, and it is
+natural to find Jane Austen receiving the highest praise of all; since
+Scott was emphatically not of the tribe of critics who are able to
+appreciate only one kind of novel or poem. Her novels seemed to grow
+upon him and he read them often. It was in connection with her
+"exquisite touch" that he was moved to reflect, in the words so often
+quoted from his _Journal_, "The Big Bow-wow strain I can do myself like
+any now going."[319] Among the expressions of admiration which occur in
+his review of _Emma_,[320] Scott records a characteristic bit of protest
+in regard to the tendency of Miss Austen and other novelists to make
+prudence the guiding motive of all their favorite young women
+characters, especially in matters of the heart. He did not like this
+pushing out of Cupid to make way for so moderate a virtue as prudence;
+he thought that it is often good for young people to fall in love
+without regard to worldly considerations. Scott rated Miss Edgeworth
+nearly as high as Miss Austen, and hers is the added honor of having
+inspired the author of _Waverley_ with a desire to emulate her
+power.[321] With these two novelists he associated Miss Ferrier, as well
+as the somewhat earlier writer, Fanny Burney.[322]
+
+Aside from these women and Henry Mackenzie, perhaps the highest praise
+that Scott bestowed on any contemporary novelist was given to Cooper.
+Here, as in the case of Byron, Scott seemed to ignore the other writer's
+indebtedness to himself. He speaks, in the general preface to the
+Waverley Novels, of "that striking field in which Mr. Cooper has
+achieved so many triumphs"; and at another time calls him "the justly
+celebrated American novelist." In his _Journal_ he comments on _The Red
+Rover_[323] and _The Prairie_;[324] _The Pilot_ he recommends warmly in
+a letter to Miss Edgeworth.[325]
+
+The personal relations between "the Scotch and American lions," as Scott
+called himself and Cooper, when they met in Parisian society in
+1826,[326] had some interesting consequences. Cooper suggested to Scott
+that he try to secure for himself part of the profits arising from the
+publication of his works in America, by entering them as the property of
+some citizen.[327] They finally concluded to substitute for this plan
+one suggested by Scott, which involved the writing by the Author of
+Waverley, of a letter addressed to Cooper, to be transmitted by him to
+some American publisher who would undertake the publication of an
+authorized edition of which half the profits should go to the author.
+Future works were to be sent over to this publisher in advance of their
+appearance in England. The letter was really an appeal to the justice of
+the American people, and contained an allusion to the publication of
+Irving's works in England according to a plan very similar to that
+proposed by Scott. But the scheme failed here in America, and apparently
+the letter was not made public until Cooper, irritated by the appearance
+in Lockhart's _Life of Scott_ of Sir Walter's comments on his personal
+manner,[328] explained the affair (except the reason for dropping the
+plan), and published the correspondence in the _Knickerbocker Magazine_
+for April, 1838.[329] Later in the same year Cooper wrote a severe
+review of the biography of Scott, attacking his character in a way that
+seems absurdly exaggerated.[330] Yet Charles Sumner seems to have
+thought that Cooper made his points, and Mr. Lounsbury is inclined to
+agree with him.[331]
+
+One of the milder strictures in Cooper's review was as follows "As he
+was ambitious of, so was he careful to preserve, his personal
+popularity, of which we have a striking proof in the studied kindnesses
+that for years were laid before this country in deeds and words, as
+compared with his real acts and sentiments toward America and Americans
+which are now revealed in his letters." A passage which doubtless roused
+Cooper's ire may be quoted. Of the Americans Scott said, in a letter to
+Miss Edgeworth, "They are a people possessed of very considerable
+energy, quickened and brought into eager action by an honourable love of
+their country and pride in their institutions; but they are as yet rude
+in their ideas of social intercourse, and totally ignorant, speaking
+generally, of all the art of good breeding, which consists chiefly in a
+postponement of one's own petty wishes or comforts to those of others.
+By rude questions and observations, an absolute disrespect to other
+people's feelings, and a ready indulgence of their own, they make one
+feverish in their company, though perhaps you may be ashamed to confess
+the reason. But this will wear off and is already wearing away. Men,
+when they have once got benches, will soon fall into the use of
+cushions. They are advancing in the lists of our literature, and they
+will not be long deficient in the _petite morale_, especially as they
+have, like ourselves, the rage for travelling."[332]
+
+Scott liked George Ticknor,[333] and he called Washington Irving "one of
+the best and pleasantest acquaintances I have made this many a
+day."[334] In later life he congratulated himself on having from the
+first foreseen Irving's success.[335] When we remember also that Scott
+quotes from Poor Richard,[336] refers to Cotton Mather's
+_Magnalia_,[337] and speaks of "the American Brown" as one whose novels
+might be reprinted in England,[338] we ought probably to conclude that
+his acquaintance with our literature was as comprehensive as could have
+been expected.
+
+Among continental writers belonging to his period, Goethe was very
+properly the one for whom Scott had the strongest admiration. But we
+find comparatively few references to his reading the great German after
+the early period of translation. Throughout Lockhart's _Life of Scott_
+it is evident that the biographer had a more thorough acquaintance with
+Goethe than had Scott, and it seems probable that the younger man
+influenced the elder in his judgment on _Faust_ and on Goethe's
+character. In the Introduction to _Quentin Durward_ we find an
+interesting comment on Goethe's success in creating a really wicked
+Mephistopheles, who escapes the noble dignity that Milton and Byron gave
+to their pictures of Satan. Goethe and Scott exchanged letters once in
+1827,[339] and it was a personal grief to Sir Walter that the German
+poet's death prevented a visit Scott proposed to make him in 1832. In
+_Anne of Geierstein_ Goethe is called "an author born to arouse the
+slumbering fame of his country";[340] and in the _Journal_ Scott
+characterizes him as "the Ariosto at once and almost the Voltaire of
+Germany."[341] The suggestion for the character of Fenella in _Peveril
+of the Peak_ was taken from Goethe, as we learn by Scott's
+acknowledgment in the Introduction. Another German from whom Scott
+borrowed a suggestion--this time for the unlucky "White Lady of
+Avenel"--was the Baron de la Motte Fouqué. Scott was evidently
+interested in his work, though he thought Fouqué sometimes used such a
+profusion of historical and antiquarian lore that readers would find it
+difficult to follow the narrative.[342] Sir Walter asked his son to tell
+the Baroness de la Motte Fouqué that he had been much interested in her
+writings and those of the Baron, and added, "It will be civil, for folks
+like to know that they are known and respected beyond the limits of
+their own country."[343]
+
+In the literary circles of Paris Scott more than once experienced the
+pleasure of finding himself "known and respected" by foreigners,[344]
+and he had intimate relations with men of letters in London. On one of
+his visits there he saw Byron almost every morning for some time, at the
+house of Murray the publisher. In Edinburgh society Scott was naturally
+a prominent figure, being noted for his fund of anecdote and his
+superior gifts in presiding at dinners. But however much his kindly
+personal feeling is reflected in his comments on the literary work of
+his friends, he was too well-balanced to assume anything of the
+patronizing tone that such success as his might have made natural to
+another sort of man. His fellow-poets thought him a delightful person
+whom they liked so much that they could almost forgive the preposterous
+success of his facile and unimportant poetry.
+
+His full-blooded enjoyment of life and literature tempered without
+obscuring his critical instinct, and though he was "willing to be
+pleased by those who were desirous to give pleasure",[345] he noted the
+weak points of men to whose power he gladly paid tribute. Wordsworth,
+Coleridge, Southey, and Byron, whom he classed as the great English
+poets of his time, may, with the exception of Southey, be given the
+places he assigned to them. In regard to Byron, Scott expressed a
+critical estimate that the public is only now getting ready to accept
+after a long period of depreciating Byron's genius. The men whose work
+Scott judged fairly and sympathetically represent widely different
+types. With some of them he was connected by the new impulse that they
+were imparting to English poetry, but he was so close to the transition
+period that he could look backward to his predecessors with no sense of
+strangeness. He was never inclined to quarrel with the "erroneous
+system" of a poem which he really liked. His comments on Byron's
+_Darkness_ suggest that if he had read more than he did of Shelley and
+others among his younger contemporaries he might have found much to
+reprehend, but he held that "we must not limit poetical merit to the
+class of composition which exactly suits one's own particular
+taste."[346] Among novelists even less than among poets can we trace a
+"school" to which he paid special allegiance. He read and enjoyed all
+sorts of good stories, growing in this respect more catholic in his
+tastes, though perhaps more severe in his standards, as he grew older.
+
+In speaking of Scott's relations with his contemporaries, we must
+especially remember his ardent interest in those realities of life which
+he considered greater than the greatest books. In one of his reviews he
+laid stress on the merit of writing on contemporary events,[347] and he
+seemed to think there was too little of such celebration. There are many
+evidences of his great admiration for those of his contemporaries who
+were men of action, but it is sufficient to remember that the only man
+in whose presence Scott felt abashed was the Duke of Wellington, for he
+counted that famous commander the greatest man of his time.
+
+
+
+
+CHAPTER V
+
+SCOTT AS A CRITIC OF HIS OWN WORK
+
+    Lack of dogmatism about his own work--Harmony between his talents
+    and his tastes--His conviction of the value of spontaneity and
+    abundance--Merits of a rapid meter--Greater care necessary in verse
+    writing a reason why he turned to prose--His attitude in regard to
+    revision--Modesty about his own work--His opinion of the popular
+    judgment--Importance of novelty--Rivalry with Byron--Scott's
+    attempts to keep ahead of his imitators--Devices to secure
+    novelty--His resolution to write history--Historical motives of his
+    novels--His comments on the use of historical material--His verdict
+    in regard to his descriptive abilities and methods--Lack of emphasis
+    on the ethical aspect of his work--His judgment on the position of
+    the novel in literature.
+
+
+"Scott is invariably his own best critic," says Mr. Andrew Lang.[348] Of
+this Scott was not himself in the least convinced, and when we recall
+how, to please his printer, James Ballantyne, he tacked on a last scene
+to _Rokeby_, resuscitated the dead Athelstane in _Ivanhoe_, and
+eliminated the main motive of _St. Ronan's Well_, we wish he had been
+more uniformly inclined to trust his own critical judgment.
+
+He never scheduled the qualities of his own genius. A man who could
+sincerely say what he did about literary immortality would not be apt to
+develop any dogma in regard to his artistic achievement. "Let me please
+my own generation," he said, "and let those that come after us judge of
+their taste and my performances as they please; the anticipation of
+their neglect or censure will affect me very little."[349] His opinions
+about his own work are to be deduced largely from casual remarks
+scattered through his letters and journals. His introductions to his
+novels, in the _Opus Magnum_, are valuable sources, however, and the
+"Epistle" preceding _The Fortunes of Nigel_ is a mine of material,
+though, unlike the later introductions, it was written "according to the
+trick," when he was still preserving his anonymity. We have an article
+which he wrote for the _Quarterly_ on two of his own books, the review
+of _Tales of My Landlord_.[350] His criticism of the work of other
+people is also very helpful in this connection, since from it we may
+learn what qualities he wished to find in poetry and in the novel, as
+well as in history, biography, and criticism, the fields in which he did
+much, though less famous work.
+
+The student of his criticism is struck at once by the fact that the
+qualities which Scott particularly admired in literature were those for
+which he was himself preëminent. Yet he cannot be accused, as Poe may
+be, of constructing a theory that those types of art were greatest which
+he found himself most skilful in exemplifying. Scott's nature was of
+that most efficient kind that enables a man to do such things as he
+likes to see done. We cannot argue that he was incapable of attending to
+minute niceties and on this account chose to emphasize the large
+qualities of literature. For notwithstanding that lack of delicacy which
+characterized his physical senses and which we might therefore conclude
+would affect his literary discernment, we have among his small poems
+some that show his power, occasionally at least, to satisfy the most
+fastidious critic of detail. Evidently he could write in more than one
+style, and though the style he used most is undoubtedly that which was
+most natural to him, it was also that which he thought, on other grounds
+than the character of his own talents, best worth while. Yet he had so
+little vanity in regard to his own work that he could hardly understand
+his success, though it depended on those very qualities which, in other
+authors, excited his utmost admiration.
+
+One of his fundamental opinions about literary work was that to write
+much and with abundant spontaneity is better than to polish minutely.
+Over and over again we find this idea expressed, most noticeably in
+connection with the poet Campbell, whom Scott could scarcely forgive for
+making so little use of his poetical gifts. He applauded the
+much-criticised fertility of Byron, whose genius was in that respect
+akin to his own. "I never knew name or fame burn brighter by over-chary
+keeping of it,"[351] Scott said. The greatest writers he observed, have
+been the most voluminous. His position was one that could be fortified
+by inductive reasoning, contrasting in this respect with theories which
+seem plausible only until they are tested by actual facts, as, for
+example, Poe's idea that long poems lose effectiveness by their length.
+But perhaps Scott did not sufficiently take into account the circular
+nature of his argument; for since the world has refused to consider the
+men very great who "never spoke out," the truth is not so much that a
+great man ought to write copiously as that if a man does not write
+copiously he will not be counted great. Scott seemed to think it was
+mere wilfulness that prevented a man of such gifts as Campbell's from
+writing abundantly.
+
+The corresponding disadvantages of rapid composition were of course
+evident to him. From the first appearance of the _Lay_ to the end of his
+career he lamented his inability to plan a story in an orderly manner
+and follow out the scheme; he admitted also that "the misfortune of
+writing fast is that one cannot at the same time write concisely."[352]
+Of _Marmion_ he told Southey, "I had not time to write the poem
+shorter."[353]
+
+His grief on these points seems qualified, however, by a conviction that
+he could not write with deliberation and method and still produce the
+effect of vivacious spontaneity. He thought Fielding was almost the only
+novelist who had thoroughly succeeded in combining these various
+admirable qualities,[354] and he said in this connection, "To demand
+equal correctness and felicity in those who may follow in the track of
+that illustrious novelist, would be to fetter too much the power of
+giving pleasure, by surrounding it with penal rules; since of this sort
+of light literature it may be especially said--_tout genre est permis,
+hors le genre ennuyeux_."[355] "To confess to you the truth," says the
+"Author" in the Introductory Epistle to _Nigel_, "the works and passages
+in which I have succeeded, have uniformly been written with the greatest
+rapidity; and when I have seen some of these placed in opposition with
+others, and commended as more highly finished, I could appeal to pen and
+standish, that the parts in which I have come feebly off were by much
+the more laboured." He attempted to write _Rokeby_ with great care, but
+threw the first version into the fire because he concluded that he had
+"corrected the spirit out of it, as a lively pupil is sometimes flogged
+into a dunce by a severe schoolmaster."[356] He was better satisfied
+with the result when he resumed his pen in his "old Cossack
+manner."[357] Similarly he writes of John Home's tragedy, _Douglas_,
+that the finest scene was, "we learn with pleasure but without
+surprise," unchanged from the first draft;[358] and elsewhere he speaks
+of the greater chance for popularity of the "bold, decisive, but
+light-touched strain of poetry or narrative in literary composition,"
+over the "more highly-wrought performance."[359]
+
+A good exposition of Scott's real opinion in regard to his own style is
+to be found in his review of _Tales of My Landlord_. Some parts of the
+article were probably inserted by his friend William Erskine, but the
+section I quote bears unmistakable evidence that it was written by the
+author himself, for it expresses that combined reprobation and approval
+of his style which is amusingly characteristic of him. He says: "Our
+author has told us that it was his object to present a series of scenes
+and characters connected with Scotland in its past and present state,
+and we must own that his stories are so slightly constructed as to
+remind us of the showman's thread with which he draws up his pictures
+and presents them successively to the eye of the spectator.... Against
+this slovenly indifference we have already remonstrated, and we again
+enter our protest.... We are the more earnest in this matter, because it
+seems that the author errs chiefly from carelessness. There may be
+something of system in it, however, for we have remarked, that with an
+attention which amounts even to affectation, he has avoided the common
+language of narrative and thrown his story, as much as possible, into a
+dramatic shape. In many cases this has added greatly to the effect, by
+keeping both the actors and action continually before the reader and
+placing him, in some measure, in the situation of an audience at a
+theater, who are compelled to gather the meaning of the scene from what
+the dramatis personae say to each other, and not from any explanation
+addressed immediately to themselves. But though the author gain this
+advantage, and thereby compel the reader to think of the personages of
+the novel and not of the writer, yet the practice, especially pushed to
+the extent we have noticed, is a principal cause of the flimsiness and
+incoherent texture of which his greatest admirers are compelled to
+complain."[360]
+
+Lockhart points out that the fruit of Scott's study of Dryden may have
+been to fortify his opinion as to what the greatness of literature
+really consists in, and applies to Scott himself some of the phrases
+used in the characterization of the earlier poet. "'Rapidity of
+conception, a readiness of expressing every idea, without losing
+anything by the way'; 'perpetual animation and elasticity of thought';
+and language 'never laboured, never loitering, never (in Dryden's own
+phrase) cursedly confined,'" are set over against "pointed and nicely
+turned lines, sedulous study, and long and repeated correction and
+revision," and are pronounced the superior virtues.[361] The concluding
+paragraph of Scott's review of a poem on the Battle of Talavera
+exemplifies his use of this doctrine. "We have shunned, in the present
+instance," he says, "the unpleasant task of pointing out and dwelling
+upon individual inaccuracies. There are several hasty expressions, flat
+lines, and deficient rhymes, which prove to us little more than that the
+composition was a hurried one. These, in a poem of a different
+description, we should have thought it our duty to point out to the
+notice of the author. But after all it is the spirit of a poet that we
+consider as demanding our chief attention; and upon its ardour or
+rapidity must finally hinge our applause or condemnation."[362]
+
+Scott's opinions about meters reflect the same taste. He persuaded
+himself, when he was writing _The Lady of the Lake_, that the
+eight-syllable line is "more congenial to the English language--more
+favourable to narrative poetry at least--than that which has been
+commonly termed heroic verse,"[363] and he proceeded to show that the
+first half-dozen lines of Pope's _Iliad_ were each "bolstered out" with
+a superfluous adjective. "The case is different in descriptive poetry,"
+he added, "because there epithets, if they are happily selected, are
+rather to be sought after than avoided.... But if in narrative you are
+frequently compelled to tag your substantives with adjectives, it must
+frequently happen that you are forced upon those that are merely
+commonplaces." He mentions other beauties of his favorite verse,--the
+opportunities for variation by double rhyme and by occasionally dropping
+a syllable, and the correspondence between the length of line and our
+natural intervals between punctuation,--but gives as his final excuse
+for using it his "better knack at this 'false gallop' of verse." The
+argument is ingenious enough, but his analysis of heroic verse has only
+a limited application, and his last reason probably was, as he was
+candid enough to admit, the most weighty. George Ellis replied to his
+defence thus: "I don't think, after all the eloquence with which you
+plead for your favourite metre, that you really like it from any other
+motive than that _sainte paresse_--that delightful indolence--which
+induces one to delight in those things which we can do with the least
+fatigue."[364] This seems hardly a fair return for the poet's appeal to
+Ellis in one of the epistles of _Marmion_:[365]
+
+   "Come listen! bold in thy applause,
+    The bard shall scorn pedantic laws."
+
+Another introduction in the same poem is given up to a justification of
+the author's "unconfined" style, on the score of his love for the wild
+songs of his own country and the freedom of his early training.[366]
+
+Scott practically never rewrote his prose, and the result gave Hazlitt
+opportunity to say:[367] "We should think the writer could not possibly
+read the manuscript after he has once written it, or overlook the
+press."[368] His habit of carrying two trains of thought on together was
+also responsible for slips in diction and syntax. An amanuensis working
+for him noticed this peculiarity, and Scott said in his _Journal_:
+"There must be two currents of ideas going on in my mind at the same
+time.... I always laugh when I hear people say, Do one thing at once. I
+have done a dozen things at once all my life."[369]
+
+But the making of poetry required more attention. "Verse I write twice,
+and sometimes three times over,"[370] he said, and one is moved to
+wonder whether the distaste for writing poetry, that he professed about
+1822, arose largely from a growing aversion to what he probably
+considered extreme care in composition.[371] A series of three comments
+on his own poetry may be given to illustrate his widely varying moods in
+regard to it. They are all taken from letters written not far from the
+time when _Marmion_ was published. "As for poetry, it is very little
+labour to me; indeed 'twere pity of my life should I spend much time on
+the light and loose sort of poetry which alone I can pretend to
+write."[372] "I believe no man now alive writes more rapidly than I do
+(no great recommendation), but I never think of making verses till I
+have a sufficient stock of poetical ideas to supply them."[373] "If I
+ever write another poem, I am determined to make every single couplet of
+it as perfect as my uttermost care and attention can possibly
+effect."[374] In spite of this momentary resolution to take more pains
+with his next poem, he was unable to do so when the time came; or if, as
+in the case of _Rokeby_ he did make the attempt, the results seemed to
+him unsatisfactory. Yet verse required much more careful finishing than
+prose, even when it was written by Scott, and this fact has been too
+little emphasized in discussions of his transition from verse to prose
+romances.
+
+Scott's temperamental aversion to revising what he had once written was
+evidently sanctioned by his literary creed. Near the end of his life he
+recalled how he had submitted one of his earliest poems to the criticism
+of several acquaintances, with the consequence that after he had adopted
+their suggestions, hardly a line remained unaltered, and yet the changes
+failed to satisfy the critics.[375] He said: "This unexpected result,
+after about a fortnight's anxiety, led me to adopt a rule from which I
+have seldom departed during more than thirty years of literary life.
+When a friend whose judgment I respect has decided and upon good
+advisement told me that a manuscript was worth nothing, or at least
+possessed no redeeming qualities sufficient to atone for its defects, I
+have generally cast it aside; but I am little in the custom of paying
+attention to minute criticisms or of offering such to any friend who may
+do me the honour to consult me. I am convinced that, in general, in
+removing even errors of a trivial or venial kind, the character of
+originality is lost, which, upon the whole, may be that which is most
+valuable in the production." This position appears doubly significant
+when we remember that it was assumed by a man who had only the slightest
+possible amount of paternal jealousy in regard to his writings.[376]
+
+Scott did not always adhere to this resolution, for he did accept
+criticism and make alterations, more in compliance with the wishes of
+James Ballantyne, his friend and printer, than to meet the desires of
+anyone else. He considered that Ballantyne represented the ordinary
+popular taste, and he was ready to make some sacrifice of his own
+judgment in order to satisfy his public. He sent the conclusion of
+_Rokeby_ to Ballantyne with this note: "Dear James,--I send you this out
+of deference to opinions so strongly expressed, but still retaining my
+own, that it spoils one effect without producing another."
+
+When one of his books was adversely criticised by the public he received
+the judgment with open mind, and often analyzed it with much acuteness.
+The introduction to _The Monastery_ is a good example of frank, though
+not servile, submission to the decree of public opinion. That he was
+deeply impressed with his blunder in managing the White Lady of Avenel
+may be surmised from the fact that in several later discussions of the
+effect of supernatural apparitions in novels, he emphasized the
+necessity of keeping them sufficiently infrequent to preserve an
+atmosphere of mystery. Of _The Monastery_ he said: "I agree with the
+public in thinking the work not very interesting; but it was written
+with as much care as the others--that is, with no care at all."[377] But
+sometimes he felt inclined to rebel against a popular verdict, as when
+Norna, in _The Pirate_, was said to be a mere copy of Meg
+Merrilies.[378]
+
+In his later days he grew more and more unsure of himself, as he felt
+compelled to work at his topmost speed. His _Journal_ for 1829 has the
+following record in regard to a review he was writing: "I began to warm
+in my gear, and am about to awake the whole controversy of Goth and
+Celt. I wish I may not make some careless blunders."[379] The criticisms
+of "J.B." became more frequent and more irritating to him as he felt a
+growing inability to achieve precision in details.[380] When Lockhart
+pointed out some lapses in his style, he wrote in his _Journal_, "Well!
+I will try to remember all this, but after all I write grammar as I
+speak, to make my meaning known, and a solecism in point of composition,
+like a Scotch word in speaking, is indifferent to me."[381] Until he
+felt his powers failing, he was for the most part at once good-natured
+and independent in his manner of receiving criticism. Whether or not he
+agreed with the opinion expressed, he usually thought that what he had
+once written might best stand, though he might be influenced in later
+work by the advice that had been given.[382]
+
+"I am sensible that if there be anything good about my poetry or prose
+either," Scott wrote, in a passage that has often been quoted, "it is a
+hurried frankness of composition which pleases soldiers, sailors and
+young people of bold and active disposition."[383] I have tried to show
+that this quality was one which he not only enjoyed, in his own work and
+in that of other writers, but that as a critic he very seriously
+approved of it.
+
+Yet in spite of his belief that the greatest literature is not the
+result of slow and painful labor, it was probably the ease with which he
+wrote which led him to undervalue his own work. However we may account
+for it, he found difficulty in regarding himself as a great author.[384]
+When this modesty of his came into conflict with the other opinion that
+he had always been inclined to hold--that the popularity of books is a
+test of their merit--the result is amusing. He was impelled at times to
+utter contemptuous words about the foolishness of the public, and of
+course he could not help being moved also in the other direction--to
+believe there was more in his writings than he had realized. In one mood
+he said, "I thank God I can write ill enough for the present
+taste";[385] and "I have very little respect for that dear _publicum_
+whom I am doomed to amuse, like Goody Trash in _Bartholomew Fair_, with
+rattles and gingerbread; and I should deal very uncandidly with those
+who may read my confessions were I to say I knew a public worth caring
+for, or capable of distinguishing the nicer beauties of composition.
+They weigh good and evil qualities by the pound. Get a good name and you
+may write trash. Get a bad one and you may write like Homer, without
+pleasing a single reader."[386] Looking back from the end of his career
+to the time when _The Lady of the Lake_ was in the height of its
+success, he wrote: "It must not be supposed that I was either so
+ungrateful or so superabundantly candid as to despise or scorn the value
+of those whose voice had elevated me so much higher than my own opinion
+told me I deserved. I felt, on the contrary, the more grateful to the
+public as receiving that from partiality which I could not have claimed
+from merit; and I endeavoured to deserve the partiality by continuing
+such exertions as I was capable of for their amusement."[387] The
+perfect respectability of these remarks tempts the reader to set over
+against them this earlier observation by the same writer in the guise of
+Chrystal Croftangry, "One thing I have learned in life--never to speak
+sense when nonsense will answer the purpose as well."[388]
+
+Whatever Scott might think of the worth of public admiration, he frankly
+attempted to write what would be popular. He had none of the feeling
+which has characterized many very interesting men of letters, that the
+desire for self-expression is the one motive of the author; his personal
+literary impulse, on the contrary, was always guided by the thought of
+the audience whom he was addressing. "No one shall find me rowing
+against the stream," says the "Author" in the Introductory Epistle to
+_Nigel_. "I care not who knows it--I write for general amusement; and
+though I will never aim at popularity by what I think unworthy means, I
+will not, on the other hand, be pertinacious in the defence of my own
+errors against the voice of the public." Of his last "apoplectic books,"
+he wrote, "I am ashamed, for the first time in my life, of the two
+novels, but since the pensive public have taken them, there is no more
+to be said but to eat my pudding and to hold my tongue."[389] Early in
+his career he seems to have felt that he could make a good deal of money
+by writing, if he should wish.[390] Towards the end he said, "I know
+that no literary speculation ever succeeded with me but where my own
+works were concerned; and that, on the other hand, these have rarely
+failed."[391]
+
+The popularity of his own books was so great that they required a
+special category. He seemed to be incapable of ascribing their success
+to extraordinary excellence, and he settled down to the opinion that it
+was simply their novelty that the public cared for. The enthusiastic
+welcome given him by the Irish when he visited Dublin caused him to say
+in one of his letters, "Were it not from the chilling recollection that
+novelty is easily substituted for merit, I should think, like the booby
+in Steele's play,[392] that I had been kept back, and that there was
+something more about me than I had ever been led to suspect."[393]
+
+He assumed that he had studied popular taste enough to have some
+knowledge of its shiftings, so that he might "set every sail towards the
+breeze."[394] "I may be mistaken," he once wrote, "but I do think the
+tale of Elspat M'Tavish in my bettermost manner, but J.B. roars for
+chivalry. He does not quite understand that everything may be overdone
+in this world, or sufficiently estimate the necessity of novelty. The
+Highlanders have been off the field now for some time."[395] His comment
+on _Ivanhoe_ was still more emphatic. "Novelty is what this giddy-paced
+time demands imperiously, and I certainly studies as much as I could to
+get out of the old beaten track, leaving those who like to keep the
+road, which I have rutted pretty well."[396]
+
+Believing from the beginning of his career that novelty was the chief
+merit of his work, he was prepared to live up to his principles. So it
+was that when he was "beaten" by Byron in metrical romances, he dropped
+with hardly a regret, so far as we can judge, the kind of writing in
+which he had attained such remarkable popularity, and turned to another
+kind. "Since one line has failed, we must just stick to something else,"
+he remarked, calmly.[397] This was when the small sales of _The Lord of
+the Isles_ as compared with the earlier poems warned Scott and his
+publisher in a very tangible way that the field had been captured by
+Byron. At this time _Waverley_ was in the market and _Guy Mannering_ was
+in process of composition. Though it was to his poetry that he chose to
+give his name, Scott had little reason to feel forlorn, as the sale of
+the novels from the very beginning was a pretty effective consolation
+for any possible hurt to his vanity. He could have owned them as his at
+any moment, had he chosen to do so. He did not read criticisms of his
+books, but was satisfied, as one of his friends observed, "to accept the
+intense avidity with which his novels are read, the enormous and
+continued sale of his works, as a sufficient commendation of them."[398]
+In the case of Byron, as always when the public approved the works of
+one of his brother authors, he considered the popular judgment right.
+
+Scott did not altogether stop writing poetry, however, as is sometimes
+supposed. _The Field of Waterloo_ and _Harold the Dauntless_ were both
+written after this time; and the mottoes and lyrics in the novels
+compose a delightful body of verse. The fact seems to be that he lost
+zest for writing long poems, partly because of the favor with which
+Byron's poems were received, and his own consequent feeling of
+inferiority in poetic composition; partly because of his discovery of
+the greater ease with which he could write prose, and the greater scope
+it gave him. The more ambitious attempts among the poems which he wrote
+after 1814 are comparative failures. But the poetry in his nature
+prevented him from entirely giving over the composition of verse, and he
+found real delight in the occasional writing of short pieces that
+required no continued effort. They were usually made to be used in the
+novels, for after the publication of _Guy Mannering_ novel-writing
+became specifically Scott's occupation.[399]
+
+The price of his success in any direction was that he was unable to keep
+his field to himself. Having set a fashion, he was more than once
+annoyed by the crowd who wrote in his style and made him feel the
+necessity of striking out a new line.[400] It was comparatively easy for
+the vigorous man who wrote _Waverley_, but in the end, when through his
+losses he was more than ever obliged to hit the popular taste, to feel
+that he must find a new style seemed a hard fate. Yet he meant to be
+beforehand in the race. This is the record in his _Journal_: "Hard
+pressed as I am by these imitators, who must put the thing out of
+fashion at last, I consider, like a fox at his last shifts, whether
+there be a way to dodge them--some new device to throw them off, and
+have a mile or two of free ground while I have legs and wind left to use
+it. There is one way to give novelty: to depend for success on the
+interest of a well-contrived story. But woe's me! that requires thought,
+consideration--the writing out a regular plan or plot--above all, the
+adhering to one--which I never can do, for the ideas rise as I write,
+and bear such a disproportioned extent to that which each occupied at
+the first concoction, that (cocksnowns!) I shall never be able to take
+the trouble; and yet to make the world stare, and gain a new march ahead
+of them all! Well, something we still will do."[401]
+
+By an easy extension of his principle, he came to believe that novelty
+would always succeed for a time. The opinion is expressed often in his
+reviews, and in his journal and letters is applied to his own work. So
+it was that when any one of his books seemed partially to fail with the
+public, his immediate impulse was to look for something new to be
+done.[402] One of his schemes was a work on popular superstitions,
+projected when _Quentin Durward_ seemed to be falling flat; but the
+success of the novel made the immediate execution of the plan
+unnecessary.[403]
+
+It was largely his desire to secure variety that encouraged him to
+undertake historical writing. He had also a theory about how history
+should be written, and so he felt that the novelty would consist in
+something more than the fact that the Author of Waverley had taken a new
+line. He wished, as Thackeray did later when he proposed to write a
+history of the Age of Queen Anne, to use in an avowedly serious book the
+material with which he had stored his imagination; and he believed he
+could present it with a vivacity that was not characteristic of
+professional historians. The success of the first series of _Tales of a
+Grandfather_ served to confirm the opinion he had expressed about
+them,--"I care not who knows it, I think well of them. Nay, I will hash
+history with anybody, be he who he will."[404]
+
+Scott had a very just sense of the value of his great stores of
+information. He did say that he would give one half his knowledge if so
+he might put the other half upon a well-built foundation,[405] but as
+years went on he learned to use with ease the accumulations of knowledge
+which in his youth had proved often unwieldy; and more than once he
+congratulated himself that he beat his imitators by possessing
+historical and antiquarian lore which they could only acquire by
+"reading up."[406] Though he testified that in the beginning of his
+first novel he described his own education, he could hardly apply to
+himself what is there said of Waverley, that, "While he was thus
+permitted to read only for the gratification of his amusement, he
+foresaw not that he was losing forever the opportunity of acquiring
+habits of firm and assiduous application, of gaining the art of
+controlling, directing, and concentrating the powers of his mind for
+earnest investigation."[407] It was otherwise with Scott himself. The
+result of the wide and desultory reading of his youth, acting upon a
+remarkably strong memory, was to put him into the position, as he says,
+of "an ignorant gamester, who kept a good hand until he knew how to play
+it."[408] So it was that he said of those who followed his lead in
+writing historical novels, "They may do their fooling with better grace;
+but I, like Sir Andrew Aguecheek, do it more natural."[409] His
+knowledge of history and antiquities was that part of his intellectual
+equipment in which he seemed to take most pride. He had the highest
+opinion of the value of historical study for ripening men's judgment of
+current affairs,[410] and indeed there were few relations of life in
+which an acquaintance with history did not seem to him indispensable.
+
+But he felt that historical writing had not been adapted "to the demands
+of the increased circles among which literature does already find its
+way."[411] Accordingly he resolved to use in the service of history that
+"knack ... for selecting the striking and interesting points out of dull
+details," which he felt was his endowment.[412] The original
+introduction to the _Tales of the Crusaders_ has the following burlesque
+announcement of his intention, in the words of the Eidolon Chairman: "I
+intend to write the most wonderful book which the world ever read--a
+book in which every incident shall be incredible, yet strictly true--a
+work recalling recollections with which the ears of this generation once
+tingled, and which shall be read by our children with an admiration
+approaching to incredulity. Such shall be the _Life of Napoleon_, by the
+_Author of Waverley_." He wished to controvert "the vulgar opinion that
+the flattest and dullest mode of detailing events must uniformly be that
+which approaches nearest to the truth."[413] There is no doubt that his
+histories are readable, yet we feel that Southey was right in his
+comment on the _Life of Napoleon_,--"It was not possible that Sir Walter
+could keep up as a historian the character which he had obtained as a
+novelist; and in the first announcement of this 'Life' he had, not very
+wisely, promised something as stimulating as his novels. Alas! he forgot
+that there could be no stimulus of curiosity in it."[414] A recent
+critic has said, "Scott lost half his power of vitalizing the past when
+he sat down formally to record it--when he turned from his marvellous
+recreation of James I. to give a laboured but very ordinary portrait of
+Napoleon."[415] His partial failure in this instance may have been due
+to an unfortunate choice of subject. Only a few years before he wrote
+the book Scott had been thinking of Napoleon as a "tyrannical
+monster,"[416] a "singular emanation of the Evil Principle,"[417] "the
+arch-enemy of mankind,"[418]--phrases which, in spite of their
+vividness, hardly seem to promise a life-like portrayal of the man.[419]
+
+In one notable respect, Scott's conception of how history should be
+written was very modern: he would depict the life of the people, not
+simply the actions of kings and statesmen. His historical novels, said
+Carlyle, "taught all men this truth, which looks like a truism, and yet
+was as good as unknown to writers of history and others, till so taught:
+that the bygone ages of the world were actually filled by living men,
+not by protocols, state-papers, controversies, and abstractions of
+men."[420] One who has the academic notion that a novel, to be great,
+must be written with no ulterior purpose, is almost startled to observe
+how definitely Scott considered it the function of his novels to portray
+ancient manners. Speaking of old romances as a source which we may use
+for studying about our ancestors, he said: "From the romance, we learn
+what they were; from the history, what they did: and were we to be
+deprived of one of these two kinds of information, it might well be made
+a question, which is most useful or interesting."[421] He wished to make
+his own romances serve much the same purpose as those written in the
+midst of the customs which they unconsciously reflected. Of _Waverley_
+he said, "It may really boast to be a tolerably faithful portrait of
+Scottish manners."[422] He interrupts the story of _The Pirate_ to
+describe the charm of the leaden heart, and offers this excuse: "As this
+simple and original remedy is peculiar to the isles of Thule, it were
+unpardonable not to preserve it at length, in a narrative connected with
+Scottish antiquities."[423] His comment on _Ivanhoe_ was as follows: "I
+am convinced that however I myself may fail in the ensuing attempt, yet,
+with more labour in collecting, or more skill in using, the materials
+within his reach, illustrated as they have been by the labours of Dr.
+Henry, of the late Mr. Strutt, and above all, of Mr. Sharon Turner, an
+abler hand would have been successful."[424]
+
+Scott's early reading was only the basis for the research that he
+undertook afterwards.[425] Much of this later study was accomplished
+when he was engaged upon such books as _Somers' Tracts_, _Dryden's_ and
+_Swift's Works_, and the other historical publications that make the
+bibliography of Scott so surprising to the ordinary reader; but some of
+his investigations were undertaken specifically for the novels. The
+_Literary Correspondence_ of his publisher, Archibald Constable,
+contains many evidences of Scott's efforts, assisted often by Constable,
+to get antiquarian and topographical details correct in the novels. In
+1821 Constable suggested that Sir Walter write a story of the time of
+James I. of England, and was told, "If you can suggest anything about
+the period I will be happy to hear from you; you are always happy in
+your hints."[426] Some years earlier the author and the publisher had a
+correspondence concerning a series of letters on the history of Scotland
+which the former was planning to write, and which he wished to publish
+anonymously for the following reason: "I have not the least doubt that I
+will make a popular book, for I trust it will be both interesting and
+useful; but I never intended to engage in any proper historical labour,
+for which I have neither time, talent, nor inclination.... In truth it
+would take ten years of any man's life to write such a History of
+Scotland as he should put his name to."[427] He called his _Napoleon_
+"the most severe and laborious undertaking which choice or accident ever
+placed on my shoulders."[428]
+
+More than once Scott expresses the opinion that though novels may be
+useful to arouse curiosity about history, and to impart some knowledge
+to people who will not do any serious thinking, they may, on the other
+hand, work harm by satisfying with their superficial information those
+who would otherwise read history.[429] It seems as if he designed the
+_Life of Napoleon_ and the _History of Scotland_ for a new reading class
+that the novels had been creating, and as if he wished to make the step
+of transition not too long. We can almost fancy them as a series of
+graded books arranged to lead the people of Great Britain up to a
+sufficient height of historical information. The _Tales of a
+Grandfather_ were intended for the beginners who had never been infected
+by the common heresy concerning the dulness of history, and who were
+blessed with sufficiently active imagination to make the sugar-coating
+of fiction superfluous.[430]
+
+But great as was the interest that Scott took in the historical aspect
+of his work, his artistic sense guided his use of materials, and he was
+well aware of the danger of over-working the mine. The principles on
+which he chose periods and events to represent are illustrated in many
+of the introductions. Of _The Fortunes of Nigel_ he said: "The reign of
+James I., in which George Heriot flourished, gave unbounded scope to
+invention in the fable, while at the same time it afforded greater
+variety and discrimination of character than could, with historical
+consistency, have been introduced if the scene had been laid a century
+earlier."[431]
+
+His first published attempt at fiction-writing was a conclusion to the
+novel, _Queenhoo-Hall_,[432] of which his opinion was that it would
+never be popular because antiquarian knowledge was displayed in it too
+liberally. "The author," he says, "forgot ... that extensive neutral
+ground, the large proportion, that is, of manners and sentiments which
+are common to us and to our ancestors, having been handed down unaltered
+from them to us, or which, arising out of the principles of our common
+nature, must have existed in either state of society."[433] Scott's
+practice in regard to the language of his historical novels was based on
+much the same theory. He intended to admit "no word or turn of
+phraseology betraying an origin directly modern,"[434] but to avoid
+obsolete words for the most part; and he never attempted to follow with
+fidelity the style of the exact age of which he was writing. The
+translation of Froissart by Lord Berners seemed to him a sufficiently
+good model to serve for the whole mediaeval period.[435] In his review
+of _Tales of My Landlord_ he says of the proem to his book: "It is
+written in the quaint style of that prefixed by Gay to his _Pastorals_,
+being, as Johnson terms it, 'such imitation as he could obtain of
+obsolete language, and by consequence, in a style that was never written
+or spoken in any age or place.'"
+
+His _Journal_ contains observations on several historical novels which
+were of little consequence, as, for example, on one by a Mr. Bell,--"He
+goes not the way to write it; he is too general, and not sufficiently
+minute";[436] and on _The Spae-Wife_, by Galt,--"He has made his story
+difficult to understand, by adopting a region of history little
+known."[437] On the other hand he remarked, when someone had suggested a
+number of historical subjects to him,--"People will not consider that a
+thing may already be so well told in history, that romance ought not in
+prudence to meddle with it";[438] and at another time he spoke of "the
+usual habit of antiquarians," to "neglect what is useful for things that
+are merely curious."[439]
+
+Aside from the familiar knowledge of ancient manners which he thought
+enabled him to give his tales the necessary touch of novelty, and from
+the "hurried frankness," or spontaneity of style which endowed them with
+vitality, Scott believed that his talents included a special knack at
+description. He felt, however, that a sense of the picturesque in action
+was a different thing from a similar perception in regard to scenery,
+and that though the first was natural to him, he was obliged to use
+effort to develop the second.[440] Some study of drawing in his youth
+helped him to comprehend the demands of perspective, and he endeavored
+to carry out the principle of describing a scene in the way in which it
+would naturally strike the spectator, neither overloading with confused
+detail nor over-emphasizing what should be subordinate.[441] That his
+plan was consciously adopted may be seen from his discussion of Byron's
+skill in description and from his comments on the descriptive passages
+of the mediaeval romances.[442]
+
+At the same time he understood the advantages of the realistic method.
+On one occasion he stated as his creed, "that in nature herself no two
+scenes were exactly alike, and that whoever copied truly what was before
+his eyes would possess the same variety in his descriptions, and exhibit
+apparently an imagination as boundless as the range of nature in the
+scenes he recorded; whereas, whoever trusted to imagination would soon
+find his own mind circumscribed and contracted to a few favourite
+images, and the repetition of these would sooner or later produce that
+very monotony and barrenness which had always haunted descriptive poetry
+in the hands of any but the patient worshippers of truth."[443]
+Wordsworth disapproved of Scott's method in description. He is quoted as
+having said: "Nature does not permit an inventory to be made of her
+charms! He should have left his pencil and note-book at home [and] fixed
+his eye as he walked with a reverent attention on all that surrounded
+him."[444] Somewhat like a rejoinder sounds another remark of Scott's,
+in phrases that Wordsworth would have detested. Scott said cheerfully,
+"As to the actual study of nature, if you mean the landscape gardening
+of poetry ... I can get on quite as well from recollection, while
+sitting in the Parliament house, as if wandering through wood and
+wold."[445] At another time he said, "If a man will paint from nature,
+he will be likely to amuse those who are daily looking at it."[446]
+
+Though Scott prided himself somewhat on his descriptive powers he
+realized that he could not do his best work on minute canvases. We have
+already seen how he contrasted himself with Jane Austen. "The exquisite
+touch," he said, "which renders ordinary commonplace things and
+characters interesting from the truth of the description and the
+sentiment, is denied to me."[447]
+
+Of Scott's opinion in regard to the ethical effect of novels, I have
+already spoken.[448] The fact that he refused to use the conventional
+plea of a desire to improve public morals, and that he understood how
+little a reader is really influenced by the exalted sentiments of heroes
+of fiction, gave Carlyle a fit of righteous indignation;[449] but it is
+futile to say that Scott "had no message to deliver to the world." He
+might have retorted, in the words which he once used about
+Homer,--"Doubtless an admirable moral may be often extracted from his
+poem; because it contains an accurate picture of human nature, which can
+never be truly presented without conveying a lesson of instruction. But
+it may shrewdly be suspected that the moral was as little intended by
+the author as it would have been the object of an historian, whose work
+is equally pregnant with morality, though a detail of facts be only
+intended."[450] It was a comfort to Scott at the end of his life to
+reflect that the tendency of all he had written was morally good,[451]
+and we can well believe that he was pleased by the enthusiastic tribute
+of his young critic, J.L. Adolphus, who said of his books: "There is not
+an unhandsome action or degrading sentiment recorded of any person who
+is recommended to the full esteem of the reader."[452]
+
+That Scott considered poetical power very important for a writer of
+novels, he made evident in his _Lives of the Novelists_. Mr. Herford has
+said, but surely without good reason, that Scott wholly lacked the sense
+of mystery, and that in this respect Mrs. Radcliffe was more modern than
+he.[453] Yet it was Scott who censured Mrs. Radcliffe for explaining her
+mysteries. He had a vein of superstition in his nature, too, about which
+he might have said, using the words given to a character in one of his
+stories,--"It soothes my imagination, without influencing my reason or
+conduct."[454] A liking for the wonderful and terrible, which he felt
+from his earliest childhood, was one manifestation of a poetical
+temperament which is so apparent that there is no need of reciting the
+evidence. The poetical qualities in the Waverley novels gave Adolphus
+one of his favorite arguments in the attempt to prove that Scott was the
+author.
+
+Yet Scott seemed to feel that his position as a writer of popular
+fiction, however much the novel is capable of being the vehicle of
+imagination and poetical power, was not a really high one. James
+Ballantyne persuaded him to omit from one of his introductions a passage
+that seemed to belittle the occupation of his life,[455] but in the
+introduction to _The Abbot_ he wrote: "Though it were worse than
+affectation to deny that my vanity was satisfied at my success in the
+department in which chance had in some measure enlisted me, I was
+nevertheless far from thinking that the novelist or romance-writer
+stands high in the ranks of literature." The ideal which he set for
+himself is indicated in the following passage of his article on _Tales
+of My Landlord_: "If ... the features of an age gone by can be recalled
+in a spirit of delineation at once faithful and striking ... the
+composition is in every point of view dignified and improved; and the
+author, leaving the light and frivolous associates with whom a careless
+observer would be disposed to ally him, takes his seat on the bench of
+the historians of his time and country." He once expressed the opinion
+that the historical romance approaches, in some measure, when it is
+nobly executed, to the epic in poetry.[456] When a medal of Scott,
+engraved from the bust by Chantrey, was struck off, he suggested the
+motto which was used:
+
+    "Bardorum citharas patrio qui reddidit Istro,"
+
+and said, "because I am far more vain of having been able to fix some
+share of public attention upon the ancient poetry and manners of my
+country, than of any original efforts which I have been able to make in
+literature."[457] The following commendation, which he wrote for a book
+of portraits accompanied by essays, might be made to apply to his
+novels: "It is impossible for me to conceive a work which ought to be
+more interesting to the present age than that which exhibits before our
+eyes our 'fathers as they lived'"[458] He felt strongly the value and
+importance of past manners, faiths and ideals for the present, and from
+this point of view took satisfaction in the social and ethical teaching
+of his novels.
+
+On the whole, Scott's opinions about his own work fitted well with his
+general literary principles, except that his modesty inclined him to
+discount his own performance while he overestimated that of others. With
+this qualification we may remember that he always spoke sensibly about
+his work, without affectation, and with abundant geniality. We are
+reminded of the comment on Molière quoted by Scott from a French
+writer,--"He had the good fortune to escape the most dangerous fault of
+an author writing upon his own compositions, and to exhibit wit, where
+some people would only have shown vanity and self-conceit."[459]
+
+
+
+
+CHAPTER VI
+
+SCOTT'S POSITION AS CRITIC
+
+    Comparison of Scott with Jeffrey and with the Romantic critics--His
+    criticism largely appreciative--Romantic in special cases and
+    Augustan in attitude--Comparison with Coleridge--Scott's respect for
+    the verdict of the public--His opinion that elucidation is the
+    function of criticism--Use of historical illustration--Hesitation
+    about analysing poetry--Political criticism--Verdict of his
+    contemporaries on his criticism--Influence as a critic--Literary
+    prophecies--Character of his critical work as a whole--His attitude
+    towards it--Lack of system--Broad fields he covered--His greatness a
+    reason for the importance of his criticism.
+
+
+Important as Scott's poetry was in the English Romantic revival, as a
+critic he can hardly be counted among the Romanticists. His attitude,
+nevertheless, differed radically from that of the school represented by
+Jeffrey and Gifford. We have already seen that he disliked their manner
+of reviewing, and that he was conscious of complete disagreement with
+Jeffrey in regard to poetic ideals. Of Jeffrey Mr. Gates has said: "[He]
+rarely _appreciates_ a piece of literature.... He is always for or
+against his author; he is always making points."[460] That Scott was
+influenced in his early critical work by the tone of the _Edinburgh
+Review_ is undeniable, but temperamentally he was inclined to give any
+writer a fair chance to stir his emotions; and he did not adopt the
+magisterial mood that dictated the famous remark, "This will never do."
+Scott's style lacked the adroitness and pungency which helped Jeffrey
+successfully to take the attitude of the censor, and which made his
+satire triumphant among his contemporaries. Scott declined, moreover, to
+cultivate skill in a method which he considered unfair. Compared with
+Jeffrey's his criticism wanted incisiveness, but it wears better.
+
+The period was transitional, and Jeffrey did not go so far as Scott in
+breaking away from the dictation of his predecessors. But his attitude
+was on the whole more modern than the reader would infer from the
+following sentence in one of his earliest reviews: "Poetry has this much
+at least in common with religion, that its standards were fixed long ago
+by certain inspired writers, whose authority it is no longer lawful to
+call in question."[461] He considered himself rather an interpreter of
+public opinion than a judge defining ancient legislation, but he used
+the opinion of himself and like-minded men as an unimpeachable test of
+what the greater public ought to believe in regard to literature. We may
+remember that the enthusiasm over the Elizabethan dramatists which seems
+a special property of Lamb and Hazlitt, and which Scott shared, was
+characteristic also of Jeffrey himself. It was Jeffrey's dogmatism and
+his repugnance to certain fundamental ideas which were to become
+dominant in the poetry of the nineteenth century that lead us to
+consider him one of the last representatives of the eighteenth century
+critical tradition. Scott praised the Augustan writers as warmly as
+Jeffrey did, but he was more hospitable to the newer literary impulse.
+"Perhaps the most damaging accusation that can be made against Jeffrey
+as a critic," says Mr. Gates, "is inability to read and interpret the
+age in which he lived."[462]
+
+Scott's criticism was largely appreciative, but appreciative on a
+somewhat different plane from that of the contemporary critics whom we
+are accustomed to place in a more modern school: Hazlitt, Hunt, Lamb,
+and Coleridge. His judgments were less delicate and subtle than the
+judgments of these men were apt to be, and more "reasonable" in the
+eighteenth-century sense; they were marked, however, by a regard for the
+imagination that would have seemed most unreasonable to many men of the
+eighteenth century.
+
+Scott had not a fixed theory of literature which could dominate his mind
+when he approached any work. He was open-minded, and in spite of his
+extreme fondness for the poetry of Dr. Johnson he was apt to be on the
+Romantic side in any specific critical utterance. We have seen also that
+he resembled the Romanticists in his power to disengage his verdicts on
+literature from ethical considerations. On the other hand he seems
+always to have deferred to the standard authorities of the classical
+criticism of his time when his own knowledge was not sufficient to guide
+him. In discussing Roscommon's Essay on Translated Verse he wrote: "It
+must be remembered that the rules of criticism, now so well known as to
+be even trite and hackneyed, were then almost new to the literary
+world."[463]
+
+Perhaps the main reason why one would not class Scott's critical work
+with that of the Romanticists is that he had no desire to proclaim a new
+era in creative literature or in criticism. Like the Romanticists he was
+ready to substitute "for the absolute method of judging by reference to
+an external standard of 'taste,' a method at once imaginative and
+historical";[464] yet he talked less about imagination than about good
+sense. The comparison with Boileau suggests itself, for Scott admired
+that critic in the conventional fashion, calling him "a supereminent
+authority,"[465] and Boileau also had said much about "reason and good
+sense." But Scott had an appreciation of the _furor poeticus_ that made
+"good sense" quite a different thing to him from what it was to Boileau.
+He did not say, moreover, that the poet should be supremely
+characterized by good sense, but that the critic, recognizing the facts
+about human emotion, should make use of that quality.
+
+The subjective process by which experience is transmuted into literature
+engaged Scott's attention very little: in this respect also he stands
+apart from the newer school of critics. The metaphysical description of
+imagination or fancy interested him less than the piece of literature in
+which these qualities were exhibited. His own mental activities were
+more easily set in motion than analysed, and the introspective or
+philosophical attitude of mind was unnatural to him. Because of his
+adoption of the historical method of studying literature, and the
+similarity of many of his judgments to those which were in general
+characteristic of the Romantic school, we may say that Scott's criticism
+looks forward; but it shows the influence of the earlier period in its
+acceptance of traditional judgments based on external standards which
+disregarded the nature of the creative process.
+
+From Coleridge Scott is separated in the most definite way. Coleridge
+began at the foundation, building up a set of principles such as the new
+impulse in literature seemed to demand. Scott preferred the concrete,
+and was stimulated by the particular book to express opinions that would
+never have come to his mind as the result of pursuing a train of
+unembodied ideas. Coleridge's judgments, moreover, would be unaffected
+by public estimation, for he sought to found them on the spiritual and
+philosophic consciousness that exists apart from the crowd.[466] Scott,
+on the other hand, was ready to use popular judgment as an important
+test of his opinions. Coleridge himself pointed out another interesting
+contrast. He wrote: "Dear Sir Walter Scott and myself were exact, but
+harmonious opposites in this;--that every old ruin, hill, river, or
+tree, called up in his mind a host of historical or biographical
+associations, ... whereas, for myself, notwithstanding Dr. Johnson, I
+believe I should walk over the plain of Marathon without taking more
+interest in it than in any other plain of similar features."[467] We
+might perhaps say that Coleridge's affection was given to ideas,
+Scott's, to objects; hence Coleridge was a critic of literary principles
+and theories, Scott a critic of individual books and writers. It follows
+that Scott was on the whole an impressionistic critic. A study of his
+personality is essential to a consideration of his critical work, for he
+was not so much a systematic student of literature, guided by fixed
+principles, as a man of a certain temperament who read particular things
+and made particular remarks about them as he felt inclined. The
+inconsistencies and contradictions which would naturally result from
+such a procedure are occasionally noticeable, but they are fewer than
+would occur in the work of a less well-balanced man than himself.
+
+His ideas about criticism were influenced by his feeling that the
+judgment of the public would after all take its own course, and that it
+was in the long run the best criterion. He used his opinion that an
+author, even in his own lifetime, commonly receives fair treatment from
+the public, as an argument against establishing in England any literary
+body having the power of pensioning literary men.[468] On this subject
+he said, "There is ... really no occasion for encouraging by a society
+the competition of authors. The land is before them, and if they really
+have merit they seldom fail to conquer their share of public applause
+and private profit.... I cannot, in my knowledge of letters, recollect
+more than two men whose merit is undeniable while, I am afraid, their
+circumstances are narrow. I mean Coleridge and Maturin."
+
+Scott's whole attitude toward criticism shows that he felt its supreme
+function to be elucidation. It should also, he believed, warn the world
+against books that were foolish, or pernicious, intellectually or
+morally; but unless there were good reason for issuing such warnings the
+bad books should be ignored and the good treated sympathetically, not
+without such discrimination as should distinguish between the better and
+the worse in them, but with emphasis on the better. His literary creed,
+though not formulated into a system, was conscious and fairly definite;
+but it consisted of general principles which never resolved themselves
+into intricate subtleties requiring great space for their development.
+Scott could not think in that way, and he felt convinced that such
+thinking was useless and worse than useless. A magazine-writer of his
+own period who said of him,--"The author of _Waverley_, we apprehend,
+has neither the patience nor the disposition requisite for writing
+philosophically upon any subject,"[469] was mistaken, for much of
+Scott's criticism, without making any pretensions, is really
+philosophical. But any fine-drawn analysis seemed to him to serve the
+vanity of the critic rather than the need of the public; and he despised
+that arrogance in the critic which leads him to assume to direct
+literary taste.
+
+Historical illustration was that kind of editorial work which he found
+most congenial, and which harmonized best with his critical principles;
+for when he could bring definite facts to the service of elucidation he
+felt that he was doing something worth while. Among all the
+introductions and annotations that we have from his hand, including
+those of the _Dryden_ and the _Swift_, this kind of explanation greatly
+predominates over the more strictly literary comment; in his reviews,
+also, it is evident that he seized every opportunity for turning from
+literary to historical discussion. He was in the habit of "embroidering
+the subject, whatever it might be, with lively anecdotic
+illustration,"[470] as one of his biographers says. We are not to
+conclude that in writing on specifically literary subjects he felt ill
+at ease. He felt, on the contrary, that the objection lay in the too
+great ease with which the critic might become dictatorial. He was fond
+enough of details when they were concrete and vital. The facts of
+literary history were in this category to him, as distinguished from the
+notions of literary theory; and we find that his critical principles are
+apt to appear incidentally among remarks on what seemed to him the more
+tangible and important facts of literary and social history. The books
+he chose to review were chiefly those which gave him a chance to use his
+historical information and imagination. His ideas were concrete, as
+those of a great novelist must inevitably be. Indeed the dividing line
+between creative work and criticism seems often to be obliterated in
+Scott's literary discussions, since he was inclined to amplify and
+illustrate instead of dissecting the book under consideration. As a
+critic he was distinguished by the qualities which appear in his novels,
+and which may be described in Hazlitt's words, as "the most amazing
+retentiveness of memory, and vividness of conception of what would
+happen, be seen, and felt by everybody in given circumstances."[471]
+
+Scott felt that there was especial danger of futile theorizing in the
+criticism of poetry. In writing about _Alexander's Feast_ he discussed
+for a moment the possibility of detecting points at which the author had
+paused in his work, but almost immediately he stopped himself with the
+characteristic remark--"There may be something fanciful ... in this
+reasoning, which I therefore abandon to the reader's mercy; only begging
+him to observe, that we have no mode of estimating the exertions of a
+quality so capricious as a poetic imagination."[472] Early in his career
+he gave this rather over-amiable explanation of the fact that he had
+never undertaken to review poetry: "I am sensible there is a greater
+difference of tastes in that department than in any other, and that
+there is much excellent poetry which I am not nowadays able to read
+without falling asleep, and which would nevertheless have given me great
+pleasure at an earlier period of my life. Now I think there is something
+hard in blaming the poor cook for the fault of our own palate or
+deficiency of appetite."[473] We have seen that he did review poetry
+afterwards, but that he was inclined to do it with the least possible
+emphasis on the specifically aesthetic elements. On the subject of
+novel-writing he developed a somewhat fuller critical theory, but here
+also his discussions concerned themselves rather with the kind of ideas
+set forth than with the manner of presentation.
+
+It does indeed seem as if Scott's feelings were more easily aroused to
+the point of formulating "laws" in the field of political criticism than
+in that which appears to us his more legitimate sphere. He has his
+fling, to be sure, at Madame de Staël, because she "lived and died in
+the belief that revolutions were to be effected, and countries governed,
+by a proper succession of clever pamphlets."[474] But in proposing the
+establishment of the _Quarterly Review_ he made no secret of the fact
+that his motives were political. The literary aspect of the periodical
+was thought of as a subordinate, though a necessary and not unimportant
+phase of the undertaking. The _Letters of Malachi Malagrowther_ contain
+some very definite maxims on the subject of political economy, and just
+as decided are the remarks made in the last of _Paul's Letters_, as well
+as in the _Life of Napoleon_ and elsewhere, as to how Louis XVIII. ought
+to set about the task of calming his distracted kingdom of France. But
+however emphatic Scott may be in the comments on government which appear
+throughout his writings, he was as strongly averse in this matter as in
+literary affairs to any separation of philosophy from fact: his maxims
+are always derived from experience. The following statement of opinion
+is typical: "In legislating for an ancient people, the question is not,
+what is the best possible system of law, but what is the best they can
+bear. Their habitudes and prejudices must always be respected; and,
+whenever it is practicable, those prejudices, instead of being
+destroyed, ought to be taken as the basis of the new regulations."[475]
+
+It was Scott's political creed that roused the ire of such men as
+Hazlitt and Hunt, though they may also have been exasperated at the
+unprecedented success of poetry which seemed so facile and so
+superficial to them as Scott's. Leigh Hunt calls him "a poet of a purely
+conventional order," "a bitter and not very large-minded politician," "a
+critic more agreeable than subtle."[476] But Scott's politics may be
+looked at in another way. "In his patriotism," says Mr. Courthope, "his
+passionate love of the past, and his reverence for established
+authority, literary or political, Scott is the best representative among
+English men of letters of Conservatism in its most generous form."[477]
+
+Though it seems to have been a common opinion among the literary men of
+his own time that Scott's criticism was superficial, his knowledge of
+mediaeval literature was, as we have seen, recognized and respected.
+Favorable comments by his contemporaries on other parts of his critical
+work are not difficult to find. For example, Gifford wrote to Murray in
+regard to the article on _Lady Suffolk's Correspondence_: "Scott's paper
+is a clever, sensible thing--the work of a man who knows what he is
+about."[478] Isaac D'Israeli made the following observation on another
+of Scott's papers: "The article on Pepys, after so many have been
+written, is the only one which, in the most charming manner possible,
+shows the real value of these works, which I can assure you many good
+scholars have no idea of."[479] A more recent verdict may be set beside
+those just quoted, and it is in perfect agreement with them. "His
+critical faculty," says Professor Saintsbury, "if not extraordinarily
+subtle, was always as sound and shrewd as it was good-natured."[480]
+
+Scott's influence as a critic was not very great, but his creative work
+exerted a strong influence on criticism as well as on the whole
+intellectual life of his age. His own novels demanded of the critic that
+kind of appreciation of the large qualities and negligence of the small
+which he had insisted on considering the function of criticism; and they
+became a fact in literature which determined to some degree the attitude
+taken toward ephemeral ideas. Newman notes the popularity of Scott's
+novels as one of the influences which prepared the ground for the
+Tractarian movement, for Scott enriched the visions of men by his
+pictures of the past, gave them noble ideas, and created a desire for a
+greater richness of spiritual life.[481] Much of his criticism also was
+inspired by the wish to construct an adequate picture of the past; so
+far it worked in the same direction with the novels. Its most important
+offices aside from this were perhaps to present large and kindly views
+of literature and literary characters, especially through biographical
+essays; and to ameliorate somewhat the prevailing asperity of periodical
+criticism.
+
+A man of Scott's temperament was little likely to set himself up for a
+prophet, and probably no literary prophecies of his were in the least
+influential. Though he sometimes boasted that he understood the varying
+currents of popular taste, his experience in the publishing business
+taught him the fallibility of his impressions when the work of writers
+other than himself was concerned. He once wrote,--"The friends who know
+me best, and to whose judgment I am myself in the constant habit of
+trusting, reckon me a very capricious and uncertain judge of poetry; and
+I have had repeated occasion to observe that I have often failed in
+anticipating the reception of poetry from the public."[482] But it is
+beyond the strength of flesh and blood to resist saying things about the
+future sometimes, and Scott occasionally yielded to the temptation,
+helped, no doubt, by his amiability. Southey's _Madoc_, however, has not
+yet assumed that place at the feet of Milton which, as we have seen, he
+ventured to predict for it. Yet, if we may trust the memory of one of
+his friends, Scott foresaw the literary success of two of his greatest
+contemporaries. R.P. Gillies said in his _Recollections_: "I remember
+well how correct Scott's impressions were of such beginners in the
+literary world as had not then acquired any fixed character. Of Lord
+Byron he had from the first a favourable impression.... Of Wordsworth he
+always spoke favourably, insisting that he was a true poet, but
+predicting that it would be long ere his works obtained the praise which
+they merited from the public."[483] Scott explicitly prided himself on
+two of his prophecies: that Washington Irving would make a name for
+himself, and that Sir Arthur Wellesley would become known as an
+extraordinary man.
+
+Though Scott's critical work is comparatively little known, and though
+it presents no solidly organized front by which the public may be
+impressed, the opinions of so notable a writer have always had a certain
+weight. Mr. Churton Collins thinks Scott's judgment on Dunbar has led
+modern editors to indulge in very exaggerated statements concerning the
+merit of that poet.[484] A heavier charge has been laid at Scott's door
+on the score of his edition of the _Memoirs of Captain Carleton_. He
+concluded on very insufficient evidence, says Colonel Parnell, that
+these memoirs were genuinely historical, published them as such, and by
+the weight of his opinion falsified "the whole stream of
+nineteenth-century history bearing on the reign of Queen Anne."[485]
+Stanhope, Macaulay, and other historians were ready to accept Scott's
+judgment without further investigation, it seems; and if the accusation
+be true we may conclude that his influence as a critic has reached
+farther than might at first sight appear. Yet we may be content to
+follow his lead in general, except in those bits of enthusiasm over his
+friends which bear witness to a generously optimistic nature rather than
+to a rigid critical attitude such as we should hardly demand in any case
+from a man of letters commenting on his contemporaries and friends.
+George Ticknor was greatly impressed by the "right-mindedness" of the
+young Sophia Scott,[486] and we may fairly adopt the word to describe
+the father whom she so much resembled. There was in him, as Carlyle
+said, "such a sunny current of true humour and humanity, a free joyful
+sympathy with so many things; what of fire he had all lying so
+beautifully latent, as radical latent heat, as fruitful internal warmth
+of life;--a most robust, healthy man!"[487]
+
+Writers upon Scott have made much, perhaps too much, of his feeling that
+his position as a landed gentleman was more enviable than his prominence
+as a writer. The point would be of greater consequence if it performed
+so important a function in explaining his work as has commonly been
+assigned to it. We are told that he wrote much and hastily because he
+wanted money to establish and support an estate; but the truth is that
+if he wrote at all he had to write in this way. He justly believed that
+he could do his best work so. Yet it was a natural result of his
+facility that he should look upon the literature he produced as of
+comparatively little moment. Some of his remarks about his critical
+work, however, show that he really regarded creative writing as the
+business of his life, and that in contrast with it he considered his
+criticism a relief from more arduous labor. After the publication of
+_Marmion_ he wrote: "I have done with poetry for some time--it is a
+scourging crop, and ought not to be hastily repeated. Editing,
+therefore, may be considered as a green crop of turnips or peas,
+extremely useful for those whose circumstances do not admit of giving
+their farm a summer fallow."[488] After years of novel-writing he said
+of writing a review, "No one that has not laboured as I have done on
+imaginary topics can judge of the comfort afforded by walking on
+all-fours, and being grave and dull."[489]
+
+From what Scott said about Dryden as a critic we may conclude that the
+unsystematic character of his own scholarly work may have been a matter
+of principle as well as inclination. "Dryden," he wrote, "forebore, from
+prudence, indolence, or a regard for the freedom of Parnassus, to erect
+himself into a legislator."[490] The words remind us of comments made
+upon Scott's own work, as for example by Professor Masson, who spoke of
+"the shrewdness and sagacity of some of his critical prefaces to his
+novels, where he discusses principles of literature without seeming to
+call them such."[491] Scott was quick to notice "cant and slang"[492] in
+the professional language of men in all arts; and he valued most highly
+the remarks of those whose intelligence had not been overlaid by a
+conventional pedantry.
+
+Knowing that criticism was not the main business of his life, we are
+inclined to be surprised at the broad fields which he seemed to have no
+hesitation in entering upon. His remarkable memory doubtless had
+something to do with this, but he lived in a period when generalization
+was more possible and more permissible than it is in this era of special
+monographs. The large tendencies and characteristics that he traced in
+his essay on Romance, for instance, are undoubtedly to be qualified at
+numberless points, but writing when he did, Scott was comparatively
+untroubled by these limitations. Moreover, he had the gift of seeing
+things broadly, so that in essentials his survey remains true. But the
+amount of his work is almost as astonishing as its scope and variety. He
+could accomplish so much only by disregarding details of form; and that
+he did so we know from our study of his principles of composition,
+confirmed by the evidence of the passages from him that have here been
+quoted. It is clear, also, that he was not limited by that "horror of
+the obvious," which, as Mr. Saintsbury says, "bad taste at all times has
+taken for a virtue."[493] Beyond this we have to fall back for
+explanation on the unusual qualities of his mind. An observing friend
+said of him that, "With a degree of patience and quietude which are
+seldom combined with much energy, he could get through an incredible
+extent of literary labour."[494]
+
+Every quality which made Scott a great man contributes to the interest
+and importance of his criticism. Such a body of criticism, formulated by
+a large creative genius, would be of special consequence if it served
+merely as the basis for a study of his other work, a commentary on the
+principles which underlay his whole literary achievement. But it would
+be strange if a man of Scott's intellectual personality could write
+criticism which was not important in itself, and we can only account for
+the general neglect of this part of his work by considering how large a
+place his poems and novels give him in the history of our literature. If
+he deserves a still larger place, we may remember with satisfaction that
+as a man he was great enough to support honorably any distinction won by
+his mind.
+
+
+
+
+APPENDIX I.
+
+BIBLIOGRAPHY
+
+
+The bibliography of Scott's writings is given in three parts, as
+follows:
+
+1. Books which Scott wrote or edited, or to which he was an important
+   contributor. The list is chronological.
+
+2. Contributions to periodicals.
+
+3. Books which contain letters written by Scott. These titles are
+   arranged approximately in the order of their importance from the
+   point of view of a study of Scott.
+
+
+1. _Books which Scott wrote or edited, or to which he was an important
+contributor_.
+
+(In the following list the first editions of the poems and novels
+are noted without bibliographical details. In the case of other
+works the main facts in regard to publication are given; and an
+attempt is made to indicate the nature of the books named, unless
+they have been discussed in the text.)
+
+1796
+  The Chase and William and Helen. (Translated from Bürger.)
+
+1799
+  Goetz of Berlichingen. (Translated from Goethe.)
+
+  Apology for Tales of Terror.
+
+      Twelve copies were privately printed, to exhibit the work of the
+      Ballantyne press at Kelso. The title was occasioned by the delay
+      in the publication of Matthew Lewis's Tales of Terror, and the
+      little book contains poems which Scott had contributed to that
+      work. (The contents are named in the Catalogue of the Centenary
+      Exhibition.)
+
+1800
+  The Eve of St. John, a Border ballad.
+
+1802-3
+  Minstrelsy of the Scottish Border; consisting of historical and
+  romantic ballads, collected in the southern counties of Scotland; with
+  a few of modern date founded upon local tradition.
+
+      3 vols. Vols. I and 2, Kelso, 1802; vol. 3, Edinburgh, 1803.
+      Second edition, 1803. The book was republished frequently before
+      1830, when it was included in the collected edition of Scott's
+      poems. It has also been reprinted independently since then several
+      times. The latest and most complete edition is that published in
+      1902, edited by T.F. Henderson. Other books in which part of
+      Scott's ballad material was used in such a way as to give his name
+      a place on the title-page are named below:
+
+      Kinmont Willie: a Border ballad, with an historical introduction,
+      by Sir Walter Scott. (Carlisle Tracts No. 6) Carlisle, 1841.
+
+      A Ballad Book by C.K. Sharpe. MDCCCXXIII. Reprinted with notes and
+      ballads from the unpublished manuscripts of C.K. Sharpe and Sir
+      Walter Scott ... edited by ... D. Laing. Edinburgh, 1880.
+
+1804
+  Sir Tristrem: a metrical romance of the thirteenth century, by Thomas
+  of Ercildoune, called the Rhymer. Edited from the Auchinleck
+  manuscript by Walter Scott. Edinburgh.
+
+      Only 12 copies of Sir Tristrem were printed in the form in which
+      Scott had intended to publish it, without the expurgation which
+      his friends insisted upon. (_Letters to R. Polwhele_, etc., p. 18;
+      _Lockhart_, I. 361). The following book contains a part of the
+      same material:
+
+      A Penni worth of Witte, Florice and Blancheflour, and other pieces
+      of ancient English poetry, selected from the Auchinleck
+      manuscript. (With an account of the Auchinleck manuscript by Sir
+      Walter Scott) Edinburgh, 1857. Printed for the Abbotsford Club.
+
+1805
+  The Lay of the Last Minstrel.
+
+1806
+  Original Memoirs written during the great civil war; being the life of
+  Sir H. Slingsby, and memoirs of Capt. Hodgson. With notes, etc.
+  Edinburgh. [Edited by Scott anonymously.]
+
+  Ballads and Lyrical Pieces. [Poems which had already appeared in
+  various collections.]
+
+1808
+  Marmion.
+
+  Memoirs of Captain Carleton, ... including anecdotes of the war in
+  Spain under the Earl of Peterborough, ... written by himself.
+  Edinburgh. (8vo, but 25 copies were printed on large paper.) [Edited
+  by Scott anonymously.]
+
+      Scott was probably mistaken in considering this to be a genuine
+      autobiography. (See Col. Parnell's argument in _The English
+      Historical Review_, vi:97.) It has been attributed to Defoe, and
+      Col. Parnell attributes it to Swift, but the question of its
+      authorship is still unsolved. The book was first published in
+      1728, but Scott used the edition of 1743, which he was so
+      inaccurate as to take for the original edition; and as at that
+      date Defoe had long been dead and Swift had lost his mind, the
+      possibility of attributing it to either of them naturally would
+      not occur to him. Scott wrote scarcely any notes, but his short
+      introduction contains some interesting general reflections which
+      are quoted by Lockhart.
+
+  The Works of John Dryden, now first collected; illustrated with notes,
+  historical, critical and explanatory, and a life of the author, by
+  Walter Scott, Esq. 18 vols. London.
+
+      Second edition, 18 vols., Edinburgh, 1821.
+
+      Another edition, revised and corrected by George Saintsbury,
+      Edinburgh, 1882-1893.
+
+  The Life of John Dryden (4to, only 50 copies printed).
+
+      Memoirs of John Dryden, Paris, 1826.
+
+  Memoirs of Robert Carey, Earl of Monmouth, written by himself, and
+  Fragmenta Regalia, being a history of Queen Elizabeth's favourites, by
+  Sir Robert Naunton. With explanatory annotations. Edinburgh. [Edited
+  by Scott anonymously.]
+
+      Scott contributed no introductions, but his notes are copious,
+      especially with regard to the history of the Border. This is one
+      of the books of which Scott is reported to have said to his
+      publisher, Mr. Constable, "Did I not do Hodgson, Carey, Carleton,
+      etc., to serve you; and did I ever ask or receive any
+      remuneration?" (_Ballantyne's Refutation_, etc., p. 76.)
+
+  Queenhoo-Hall, a romance; and Ancient Times, a drama. By the late
+  Joseph Strutt, author of Rural Sports and Pastimes of the People of
+  England. [Edited by Scott, who wrote a conclusion for Queenhoo-Hall.
+  This conclusion is given in an appendix to the introduction of
+  Waverley.] Edinburgh.
+
+1809
+  The State Papers and Letters of Sir Ralph Sadler ... edited by Arthur
+  Clifford ... to which is added a memoir of the life of Sir Ralph
+  Sadler, with historical notes, by Walter Scott, Esq. 2 vols.
+  Edinburgh. (Also the same work in 3 vols., with same date.)
+
+      The biography is included in all the editions of Scott's Prose
+      Works.
+
+  The Life of Edward Lord Herbert of Cherbury, written by himself. With
+  a prefatory memoir. Edinburgh; printed by James Ballantyne & Co. for
+  John Ballantyne & Co. and John Murray. (A reprint of Walpole's
+  edition, with the prefatory memoir added.)
+
+      It is a question whether Scott edited this book, but it has been
+      ascribed to him, and is given under his name without hesitation in
+      the British Museum catalogue. The prefatory memoir is short and
+      largely made up of quotations, but it sounds as if Scott might
+      have written it. The book is one to which he often refers. Mr.
+      Sidney Lee, in his edition of the Autobiography, says merely,
+      "Walpole's edition was reprinted in 1770, 1809, and in 1826."
+      Reprinted in the Universal Library: Biography, vol. I, London,
+      1853.
+
+1809-15
+  A Collection of Scarce and Valuable Tracts on the most interesting and
+  entertaining subjects: but chiefly such as relate to the history and
+  constitution of these kingdoms. Selected from an infinite number in
+  print and manuscript, in the Royal, Cotton, Sion, and other public, as
+  well as private, libraries; particularly that of the late Lord Somers.
+  The second edition, revised, augmented, and arranged by Walter Scott,
+  Esq. 13 vols. London.
+
+      There are some additions. Scott says in the Advertisement: "The
+      Memoirs of the Wars in the Low Countries by the gallant Williams,
+      and the very singular account of Ireland by Derrick, are the most
+      curious of those now published for the first time.... The
+      introductory remarks and notes have been added by the present
+      Editor, at the expense of some time and labour. It is needless to
+      observe, that both have been expended upon a humble and
+      unambitious, though not, it is hoped, an useless task. The object
+      of the introductions was to present such a short and summary view
+      of the circumstances under which the Historical and Controversial
+      Tracts were respectively written, as to prevent the necessity of
+      referring to other works. Such therefore, as refer to events of
+      universal notoriety are but slightly and generally mentioned; such
+      as concern less remarkable points of history are more fully
+      explained. The Notes are in general illustrative of obscure
+      passages, or brief notices of authorities, whether corroborative
+      or contradictory of the text." The following book contains a part
+      of the same material:
+
+      The Image of Irelande with a Discoverie of Woodkarne. By John
+      Derricke, 1581. With Notes by Sir Walter Scott. Edited by John
+      Small. Edinburgh, 1883. (See _Somers' Tracts_, Vol. I.)
+
+1810
+  English Minstrelsy. Being a selection of fugitive poetry from the best
+  English authors, with some original pieces hitherto unpublished. 2
+  vols. Edinburgh.
+
+      The Centenary Catalogue says that Scott and his friend William
+      Erskine edited this book together. In the Advertisement the
+      publishers (John Ballantyne & Co.) say: "To one eminent
+      individual, whose name they do not venture to particularize, they
+      are indebted for most valuable assistance in selection,
+      arrangement, and contribution; and to that individual they take
+      this opportunity to present the humble tribute of their thanks,
+      for a series of kindnesses, of which that now acknowledged is
+      among the least." There is no critical apparatus. The book
+      contains original poems by Scott, Southey, Rogers, Joanna Baillie,
+      and others not so well known.
+
+  The Lady of the Lake.
+
+  Memoirs of the Duke of Sully. Translated from the French [by Charlotte
+  Lennox] ... a new edition ... corrected, with additional notes, some
+  letters of Henry the Great, and a brief historical introduction
+  embellished with portraits. 5 vols. London.
+
+      Another edition, 4 vols. London 1858, has these words on the
+      title-page: "A new edition, revised and corrected; with additional
+      notes, and an historical introduction, attributed to Sir Walter
+      Scott." I have found no external evidence that Scott was the
+      editor. The introduction sounds as if Scott wrote it, but that so
+      much work could have been done by him without occasioning any
+      record seems unlikely. There is a historical introduction of 35
+      pp., and copious notes. The book is one with which Scott was
+      familiar. See Memoirs of Robert Carey, pp. 34 and 41.
+
+  The Poetical Works of Anna Seward, with extracts from her literary
+  correspondence. Edited by Walter Scott, Esq. 3 vols. Edinburgh.
+
+      The biographical preface is given in the Miscellaneous Prose
+      Works. The notes are by Miss Seward.
+
+  Ancient British Drama, in three volumes. London. (Printed for William
+  Miller, by James Ballantyne & Co., Edinburgh.)
+
+      I find no evidence that Scott was the editor of this book, but it
+      is sometimes ascribed to him in library catalogues. It contains
+      merely a two-page introduction and brief notes, and a collection
+      of plays. (See above, p. 52, note.)
+
+1811
+  The Modern British Drama, in five volumes. London. (Printed for
+  William Miller, by James Ballantyne & Co., Edinburgh.)
+
+      Vols. I and II, Tragedies, with introduction in vol. I.
+
+      Vols. III and IV, Comedies, with introduction in vol. III.
+
+      Vol. V, Operas and Farces, with introduction.
+
+      These volumes apparently belong to the same collection as the
+      Ancient British Drama, noted above, and the external evidence for
+      Scott's authorship is the same. But the introductions are fuller,
+      and they sound very much like Scott. (See above, p. 52, note.)
+
+  The Vision of Don Roderick.
+
+  Memoirs of the Court of Charles II, by Count Grammont. With numerous
+  additions and illustrations. London. [Edited by Scott.]
+
+      Reprinted in 1846, 1853, 1864. This last edition, in the Bohn
+      Library, has about 100 pp. of historical notes.
+
+  Secret History of the Court of James the First. With notes and
+  introductory remarks. 2 vols. Edinburgh. [Edited by Scott
+  anonymously.]
+
+      The book contains 1. Osborne's Traditional Memoirs; 2. Sir Anthony
+      Welldon's Court and Character of King James; 3. Aulicus
+      Coquinariae; 4. Sir Edward Peyton's Divine Catastrophe of the
+      House of Stuarts.
+
+1813
+  Rokeby.
+
+  Memoirs of the Reign of King Charles I., by Sir Philip Warwick.
+  Edinburgh. [Edited by Scott anonymously.]
+
+  The Bridal of Triermain.
+
+1814
+  Illustrations of Northern Antiquities from the earlier Teutonic and
+  Scandinavian romances, by Robert Jamieson ... with an abstract of the
+  Eyrbyggja-Saga; being the early annals of that district of Iceland
+  lying around the promontory called Sudefells, by Walter Scott.
+  Edinburgh.
+
+      See also Northern Antiquities by P.H. Mallet, London, 1847; and
+      the edition in Bohn's Library, 1890.
+
+      Lockhart says: "Any one who examines the share of the work which
+      goes under Weber's name will see that Scott had a considerable
+      hand in that also. The rhymed versions from the _Nibelungen Lied_
+      came, I can have no doubt, from his pen." (_Lockhart_, II, 320.)
+
+  The Works of Jonathan Swift, containing additional letters, tracts,
+  and poems, not hitherto published; with notes and a life of the
+  author, by Walter Scott. 19 vols. Edinburgh.
+
+      Second edition, revised, Edinburgh, 1824.
+
+      Memoirs of Jonathan Swift, Paris, 1826.
+
+  The Letting of Humour's Blood in the Head Vaine, etc. By Samuel
+  Rowlands. Edinburgh. [Edited by Scott. His name is not given, but the
+  Advertisement is dated at Abbotsford.]
+
+      This is an exact reproduction of the 1611 edition, except for the
+      addition of a few pages containing the Advertisement and the
+      notes. Another edition was printed in 1815.
+
+  Waverley.
+
+1814-17
+  The Border Antiquities of England and Scotland; comprising specimens
+  of architecture and sculpture, and other vestiges of former ages,
+  accompanied by descriptions. Together with illustrations of remarkable
+  incidents in Border history and tradition, and original poetry. By
+  Walter Scott, Esq. 2 vols. 4to. London.
+
+      Another edition, in 2 vols. folio, London, 1889.
+
+      Lockhart says the introduction to this work was written in 1817,
+      but this is a mistake, for it is in the first volume, which was
+      published in 1814.
+
+1815
+  The Lord of the Isles.
+
+  Guy Mannering.
+
+  The Field of Waterloo.
+
+  The Secret Commonwealth of Elves, Fauns, and Fairies, by Robert Kirk.
+
+      The attribution of this to Scott rests on a letter by George
+      Ticknor, in Allibone's Dictionary (vol. II, p. 1967) in which he
+      says: "Kirk's Secret Commonwealth, a curious tract, of about a
+      hundred quarto pages, on Fairy Superstitions and second sight,
+      originally published in 1691, and of which, in 1815, Mr. Scott had
+      caused a hundred copies to be privately printed by the
+      Ballantynes, with additions, a circumstance, I think, not noted by
+      Lockhart." Mr. Lang thinks the book was never printed until 1815.
+      (See his edition, London, 1893). This 1815 edition of 100 copies
+      was made, he says, from a manuscript copy preserved in the
+      Advocates' Library, for Longman & Co. He quotes one of Scott's
+      references to the book, but does not intimate that Scott was the
+      editor.
+
+  Memorie of the Somervilles; being a history of the baronial house of
+  Somerville, by James, eleventh Lord Somerville. 2 vols. Edinburgh.
+  [Edited by Scott anonymously.]
+
+      The additions by the editor consist of a short preface and
+      abundant notes.
+
+1816
+  Paul's Letters to his Kinsfolk. Edinburgh.
+
+      These letters were anonymous, but Scott was always recognized as
+      the author of them. They are contained in the Miscellaneous Prose
+      Works.
+
+  The Antiquary.
+
+  Tales of my Landlord. First series:
+    The Black Dwarf.
+    Old Mortality.
+
+1817
+  Harold the Dauntless.
+
+  Rob Roy.
+
+1818
+  Tales of my Landlord. Second series:
+    The Heart of Midlothian.
+
+  Burt's Letters from the North of Scotland ... the fifth edition, with
+  a large appendix, containing various important historical documents,
+  hitherto unpublished; with an introduction and notes, by the editor,
+  R. Jamieson ... and the history of Donald the Hammerer, from an
+  authentic account of the family of Invernahyle (by Scott: see a note
+  accompanying the text). 2 vols. London.
+
+      Scott's contribution is short. See also Appendix IV, which is
+      taken "from a manuscript in the possession of the Gartmore Family,
+      communicated by Walter Scott Esq." Scott's name had become so
+      valuable that the publishers tried to put it on the title-page of
+      this book, to his great indignation. (See _Constable_, III, III,
+      119-20.)
+
+1818-24
+  The Encyclopĉdia Britannica: Supplement. [For this work Scott wrote
+  the following essays:] Chivalry, published in 1818; The Drama,
+  published in 1819; Romance, published in 1824. (These are given in the
+  Miscellaneous Prose Works.)
+
+1819
+  Tales of my Landlord. Third series:
+    The Bride of Lammermoor.
+    A Legend of Montrose.
+
+  The Visionary, by Somnambulus. (A political satire in three letters,
+  republished from the Edinburgh Weekly Journal.) Edinburgh.
+
+  Description of the Regalia of Scotland. Edinburgh.
+
+      This has been reprinted many times. It was included also in
+      Provincial Antiquities.
+
+  Ivanhoe.
+
+1819-26
+  The Provincial Antiquities and Picturesque Scenery of Scotland, with
+  descriptive illustrations by Sir Walter Scott, Bart. [First published
+  in ten parts between 1819 and 1826.] 2 vols. London, 1826. 4to.
+
+1820
+  The Monastery.
+
+  The Abbot.
+
+  Memorials of the Haliburtons. Edinburgh. [Edited by Scott
+  anonymously.]
+
+      30 copies were printed in 1820, and 30 more in 1824.
+
+      Reprinted, London, 1877, for the Royal Historical Society, in
+      Genealogical Memoirs of the Family of Sir Walter Scott, Bart., of
+      Abbotsford, by the Rev. Charles Rogers, LL.D.
+
+  Trivial Poems and Triolets. Written in obedience to Mrs. Tomkin's
+  commands. By Patrick Carey. London. [Edited by Scott. His name is not
+  given, but the introduction is dated at Abbotsford.]
+
+      A thin 4to, with a short introduction and a few notes. A part of
+      the material had been used in the Edinburgh Annual Register for
+      1810.
+
+1821
+  Northern Memoirs, calculated for the meridian of Scotland. To which is
+  added the contemplative and practical angler. Writ in the year 1658.
+  By Richard Franck. A new edition, with preface and notes. Edinburgh.
+  [Edited by Scott.]
+
+  Kenilworth.
+
+  The Pirate.
+
+1821-4
+  The Novelists' Library. Edited, with prefatory memoirs, by Sir Walter
+  Scott. 10 vols. London.
+
+      Also Lives of the Novelists, 2 vols., Paris, 1825. A recent
+      edition is that published, with an introduction by Austin Dobson,
+      by the Oxford University Press (No. 94 in The World's Classics).
+      When these Lives were issued among the Miscellaneous Prose Works
+      some of the biographical prefaces were put with them, and also
+      biographical notices, reprinted from the Edinburgh Weekly Journal,
+      of Charles Duke of Buccleuch and Queensberry, John Lord
+      Somerville, King George III, Lord Byron, and The Duke of York. I
+      give below the names of certain books in which Scott's biographies
+      were utilized, but the list is probably far from complete:
+
+      An Account of the death and funeral procession of Frederick Duke
+      of York, etc. To which is subjoined Sir Walter Scott's Character
+      of His Royal Highness. By John Sykes. Newcastle, 1827.
+
+      The Life and Opinions of Tristram Shandy, gentleman. By Laurence
+      Sterne, A.M., with a life of the author, by Sir Walter Scott.
+      Paris, 1832. (Baudry's Foreign Library.)
+
+      Beauties of Sterne, with some account of his writings by Sir
+      Walter Scott. Amsterdam, 1836.
+
+      Select Works of Smollett. Memoir by Sir W. Scott. Philadelphia,
+      1849.
+
+      The Novels and Miscellaneous Works of Daniel De Foe. With a
+      biographical memoir of the author, literary prefaces to the
+      various pieces, illustrative notes, etc., including all contained
+      in the edition attributed to the late Sir Walter Scott, with
+      considerable additions. 20 vols., London, 1840.
+
+      The Novels and Miscellaneous Works of Daniel de Foe. With prefaces
+      and notes, including those attributed to Sir Walter Scott. 6
+      vols., London, 1854-6. (Bonn's British Classics.)
+
+      The Rambler, by Samuel Johnson LL.D., with a sketch of the
+      author's life by Sir Walter Scott. 2 vols., London, 187?
+
+1822
+  Chronological Notes of Scottish Affairs, from 1680 till 1701; being
+  chiefly taken from the diary of Lord Fountainhall. Edinburgh. [Edited
+  by Scott.]
+
+      See Historical Notices of Scotish Affairs, selected from the
+      manuscripts of Sir John Lauder of Fountainhall, bart. 2 vols.
+      Edinburgh, 1848, printed for the Bannatyne club. Here Scott's
+      edition is referred to, and his introduction is reprinted. The
+      book was re-edited because Scott did not use the original
+      manuscript, but an interpolated transcript, and he had no means
+      for accurately determining the original text.
+
+  Halidon Hill, a dramatic sketch.
+
+  Macduff's Cross (in Joanna Baillie's Poetical Miscellanies).
+
+  Military Memoirs of the Great Civil War. Being the military memoirs of
+  John Gwynne; and an account of the Earl of Glencairn's expedition, as
+  general of His Majesty's forces, in the highlands of Scotland, in the
+  years 1653 and 1654, by a person who was eye and ear witness to every
+  transaction.... Edinburgh. [Edited by Scott. His name is not given,
+  but the introduction is dated at Abbotsford.]
+
+      There are some notes, and a short historical introduction.
+
+  Sketch of the Life and Character of the late Lord Kinneder. [Edited by
+  Scott. A postscript says: "This notice was chiefly drawn up by the
+  late Mr. Hay Donaldson."] Edinburgh.
+
+      Only a few copies were printed, for private distribution.
+
+  The Fortunes of Nigel.
+
+1823
+  Peveril of the Peak.
+
+  Quentin Durward.
+
+  St. Ronan's Well.
+
+1824
+  Lays of the Lindsays, being poems by the ladies of the House of
+  Balcarras. Edinburgh. [Edited by Scott, and designed as a contribution
+  to the Bannatyne Club, but suppressed after being printed.]
+
+  Redgauntlet.
+
+1825
+  Auld Robin Gray; a ballad. By the Rt. Honourable Lady Anne Barnard,
+  born Lady Anne Lindsay, of Balcarras. [Edited by Scott for the
+  Bannatyne Club.]
+
+  Tales of the Crusaders:
+    The Betrothed.
+    The Talisman.
+
+1826
+  Letters of Malachi Malagrowther on the Currency. (To the editor of the
+  Edinburgh Weekly Journal.) 3 parts. Edinburgh.
+
+  Woodstock.
+
+1826?
+  Shakspeare [edited by Scott and Lockhart?], volumes II, III, and IV,
+  without title page and date. Printed by James Ballantyne & Co.
+
+      Scott and Lockhart began in 1823 or 1824 to prepare an edition of
+      Shakspere. In Jan., 1825, Constable wrote to a London bookseller:
+      "It gives me great pleasure to tell you that the first sheet of
+      Sir Walter Scott's Shakspeare is now in type ... This I expect
+      will be a first-rate property." (_Constable's Correspondence_, II,
+      344.) At the time of Constable's bankruptcy in 1826 there was a
+      disagreement in regard to the ownership of the property. Scott
+      wrote to Lockhart, May 30, 1826, "What do you about Shakspeare?
+      Constable's creditors seem desirous to carry it on. Certainly
+      their bankruptcy breaks the contract. For me _c'est égal_: I have
+      nothing to do with the emoluments, and I can with very little
+      difficulty discharge my part of the matter, which is the
+      Prolegomena, and Life and Times." (Lang's _Lockhart_, I, 409.) In
+      1827 the question of carrying on the work was still undecided, and
+      it was also mentioned in a letter in 1830. (Lang's _Lockhart_ II,
+      13 and 59). The project was ultimately abandoned, and the fate of
+      that part of the work which was actually in print is unknown. In
+      the Barton Collection in the Boston Public Library is preserved
+      what is perhaps a unique copy of three volumes of the set of ten
+      that Scott and Lockhart undertook to prepare. But as the books are
+      bound up without title-pages, and as the commentary contains
+      nothing that would determine its authorship, the attribution is
+      probable rather than certain. These volumes include twelve of the
+      comedies. On the fly-leaf of one of them is a note written by Mr.
+      Rodd, a London bookseller. He says: "I purchased these three
+      volumes from a sale at Edinburgh. They were entered in the
+      catalogue as 'Shakespeare's Works, edited by Sir Walter Scott and
+      Lockhart, vols. ii, in, iv, all published, _unique_'." It was not
+      positively known that such a work had been planned until the
+      publication of Constable's _Correspondence_ in 1874. At that time
+      Justin Winsor wrote a letter to the _Boston Advertiser_ (March 21,
+      1874) in which he said: "The account of the Barton collection,
+      which was printed fifteen years ago, contained the earliest public
+      mention, I believe, of the supposition that Scott ever engaged in
+      such a work, which this life of Constable now renders certain.
+      These later corroborative statements give a peculiar interest to
+      the volumes which are now in this library and which are perhaps
+      the only ones of the edition now in existence." The introductions
+      to the plays are each only a page or two long, and are mainly,
+      like the notes, compilations. The book corresponds fairly well
+      with the description given in _Constable_. (See Vol. III, pp. 183,
+      193, 237-8, 241, 242, 244, 246, 305, 321, 442. See also Lang's
+      _Lockhart_, I, 308-9, 395-6, and Lang's Introduction to _Peveril
+      of the Peak_.)
+
+1827
+  The Life of Napoleon Buonaparte, Emperor of the French. With a
+  preliminary view of the French Revolution. By the author of Waverley.
+  9 vols. Edinburgh.
+
+  Chronicles of the Canongate. First series:
+    The Highland Widow.
+    The Two Drovers.
+    The Surgeon's Daughter
+
+  Memoirs of the Marchioness de la Rochejaquelin. Translated from the
+  French. Edinburgh. (Constable's Miscellany, Vol. V. Introduction and
+  notes by Scott.)
+
+  The Miscellaneous Prose Works of Sir Walter Scott.
+
+      6 vols. Edinburgh, 1827, and Boston, 1829.
+
+      9 vols. Paris, 1827-34.
+
+      30 vols. London, 1834-46. (Containing many of the reviews
+      contributed by Scott to periodicals.)
+
+      Same, first 28 vols. (Omitting the Letters on Demonology and
+      Witchcraft.) Edinburgh, 1842-6, 1851, and 1861.
+
+      7 vols. Paris, 1837-8.
+
+      8 vols. Paris, 1840?
+
+      3 vols. Edinburgh, 1841-2, 1846, and 1854.
+
+1827-55
+  The Bannatyne Miscellany; containing original papers and tracts
+  relating to the history and literature of Scotland. (Edited by Sir
+  Walter Scott, D. Laing, and T. Thomson.) 3 vols.
+
+1828
+  Tales of a Grandfather. First series. 3 vols. Edinburgh. Religious
+  Discourses. By a layman. London.
+
+      Two sermons written by Sir Walter for George Huntly Gordon, then a
+      Probationer. Afterwards published by Gordon, with the author's
+      permission, to raise money.
+
+  Chronicles of the Canongate. Second series:
+    The Fair Maid of Perth.
+
+  Proceedings in the Court-martial held upon John, Master of Sinclair,
+  captain-lieutenant in Preston's regiment, for the murder of Ensign
+  Schaw of the same regiment, and Captain Schaw, of the Royals, 17
+  October, 1708; with correspondence respecting that transaction.
+  Edinburgh.
+
+      Edited by Sir Walter Scott and presented by him to the Roxburghe
+      club. Some of the same material seems to have been used in the
+      book named below:
+
+      Memoirs of the Insurrection in 1715, by John, Master of Sinclair.
+      With notes by Sir Walter Scott. Edinburgh, 1858, printed for the
+      Abbotsford Club.
+
+1829
+  Papers relative to the Regalia of Scotland. Edinburgh. Edited by Sir
+  Walter Scott and presented to the members of the Bannatyne Club by
+  William Bell, Esq.
+
+  Memorials of George Bannatyne, 1545-1608. Edited by Sir Walter Scott
+  for the Bannatyne Club. Edinburgh.
+
+      Scott wrote the memoir of George Bannatyne which occupies the
+      first 25 pages of the book. This memoir is also to be found in the
+      publications of the Hunterian Club, part 8, published in 1886.
+
+  Anne of Geierstein.
+
+  Tales of a Grandfather. Second series.
+
+1829-32
+  Novels, Tales, and Romances, with introductions and notes by the
+  author. (The "Opus Magnum.")
+
+      The same material is used in the following books:
+
+      Introductions and notes and illustrations to the novels, tales,
+      and romances of the author of Waverley. 3 vols., Edinburgh, 1833.
+
+      Autobiography of Sir Walter Scott. Philadelphia, 1831. Anderson,
+      in his bibliography of Scott, gives this as a supposititious work,
+      but with the exception of the title it is genuine, for it is
+      simply the piecing together of Scott's introductions to his
+      novels.
+
+1830
+  Tales of a Grandfather. Third series.
+
+  The Doom of Devorgoil, and Auchindrane or The Ayrshire Tragedy.
+
+  Letters on Demonology and Witchcraft, addressed to J.G. Lockhart,
+  Esq. London. (The Family Library.)
+
+      Other editions: New York, 1845; London, 1868 and 1876,
+      (illustrated by Cruikshank); London 1884, with an introduction by
+      Henry Morley. Included in the 30 vol. edition of the Miscellaneous
+      Prose works, but not in the 28 vol. edition.
+
+  Poems, with prefaces by the author. 11 vols. Introductory Remarks on
+  Popular Poetry (prefixed to Minstrelsy, Vol. I) and Essay on Imitations
+  of the Ancient Ballad (prefixed to Minstrelsy, Vol. III).
+
+      These essays were printed in 1830 and attached to the edition of
+      the poems then on sale. They were first regularly included in the
+      edition of 1833.
+
+  The History of Scotland. (Lardner's Cabinet Cyclopedia.) 2 vols.
+  London. [Not in the Miscellaneous Prose Works.]
+
+1831
+  Tales of a Grandfather. Fourth series. History of France.
+
+  The Life of Samuel Johnson, LL.D., including a Journal of his Tour to
+  the Hebrides, by James Boswell, Esq. New edition with numerous
+  anecdotes and notes by The Right Hon. John Wilson Croker, M.P.... 10
+  vols. London. [Scott wrote and signed the notes for the Tour to the
+  Hebrides.]
+
+  Trial of Duncan Terig, alias Clerk, and Alexander Bane Macdonald, for
+  the murder of Arthur Davis, Sergeant in General Guise's regiment of
+  foot. June, A.D. 1754. Edinburgh.
+
+      "To the members of the Bannatyne Club, this copy of a trial,
+      involving a curious point of evidence, is presented, by Walter
+      Scott." There is an introduction of 11 pages, giving the story of
+      the crime, and bringing together instances from literature and
+      history of the evidence of ghosts being cited in trials. That is
+      the "curious point of evidence" referred to. The proceedings of
+      the court are then reprinted without annotation.
+
+1832
+  Tales of my Landlord. Fourth series:
+    Count Robert of Paris.
+    Castle Dangerous.
+
+1848
+  Two Bannatyne Garlands from Abbotsford.
+
+      This little book was prepared for members of the Bannatyne club by
+      the secretary, D. Laing. It contains two ballads--of which one is
+      ancient and one a modern imitation written by Robert
+      Surtees--annotated by Scott.
+
+1889
+  Reliquiae Trottosienses, or Catalogue of the Gabions of the late
+  Jonathan Oldbuck. (Partially published in _Harper's Magazine_ for
+  April, 1889: Vol. lxxviii, pp. 778-788. This fragment describing the
+  main apartments at Abbotsford is the only part of the Reliquiae
+  Trottosienses that has been printed. There is a short introduction by
+  Mary Monica Maxwell Scott.)
+
+      The same material was included in the following book: Abbotsford,
+      the personal relics and antiquarian treasures of Sir Walter Scott,
+      described by the Hon. Mary Monica Maxwell Scott. London, 1893.
+
+1890
+  The Journal of Sir Walter Scott, from the original manuscript at
+  Abbotsford. (Edited by David Douglas.) 2 vols. Edinburgh.
+
+      Second edition, 1891. Large extracts from this Journal had
+      previously been published in Lockhart's Life of Scott.
+
+
+2. _Contributions to Periodicals_.
+
+(a) Reviews
+
+(Most of these essays are reprinted in the 28 and 30 volume editions of
+Scott's Miscellaneous Prose Works. Articles not included in that
+collection are marked by a note indicating the evidence on which they
+are attributed to Scott.)
+
+1803
+  Amadis de Gaul, translated by Southey and by Rose. (_Edinburgh
+  Review_, October. Vol. III.)
+
+  Sibbald's Chronicle of Scottish Poetry. (_Edinburgh_, October. Vol.
+  III. Not in M.P.W. See Lockhart, Vol. I, p. 335.)
+
+1804
+  Godwin's Life of Chaucer. (_Edinburgh_, January. Vol. III.)
+
+  Ellis's Specimens of the Early English Poets. (_Edinburgh_, April.
+  Vol. IV.)
+
+  The Life and Works of Chatterton. (_Edinburgh_, April. Vol. IV.)
+
+1805
+  Johnes's Translation of Froissart. (_Edinburgh_, January. Vol. V.)
+
+  Colonel Thornton's Sporting Tour. (_Edinburgh_, January. Vol. V.)
+
+  Fleetwood, a novel by William Godwin. (_Edinburgh_, April. Vol. VI.)
+
+  The New Practice of Cookery. (_Edinburgh_, July. Vol. VI.)
+
+  The Ossianic Poems. (_Edinburgh_, July. Vol. VI. Not in M.P.W. See
+  Lockhart, Vol. I, p. 409.)
+
+  Todd's Edition of Spenser. (_Edinburgh_, October. Vol. VII.)
+
+1806
+  Ellis's Specimens of English Romance, and Ritson's Ancient English
+  Metrical Romances. (_Edinburgh_, January. Vol. VII.)
+
+  The Miseries of Human Life. [By Rev. James Beresford.] (_Edinburgh_,
+  October. Vol. IX.)
+
+  Miscellaneous Poetry by the Hon. William Herbert. (_Edinburgh_,
+  October. Vol. IX.)
+
+1809
+  Reliques of Burns, collected by R.H. Cromek. (_Quarterly Review_,
+  February. Vol. I.)
+
+  Southey's Translation of The Cid. (_Quarterly_, February. Vol. I.)
+
+  Sir John Carr's Caledonian Sketches. (_Quarterly_, February. Vol. I.)
+
+  Campbell's Gertrude of Wyoming and other poems. (_Quarterly_, May.
+  Vol. I.)
+
+  John de Lancaster, a novel by Richard Cumberland. (_Quarterly_, May.
+  Vol. I.)
+
+  The Battles of Talavera, a poem [by John Wilson Croker]. (_Quarterly_,
+  November. Vol. II.)
+
+1810
+  The Fatal Revenge or The Family of Montorio, a romance [by C.R.
+  Maturin]. (_Quarterly_, May. Vol. III.)
+
+  Collections of Ballads and Songs by R.H. Evans and John Aiken.
+  (_Quarterly_, May. Vol. III.)
+
+1811
+  Southey's Curse of Kehama. (_Quarterly_, February. Vol. V.)
+
+1815
+  Emma and other novels by Jane Austen. (_Quarterly_, October. Vol. XIV.
+  Not in M.P.W. See Lockhart, Vol. IV, p. 3.)
+
+1816
+  The Culloden Papers. (_Quarterly_, January. Vol. XIV.)
+
+  Childe Harold, Canto III, and other poems by Lord Byron. (_Quarterly_,
+  October. Vol. XVI.)
+
+1817
+  Tales of My Landlord. [Probably written with the help of William
+  Erskine. See Lockhart, Vol. III, p. 81. See also the Introduction to
+  Waverley, written in 1830.] (_Quarterly_, January. Vol. XVI.)
+
+1818
+  Douglas on Military Bridges. (_Quarterly_, May. Vol. XVIII. Not in
+  M.P.W. See Lockhart, Vol. III, p. 173.)
+
+  Kirkton's History of the Church of Scotland, edited by C.K. Sharpe.
+  (_Quarterly_, May. Vol. XVIII.)
+
+  Letters from Horace Walpole to George Montague. (_Quarterly_, April.
+  Vol. XIX. Not in M.P.W. See Memoir of John Murray, Vol. II, p. 12.)
+
+  Childe Harold, Canto IV. (_Quarterly_, April. Vol. XIX.)
+
+  Women or Pour et Contre, a tale [by C.R. Maturin]. (_Edinburgh_, June.
+  Vol. XXX.)
+
+  Frankenstein, a novel [by Mrs. Shelley]. (_Blackwood_, March. Vol.
+  II.)
+
+  Remarks on General Gourgaud's Narrative. (_Blackwood_, November. Vol.
+  IV. Not in M.P.W. See Lockhart, Vol. III, p. 238.)
+
+1824
+  The Correspondence of Lady Suffolk. (_Quarterly_, January. Vol. XXX.)
+
+1826
+  Pepys' Diary. (_Quarterly_, March. Vol. XXXIII.) Boaden's Life of
+  Kemble, and Kelly's Reminiscences. (_Quarterly_, June. Vol. XXXIV.)
+
+  The Omen [by John Galt]. (_Blackwood_, July. Vol. XX.)
+
+1827
+  Mackenzie's Life and Works of John Home. (_Quarterly_, June. Vol.
+  XXXVI.)
+
+  The Forester's Guide, by Robert Monteath. On Planting Waste Lands.
+  (_Quarterly_, October. Vol. XXXVI.)
+
+  On the Supernatural in Fictitious Composition, and particularly on the
+  Works of Hoffman. (_Foreign Quarterly Review_, July. Vol. I.)
+
+      See also Contes Fantastiques de E.T.A. Hoffmann, traduits de
+      l'Allemand par M. Loève-Veimars, et précédés d'une notice
+      historique sur Hoffmann par Walter Scott. Paris, 1830. 16 vols.
+
+1828
+  The Planter's Guide, by Sir Henry Steuart. On Landscape Gardening.
+  (_Quarterly_, March. Vol. XXXVII.)
+
+  Sir Humphrey Davy's Salmonia or Days of Fly-fishing. (_Quarterly_,
+  October. Vol. XXXVIII.)
+
+  Molière. (_Foreign Quarterly Review_, February. Vol. II.)
+
+1829
+  Hajji Baba in England; and The Kuzzilbash, a tale of Khorasan.
+  (_Quarterly_, January. Vol. XXXIX.)
+
+  Ritson's Annals of the Caledonians, Picts, and Scots, etc.
+  (_Quarterly_, July. Vol. XLI.)
+
+  Tytler's History of Scotland. (_Quarterly_, November. Vol. XLI.)
+
+  Revolutions of Naples in 1647 and 1648. (_Foreign Quarterly Review_,
+  August. Vol. IV. Not in M.P.W. See Journal, Vol. I, p. 145, and Vol.
+  II, p. 278.)
+
+1830
+  Southey's Life of John Bunyan. (_Quarterly_, October. Vol. XLIII.)
+
+1831
+  Pitcairn's Ancient Criminal Trials. (_Quarterly_, February. Vol.
+  XLIV.)
+
+
+(b) Contributions to the Edinburgh Annual Register
+
+(The dates given are those on the volumes. In most cases the book was
+issued about a year and a half after the nominal date. Most of Scott's
+contributions are unsigned. Those which were afterwards included in the
+collected edition of his poems are in this list marked "Poems"; in other
+cases (unless the article is signed) a note is made of the reason for
+attributing it to Scott).
+
+1808 Vol. I, part 2.
+
+  The Bard's Incantation. Poems.
+
+  To a Lady, with Flowers from a Roman Wall. Poems.
+
+  The Violet. Poems.
+
+  Hunting Song. Poems.
+
+  The Resolve. Poems.
+
+  View of the changes proposed and adopted in the administration of
+  justice in Scotland. (See _Lockhart_, Vol. II, p. 154.)
+
+  Living Poets of Great Britain. (From internal evidence I think this
+  article may have been written by Scott, and am sure that he dictated
+  many of the opinions it expresses, if he is not responsible for the
+  whole.)
+
+1809 Vol. II, part 2.
+
+  The Vision of Don Roderick. (Reprinted from the first edition.) Poems.
+
+  Epitaph designed for a Monument to be erected in Lichfield Cathedral
+  to the Rev. Thomas Seward. Poems.
+
+  Cursory remarks upon the French order of battle, particularly in the
+  campaigns of Buonaparte. (See _Lockhart_, Vol. II, p. 161.)
+
+  Periodical Criticism. (From internal evidence I am sure that this was
+  written by Scott. The style is decidedly more interesting than that of
+  the article on the poets, in the volume for the preceding year.)
+
+  The Inferno of Altisidora. (This immediately follows the article on
+  Periodical Criticism, and is a burlesque sketch on the same subject.
+  It serves to introduce the following imitations, respectively, of
+  Crabbe, Moore, and Scott himself.)
+
+    The Poacher.
+
+    "Oh say not, my love, with that mortified air."
+
+    The Vision of Triermain.
+
+1810 Vol. III, part 2.
+
+  Account of the poems of Patrick Carey, a poet of the seventeenth
+  century. (Afterwards prefixed to the volume of Carey's poems published
+  in 1820. See _Lockhart_, Vol. II, pp. 245-8.)
+
+1811 Vol. IV, part 2.
+
+  Biographical memoir of John Leyden, M.D. (In the Miscellaneous Prose
+  Works.)
+
+1812 Vol. V, part 2.
+
+  Extracts from a journal kept during a coasting voyage through the
+  Scottish Islands. (Published in complete form in _Lockhart_, Vol. II.)
+
+1813 Vol. VI.
+
+  The Dance of Death. Poems.
+
+  Romance of Dunois, from the French. Poems.
+
+  Song for the anniversary meeting of the Pitt Club of Scotland. Poems.
+
+  Song on the lifting of the banner of the House of Buccleuch, at a
+  great football match on Carterhaugh. Poems.
+
+1814 Vol. VII.
+
+  Historical Review of the Year. (See _Lockhart_, Vol. III, p. 76.)
+
+1815 Vol. VIII.
+
+  Historical Review of the Year. (See _Lockhart_, Vol. III, p. 124.)
+
+  The Search after Happiness, or the Quest of Sultaun Solimaun.
+  (Reprinted from the _Sale-Room_. See _Lockhart_, Vol. III, pp. 89-90.)
+
+1816 Vol. IX.
+
+  The Noble Moringer. Translated from the German. Poems. (See also the
+  introduction to _The Betrothed_.)
+
+1817 Vol. X.
+
+  Farewell Address, spoken by Mr. Kemble to the Edinburgh Theatre, on
+  the 29th March, 1817. (Reprinted from the _Sale-Room_. ) Poems.
+
+1824 Vol. XVII.
+
+  To Mons. Alexandre.
+
+
+(c) Contributions to other periodicals
+
+Scott contributed frequently to _The Edinburgh Weekly Journal_, edited
+and published by James Ballantyne. Some of the articles are reprinted in
+the Miscellaneous Prose Works. Lockhart reprints in the Life Scott's
+account of the coronation of George IV., and his Reply to General
+Gourgaud.
+
+Scott also contributed to _The Sale-Room_, a weekly paper edited and
+published by John Ballantyne from January 4 to July 12, 1817 (28
+numbers). (See _Lockhart_, Vol. III, p. 89.)
+
+To _The Keepsake_, an annual, Scott contributed in 1828 The Tapestried
+Chamber, My Aunt Margaret's Mirror, and The Laird's Jock, and in 1830
+The House of Aspen.
+
+In _Blackwood's Edinburgh Magazine_, Vol. I, appeared three articles
+entitled "Notices concerning the Scottish Gypsies," for which Scott
+furnished a large part of the material. (Numbers for April, May, and
+September, 1817.) Lockhart says that Scott dictated to Thomas Pringle "a
+collection of anecdotes concerning Scottish gypsies, which attracted a
+good deal of notice." The first article refers to "Mr. Walter Scott, a
+gentleman to whose distinguished assistance and advice we have been on
+the present occasion very peculiarly indebted, and who has not only
+furnished us with many interesting particulars himself, but has also
+obligingly directed us to other sources of curious information." Scott
+quotes from the first of the three articles in his review of _Tales of
+My Landlord_, and he afterwards used the same anecdotes in the
+introduction to _Guy Mannering_.
+
+
+3. _Books which contain letters written by Scott_.
+
+(As there is no complete collection of Scott's letters it has been
+thought wise to name the various sources, so far as the letters have
+appeared at all in print, from which such a collection might be made.
+The list includes only those books or articles in which letters were
+published for the first time; yet it is probably far from exhaustive.
+Notes are given in regard to the number or kind of the letters from
+Scott to be found in some of the less-known books.)
+
+Memoirs of Sir Walter Scott, by J.G. Lockhart.
+
+    Edinburgh, 7 vols. 1837-8. 10 vols. 1839. Abridged edition 1848. The
+    edition referred to throughout this study is that published by
+    Macmillan and Company in 5 volumes, 1900.
+
+Familiar Letters of Sir Walter Scott [edited by D. Douglas].
+
+    2 vols. Edinburgh, 1894.
+
+Letters and Recollections of Sir Walter Scott, by Mrs. Hughes (of
+Uffington), edited by Horace G. Hutchinson.
+
+    London, 1904. (First published in _The Century_, xliv: 424 and 566;
+    July and August, 1903.)
+
+The Life and Letters of John Gibson Lockhart, by Andrew Lang, from
+Abbotsford and Milton Lockhart mss. and other original sources.
+
+    2 vols. London, 1897.
+
+    These volumes contain many letters from Scott to Lockhart.
+
+Memoir and Correspondence of the late John Murray, with an account of
+the origin and progress of the House, 1768-1843, by Samuel Smiles.
+
+    2 vols. London, 1891.
+
+    This book contains many letters from Scott to Murray, who published
+    some of Scott's works and was the proprietor of the _Quarterly
+    Review_.
+
+Archibald Constable and his Literary Correspondents. A Memorial by his
+son Thomas Constable.
+
+    3 vols. Edinburgh, 1873.
+
+    The third volume is wholly taken up with an account of Scott's
+    relations with Constable, his publisher, and many letters are given.
+    See also Vol. II, pages 347 and 474.
+
+[The Ballantyne and Lockhart Pamphlets.]
+
+I. Refutation of the Misstatements and Calumnies contained in Mr.
+Lockhart's Life of Sir Walter Scott, bart., respecting the Messrs.
+Ballantyne, by the trustees and son of the late Mr. James Ballantyne.
+(1835.)
+
+II. The Ballantyne Humbug Handled by the author of the Life of Sir
+Walter Scott. (1839.)
+
+III. Reply to Mr. Lockhart's Pamphlet, entitled "The Ballantyne-Humbug
+Handled," etc. (1839.)
+
+    The two last pamphlets contain numerous letters of Scott's. For a
+    history of Scott's publishing operations these pamphlets should be
+    studied in connection with the Memoirs of Lockhart, Murray, and
+    Constable.
+
+Annals of a Publishing House; William Blackwood and his sons, their
+magazine and friends. By Mrs. Oliphant.
+
+    3rd edition, 2 vols. Edinburgh, 1897.
+
+    About half a dozen letters not elsewhere published are given in this
+    book.
+
+Letters from and to Charles Kirkpatrick Sharpe, Esq., edited by
+Alexander Allardyce, with a memoir by Rev. W.K.R. Bedford.
+
+    2 vols. Edinburgh, 1888.
+
+    Lockhart wrote to Sharpe in 1834: "He had preserved so many letters
+    of yours.... that I must suppose the correspondence was considered
+    by himself as one not of the common sort." (Vol. II, p. 479.) Both
+    men were authors and antiquaries, and their letters as given in this
+    book illustrate their favorite studies.
+
+Lady Louisa Stuart. Selections from her manuscripts, edited by Hon.
+James Home.
+
+    London, 1899. (One section of the book is entitled "Unpublished
+    Letters of Sir Walter Scott and Lady Louisa Stuart.")
+
+Abbotsford Notanda, by Robert Carruthers. Subjoined to the Life of Sir
+Walter Scott by Robert Chambers, edited by W. Chambers.
+
+    London, 1871.
+
+    Letters from Scott to Hogg and Laidlaw are included.
+
+Memorials of Coleorton, being letters from Coleridge, Wordsworth and his
+Sister, Southey, and Sir Walter Scott, to Sir George and Lady Beaumont
+of Coleorton, Leicestershire, 1803 to 1834. Edited, with introduction
+and notes, by William Knight.
+
+    2 vols. Boston, 1887.
+
+    The second volume contains three letters by Scott.
+
+The Letters of Sir Walter Scott and Charles Kirkpatrick Sharpe to Robert
+Chambers, 1821-45. With original memoranda of Sir Walter Scott, etc.
+[Edited by C.E.S. Chambers.]
+
+    Edinburgh, 1904.
+
+Reminiscences of Sir Walter Scott, by John Gibson.
+
+    Edinburgh, 1871.
+
+    Besides nine letters from Scott this book gives in full a memorial
+    written by him in regard to the claim of Constable's trustee on
+    _Woodstock_ and _Napoleon_.
+
+Traditions and Recollections, Domestic, Clerical, and Literary; in which
+are included letters of Charles II, Cromwell, Fairfax, Edgecumbe,
+Macaulay, Wolcot, Opie, Whitaker, Gibbon, Buller, Courtenay, Moore,
+Downman, Drewe, Seward, Darwin, Cowper, Hayley, Hardinge, Sir Walter
+Scott, and other distinguished characters. By the Rev. R. Polwhele.
+
+    2 vols. London, 1826.
+
+    Vol. II. contains five letters from Scott.
+
+Letters of Sir Walter Scott, addressed to the Rev. R. Polwhele; D.
+Gilbert, Esq.; Francis Douce, Esq.; etc.
+
+    London, 1832.
+
+    Twenty-eight letters from Scott are given, of which at least one had
+    previously been published.
+
+A Memoir of the Life and Writings of the late William Taylor of Norwich,
+... containing his correspondence of many years with the late Robert
+Southey, Esq., and original letters from Sir Walter Scott, and other
+eminent literary men. Compiled and edited by J.W. Robberds, F.G.S., of
+Norwich.
+
+    2 vols. London, 1843.
+
+    Vol. I. contains two letters from Scott, of which the second has
+    decided critical interest. See pp. 94-100. Vol. II. has one letter
+    from Scott. See p. 533.
+
+Memoirs of Sir William Knighton, Bart. G.C.H. ... including his
+correspondence with many distinguished personages. By Lady Knighton.
+Philadelphia, 1838.
+
+    Fourteen letters from Scott are given.
+
+Letters between James Ellis, Esq., and Walter Scott, Esq.
+
+    Newcastle-upon-Tyne, 1850.
+
+    The letters from Scott are two in number.
+
+Haydon's Correspondence and Table-talk, with a Memoir by his son,
+Frederick Wordsworth Haydon.
+
+    2 vols., London, 1876.
+
+    The first volume contains a few letters by Scott.
+
+The Life and Letters of Washington Irving, by his nephew, Pierre M.
+Irving.
+
+    4 vols., New York, 1865.
+
+    Vol. I, p. 240, contains a letter to Brevoort; pp. 439-40, 442-4 and
+    450-1 contain three letters to Irving.
+
+Memorials of James Hogg, by M.G. Garden.
+
+    London, 1903.
+
+    Four letters by Scott are included.
+
+Memoirs of a Literary Veteran, including sketches and anecdotes of the
+most distinguished literary characters from 1794 to 1849, by R.P.
+Gillies.
+
+    3 vols. London, 1851.
+
+    Vol. II, pp. 77-83, contains three letters from Scott; Vol. III, pp.
+    143-4, contains one.
+
+Sir Walter Scott. The story of his life, by R. Shelton Mackenzie.
+
+    Boston, 1871.
+
+    See p. 471 for a letter not published elsewhere.
+
+Byron's Letters and Journals. Rowland E. Prothero, ed.
+
+    6 vols., London, 1898-1901.
+
+    See Vol. VI, p. 55 for a letter of Scott's not published elsewhere.
+
+Catalogue of the Exhibition held at Edinburgh in July and August, 1871,
+on occasion of the commemoration of the centenary of the birth of Sir
+Walter Scott.
+
+    Edinburgh, 1872.
+
+    This catalogue contains notices of the autograph letters which were
+    exhibited, and prints a few of the letters.
+
+A Critical Dictionary of English Literature and British and American
+Authors.... By S. Austin Allibone.
+
+    3 vols. Philadelphia, 1870.
+
+    Two letters from Scott to Ticknor are given in the article on Scott.
+
+Fragments of Voyages and Travel, by Basil Hall. Third series.
+
+    Chapter I. contains a letter written by Scott in the original
+    manuscript of _The Antiquary_, explaining why the author
+    particularly liked that novel.
+
+Letters, hitherto unpublished, written by members of Sir Walter Scott's
+family to their old governess. Edited, with an introduction and notes,
+by the Warden of Wadham College, Oxford.
+
+    London, 1905.
+
+    See pp. 13-15 for a letter from Scott, and pp. 37-38 for a note of
+    instructions in regard to his daughter Sophia's history lessons.
+
+Correspondence between J. Fenimore Cooper and Sir Walter Scott.
+
+    _The Knickerbocker Magazine_, xi: 380; April, 1838.
+
+    The letter from Scott to Cooper quoted above, p. 102, is here given.
+
+Fiction, Fair and Foul. By John Ruskin.
+
+    _Nineteenth Century_, viii: 195; August, 1880.
+
+    A footnote on pp. 196-7 contains fragments of five letters from
+    Scott to the builder of Abbotsford.
+
+Wordsworth's Poetical Works. Edited by William Knight.
+
+    II vols. Edinburgh, 1882.
+
+    See the index. Vol. XI, p. 196 has a letter from Scott which I think
+    had not previously been published. Vol. X, p. 105, gives one which
+    Lockhart quotes "very imperfectly," according to Prof. Knight.
+
+Portraits of Illustrious Personages of Great Britain ... with
+biographical and historical memoirs of their lives and actions, by
+Edmund Lodge.
+
+    London, 1835.
+
+    Vol. I contains, in the appendix to the preface, a letter from Scott
+    to the publisher, dated 25th March 1828. (See _Lockhart_, V, 350.)
+
+The Life and Letters of Maria Edgeworth, edited by Augustus J.C. Hare.
+
+    2 vols. Boston, 1895.
+
+    This contains a few letters of Scott's, but only one which is not
+    published elsewhere.
+
+A Short Account of successful exertions in behalf of the fatherless and
+widows after the war in 1814; containing letters from Mr. Wilberforce,
+Sir Walter Scott, Marshal Blücher, etc. By Rudolf Ackermann.
+
+    Oxford, 1871.
+
+    There is only one letter by Scott.
+
+The Courser's Manual, etc., by T. Goodlake. 1828.
+
+    This book contains one letter by Scott, dated 16th October, 1828,
+    about an old Scottish poem entitled "The Last Words of Bonny Heck."
+    (See _Lockhart_, V. 219, for what is doubtless the same letter.)
+
+The Chimney-sweeper's Friend and Climbing-boy's Album. Arranged by James
+Montgomery.
+
+    London, 1824.
+
+    The Preface contains part of a letter from Scott, in which he
+    describes the construction of the chimneys at Abbotsford. (See
+    _Lockhart_, IV. 158-9.)
+
+
+
+
+APPENDIX II.
+
+
+1. _Bibliographies of Scott_
+
+Allibone, S.A. Dictionary of British and American Authors and
+Literature. 3 vols. Phil., 1870.
+
+Anderson, J.P. Bibliography of Scott, in the Life of Scott by C.D. Yonge
+(Great Writers Series). London, 1888.
+
+Lockhart's Life of Scott; the Centenary Catalogue (see above, p. 171);
+the British Museum Catalogue; the Dictionary of National Biography.
+
+
+2. _A partial list of the books used in the preparation of this Study_,
+aside from those given in the bibliography of Scott's works. (See
+particularly the list of books which contain letters written by Scott:
+Appendix I. 3.)
+
+Adolphus, J.L.
+  Letters to Richard Heber, Esq., containing critical remarks on the
+  series of novels beginning with "Waverley," and an attempt to
+  ascertain their author. Second edition. London, 1822.
+
+Aitken, G.A., ed.
+  Romances and Narratives by Daniel Defoe. 16 vols. London, 1895.
+
+Arnold, Matthew.
+  Byron. In Essays in Criticism. Second series. London, 1889.
+
+Carlyle, Thomas.
+  Sir Walter Scott. In Critical and Miscellaneous Essays. 4 vols.
+  London, 1857.
+
+Chambers, E.K.
+  The Mediaeval Stage. 2 vols. Oxford, 1903.
+
+Chesterton, G.K.
+  Varied Types. New York, 1903.
+
+Child, Francis J.
+  English and Scottish Popular Ballads. 5 vols. Boston, 1882-96.
+
+  English and Scottish Popular Ballads, edited from the collection of
+  Francis James Child by Helen Child Sargent and George Lyman Kittredge.
+  Boston, 1904.
+
+Clemens, S.L. (Mark Twain).
+  Life on the Mississippi. Boston, 1883.
+
+Cockburn, Henry.
+  Memorials of His Time. Edinburgh, 1874.
+
+Coleridge, S.T.
+  Specimens of the Table Talk of Samuel Taylor Coleridge. 2 vols.
+  London, 1835.
+
+  Letters of Samuel Taylor Coleridge, edited by E.H. Coleridge. 2 vols.
+  Boston, 1895.
+
+Collins, J. Churton.
+  Ephemera Critica. London, 1901.
+
+Courthope, W.J.
+  A History of English Poetry. 4 vols. New York, 1895-1903.
+
+  The Liberal Movement in English Literature. London, 1885.
+
+Cunningham, Allan.
+  Life of Scott. Boston, 1832.
+
+Dowden, Edward.
+  Life of Percy Bysshe Shelley. 2 vols. London, 1886.
+
+Fitzgerald, Percy.
+  New History of the English Stage, from the Restoration to the liberty
+  of the theatres, in connection with the patent houses. 2 vols. London,
+  1882.
+
+Forster, John.
+  Walter Savage Landor, a biography. 2 vols. London, 1869.
+
+Freeman, E.A.
+  The History of the Norman Conquest of England. 5 vols. New
+  York, 1873.
+
+Gates, L.E.
+  Three Studies in Literature. New York, 1899.
+
+Gillies, R.P.
+  Recollections of Sir Walter Scott. (Republished in book form from
+  _Fraser's Magazine_, Sept., Nov., Dec. 1835, and Jan., 1836.)
+
+Hazlitt, William.
+  Collected Works, edited by A.R. Waller and Arnold Glover. 12 vols.
+  London, 1902-4. (Spirit of the Age, Vol. IV; Plain Speaker, Vol. VII;
+  Dramatic Essays, Vol. VIII.)
+
+Herford, C.H.
+  The Age of Wordsworth. (Handbooks of English Literature.) London,
+  1905.
+
+Hogg, James, ed.
+  Jacobite Relics of Scotland, being the songs, airs, and legends of the
+  adherents of the House of Stuart. 2 vols. Edinburgh, 1819-21.
+
+  Domestic Manners and Private Life of Sir Walter Scott. Glasgow, 1834.
+
+Hudson, W.H.
+  Sir Walter Scott, London, 1901.
+
+Hunt, J.H. Leigh.
+  Autobiography; with reminiscences of friends and contemporaries. 2
+  vols. New York, 1850.
+
+  Feast of the Poets. London, 1814.
+
+  Lord Byron and some of his contemporaries. Second edition. 2 vols.
+  London, 1828.
+
+Hutton, R.H.
+  Sir Walter Scott. (English Men of Letters.) New York, 1878.
+
+Irving, Washington.
+  Abbotsford and Newstead Abbey. (First volume of the "Crayon
+  Miscellany.") London, 1835.
+
+Lang, Andrew.
+  Sir Walter Scott (Literary Lives). New York, 1906.
+
+  Border edition of the Waverley Novels, 48 vols. London, 1892-1894.
+
+Laing, Malcolm, ed.
+  Poems of Ossian, containing the poetical works of James MacPherson in
+  prose and verse. 2 vols. Edinburgh, 1805.
+
+Legaré, H.S.
+  Writings.... Edited by his sister. Charleston, S.C., 1846.
+
+Lounsbury, T.R.
+  James Fenimore Cooper. (American Men of Letters.) Boston, 1882.
+
+Maigron, Louis.
+  Le Roman Historique à l'Époque Romantique: essai sur l'influence de
+  Walter Scott. Paris, 1898.
+
+Masson, David.
+  British Novelists and Their Styles. Cambridge, Eng., 1859.
+
+Matthews, Brander.
+  The Historical Novel, etc. New York, 1901.
+
+Meteyard, Eliza.
+  A Group of Englishmen (1795-1815), being records of the younger
+  Wedgwoods and their friends. London, 1871.
+
+Millar, J.H.
+  The Mid-Eighteenth Century. (Periods of European Literature.) New
+  York, 1902.
+
+Moore, Thomas.
+  Letters and Journals of Lord Byron, with notices of his life. 2 vols.
+  London, 1830.
+
+Myers, F.W.H.
+  Wordsworth. (English Men of Letters.) New York, 1881.
+
+Newman, J.H.
+  Apologia Pro Vita Sua. London, 1892.
+
+Nichol, John.
+  Byron. (English Men of Letters.) New York, 1880.
+
+Palgrave, F.T.
+  Biographical and Critical Memoir of Sir Walter Scott. (In Poetical
+  Works of Scott. London, 1866, Macmillan and Company.)
+
+Paris, Gaston.
+  La Littérature Française au Moyen Age. Paris, 1890.
+
+Percy, W.
+  Reliques of Ancient English Poetry, consisting of old heroic ballads,
+  songs, and other pieces of our earlier poets (chiefly of the lyric
+  kind) together with some few of later date. 3 vols. London, 1765.
+
+Pierce, E.L.
+  Memoirs and Letters of Charles Sumner. 2 vols. Boston, 1877.
+
+Ruskin, John.
+  Modern Painters. New edition, 5 vols. London, 1897.
+
+Saintsbury, George.
+  Life of Scott. (Famous Scots Series.) New York. [1897.]
+
+  A History of Criticism and Literary Taste in Europe.... 3 vols. New
+  York, 1900-1904.
+
+Scott, Temple, ed.
+  The Prose Works of Jonathan Swift, D.D. (Bohn's Standard Library.)
+  London, 1898-1905.
+
+Southey, Robert.
+  Selections from the Letters of Robert Southey, edited by John Wood
+  Warter. 4 vols. London, 1856.
+
+Stephen, Leslie.
+  English Literature and Society in the Eighteenth Century. (Ford
+  Lectures, 1903.) London, 1904.
+
+  Swift. (English Men of Letters.) New York, 1882.
+
+Taine, H.A.
+  Histoire de la Littérature Anglaise. 4 vols. Paris, 1863-64.
+
+Ticknor, George.
+  Life, Letters, and Journals of George Ticknor. Sixth edition. 2 vols.
+  Boston, 1877.
+
+White, A.D.
+  Autobiography. 3 vols. New York, 1905.
+
+Wylie, L.J.
+  Studies in the Evolution of English Criticism. Boston, 1894.
+
+
+3. _Periodicals and articles referred to, aside from the articles
+written by Scott._
+
+_The Bibliographer_: Notes for a Bibliography of Swift, by Stanley
+Lane-Poole. Vol. VI, pp. 160-71.
+
+_The Edinburgh Review_: Review of The Minstrelsy of the Scottish Border,
+Vol. I, pp. 395-406; Review of Sir Tristrem, Vol. IV, pp. 427-43; Review
+of Scott's edition of Swift, Vol. XXVII, pp. 1-58; Border Ballads, Vol.
+CCIII, pp. 306-26.
+
+_The English Historical Review_: Dean Swift and The Memoirs of Captain
+Carleton, by Col. the Hon. Arthur Parnell, R.E. Vol. VI, pp. 97-151.
+
+_Fraser's Magazine_: Review of Letters on Demonology and Witchcraft,
+Vol. II, pp. 507-519.
+
+_The Knickerbocker Magazine_: Review by J. Fenimore Cooper of Lockhart's
+Life of Scott, Vol. XII, pp. 349 ff.
+
+_Macmillan's Magazine_: The Historical Novel: Scott and Dumas, by Prof.
+Saintsbury, Vol. LXX, pp. 321-330.
+
+_The Nineteenth Century_: Defoe's "Apparition of Mrs. Veal," by G.A.
+Aitken, Vol. XXXVII, pp. 95 ff.
+
+_The Quarterly Review_: Review of Dunlop's History of Fiction, Vol.
+XIII, pp. 384-408; Review of Frankenstein, Vol. XVIII, pp. 37-385;
+Review of The Lives of the Novelists, Vol. XXXIV, pp. 349-378.
+
+
+
+
+INDEX.
+
+
+_Abbot, The_, 88, 132, 155
+_Abbotsford and Newstead Abbey_, 15, 176
+_Abbotsford, described by the Hon. Mary Monica Maxwell Scott_, 161
+_Abbotsford Notanda_, 169
+_Absalom and Achitophel_, 60, 63-4, 66
+_Account of the Death of Frederick, Duke of York, An_, 156
+Addison, Joseph, 80
+Adolphus, J.L., see _Letters to Heber_
+Aeschylus, 50
+_Age of Wordsworth, The_, 10, 20, 125, 131, 136, 175
+_Aiken's Collection of Songs_, Scott's review of, 26, 163
+Aitken, G.A., 77, 174, 178
+_Alastor_, 89
+_Alexander's Feast_, 63, 139
+Allibone, S.A., 56, 153, 172, 174
+_Amadis de Gaul_, Scott's review of, 4, 37, 128, 129, 162
+_Ancient British Drama_, 52, 151-2
+_Ancient Criminal Trials_, Scott's review of, 46, 143, 165
+_Ancient English Metrical Romances_, Scott's review of, 125, 162
+_Ancient Mariner, The_, 87-8
+_Ancient Times_, 149
+Anderson, J.P., see _Bibliography of Scott_
+_Annals of a Publishing House_, 169
+_Annals of the Caledonians_, etc., Scott's review of, 164
+_Anne of Geierstein_, 51, 65, 104, 127, 160
+_Antiquary, The_, 3, 50, 51, 89, 154, 172
+_Apologia_, Newman's, 142, 176
+_Apology for Tales of Terror_, 147
+_Apparition of Mrs. Veal, The_, 76-7, 178
+Arbuthnot, John, 68
+Ariosto, 33, 105
+Aristotle, 53, 54
+Arnold, Matthew, 95-6, 174
+_Auchindrane, or The Ayrshire Tragedy_, 160
+_Auchinleck Manuscript, The_, 34, 148
+_Auld Robin Gray_, 157
+Austen, Jane, 75, 100, 130
+_Autobiography of Scott_, 160
+
+
+Bage, Robert, 73, 75, 79
+Baillie, Joanna, 46, 85, 97, 98, 114, 118, 151, 156
+_Ballad Book, The_, 28, 148
+_Ballads and Lyrical Pieces_, 148
+_Ballantyne and Lockhart Pamphlets, The_, 149, 169
+_Bannatyne, Memoir of_, 44, 160
+_Bannatyne Miscellany, The_, 159
+Barnard, Lady Anne, 157
+_Bartholomew Fair_, 118
+_Battle of Brunanburgh, The_, 20, 43
+_Battles of Talavera_, Scott's review of, 106, 112-13, 163
+Beaumont and Fletcher, 42, 50, 51, 52, 56
+_Beggar's Bush, The_, 50
+_Beggar's Opera, The_, 50
+_Beowulf_, 42
+Berners, John, Lord, 128
+_Betrothed, The_, 157, 167
+_Bibliographer, The_, 67, 177
+_Bibliography of Scott_, Anderson's, 174
+_Bibliothèque Bleue_, 33
+_Bibliothèque de Romans_, 33
+_Black Dwarf, The_, 3, 87, 109, 154
+Blackmore, Sir Richard, 80
+_Blackwood's Edinburgh Magazine_, 78, 83, 100, 164, 167, 169
+Blair, Hugh, 15
+_Boaden's Life of Kemble_, Scott's review of, 46, 47, 58, 164
+Boiardo, 33
+Boileau, 136
+_Border Antiquities_, 153
+Boswell, James, 80, 161
+_Brennoralt_, 51
+_Bridal of Triermain, The_, 27, 152
+_Bride of Lammermoor, The_, 3, 34, 155
+_British Novelists and Their Styles_, 3, 145, 176
+Brome, Richard, 50
+Broughton, Hugh, 71
+Brown, Charles Brockden, 104
+Buchan, Peter, 27
+Bunyan, Scott's review of Southey's Life of, 111, 165
+Bürger, Gottfried, 18, 31, 147
+Burney, Fanny, 100
+Burns, Robert, 22, 30, 86, 93, 96
+_Burt's Letters from the North of Scotland_, 154
+Butler, Samuel, 64
+Byron, George Gordon, Lord, 11, 50, 86, 88-9, 91, 92-6, 97, 98, 99, 101,
+    104, 105, 106, 110, 121, 129, 143, 163, 171, 176
+
+
+_Cadyow Castle_, 30
+_Cain_, 95
+_Caledonian Sketches_, Scott's review of, 84, 163
+Calprenède, 53, 76
+Campbell, Thomas, 96, 100, 118, 163
+Carey, Patrick, 155
+_Carey, Robert, Memoirs of_, 149, 151
+_Carleton, Captain, Memoirs of_, 68, 144, 148, 178
+Carlyle, Thomas, 125, 131, 144, 174
+Carr, Sir John, 84, 163
+Cartwright, William, 50
+_Castle Dangerous_, 18, 34, 161
+_Castle of Otranto, The_, 76
+_Catalogue of the Centenary Exhibition_, 147, 151, 171, 174
+Chambers, E.K., 21, 174
+Chambers, Robert, 50, 169, 170
+_Changeling, The_, 56
+Chapman, George, 50
+_Chase, The_, 31, 147
+Chatterton, Scott's review of the Life and Works of, 43, 162
+Chaucer, 43, 44-5, 62, 162
+Chesterton, G.K., 11, 174
+_Childe Harold_, 14, 88, 93, 94, 95, 129, 163
+Child, Francis J., 24, 28, 31, 174
+_Chimney-Sweeper's Friend_, 173
+_Chivalry_, Essay on, 36, 46, 154
+_Christabel_, 62, 86-7, 88
+Christie, W.D., 60
+_Chronicles of the Canongate_, 2, 3, 80, 119, 129, 159
+_Chronological Notes of Scottish Affairs_, 156
+_Chrononhotonthologos_, 50
+_Cid, The_, Scott's review of, 92, 163
+_Clarissa Harlowe_, 74
+Clemens, Samuel L., 142, 174
+Clifford, Arthur, 149
+_Cock and the Fox, The_, 45
+Cockburn, Henry, 15, 175
+Coleridge, Samuel Taylor, 11, 22, 51, 86-9, 90-91, 92, 106, 135, 137,
+    138, 169, 175
+Collins, Churton, 68, 143-4, 175
+Colvin, Sidney, 100
+Congreve, William, 57, 60
+_Conquest of Granada, The_, 57
+_Constable, Archibald, Literary Correspondence of_, 12, 33, 48, 52, 98,
+    104, 121, 126, 127, 154, 158, 168, 169
+Conybeare, John J., 42
+Cooper, J. Fenimore, 14, 101-3, 172, 178
+_Correspondence of Lady Suffolk_, Scott's review of, 142, 164
+_Count Julian_, 99
+_Count Robert of Paris_, 161
+_Courser's Manual, The_, 173
+Courthope, W.J., 21, 141, 175
+Cowley, Abraham, 59, 64
+Cowper, William, 64
+Crabbe, George, 97, 166
+Craik, Sir Henry, 68
+_Critic, The_, 50
+Croker, J.W., 161, 163
+_Cromek's Reliques of Burns_, Scott's review of, 22, 86, 163
+_Culloden Papers_, Scott's review of, 45, 163
+Cumberland, Richard, 73, 163
+Cunningham, Allan, 47-8, 81-2, 96, 175
+_Curse of Kehama, The_, Scott's review of, 91, 92, 163
+
+
+Dante, 33, 92
+_Darkness_, 88-9
+Davy, Sir Humphrey, see _Salmonia_
+_Dean Swift and the Memoirs of Captain Carleton_, 68, 144, 148, 178
+Defoe, Daniel, 71, 73, 76-7, 148-9, 156, 178
+Dekker, Thomas, 50, 56
+_Demonology and Witchcraft, Letters on_, 45, 104, 138, 160, 178
+DeQuincey, Thomas, 99
+Derrick, John, 71, 150
+_Description of the Regalia of Scotland_, 155
+_Diable Boiteux, Le_, 74
+_Dictionary of British and American Authors_, 56, 153, 172, 174
+D'Israeli, Isaac, 20, 142
+_Domestic Manners and Private Life of Sir Walter Scott_, 114, 175
+_Don Juan_, 95
+Donne, John, 62
+_Don Quixote_, 33
+_Doom of Devorgoil, The_, 46-7, 48, 160
+Douce, Francis, 20
+_Douglas_, 47, 51, 111
+Douglas, David, 161, 168
+_Douglas on Military Bridges_, Scott's review of, 163
+Dowden, Prof. Edward, 91, 175
+_Drama_, Essay on, 50, 52-9, 136, 154
+_Drapier's Letters, The_, 69
+Drayton, Michael, 62
+Drelincourt's _Defence_, etc., 76-7
+Dryden, John, 44, 59-65, 93, 112, 145
+_Dryden's Works_, edited by Scott, 2, 5, 7, 36, 44-5, 50, 51, 52-8,
+    59-65, 66, 70, 73, 80, 126, 131, 136, 139, 145, 149
+Dunbar, William, 44, 143-4
+Dunlop, J.C., 73, 178
+Dyce, Alexander, 55
+
+
+Eberty, Felix, 2
+Edgeworth, Maria, 75, 76, 97, 100, 101, 103, 173
+_Edinburgh Annual Register, The_, 6, 26, 85, 91, 118, 141, 155, 165-7
+_Edinburgh Review_, 4, 5, 18, 25, 26, 29, 31, 35, 36, 38, 40, 43, 44,
+    46, 61, 69, 82, 84, 91, 125, 128, 129, 134, 135, 162, 164, 178
+_Edinburgh Weekly Journal, The_, 155, 156, 157, 167
+Elliott, Hon. Fitzwilliam, 25
+Ellis, George, 4, 20, 34, 35, 43, 44, 58, 60, 91, 113, 162
+Ellis, James, Letters of Scott to, 171
+_Emma_, Scott's review of, 100, 163
+_Encyclopĉdia Britannica_, 37, 46, 52, 154
+_English and Scottish Popular Ballads_, 24, 28, 31, 174
+_English Historical Review, The_, 68, 144, 148, 178
+_English Literature and Society in the Eighteenth Century_, 97, 177
+_English Minstrelsy_, 151
+_Ephemera Critica_, 143-4, 175
+_Evans's Old Ballads_, Scott's review of, 26, 163
+_Eve of St. John, The_, 30, 147
+_Evergreen, The_, 28
+_Eyrbyggja Saga, The_, 42, 152
+
+
+_Fables_, Dryden's, 44-5, 64
+_Fair Maid of Perth, The_, 159
+_Fair Maid of the Inn, The_, 50
+_Family Legend, The_, 46
+_Familiar Letters of Sir Walter Scott_, 5, 13, 14, 33, 37, 40, 47, 50,
+    62, 80, 84, 85, 87, 89, 96, 97, 103, 104, 108, 110, 114, 115, 116,
+    118, 120, 138, 143, 168
+_Fatal Revenge, The_, Scott's review of, 163
+_Faust_, 104
+_Faustus_, 55
+_Ferdinand, Count Fathom_, 74
+Fergusson, Robert, 86
+_Ferrex and Porrex_, 54
+Ferrier, Susan, 100
+Fielding, Henry, 73, 74, 75-6, 78-9, 110
+_Field of Waterloo, The_, 121, 153
+Fitzgerald, Percy, 49, 175
+_Fleetwood_, Scott's review of, 162
+Fletcher, John, 42, 50, 51, 52, 56
+Fletcher, Phineas, 64
+Ford, John, 50, 56
+_Foreign Quarterly Review_, 57, 58, 105, 132, 133, 164
+_Forester's Guide, The_, Scott's review of, 164
+Forster, John, 85, 91, 98-9, 175
+_Fortunes of Nigel, The_, 27, 47, 48, 49, 51, 77, 108, 110, 111, 118,
+    119, 128, 131, 157
+Fouqué, Baron de la Motte, 105
+_Fragmenta Regalia_, 55, 149
+_Fragments of Voyages and Travel_, 172
+France, Anatole, 127
+Franck, Richard, 155
+_Frankenstein_, 78, 89, 164, 178
+_Fraser's Magazine_, 85, 106, 130, 138, 143, 146, 175, 178
+Freeman, Edward, 126, 127, 175
+Frere, John Hookham, 20, 35
+Froissart, 36, 128, 162
+
+
+Galt, John, 129, 164
+_Gammer Gurton's Needle_, 54
+Gates, Prof. L.E., 134, 135, 175
+Gay, John, 128
+_Gebir_, 98
+_Gertrude of Wyoming_, Scott's review of, 82, 96, 163
+Gibson, John, 170
+Gifford, William, 50, 52, 83, 84, 134, 141
+Gilfillan, George, 1
+Gillies, R.P., 14, 85, 95, 106, 130, 143, 146, 171, 175
+_Glenfinlas_, 30
+Godwin, William, 9, 44, 99
+_Godwin's Life of Chaucer_, Scott's review of, 9, 44, 84, 124, 162
+Goethe, 54, 95, 104-5, 125, 147
+_Goetz von Berlichingen_, 54, 147
+Goldsmith, Oliver, 73, 75
+Gosson, Stephen, 71
+_Gourgaud's Narrative, Remarks on_, 164
+Grammont, Count, 5, 152
+_Gray Brother, The_, 30
+Greene, Robert, 55, 71
+Grimm, Jacob, 21
+_Groat's-worth of Wit_, 71
+_Group of Englishmen, A_, 87, 176
+_Gulliver's Travels_, 70
+_Guy Mannering_, 3, 6, 46, 50, 76, 117, 120, 121, 153, 167
+_Gwynne, John, Military Memoirs of_, 157
+
+
+_Hajji Baba in England_, Scott's review of, 164
+_Halidon Hill_, 48, 156
+_Hall of Justice, The_, 97
+_Harold the Dauntless_, 121, 154
+_Harper's Magazine_, 161
+Hawkesworth, John, 65
+Haydon, B.R., 99, 171
+Hazlitt, William, 49, 51, 85, 99, 114, 135, 139, 141, 175
+_Heart of Midlothian, The_, 3, 46, 154
+_Heber, Richard, Letters to_, 10, 15-16, 49, 65, 85, 88, 97, 114, 129,
+    131, 132, 174
+Hemans, Mrs. Felicia, 98
+Henderson's edition of _The Minstrelsy of the Scottish Border_, 22, 23,
+    24-5, 26, 28, 29, 148
+Henry, Robert, 126
+Herbert, Lord, of Cherbury, 150
+Herbert, William, Scott's review of the Poems of, 18, 31, 41, 162
+Herford, C.H., see _Age of Wordsworth_
+_Highland Widow, The_, 120, 159
+_Hind and the Panther, The_, 60
+_History of Criticism_, Saintsbury's, 146, 177
+_History of English Poetry_, Courthope's, 21, 175
+_History of English Poetry_, Warton's, 19, 21, 34, 35
+_History of John Bull_, 68
+_History of Prose Fiction_, Dunlop's, 73, 178
+_History of Queen Elizabeth's Favourites_, 5, 149
+_History of Scotland_, Scott's, 127, 160
+_History of Scotland_, Tytler's, Scott's review of, 45, 124, 164
+_History of the Church of Scotland_, Defoe's, 77
+_History of the Church of Scotland_, Sharpe's Kirkton's, Scott's review
+    of, 163
+_History of the Norman Conquest of England_, 126, 127, 175
+_History of the Years 1814 and 1815_, 6, 166
+_Hodgson, Captain, Memoirs of_, 148, 149
+Hoffman, Scott's review of the Works of, 89, 105, 132, 164
+Hogg, James, 26, 96, 114, 169, 171, 175
+Home, Scott's review of the Life of, 15, 80, 82, 106, 164
+Homer, 63, 71, 118, 131
+Horace, 54, 84
+_Hours of Idleness_, 93
+_House of Aspen, The_, 167
+_Hudibras_, 64
+Hudson, W.H., 2, 175
+Hughes, Mrs., 54, 168
+Hume, David, 15
+Hunt, Leigh, 99, 100, 135, 141, 176
+Hutton, R.H., 1, 176
+Hutchinson, H.G., 54, 168
+
+
+_Iliad, The_, 63, 131
+_Illustrations of Northern Antiquities_, 152
+_Image of Ireland, The_, 71, 150
+_Imitations of the Ancient Ballad_, Essay on, 19, 30, 41, 42, 88, 115,
+    160
+_Indian Emperor, The_, 53
+_Introductions, etc., to the Novels, Tales, and Romances, of the Author
+    of Waverley_, 160
+Irving, Washington, 15, 97, 101, 103-4, 117, 143, 171, 176
+_Ivanhoe_, 6, 87, 108, 120, 126, 127, 128, 142, 155
+
+
+_Jacobite Relics_, 26, 175
+Jamieson, Robert, 42, 152, 154
+Jeffrey, Francis, 4, 69, 83, 84, 93, 134-5
+_Jests of George Peele_, 71
+_Jonathan Wild_, 74
+_John de Lancaster_, Scott's review of, 163
+_Johnes's Froissart_, Scott's review of, 36, 162
+Johnson, Samuel, 60, 61, 64, 68, 73, 74, 79-80, 102, 128, 135, 137, 161
+Johnstone, Charles, 73
+_Jolly Beggars, The_, 86
+Jonson, Ben, 50, 51, 56, 118
+_Journal of a Tour to the Hebrides_, 161
+_Journal, Scott's_, 12, 38, 51, 56, 84, 100, 117, 122, 129, 161, 164
+    (see the footnotes for the many references not here indexed)
+_Judicial Reform_, Essay on, 141, 165
+
+
+Keats, John, 11, 100
+_Keepsake, The_, 167
+_Kelly's Reminiscences_, Scott's review of, 46, 47, 58, 164
+Kemble, Scott's review of the Life of, 46, 47, 58, 164
+Kemble, J.M., 43
+_Kenilworth_, 10, 51, 98, 155
+_Kinmont Willie_, 24, 26, 31, 148
+Kirk, Robert, 45, 153
+_Kirkton's History, etc._, Scott's review of, 163
+_Knickerbocker's History of New York_, 103
+_Knickerbocker Magazine, The_, 102, 172, 178
+Knight, Prof. William, see _Memorials of Coleorton_, and _Wordsworth_
+_Knight's Tale, The_, 44
+_Knighton, Sir William, Memoirs of_, 12, 171
+Kölbing, E., 35, 36
+_Kuzzilbash, The_, Scott's review of, 164
+
+
+_Lady of the Lake, The_, 46, 97, 113, 118, 119, 151
+_Lady Suffolk's Correspondence_, Scott's review of, 142, 164
+_Laird's Jock, The_, 167
+Laing, Malcolm, 40, 176
+Lamb, Charles, 20, 51, 99, 100, 135
+_Landor_, Forster's _Life of_, 85, 91, 98-9, 175
+_Landscape Gardening_, see _Planter's Guide_
+Lane-Poole, Stanley, 67, 177
+Lang, Andrew,
+    _Border Edition of the Waverley Novels_, 51, 89, 108, 158, 176
+    _Life of Lockhart_, 52, 84, 99, 100, 158, 168
+    _Life of Scott_, 87, 100, 126, 127, 176
+    _Secret Commonwealth of Elves, Fauns, and Fairies_, 153
+Langhorne, John, 98
+_Lay of the Last Minstrel, The_, 4, 18, 31, 87, 110, 148
+_Lays of the Lindsays_, 157
+Lee, Sidney, 150
+Lee, William, 77
+Legaré, H.S., 94, 176
+_Legend of Montrose, A_, 51, 155
+Lennox, Charlotte, 151
+_Lenore_, 31, 147
+Le Sage, 73, 74
+_Letter from Dr. Tripe to Nestor Ironside_, 67
+_Letters of Malachi Malagrowther on the Currency_, 59, 69, 116, 140, 157
+_Letters of Sir Walter Scott_, 168-173, see also _Familiar Letters_,
+    Hutchinson, Polwhele, and Stuart, Lady Louisa
+_Letters on Demonology and Witchcraft_, 45, 104, 160, 178
+_Letters to Richard Heber, etc._, 10, 15-16, 49, 65, 85, 88, 97, 114,
+    129, 131, 132, 174
+_Letting of Humour's Blood in the Head Vaine, The_, 153
+_Levett, Robert, Verses on the Death of_, 80
+Lewis, Matthew, 30, 97-8, 147
+Leyden, John, 25, 30, 166
+_Liberal Movement in English Literature, The_, 141, 175
+_Life of Napoleon Buonaparte, The_, 7, 12, 78, 102, 124-5, 127, 140,
+    158, 170
+_Life on the Mississippi_, 142, 174
+_Life of Sir Walter Scott, The_, see Cunningham, Gilfillan, Hudson,
+    Hutton, Lang, Lockhart, Mackenzie, and Saintsbury
+_Littérature Française au Moyen Age, La_, 38, 177
+_Little French Lawyer, The_, 50
+_Lives of the Novelists_, 6, 7, 15, 72-9, 128, 131, 156, 178
+_Lives of the Poets_, 74
+_Living Poets of Great Britain_, Article on, 118, 165
+_Livre de Mon Ami, Le_, 127, 175
+Lockhart, John Gibson, 6, 22, 25, 27, 29, 52, 83, 84, 85, 98, 99, 112,
+    117, 158, 160, 168, 169
+_Lockhart's Life of Scott_, 1, 11, 12, 13, 96, 98, 101, 102-3, 112, 148,
+    149, 152, 153, 161, 162, 163, 164, 165, 166, 167, 168, 169, 172, 173,
+    174, 178 (see the footnotes for the many references not here indexed)
+Lodge, Edmund, 132, 172
+_London_, 79
+_Lord Byron and Some of his Contemporaries_, 99-100, 176
+_Lord of the Isles, The_, 120, 153
+Lounsbury, Prof. T.R., 14, 102, 176
+_Love_, 87
+Lyly, John, 61
+
+
+Macaulay, T.B., 144
+_Macduff's Cross_, 156
+Mackenzie, Colin, 30
+Mackenzie, Henry, 17, 73, 75, 100,
+    see also Home, John
+Mackenzie, R. Shelton, 1, 52, 123, 139, 171
+_Macmillan's Magazine_, 51, 142, 178
+McNeill, G.P., 35
+Macpherson, James, 40, 41, 176
+_Madoc_, 91
+_Magnalia_, 104
+Maigron, Louis, 105, 176
+_Malachi Malagrowther, Letters of_, 59, 69, 116, 140, 157
+Malone, Edmund, 60, 61
+Malory, 37
+_Manfred_, 50, 51
+Mark Twain, 142, 174
+Marlowe, Christopher, 55
+_Marmion_, 5, 6, 31, 90, 93, 97, 110, 113, 115, 145, 148
+Marston, John, 50
+_Masque of Owls, The_, 51
+Massinger, Philip, 56
+Masson, David, 3, 145, 176
+Mather, Cotton, 104
+Matthews, Prof. Brander, 76, 176
+Maturin, C.R., 138, 163, 164
+_Mediaeval Stage, The_, 21, 174
+_Memoirs of a Literary Veteran_, 14, 171
+_Memoirs of Captain Carleton_, 68, 144, 148-9, 178
+_Memoirs of Captain Hodgson_, 148, 149
+_Memoirs of Robert Carey_, 149, 151
+_Memoirs of the Court of Charles II._, 5, 152
+_Memoirs of the Insurrection in 1715_, 159
+_Memoirs of the Duke of Sully_, 151
+_Memoirs of the Marchioness de la Rochejaquelin_, 159
+_Memoirs of the Reign of King Charles I._, 5, 152
+_Memorials of Coleorton_, 169
+_Memorials of George Bannatyne_, 44, 160
+_Memorials of His Time_, Cockburn's, 15, 175
+_Memorials of James Hogg_, 171
+_Memorials of the Haliburtons_, 155
+_Memorie of the Somervilles_, 154
+_Merry Devil of Edmonton, The_, 50
+Meteyard, Eliza, 87, 176
+_Mezeray's History of France_, 80
+Mickle, W.J., 98
+Middleton, Thomas, 50, 56
+_Mid-Eighteenth Century, The_, 74, 176
+Millar, J.H., 74, 176
+_Military Bridges_, Scott's review of, 163
+_Military Memoirs of the Great Civil War_, 5, 157
+Milton, 40, 62, 65, 88, 91, 92, 95, 104, 143
+Minot, Laurence, 43
+_Minstrelsy of the Scottish Border_, 3, 4, 7, 17-32, 33, 36, 45, 80,
+    147-8, 160, 178
+_Mirror for Magistrates, The_, 55
+_Miscellaneous Prose Works_, Scott's, 7, 26, 73, 149, 151, 154, 156,
+    159, 160, 162, 163, 164, 166, 167
+_Miseries of Human Life_, Scott's review of, 162
+_Modern British Drama, The_, 52, 152
+_Modern Painters_, 10, 129, 177
+Molière, 53, 57, 58, 133, 164
+_Monastery, The_, 88, 105, 116, 155
+_Monk, The_, 98
+Moore, Thomas, 96, 97, 166, 176
+_Murray, John, Memoir and Correspondence of_, 83, 84, 93, 105, 141, 142,
+    163, 168, 169
+_My Aunt Margaret's Mirror_, 131, 167
+Myers, F.W.H., 130, 176
+_Mysterious Mother, The_, 50
+
+
+_Napoleon_, Scott's _Life of_, 7, 12, 78, 102, 124-5, 127, 140, 158, 170
+Nash, Thomas, 59
+Naunton, Sir Robert, 149
+_Neidpath Castle_, Wordsworth's sonnet on, 87
+_New History of the English Stage_, 49, 175
+Newman, J.H., 142, 176
+_New Practice of Cookery, The_, Scott's review of, 162
+_New Test of the Church of England's Loyalty, A_, 71
+Nichol, John, 95, 176
+Nichols, John, 65
+_Nineteenth Century, The_, 77, 172, 178
+_Norman Conquest of England, The_, 126, 127, 175
+_Northern Antiquities_, 42, 152
+_Northern Memoirs_, 155
+_Notices concerning the Scottish Gypsies_, 167
+_Novelists' Library, The_, 6, 7, 72-79, 156
+
+
+_Ode on Scottish Music_, 30
+_Oedipe_, 53
+_Old Mortality_, 36, 62, 77, 89, 109, 128, 154
+Oliphant, Mrs., 169
+_Omen, The_, Scott's review of, 164
+_Opus Magnum, The_, 7, 108, 160
+_Original Memoirs Written during the Great Civil War_, 4, 148
+Ossian, 40-41, 162, 176
+Otway, Thomas, 50, 57, 58
+
+
+_Paradise Lost_, 95
+_Palamon and Arcite_, 64
+Palgrave, Francis, 13, 40, 177
+_Papers relative to the Regalia of Scotland_, 160
+Paris, Gaston, 38, 177
+Parnell, Col., the Hon. Arthur, 68, 144, 148, 178
+Parnell, Thomas, 80
+_Paul's Letters to his Kinsfolk_, 6, 88, 125, 140, 154
+Peele, George, 55
+_Penni Worth of Wit, A_, 148
+Pepys, Samuel, 65, 142, 164
+Percy, Thomas, 19, 20, 21, 22, 23, 26, 28, 32, 34, 37, 38, 177
+_Periodical Criticism_, Article on, 165
+Petrarch, 33
+_Peveril of the Peak_, 44, 105, 157
+Pierce, E.L., 177
+_Pilot, The_, 101
+_Pioneers, The_, 14
+_Pinner of Wakefield, The_, 59
+_Pirate, The_, 3, 117, 125-6, 155
+_Pitcairn's Ancient Criminal Trials_, Scott's review of, 46, 143, 165
+_Planter's Guide, The_, Scott's review of, 164
+_Planting Waste Lands_, Scott's review of, 164
+_Plays on the Passions_, 50
+Poe, Edgar Allan, 109, 110
+_Poems, with Prefaces by the Author_, 160
+Polwhele, R., Letters of Scott to, 132, 148, 170
+_Poor Richard's Almanac_, 104
+Pope, Alexander, 79, 81, 93, 97, 106, 113
+_Popular Poetry, Remarks on_, 19, 22, 30, 34, 160
+_Portraits of Illustrious Personages_, 132, 172
+_Prairie, The_, 101
+Prior, Matthew, 80
+_Proceedings in the Court-martial, etc._, 159
+_Provincial Antiquities_, 6, 56, 59, 155
+Pulci, 33
+
+
+_Quarterly Review_, 2, 5-6, 20, 22, 26, 45, 46, 55, 73, 77, 78, 82, 83,
+    84, 94, 96, 99, 100, 109, 112, 113, 114, 124, 129, 140, 143, 163,
+    164, 165, 168, 178
+_Queenhoo Hall_, 5, 128, 149
+_Quentin Durward_, 88, 104, 122, 127, 157
+
+
+Radcliffe, Mrs. Anne, 73, 75, 76, 131
+_Rambler, The_, 80, 156
+Ramsay, Allan, 28, 86
+_Recollections of Sir Walter Scott_, R.P. Gillies', 106, 130, 143, 146,
+    175
+_Redgauntlet_, 3, 89, 157
+_Red Rover, The_, 101
+Reeve, Clara, 73, 76, 78
+_Religio Laici_, 64
+_Religious Discourses by a Layman_, 159
+_Reliquiae Trottosienses_, 161
+_Reliques of Burns_, Scott's review of, 22, 86, 163
+_Remarks on Gen. Gourgaud's Narrative_, 164
+_Remarks on Popular Poetry_, 19, 22, 30, 34, 160
+_Remarks on the Death of Lord Byron_, 93, 95
+_Reminiscences of Sir Walter Scott_, John Gibson's, 170
+_Revolutions of Naples_, Article on, 164
+Richardson, Samuel, 73, 74-5, 77, 78
+Ritson, Joseph, 19, 20, 21, 23, 32, 34, 37, 38, 39, 45, 162, 164
+Robert of Brunne, 34
+Robertson, William, 15
+Robinson, Crabbe, 87
+_Rob Roy_, 3, 76, 154
+Rogers, Samuel, 151
+_Rokeby_, 108, 111, 115, 116, 152
+_Romance_, Essay on, 34, 37, 38-9, 42, 46, 146, 154
+_Roman Historique à l'Époque Romantique, Le_, 105, 176
+Roscommon, Earl of, 136
+Rose, W.S., 37, 92, 162
+Rowlands, Samuel, 153
+Rowley, 43, 50
+Ruskin, John, 10, 129, 172, 177
+
+
+Sackville, Thomas, 54-5
+_Sadler, Sir Ralph, State Papers and Letters of_, 149
+_Saint Ronan's Well_, 51, 64, 88, 100, 108, 157
+Saintsbury, Prof. George, 2, 51, 53, 57, 60, 61, 63, 142, 146, 177, 178
+_Sale-Room, The_, 166, 167
+_Salmonia_, Scott's review of, 164
+Schlegel, 53
+_School of Abuse, The_, 71
+Scott, Temple, 67, 177
+Scudéri, 53, 76
+_Secret Commonwealth, The_, 45, 153
+_Secret History of One Year, The_, 71
+_Secret History of the Court of James I._, 5, 55, 152
+Severn, Joseph, 100
+Seward, Anne, 30, 85, 89, 91, 151
+Shadwell, Thomas, 51, 57
+Shakspere, 49, 50, 51, 52, 55-6, 57, 58, 59, 62, 65, 86, 95, 97, 157-8
+Sharpe, C.K., 27, 28, 30, 31, 66, 81, 97, 114, 118, 148, 163, 169
+Shelley, Mrs. Mary, 78, 163
+Shelley, P.B., 11, 89, 91, 106, 175
+Sheridan, Thomas, 65
+Shirley, James, 50, 56
+_Short Account of Successful Exertions, etc._, 173
+_Sibbald's Chronicle_, Scott's review of, 46, 162
+_Sir Eustace Grey_, 97
+_Sir John Oldcastle_, 59
+_Sir Tristrem_, 4, 34-6, 39, 42, 43, 56, 148, 178
+_Sketch Book, The_, 104
+_Sketch of Lord Kinneder_, 157
+_Slingsby, Sir H., Life of_, 148
+Smith, Adam, 15
+Smith, Charlotte, 73
+Smollett, Tobias, 73, 74, 156
+_Somers Tracts, The_, 4, 6, 60, 63, 70-72, 126, 150
+Somerville, Lord, 154
+Southerne, Thomas, 50
+Southey, Robert, 4, 20, 37, 46, 49, 82, 87, 89, 90, 91-2, 93, 96, 98,
+    99, 106, 110, 111, 118, 124, 143, 151, 162, 163, 165, 169, 170, 177
+_Spae-Wife, The_, 129
+_Specimens of Early English Romances_, Scott's review of, 125, 162
+_Specimens of English Dramatic Poets_, 20, 51, 99
+_Specimens of the Early English Poets_, Scott's review of, 43, 44, 162
+Spenser, 33, 62, 64
+Staël, Mme. de, 140
+Stanhope, Philip, Earl, 144
+Steele, Sir Richard, 67, 120
+Stephen, Sir Leslie, 65, 68, 97, 177
+Sterne, Laurence, 73, 75, 103, 156
+_Story of Rimini, The_, 99
+Strutt, Joseph, 5, 126, 149
+_Stuart, Lady Louisa, Letters of_, 10, 83, 127, 128, 169
+_Studies in the Evolution of English Criticism_, 137, 177
+Suckling, Sir John, 51, 59
+_Sumner, Charles, Memoirs and Letters of_, 102, 177
+_Supernatural in Fictitious Composition, The_, 164
+_Surgeon's Daughter, The_, 159
+Surtees, Robert, 20, 27, 30, 161
+Swift, Deane, 65
+Swift, Jonathan, 65-70, 103, 148-9, 177
+_Swift's Works_, edited by Scott, 6, 7, 65-70, 73, 79, 126, 139, 153, 178
+
+
+Taine, H.A., 125, 177
+_Tales of a Grandfather_, 7, 123, 127, 141, 159, 160
+_Tales of My Landlord_, 77, 109, 111-12, 128, 132, 154, 155, 161, 163,
+    167
+_Tales of the Crusaders_, 98, 124, 157
+_Talisman, The_, 157
+_Tapestried Chamber, The_, 85, 167
+Taylor, William, 31, 170
+_Tender Husband, The_, 120
+Terry, Daniel, 46, 49
+Thackeray, W.M., 80, 123
+_Thalaba_, 91, 135
+Thomas the Rhymer, 29, 30, 34-6, 148
+Thorkelin, 42
+_Thornton's Sporting Tour_, Scott's review of, 162
+_Three Studies in Literature_, 134, 135, 175
+Ticknor, George, 15, 56, 103, 144, 153, 177
+Tieck, 10
+Tierry, 127
+_Todd's Spenser_, Scott's review of, 61, 62, 84
+_Tom Jones_, 75
+_Traditions and Recollections, etc._, 170
+Tressan, 33, 34
+_Trial of Duncan Terig, The_, 161,
+_Tristram Shandy_, 75, 156
+_Trivial Poems and Triolets_, 155
+_Troilus and Criseyde_, 45
+_True-born Englishman, The_, 71
+_Trustworthiness of Border Ballads, The_, 25, 178
+Turner, Sharon, 42, 126
+_Two Bannatyne Garlands_, 161
+_Two Drovers, The_, 159
+_Tytler's History of Scotland_, Scott's review of, 45, 124, 164
+
+
+_Varied Types_, 11, 174
+_Vanity of Human Wishes, The_, 79
+_Venis and Adonis_, 58
+_Vicar of Wakefield, The_, 75
+_Virgin Queen, The_, 51
+_Visionary, The_, 155
+_Vision of Don Roderick, The_, 152, 165
+Voltaire, 78, 105
+
+
+Waldron, Francis, 51
+_Wallenstein_, 51, 88
+Waller, Edmund, 64
+Walpole, Horace, 71, 72, 73, 76, 150, 163
+Walpole, Robert, 71
+Walton, Isaac, 64-5
+_War Song of the Royal Edinburgh Light Dragoons_, 30
+Warton, Joseph, 60
+Warton, Thomas, 19, 21, 34, 35
+Warter, J.W., 124, 177
+Warwick, Sir Philip, 152
+_Waverley_, 3, 6, 36, 85, 100, 120, 122, 123, 125, 149, 153, 163
+Weber, Henry, 42, 52, 152
+Webster, John, 50, 55, 56
+White, Hon. Andrew, D., 127, 177
+_William and Helen_, 147
+Wilson, John, 50, 83
+_Women_, Scott's review of, 164
+_Women Pleased_, 50
+_Woodstock_, 44, 51, 141, 157, 170
+Wordsworth, William, 85, 87, 89-91, 92, 93, 97, 98, 106, 130, 143, 169,
+    172, 176
+Wylie, L.J., 137, 177
+
+
+_Yarrow Revisited_, 90
+
+
+
+  [Footnote 1: Mr. Hutton's _Life of Scott_, in the English Men of
+  Letters series, contains no chapter nor any extended passage on
+  Scott's critical and scholarly work, though there is a chapter on
+  "Scott's Morality and Religion," and one on "Scott as a Politician."
+  This, like the other short biographies of Scott, is professedly a
+  compilation, so far as its facts are concerned, from Lockhart's book.
+  The Lives of Scott by Gilfillan and by Mackenzie, published about the
+  time of the Scott centenary in 1871, are longer than Hutton's, but
+  contain no more extended references to the critical writings.
+  Mackenzie's book out of nearly five hundred pages gives only one to a
+  discussion of the edition of Dryden, and half a page to an account of
+  the establishment of the _Quarterly Review_. Gilfillan characterizes
+  the critical work in almost as short a space, but with a good deal of
+  judgment. The German biography of Scott contemporary with these, by
+  Dr. Felix Eberty, is concerned with the man rather than his works. Of
+  later Lives of Scott, Prof. Saintsbury's gives, in proportion to its
+  length, more space than any other to Scott's critical work, but the
+  book has only a hundred and fifty-five pages in all. Another recent
+  biographer, Mr. W.H. Hudson, says of Scott's editorial and critical
+  work, "these exertions, though they call for passing record, occupy a
+  minor place in his story"; and he gives them only "passing record."
+  Mr. Andrew Lang's still more recent and briefer _Sir Walter Scott_
+  devotes only a few lines here and there to comment on Scott as a
+  critic, and contains hardly even a reference to the little-known
+  volumes that he edited.]
+
+  [Footnote 2: Ten of Scott's twenty-seven novels (counting the first
+  series of _Chronicles of the Canongate_ as one) have scenes laid in
+  the eighteenth century. They are as follows, arranged approximately in
+  the order of their periods: _The Bride of Lammermoor_, _The Pirate_,
+  _The Black Dwarf_, _Rob Roy_, _The Heart of Midlothian_, _Waverley_,
+  _Guy Mannering_, _Redgauntlet_, _Chronicles of the Canongate (First
+  series)_, _The Antiquary_. The long poems all found their setting in
+  earlier periods.]
+
+  [Footnote 3: _British Novelists and their Styles_, pp. 167-8.]
+
+  [Footnote 4: _Familiar Letters_, Vol. II, p. 9.]
+
+  [Footnote 5: _Ibid._, Vol. I, p. 194.]
+
+  [Footnote 6: See particularly _Paul's Letters; Provincial
+  Antiquities_; and the Histories of the years 1814 and 1815, each a
+  respectable volume, written for the _Edinburgh Annual Register_.]
+
+  [Footnote 7: Ruskin's remark that "The excellence of Scott's work is
+  precisely in proportion to the degree in which it is sketched from
+  present nature," should not necessarily lead on to the condemnation
+  which follows: "He does not see how anything is to be got out of the
+  past but confusion, old iron on drawing-room chairs, and serious
+  inconvenience to Dr. Heavysterne." (_Modern Painters_, Part IV, ch.
+  16, § 32.)]
+
+  [Footnote 8: _Letters to Richard Heber_, etc. (by J.L. Adolphus), pp.
+  136-137.]
+
+  [Footnote 9: Mr. Herford distinguishes two lines of romantic
+  sentiment--"the one pursuing the image of the past as a refuge from
+  reality, the other as a portion of it: the mediaevalism of Tieck and
+  the mediaevalism of Scott." _The Age of Wordsworth_, Introduction, p.
+  xxiv, note.]
+
+  [Footnote 10: _Letters of Lady Louisa Stuart_, p. 249.]
+
+  [Footnote 11: _Journal_, Vol. I, p. 333; _Lockhart_, Vol. V, p. 81.
+  The edition of Lockhart's _Life of Scott_ to which reference is made
+  throughout this study is that in five volumes, published by Macmillan
+  & Co. in the "Library of English Classics."]
+
+  [Footnote 12: Chesterton, _Varied Types_, pp. 161-2.]
+
+  [Footnote 13: The fact that Scott was a Clerk of the Court of Sessions
+  is remembered less frequently than the fact that he had business
+  complications. But this employment of his, which could be undertaken
+  only by a lawyer, occupied a large proportion of his time during
+  twenty-four years. He once wrote, "I cannot work well after I have had
+  four or five hours of the court, for though the business is trifling,
+  yet it requires constant attention, which is at length exhausting."
+  (_Constable's Correspondence_, Vol. III, p. 195.) Again he wrote, "I
+  saw it reported that Joseph Hume said I composed novels at the clerk's
+  table; but Joseph Hume said what neither was nor could be correct, as
+  any one who either knew what belonged to composing novels, or acting
+  as clerk to a court of justice, would easily have discovered."
+  (_Memoirs of Sir William Knighton_, p. 252.)]
+
+  [Footnote 14: _Journal_, Vol. I, p. 60; _Lockhart_, Vol. IV, p. 390.]
+
+  [Footnote 15: See the Memoir prefixed to the Globe Edition of Scott's
+  poems.]
+
+  [Footnote 16: _Familiar Letters_, Vol. I, p. 217.]
+
+  [Footnote 17: _Lockhart_, Vol. III, p. 447.]
+
+  [Footnote 18: _Ibid._, Vol. I, p. 122.]
+
+  [Footnote 19: Cooper measured his own success by the same test. At the
+  conclusion of the Letter to the Publisher with which _The Pioneers_
+  originally opened he said he should look to his publisher for "the
+  only true account of the reception of his book." (Lounsbury's _Life of
+  Cooper_, pp. 43-4.)]
+
+  [Footnote 20: _Napoleon_, Vol. I, ch. 2.]
+
+  [Footnote 21: "He fixed his attention on his employments without the
+  slightest consideration for his own feelings of whatever kind, either
+  in regard to state of health or domestic sorrows." (_Memoirs of a
+  Literary Veteran_, by R.P. Gillies, Vol. III, p. 141.)]
+
+  [Footnote 22: _Familiar Letters_, Vol. II, p. 365.]
+
+  [Footnote 23: _Familiar Letters_, Vol. I, p. 112.]
+
+  [Footnote 24: _Journal_, Vol. 1, p. 303; _Lockhart_, Vol. V, p. 68.]
+
+  [Footnote 25: _Letters to Heber_, p. 69.]
+
+  [Footnote 26: Irving's _Abbotsford_.]
+
+  [Footnote 27: _Life, Letters, and Journals of George Ticknor_, Vol. I,
+  p. 282. See also Scott's review of the _Life of Home_; and _Lockhart_,
+  Vol. III, p. 304.]
+
+  [Footnote 28: _Cockburn's Memorials_, p. 181.]
+
+  [Footnote 29: _Ticknor_, Vol. I, p. 280.]
+
+  [Footnote 30: _Letters to Heber_, p. 63; _Lockhart_, Vol. III, p.
+  496.]
+
+  [Footnote 31: _Lockhart_, Vol. I, p. 177.]
+
+  [Footnote 32: Review of _Poems of William Herbert_, _Edinburgh
+  Review_, October, 1806.]
+
+  [Footnote 33: _Lockhart_, Vol. I, pp. 275-6.]
+
+  [Footnote 34: _Lockhart_, Vol. I, p. 333.]
+
+  [Footnote 35: In 1830.]
+
+  [Footnote 36: Ritson's principal works were as follows: _Select
+  Collection of English Songs_ (1783); _Pieces of Ancient Popular Poetry
+  from Authentic Manuscripts and Old Printed Copies_ (1791); _Ancient
+  Songs from the Time of Henry III. to the Revolution_ (1792); _Scottish
+  Songs with the Genuine Music_ (1794); _Poems by Laurence Minot_
+  (1795); _Robin Hood Poems_ (1795); _Ancient English Metrical Romances_
+  (1802).]
+
+  [Footnote 37: Ellis published his _Specimens of the Early English
+  Poets_ in 1790, and it was reissued with the addition of the
+  Introduction in 1801 and 1803. He edited also Way's translations of
+  the Fabliaux (1796), and _Specimens of Early English Romances in
+  Metre_ (1805).]
+
+  [Footnote 38: Review of Dunlop's _History of Fiction_, July, 1815.]
+
+  [Footnote 39: The _Magnum Opus_ of Robert Surtees was his _History of
+  Durham_, published 1816-1840.]
+
+  [Footnote 40: Douce published _Illustrations of Shakespeare_ in 1807.
+  Later he edited _Arnold's Chronicle; Judicium, a Pageant_; and a
+  metrical _Life of St. Robert_. The two latter, which appeared in 1822
+  and 1824, were done for the Roxburghe Club. In 1824 he also wrote some
+  notes for Warton's _History of English Poetry_.]
+
+  [Footnote 41: _Age of Wordsworth_, p. 39.]
+
+  [Footnote 42: A number of volumes containing old ballads together with
+  modern imitations had been published both before and after the
+  appearance of Percy's _Reliques_, but Ritson's collections were the
+  first, except Percy's, to treat the material in a scholarly way.]
+
+  [Footnote 43: The discussion centered upon the social and literary
+  position of minstrels. The first edition of the _Reliques of Ancient
+  English Poetry_, published in 1765, contained an essay on the History
+  of Minstrelsy, and one on the Origin of the Metrical Romances, which,
+  taken together, says Mr. Courthope, "may be said to furnish the first
+  generalized theory of the nature of mediaeval poetry." (_History of
+  English Poetry_, Vol. I, p. 426.) Percy considered the minstrels as
+  the authors of the compositions which they sang to the harp, and as
+  holding a dignified social position similar to that of the Anglo-Saxon
+  scôp or the old Norse scald. This theory was vigorously attacked by
+  Joseph Ritson in the preface of his _Select Collection of English
+  Songs_ in 1783, and again in his _Ancient English Metrical Romances_
+  in 1802, and in his essay On the Ancient English Minstrels in Ancient
+  Songs and Ballads (1792). Ritson contended that minstrels were musical
+  performers of a low class, or even acrobats, and that they were not
+  literary composers. Scott used his knowledge of ballads and romances
+  and the customs depicted in them to reinforce his own decision that
+  the truth lay somewhere between the two extremes. He pointed out that
+  the word may have covered a wide variety of professional entertainers.
+  A modern comment (by E.K. Chambers, in _The Mediaeval Stage_, Vol. I,
+  p. 66) seems like an echo of Scott: "This general antithesis between
+  the higher and lower minstrelsy may now, perhaps, be regarded as
+  established. It was the neglect of it, surely, that led to that
+  curious and barren logomachy between Percy and Ritson, in which
+  neither of the disputants can be said to have had hold of more than a
+  bare half of the truth."]
+
+  [Footnote 44: Scott's theory as to the authorship of ballads is even
+  now held by Mr. Courthope. At the end of his chapter on Minstrelsy, in
+  _The History of English Poetry_, he thus sums up the matter: "All the
+  evidence cited in this chapter shows that, so far from the ballad
+  being a spontaneous product of popular imagination, it was a type of
+  poem adapted by the professors of the declining art of minstrelsy,
+  from the romances once in favour with the educated classes. Everything
+  in the ballad--matter, form, composition--is the work of the minstrel;
+  all that the people do is to remember and repeat what the minstrel has
+  put together." This statement represents a position which is actively
+  assailed by the adherents of the communal origin theory. Another
+  critical idea which originated in Germany, and in which Scott had no
+  interest, though he knew something about it, was the Wolffian
+  hypothesis in regard to the Homeric poems. He once heard Coleridge
+  expound the subject, but failed to join in the discussion. (_Journal_,
+  Vol. II, p. 164; _Lockhart_, Vol. V, p. 193.) He said the theory could
+  never be held by any _poet_. See a note by Lockhart on the essay on
+  _Popular Poetry_. Henderson's edition of _Minstrelsy_, Vol. I, p. 3.]
+
+  [Footnote 45: Review of Cromek's _Reliques of Burns_. _Quarterly
+  Review_, February, 1809.]
+
+  [Footnote 46: "No one but Burns ever succeeded in patching up old
+  Scottish songs with any good effect," Scott wrote in his _Journal_
+  (Vol. II, p. 25). And in his review of Cromek's _Reliques of Burns_ he
+  said on the same subject of Scottish songs: "Few, whether serious or
+  humorous, past through his hands without receiving some of those magic
+  touches which, without greatly altering the song, restored its
+  original spirit, or gave it more than it had ever possessed."
+  (_Quarterly_, February, 1809.)]
+
+  [Footnote 47: _Remarks on Popular Poetry_, Henderson's edition of
+  _Minstrelsy_, Vol. I, p. 46.]
+
+  [Footnote 48: Henderson's edition of _Minstrelsy_, Vol. I, p. xix.]
+
+  [Footnote 49: Henderson's edition of _Minstrelsy_, Vol. I, pp. 167-8.]
+
+  [Footnote 50: The matter may be traced in Child's collection of
+  ballads, or more easily in the latest edition of the _Minstrelsy_,
+  edited by T.F. Henderson and published in four volumes in 1902. Mr.
+  Henderson's views of ballad origins are quite in accord with Scott's
+  own, but he notes the points at which Scott failed to follow any
+  originals. There seems to be some reason to believe, however, though
+  Mr. Henderson does not say so, that Scott wrote _Kinmont Willie_
+  without any originals at all, except the very similar situations in
+  three or four other ballads. See the introduction by Professor
+  Kittredge to the abridged edition of Child's ballads, edited by
+  himself and Helen Child Sargent.
+
+  It is unnecessary to give here any detailed account of Scott's
+  procedure, as the matter has been thoroughly worked out by students of
+  ballads. A few examples may be given as illustrations, however. In
+  _The Dowie Dens of Yarrow_ (Henderson's edition, Vol. III, p. 173) 28
+  lines out of the 68 are noted by Mr. Henderson as either changed or
+  added by Scott. Scott writes (beginning of fifth stanza), "As he gaed
+  up the Tennies bank" for "As he gaed up yon high, high hill," and we
+  find from a note of Lockhart's that _The Tennies_ is the name of a
+  farm belonging to the Duke of Buccleuch. In the sixth stanza Scott
+  changes the lines,
+
+    "O ir ye come to drink the wine
+     As we hae done before, O?" to
+    "O come ye here to part your land,
+     The bonnie forest thorough?"
+
+  In the seventeenth stanza he changes,
+
+    "A better rose will never spring
+     Than him I've lost on Yarrow?" to
+    "A fairer rose did never bloom
+     Than now lies cropp'd on Yarrow."
+
+  In _Jellon Grame_ (Vol. III, p. 203), Mr. Henderson notes changes in
+  15 different lines, and points out 2 whole stanzas, out of the 21,
+  that are interpolated. In the _Gay Goss-hawk_ (Vol. III, p. 187) 6
+  stanzas out of 39 are noted as probably wholly or mainly by Scott, and
+  30 stanzas were changed by him. Sometimes his alterations occurred in
+  every line of a stanza. It is probable that Scott changed _Jamie
+  Telfer_ enough to make the Scotts take the place of prominence that
+  had been held by the Elliotts in the original form of the story. See
+  _The Trustworthiness of Border Ballads as Exemplified by 'Jamie Telfer
+  i' the Fair Dodhead' and other Ballads_; by Lieut.-Col. the Hon.
+  Fitzwilliam Elliott. Reviewed in _Edinburgh Review_, No. 418, p. 306
+  (October, 1906).]
+
+  [Footnote 51: See the examples given in the preceding note. Most of
+  the changes there spoken of were made without annotation.]
+
+  [Footnote 52: This extraordinary young man was poet and scholar on his
+  own account by 1800, though he was four years younger than Scott. His
+  erudition in many fields was remarkable, and he was as enthusiastic as
+  Scott himself about Scotch poetry, and was the chief assistant in
+  gathering ballads for the _Minstrelsy_. He also collected the material
+  for the essay on Fairies in the second volume, which was especially
+  praised by the reviewer in the _Edinburgh Review_ (January, 1803).
+  Leyden's chief fame was derived from his wonderfully varied activities
+  in India, from 1803 to his early death in 1811. Any reader of
+  Lockhart's _Life of Scott_ or of Scott's delightful little memoir,
+  published first in the _Edinburgh Annual Register_ for 1811, and
+  included in the _Miscellaneous Prose Works_, must feel that the
+  uncouth young genius is a familiar acquaintance.]
+
+  [Footnote 53: The Ettrick Shepherd, who, after reading the first two
+  volumes of the _Minstrelsy_, sought an acquaintance with Scott, and
+  offered assistance which was gladly made use of in the preparation of
+  the third volume. Scott in his turn provided much of the material for
+  Hogg's _Jacobite Relics_, published in 1819. The following note on one
+  of the songs in that work adds to the reader's doubts concerning the
+  accuracy of Scott's texts: "I have not altered a word from the
+  manuscript, which is in the handwriting of an amanuensis of Mr.
+  Scott's, the most incorrect transcriber, perhaps, that ever tried the
+  business." (_Jacobite Relics_, Vol. I, p. 282. Note on song lxiii.)]
+
+  [Footnote 54: Henderson's edition of the _Minstrelsy_, Vol. I, p.
+  284.]
+
+  [Footnote 55: _Quarterly_, May, 1810.]
+
+  [Footnote 56: _Lockhart_, Vol. III, p. 514.]
+
+  [Footnote 57: Still more striking evidence that Scott lacked an
+  infallible sense of the difference between genuine and spurious ballad
+  material is afforded by his comments on Peter Buchan's collection,
+  which is now considered particularly untrustworthy. He thought that
+  with two or three exceptions the pieces in the book were genuine, and
+  said: "I scarce know anything so easily discovered as the piecing and
+  patching of an old ballad; the darns in a silk stocking are not more
+  manifest." (_Correspondence of C.K. Sharpe_, Vol. II, p. 424.)]
+
+  [Footnote 58: Scott's manuscript collections of ballads dropped
+  partially out of sight after his death, and it was only about 1890
+  that their magnitude and importance became known. Professor Child and
+  later editors have found them of very great service. (On Child's use
+  of the Abbotsford materials, see the Advertisement to Part VIII of his
+  collection, contained in Volume IV.) In 1880 appeared a reprint of the
+  _Ballad Book_ of C.K. Sharpe, "with notes and ballads from the
+  unpublished manuscripts of C.K. Sharpe and Sir Walter Scott," but the
+  contributions from Scott's papers did not amount to much. Scott's
+  materials were at the service of his friend for use in the original
+  edition of the _Ballad Book_, published in 1823. See _Sharpe's
+  Correspondence_, Vol. II, pp. 264, 271 and 325, for letters from Scott
+  on this subject.]
+
+  [Footnote 59: Note on _The Raid of the Reidswire_, in the
+  _Minstrelsy_.]
+
+  [Footnote 60: Henderson's edition of the _Minstrelsy_, Vol. III, p.
+  232.]
+
+  [Footnote 61: Henderson's edition of the _Minstrelsy_, Vol. II, p.
+  57.]
+
+  [Footnote 62: _Lockhart_, Vol. I, p. 360.]
+
+  [Footnote 63: _Ibid._, Vol. I, p. 332.]
+
+  [Footnote 64: First edition of the _Minstrelsy_, Vol. II, pp. 156-7.]
+
+  [Footnote 65: _Edinburgh Review_, January, 1803.]
+
+  [Footnote 66: The _Minstrelsy_ is arranged in three parts: I.,
+  Historical Ballads; II., Romantic Ballads; III., Imitations of the
+  Ballad. The first part is preceded by the Introductory Remarks on
+  Popular Poetry, and by the historical introduction. The second part is
+  preceded by the essay on The Fairies of Popular Superstition; and the
+  third by the essay on Imitations of the Ancient Ballad. The poems by
+  Scott given in this third part are as follows: _Thomas the Rhymer_
+  (parts 2 and 3), _Glenfinlas_, _The Eve of St. John_, _Cadyow Castle_,
+  _The Gray Brother_, _War Song of the Royal Edinburgh Light Dragoons_.
+  Besides these there are three poems by John Leyden (and he has also an
+  _Ode on Scottish Music_ preceding the Romantic ballads), two by C.K.
+  Sharpe, three by John Marriott, who was tutor to the children of the
+  Duke of Buccleuch, and one each by Matthew Lewis, Anna Seward, Dr.
+  Jamieson, Colin Mackenzie, J.B.S. Morritt, and an unnamed author. In
+  the other parts of the book there are a few imitations, notably the
+  three by Surtees--_Lord Ewine_, the _Death of Featherstonhaugh_, and
+  _Barthram's Dirge_, which Scott supposed were old; and one or two like
+  the _Flowers of the Forest_, which he noted as largely modern, or
+  which he had found, after arranging his material, to be wholly modern.
+  Nearly forty old ballads were published in the _Minstrelsy_ for the
+  first time.]
+
+  [Footnote 67: _Remarks on Popular Poetry_, conclusion.]
+
+  [Footnote 68: Review of the Poems of William Herbert. _Edinburgh
+  Review_, October, 1806.]
+
+  [Footnote 69: Stanzas 10-12, and 31, are noted by Child as
+  particularly suspicious. "Basnet," which occurs in stanza 10, is not a
+  very common word in ballads. It is used in _The Lay_, Canto I., stanza
+  25, and in _Marmion_, Canto VI, st. 21.]
+
+  [Footnote 70: _Lockhart_, Vol. I, p. 221.]
+
+  [Footnote 71: _Memoir of William Taylor_, Vol. I, pp. 98-99, and see
+  _Sharpe's Correspondence_, Vol. I, pp. 146-7, for a letter to Sharpe
+  on a similar point.]
+
+  [Footnote 72: _Minstrelsy_, Introduction to _Lord Thomas and Fair
+  Annie_.]
+
+  [Footnote 73: _Lockhart_, Vol. I, p. 101.]
+
+  [Footnote 74: _Ibid._, Vol. I, pp. 35-6.]
+
+  [Footnote 75: _Familiar Letters_, Vol. I, p. 244. See also _Lockhart_,
+  Vol. V, p. 408.]
+
+  [Footnote 76: Sometime before 1821 (probably a good while before, but
+  the date cannot be fixed), Scott began a translation of _Don Quixote_,
+  and afterwards gave the work over to Lockhart, who completed it. See
+  _Constable's Correspondence_, Vol. III, p. 161.]
+
+  [Footnote 77: Louis-Elizabeth de la Vergne, Comte de Tressan, was born
+  in 1705 and died in 1783. In early life he was sent to Rome on
+  diplomatic business, and it is said that in the Vatican library he
+  acquired his taste for the literature of chivalry. His chief works
+  were _Amadis de Gaules_ (1779); _Roland furieux_ (translated from the
+  Italian, 1780); _Corps d'extraits romans de chevalerie_ (1782). His
+  translations were partly adaptations, and were far from being rendered
+  with precision.]
+
+  [Footnote 78: See particularly his article on Ellis's and Ritson's
+  _Metrical Romances_ (_Edinburgh Review_, January, 1806), the essay on
+  _Romance_, and _Remarks on Popular Poetry_ in the _Minstrelsy_.]
+
+  [Footnote 79: _Edinburgh Review_, July, 1804. Ellis and Scott had had
+  much correspondence on _Sir Tristrem_, and it was Ellis's queries that
+  first led Scott into the detailed investigation which resulted in the
+  separate publication of the work. He had intended to print it in the
+  _Minstrelsy_ (_Lockhart_, Vol. I. p. 289). The letters are given in
+  _Lockhart_, Vol. I.]
+
+  [Footnote 80: _Lockhart_, Vol. I, p. 381.]
+
+  [Footnote 81: _Die nordische und die englische Version der
+  Tristan-sage_--II. _Sir Tristrem_. Heilbronn, 1882. Mr. George P.
+  McNeill's edition of _Sir Tristrem_ was printed for the Scottish Text
+  Society, Edinburgh, 1886.]
+
+  [Footnote 82: Kölbing thinks Scott probably hired a transcriber who
+  knew nothing of Middle English--a usual method of procedure in the
+  beginning of the nineteenth century. In later editions more errors
+  were introduced by the carelessness of printers, until, after 1830,
+  when the book was included in the complete editions of Scott's poems,
+  the text was collated with the manuscript. But it was still far from
+  correct. Kölbing enumerates about a hundred and thirty mistakes (see
+  his Introduction, p. xvii). Of these I took twenty-one at random, and
+  found that eight of them did not occur in the 1806 edition--in other
+  words, the person who collated the text nearly thirty years after
+  Scott or his hired transcriber had done it was far from infallible. A
+  few illustrations may be given of mistakes that occur in both the 1806
+  and the 1833 editions: l. 117, _send_ is given for _sent_; l. 846,
+  _telle_ for _tel_; l. 863, _How_ for _Hou_; l. 912, _mak_ for _make_;
+  l. 1212, _leuedi_ for _leuedy_; l. 1580, _wende sche weren_ for
+  _whende sche were_; l. 1334. _have_ for _han_; l. 1514, _as_ for
+  _als_.]
+
+  [Footnote 83: Review of Johnes's Translation of Froissart, _Edinburgh
+  Review_, January, 1805.]
+
+  [Footnote 84: Waverley, and Claverhouse in _Old Mortality_.]
+
+  [Footnote 85: _Lockhart_, Vol. I, pp. 480 and 482. _Familiar Letters_,
+  Vol. I, p. 147.]
+
+  [Footnote 86: _Essay on Romance_.]
+
+  [Footnote 87: See Gaston Paris, _La Littérature Française au Moyen
+  Age_, 1ère partie, ch. IV.]
+
+  [Footnote 88: Review of _Metrical Romances_, _Edinburgh Review_,
+  January, 1806.]
+
+  [Footnote 89: _Journal_, Vol. II, pp. 258-259.]
+
+  [Footnote 90: _Essay on Romance_.]
+
+  [Footnote 91: _Familiar Letters_, Vol. I, p. 46.]
+
+  [Footnote 92: Memoir in the Globe edition of Scott's poems.]
+
+  [Footnote 93: Scott adopted the conclusions of Malcolm Laing, who
+  edited Macpherson's poems and adduced parallel passages from "a mass
+  of poetry, enough to serve any six gentle readers for their lifetime,"
+  as the reviewer says. The most of these parallels were found in
+  "Homer, Virgil, and their two translators; Milton, Thomson, Young,
+  Gray, Mason, Home, and the English Bible." Although he was convinced
+  by the argument, Scott saw that the editor was in some cases misled by
+  his own ingenuity.]
+
+  [Footnote 94: Later, however (in the essay on Imitations of the
+  Ancient Ballad, 1830), he said: "In their spirit and diction they
+  nearly resemble fragments of poetry extant in Gaelic." By this time he
+  was probably reverting to the earlier opinion which had made the more
+  vivid impression.]
+
+  [Footnote 95: For the _Northern Antiquities_, edited by Robert
+  Jamieson and published in 1814, Scott wrote an abstract of the
+  _Eyrbyggja Saga_, using, as one would conclude from his introductory
+  words, the Latin version made by Thorkelin, who published the saga in
+  1787. The purpose of the publication required the historical and
+  antiquarian rather than the literary point of view, and accordingly we
+  find Scott's notes occupied with historical comment.]
+
+  [Footnote 96: In 1804 Weber came to Edinburgh in a deplorable
+  condition of poverty, and was employed and assisted in literary work
+  by Scott during the following nine years. In 1813 he was seized with
+  insanity, and challenged Scott, across the study table, to an
+  immediate duel with pistols. Scott supported Weber during the
+  remaining five years of his life in an insane hospital. He was much
+  liked by the Scott family. Scott rated his learning very highly, and
+  gave him valuable assistance in various literary projects. Weber's
+  chief publications were: _Metrical Romances of the Thirteenth,
+  Fourteenth, and Sixteenth Centuries_, with Introduction, Notes and
+  Glossary (1810); _Dramatic Works of John Ford_, with Introduction and
+  Explanatory Notes (1811); _Works of Beaumont and Fletcher_, with
+  Introduction and Explanatory Notes (1812): to this Scott's notes were
+  the most valuable contribution; _Illustrations of Northern
+  Antiquities_ (1814), with Jamieson and Scott.]
+
+  [Footnote 97: See his essay on _Imitations of the Ancient Ballad_.]
+
+  [Footnote 98: _Illustrations of Anglo-Saxon Poetry, translated by the
+  Vicar of Batheaston_. Conybeare had died two years before the
+  publication of the book.]
+
+  [Footnote 99: Review of Ellis's _Specimens_, _Edinburgh Review_,
+  April, 1804.]
+
+  [Footnote 100: Bletson and Richard Ganlesse.]
+
+  [Footnote 101: But see the dictum quoted by Scott in a somewhat
+  over-emphatic way from Ellis's _Specimens of the Early English Poets_,
+  to the effect that Chaucer's "peculiar ornaments of style, consisting
+  in an affectation of splendour, and especially of latinity," were
+  perhaps his special contribution to the improvement of English poetry.
+  (_Edinburgh Review_, April, 1804.) Scott said of Dunbar, "This darling
+  of the Scottish muses has been justly raised to a level with Chaucer
+  by every judge of poetry to whom his obsolete language has not
+  rendered him unintelligible." (_Memoir of Bannatyne_, p. 14.) After
+  naming the various qualities in which Dunbar was Chaucer's rival, he
+  pronounces the Scottish poet inferior in the use of pathos. The
+  relative position here assigned to the two poets seems to be rather an
+  exaltation of Dunbar than a degradation of Chaucer.]
+
+  [Footnote 102: _Lockhart_, Vol. I, p. 408.]
+
+  [Footnote 103: _Dryden_, Vol. XI, p. 245.]
+
+  [Footnote 104: _Dryden_, Vol. XI, p. 396.]
+
+  [Footnote 105: _Ibid._, Vol. VI, p. 243.]
+
+  [Footnote 106: _Ibid._, Vol. XI, p. 338.]
+
+  [Footnote 107: The discussion of popular superstitions given in the
+  introduction to the _Minstrelsy_ and in the Essay on Fairies, which is
+  prefixed to the ballad of _Young Tamlane_, suggests comparison with
+  the _Letters on Demonology and Witchcraft_ which Scott wrote in the
+  year before he died. He collected a remarkable library in regard to
+  superstition, and thought at various times of making a book on the
+  subject, but the project was pushed aside for other matters until
+  1831. The _Letters_ which he wrote then are full of pleasant anecdote
+  and judicious comment, and though they lack the vigor of his earlier
+  work they have remained fairly popular. An edition of Kirk's _Secret
+  Commonwealth of Elves and Fairies_, published in 1815, has been
+  attributed to Scott. (See below, the Bibliography of books edited by
+  Scott.) Reviews of his which have not been mentioned in this chapter,
+  but which naturally connect themselves with the subjects here
+  discussed, are the following: _The Culloden Papers_--an account of the
+  Highland clans, largely narrative (_Quarterly_, January, 1816);
+  Ritson's _Annals of the Caledonians, Picts and Scots_--an article of
+  more than forty pages, discussing the early history of Scotland and
+  the historians who have written upon it (_Quarterly_, July, 1829);
+  Tytler's _History of Scotland_--an article similar to that on Ritson's
+  book (_Quarterly_, November, 1829); Pitcairn's _Ancient Criminal
+  Trials_--a long article, which begins with an extended digression on
+  booksellers and collectors and on the Roxburghe and Bannatyne clubs
+  (_Quarterly_, February, 1831); Sibbald's _Chronicle of Scottish
+  Poetry_--merely a series of notes on special points (_Edinburgh
+  Review_, October, 1803); Southey's _Chronicle of the Cid_
+  (_Quarterly_, February, 1809). For the _Encyclopĉdia Britannica_ Scott
+  wrote an essay on Chivalry, as well as the one on Romance to which
+  reference has been made.]
+
+  [Footnote 108: Review of _Kelly's Reminiscences and the Life of
+  Kemble_, _Quarterly Review_, June, 1826.]
+
+  [Footnote 109: _Lockhart_, Vol. II, p. 97.]
+
+  [Footnote 110: Terry had been educated as an architect, and his
+  knowledge and taste were of assistance to Scott in connection with the
+  building and furnishing of Abbotsford. After 1812 he played chiefly in
+  London. In 1816 his version of _Guy Mannering_, the first of his
+  adaptations from Scott, was presented. Before this he had taken the
+  part of Roderick Dhu in two dramatic versions of _The Lady of the
+  Lake_. In 1819 he was the first David Deans in his adaptation of _The
+  Heart of Midlothian_. Six years later he became manager of the Adelphi
+  theater, in association with F.H. Yates. At this time Scott became
+  Terry's security for £1280, a sum which he was afterward obliged to
+  pay with the addition of £500 for which the credit of James Ballantyne
+  was pledged. When financial embarrassment caused Terry to retire from
+  the management his mental and physical powers gave way, and he died of
+  paralysis in 1829. Terry admired Scott so much that he learned to
+  imitate his facial expression, his speech and his handwriting.]
+
+  [Footnote 111: _Lockhart_, Vol. I, p. 94.]
+
+  [Footnote 112: The phrase, which was a favorite one of Scott's, is
+  spoken not by Tony Lumpkin, but by one of his tavern companions.
+  Scott's use of it is an indication of the way in which he was familiar
+  with the drama. Very likely he never reread the play after his youth,
+  but his strong memory doubtless retained a pretty definite impression
+  of it.]
+
+  [Footnote 113: _Review of the Life and Works of John Home_,
+  _Quarterly_, June, 1827.]
+
+  [Footnote 114: _Familiar Letters_, Vol. II, p. 143.]
+
+  [Footnote 115: _Lockhart_, Vol. III, p. 427. It may be noted that this
+  criticism does not show much dramatic insight.]
+
+  [Footnote 116: _Lockhart_, Vol. III, pp. 445-6.]
+
+  [Footnote 117: _Journal_, Vol. I, p. 117; _Lockhart_, Vol. IV, p.
+  447.]
+
+  [Footnote 118: _Journal_, Vol. I, p. 94; _Lockhart_, Vol. IV, p. 419.]
+
+  [Footnote 119: Advertisement to _Halidon Hill_. When the publisher
+  Cadell closed a bargain with Scott in five minutes for _Halidon Hill_,
+  giving him £1000, he wrote as follows to his partner: "My views were
+  these: here is a commencement of a series of dramatic writings--let us
+  begin by buying them out." (_Constable's Correspondence_, Vol. III, p.
+  217.)]
+
+  [Footnote 120: "That well-written, but very didactic 'Old Play'," as
+  Adolphus calls it. (_Letters to Heber_, p. 55.)]
+
+  [Footnote 121: Introductory epistle to _Nigel_.]
+
+  [Footnote 122: _Lockhart_, Vol. V, p. 414.]
+
+  [Footnote 123: Fitzgerald's _New History of the English Stage_, Vol.
+  II, p. 404.]
+
+  [Footnote 124: _Dramatic Essays_, Hazlitt's _Works_, Vol. VIII, p.
+  422.]
+
+  [Footnote 125: _Lockhart_, Vol. III. p. 176.]
+
+  [Footnote 126: _Ibid._, Vol. III. p. 265.]
+
+  [Footnote 127: _Ibid._, Vol. III. p. 332.]
+
+  [Footnote 128: _Essay on the Drama_.]
+
+  [Footnote 129: In 1808 he wrote to a friend: "We have Miss Baillie
+  here at present, who is certainly the best dramatic writer whom
+  Britain has produced since the days of Shakspeare and Massinger."
+  (_Fam. Let._, Vol. I. p. 99.) But Wilson also put Joanna Baillie next
+  to Shakspere, and quite seriously. The article in the _Dictionary of
+  National Biography_, on Joanna Baillie says that when the first volume
+  of _Plays on the Passions_ was published anonymously in 1798, Walter
+  Scott was at first suspected of being the author. But as Scott had
+  done nothing to give him a literary reputation in 1798, the assertion
+  is incredible. It seems to be based on the following very inexact
+  statement in _Chambers's Biographical Dictionary of Eminent
+  Scotsmen._ (Vol. V, Art. _Joanna Baillie_.) "Rich though the period
+  was in poetry, this work made a great impression, and a new edition of
+  it was soon required. The writer was sought for among the most gifted
+  personages of the day, and the illustrious Scott, with others then
+  equally appreciated, was suspected as the author."]
+
+  [Footnote 130: _Lockhart_, Vol. I, p. 380.]
+
+  [Footnote 131: _Life of Dryden_, ch. I. In _Guy Mannering_ and _The
+  Antiquary_, the first two novels in which Scott habitually used
+  mottoes to head his chapters, most of the selections are from plays.
+  Eighteen plays of Shakspere are represented by twenty-nine quotations.
+  Other mottoes are from _The Merry Devil of Edmonton_, from Jonson,
+  from Fletcher (_The Little French Lawyer_, _Women Pleased_, _The Fair
+  Maid of the Inn_, _The Beggar's Bush_), from Brome, Dekker, Middleton
+  and Rowley, Cartwright, Otway, Southerne, _The Beggar's Opera_,
+  Walpole's _Mysterious Mother_, _The Critic_, _Chrononhotonthologos_,
+  Joanna Baillie. For the latter part of _The Antiquary_ many of the
+  mottoes were composed by Scott himself. _Kenilworth_ presents a
+  similar list, with some variations: Jonson's _Masque of Owls_ was
+  used, more than one play by Beaumont and Fletcher, Waldron's _Virgin
+  Queen_, _Wallenstein_, and _Douglas_. In _St. Ronan's Well_ there is a
+  larger proportion of non-dramatic mottoes, as in most of the later
+  novels, but we find represented nine of Shakspere's plays and one of
+  Beaumont and Fletcher's. _The Legend of Montrose_ (chapter XIV) has a
+  motto from Suckling's _Brennoralt_. In _Anne of Geierstein_ ten of
+  Shakspere's plays were drawn upon, and _Manfred_ was twice used. Scott
+  made his chapters much longer in these later novels, and used fewer
+  mottoes, but the evidence of the selections would seem to indicate
+  that he had lost something of his early familiarity with dramatic
+  literature.]
+
+  [Footnote 132: Hazlitt's _Characters of Shakespeare's Plays_ appeared
+  in 1817; his _Lectures on the Dramatic Literature of the Age of Queen
+  Elizabeth_ in 1821.]
+
+  [Footnote 133: Scott first began to fabricate occasional mottoes for
+  his chapters during the composition of _The Antiquary_ in 1816.]
+
+  [Footnote 134: Saintsbury in _Macmillan's Magazine_, lxx: 323. Scott's
+  style in many sages is strongly colored by the influence of
+  Shakspere.]
+
+  [Footnote 135: Introduction by Lang to _The Fortunes of Nigel_.]
+
+  [Footnote 136: It is possible that among the various jobs of editing
+  undertaken by Scott with a view to keeping the Ballantyne types busy,
+  were certain collections of dramas. _Ancient British Drama_, in three
+  volumes, and _Modern British Drama_, in five volumes, published in
+  1810 and 1811, are sometimes attributed to Scott in library
+  catalogues, but on what authority it seems impossible to discover.
+  There is almost no commentary in the _Ancient British Drama_, but the
+  _Modern British Drama_ contains three brief introductions which I
+  believe were written by Scott. They show a striking likeness to some
+  parts of the _Essay on the Drama_ written several years later, and it
+  is not probable that Scott took his criticism ready-made from another
+  author. In the preface to the _Ancient British Drama_ we find this
+  statement: "The present publication is intended to form, with _The
+  British Drama_ and _Shakspeare_, a complete and uniform collection in
+  ten volumes of the best English plays." The Shakspeare here referred
+  to is doubtless that of which Constable the publisher afterwards spoke
+  in his correspondence with Scott as "Ballantyne's Shakespeare," and
+  Scott had no hand in the editorship. (_Constable's Correspondence_,
+  Vol. III, p. 244.)
+
+  It is true, however, as R.S. Mackenzie says in his _Life of Scott_,
+  that Scott "had not only meditated, but partly executed an edition of
+  Shakespeare." The work was suggested by Constable in 1822, was begun
+  in 1823 or 1824, and three volumes of the proposed ten were printed by
+  the time of Constable's financial crash in the beginning of 1826. The
+  project was sometime afterwards abandoned, and the printed sheets,
+  which apparently were not bound up, disappeared from view. The first
+  volume was to be a life of Shakspere by Scott, and this was probably
+  not begun at all. Of the commentary in the other volumes, Scott was to
+  have the oversight but Lockhart was to do most of the work. It was not
+  designed that the critical apparatus should to any great degree
+  represent original ideas furnished by Lockhart or Scott, but the book
+  was to be "a sensible Shakespeare, in which the useful and readable
+  notes should be condensed and separated from the trash." (See the
+  discussion of the matter in letters between Scott and his publisher
+  given in the third volume of _Constables Correspondence_. See also
+  Lang's _Life of Lockhart_, Vol. I, p. 409, and Vol. II, p. 13, and
+  Mackenzie's _Life of Scott_, pp. 475-6.) The Boston Public Library
+  contains three volumes which are thought to be a unique copy of so
+  much of the Scott-Lockhart Shakspere as was printed. (See below, the
+  Bibliography of books edited by Scott.)
+
+  Scott's notes on Beaumont and Fletcher, which he had wished in 1804 to
+  offer to Gifford, were actually used by Weber in his _Beaumont and
+  Fletcher_, published about 1810, an edition which was characterized by
+  Scott as "too carelessly done to be reputable." (_Lockhart_, Vol. IV,
+  p. 472.)]
+
+  [Footnote 137: He seems to have connected heroic plays too closely
+  with "the romances of Calprenède and Scudéri." See his introduction to
+  _The Indian Emperor_, Dryden, Vol. II, pp. 317-20; also Vol. I, p. 56,
+  and Vol. VI, p. 125. On his opinion in regard to the relation between
+  novels and plays see below, pp. 75-6.]
+
+  [Footnote 138: See his comment on Corneille's _Oedipe_, _Dryden_, Vol.
+  VI, p. 125 and Mr. Saintsbury's note.]
+
+  [Footnote 139: _Lockhart_, Vol. III, p. 446.]
+
+  [Footnote 140: Hutchinson's _Letters of Scott_, p. 224.]
+
+  [Footnote 141: That Scott admired Sackville greatly is evident from
+  more than one comment. Of _Ferrex and Porrex_ he says, "In Sackville's
+  part of the play, which comprehends the two last acts, there is some
+  poetry worthy of the author of the sublime Induction to the Mirror of
+  Magistrates." (_Dryden_, Vol. II, p. 135.) Elsewhere Scott calls
+  Sackville "a beautiful poet." (_Fragmenta Regalia_, p. 277. _Secret
+  History of the Court of James I._, Vol. I, p. 278, note.)]
+
+  [Footnote 142: _Dryden_, Vol. II, p. 136.]
+
+  [Footnote 143: _Lockhart_, Vol. I, p. 229. See also Vol. III, p. 223.]
+
+  [Footnote 144: _Ibid._, Vol. V, p. 322.]
+
+  [Footnote 145: See, for example, _Hawthornden_, in _Provincial
+  Antiquities_.]
+
+  [Footnote 146: _Dryden_, Vol. XV, p. 337.]
+
+  [Footnote 147: _Ibid._, Vol. I, p. 10.]
+
+  [Footnote 148: Note on _Sir Tristrem_, Fytte II., stanza 56.]
+
+  [Footnote 149: See Middleton's Plays in the Mermaid edition:
+  Introduction, Vol. I, pp. viii-ix.]
+
+  [Footnote 150: Ticknor, in Allibone's _Dictionary_, Vol. II, p. 1968.]
+
+  [Footnote 151: _Journal_, Vol. I, p. 234; _Lockhart_, Vol. V, p. 23.]
+
+  [Footnote 152: See Scott's article on Molière, _Foreign Quarterly
+  Review_, February, 1828.]
+
+  [Footnote 153: _Essay on Drama_; _Dryden_, Vol. I, p. 101 ff., Vol.
+  II, pp. 317-20, Vol. IV, p. 4.]
+
+  [Footnote 154: _Dryden_, Vol. IV, p. 4.]
+
+  [Footnote 155: Article on Molière, _Foreign Quarterly Review_,
+  February, 1828.]
+
+  [Footnote 156: _Lockhart_, Vol. I, p. 431.]
+
+  [Footnote 157: Review of _Kelly's Reminiscences and the Life of
+  Kemble_, _Quarterly Review_, June, 1826.]
+
+  [Footnote 158: _Ibid._]
+
+  [Footnote 159: _Dryden_, Vol. VI, p. 128.]
+
+  [Footnote 160: _In Provincial Antiquities_ (Borthwick Castle). Scott
+  cites parallels from _Sir John Oldcastle, The Pinner of Wakefield_,
+  and one of Nash's pamphlets, for a curious incident in Scottish
+  history.]
+
+  [Footnote 161: _Lockhart_, Vol. I, p. 431. This search among
+  seventeenth century pamphlets may have suggested to Scott the need of
+  a new edition of _Somers' Tracts_. Apparently he arranged with the
+  publishers in 1807 to undertake this task, but the first volume did
+  not appear till 1809. (_Lockhart_, Vol. II, p. 10, and see below, pp.
+  89-90, for an account of Scott's edition of the _Tracts_.) Some of his
+  materials for the _Dryden_ were taken from this collection, but more
+  from the Luttrell collection, to which he refers in the
+  Advertisement.]
+
+  [Footnote 162: _Lockhart_, Vol. I, p. 433. Scott's _Dryden_ appeared
+  in 1808, and with some slight changes in 1821; as reëdited by Mr.
+  Saintsbury it was published in 1882-1893. It was the first complete
+  and uniform edition of Dryden's works, and it remains the only one.
+  The dramatic works had appeared in folio in 1701. They were edited by
+  Congreve in 1717, and Scott used Congreve's text. The non-dramatic
+  poems were also published in 1701 in folio. They appeared in more
+  convenient forms in 1741, 1743, and 1760, but of these editions only
+  the last was reasonably complete. In 1800 the Critical and
+  Miscellaneous Prose Works were edited by Malone, who added a Life of
+  Dryden which has furnished a large part of the material used by
+  biographers since his time. This biography was badly written, but with
+  Johnson's brilliant essay it was the only Life of Dryden before
+  Scott's that was worth considering. An edition of Dryden's poems, with
+  notes by Joseph Warton and others, appeared in 1811, but seems to have
+  been prepared before Scott's edition was published. The text of this
+  is very incorrect. Since then the non-dramatic poems have been
+  published several times. Mr. Christie said in his preface to the Globe
+  edition: "Sir Walter Scott's is the last important edition of Dryden,
+  as it is indeed still the only general collection of his works; and it
+  is to be regretted that that distinguished man did not give as much
+  pains to the purification of Dryden's text as he did to his excellent
+  biography and to the notes which enrich the edition."]
+
+  [Footnote 163: Editor's Preface.]
+
+  [Footnote 164: _Dryden_, Vol. IX, p. 226.]
+
+  [Footnote 165: _Ibid._, Vol. IX, p. 2.]
+
+  [Footnote 166: In this connection Scott's review of Todd's edition of
+  Spenser is interesting. He takes exception to the lack of an
+  appearance of continuity in the biography, caused by the long
+  quotations included in the body of the narrative; and censures the
+  editor for not having used the history of Italian poetry in
+  elucidating Spenser's work. (_Edinburgh Review_, October, 1805.)]
+
+  [Footnote 167: Review of Todd's _Spenser_.]
+
+  [Footnote 168: _Dryden_, Vol. I, p. 6.]
+
+  [Footnote 169: _Familiar Letters_, Vol. I, p. 229; and _Dryden_, Vol.
+  I, p. 6.]
+
+  [Footnote 170: _Dryden_, Vol. I, pp. 402-3.]
+
+  [Footnote 171: _Dryden_, Vol. I, p. 403.]
+
+  [Footnote 172: _Ibid._, p. 404. Mr. Saintsbury thinks that Scott's
+  prefatory introductions to the plays are often "both meagre and
+  depreciatory"; also that Scott's judgment on Dryden's letters is
+  rather harsh, for him, and that after he had begun to write novels he
+  would not have been so impatient of remarks on "turkeys,
+  marrow-puddings, and bacon."]
+
+  [Footnote 173: _Ibid._, Vol. I, p. 405.]
+
+  [Footnote 174: _Ibid._, Vol. X, p. 307 ff.]
+
+  [Footnote 175: _Ibid._, Vol. XIV, pp. 136 and 146.]
+
+  [Footnote 176: _Ibid._, Vol. I, p. 405.]
+
+  [Footnote 177: In order to give a more specific view of Scott's
+  methods, two or three of the introductions to well-known poems may be
+  briefly analysed. The introduction to _Absalom and Achitophel_
+  occupies 111/2 pages, of which about 21/2 are given to quotation from a
+  tract which Scott thought furnished the argument to Dryden, and which
+  was unnoticed by any former commentator. Scott's remarks follow this
+  outline: Position of the poem in literature, and history of its
+  composition; origin of the particular allegory as applied to modern
+  politics; a parallel use of the allegory (with a quotation from
+  _Somers' Tracts_ in illustrations); aptness of the allegory; merits of
+  the satire--treatment of Monmouth and other main characters; changes
+  in the second edition to mitigate the satire; characterization of the
+  poem as having few flights of imagination but much correctness of
+  taste as well as fire and spirit; other objections by Johnson refuted;
+  success of the poem; history of the first publication and of the
+  replies and congratulatory poems; editions, and Latin versions. The
+  notes on this poem are historical and very full, but the introduction
+  contains as much literary as historical comment. _Religio Laici_ is
+  prefaced by 8 pages of introduction, in which are discussed the motive
+  of the writing, the argument, the title, the purpose of the poem, and
+  its reputation. Dryden's style in didactic poetry is compared with
+  Cowper's, to the disadvantage of the later poet. The introduction to
+  _The Hind and the Panther_ is 20 pages long, and discusses the history
+  of the period as well as the argument of the poem, its style, the
+  subject of fables in general, and the effects the poem produced. The
+  notes on this poem are copious. As he discussed the _Fables_ in the
+  _Life of Dryden_, Scott gave them no general introduction, and for
+  each poem he wrote only a slight preface, telling something of the
+  source and pointing out special beauties. His notes vary greatly in
+  abundance. Those on _Palamon and Arcite_, _e.g._, are brief,
+  explaining terms of chivalry and heraldry, but not giving literary or
+  linguistic comment.]
+
+  [Footnote 178: _Dryden_, Vol. XIII, p. 324.]
+
+  [Footnote 179: _Ibid._, Vol. XII, p. 20.]
+
+  [Footnote 180: _Ibid._, Vol. X, p. 213.]
+
+  [Footnote 181: _Ibid._, Vol. I, p. 411.]
+
+  [Footnote 182: _Ibid._, Vol. I, p. 98. See also _St. Ronan's Well_,
+  Vol. I, p. 105, and various mottoes in the novels. The edition of the
+  novels used for reference is that published in Edinburgh (1867) in 48
+  volumes.]
+
+  [Footnote 183: _Dryden_, Vol. X, p. 26.]
+
+  [Footnote 184: For example see _Anne of Geierstein_, Vol. II, p. 307.]
+
+  [Footnote 185: _Letters to Heber_, p. 292.]
+
+  [Footnote 186: The price offered for the _Swift_ was £1500. This must
+  have been a rather rash speculation on the publisher's part, as there
+  had been several editions of Swift's works published. The first
+  appeared in twelve volumes in 1755, edited by Hawkesworth. Deane
+  Swift, Hawkesworth, and others, added thirteen more volumes in the
+  course of the next twenty-five years, and when the whole was completed
+  it was reissued in three different sizes. In 1785 an edition in
+  seventeen volumes was published, edited by Thomas Sheridan. In 1801
+  the edition by Nichols was published, and it reappeared in 1804 and in
+  1808. Hawkesworth and Thomas Sheridan supplied biographies which
+  Leslie Stephen characterized by saying that Hawkesworth's gave no new
+  material and that Sheridan's was "pompous and dull." (Preface to
+  Leslie Stephen's _Life of Swift_.)]
+
+  [Footnote 187: _Correspondence of C.K. Sharpe_, Vol. II, p. 178.]
+
+  [Footnote 188: This correspondence consisted of 28 letters from Swift,
+  and 16 "Vanessa."]
+
+  [Footnote 189: A comparison of the index with the bibliography in the
+  _Dictionary of National Biography_ and with Mr. Stanley Lane-Poole's
+  _Notes for a Bibliography of Swift_ (_Bibliographer_, vi: 160-71)
+  shows that Scott was usually right in his judgment on the main
+  articles. But since Mr. Lane-Poole ends his list thus: "And numerous
+  short poems, trifles, characters and short pieces," it is evident that
+  one cannot carry the investigation far without undertaking to make a
+  complete bibliography of Swift. Mr. Temple Scott says, in the
+  Advertisement of his edition of Swift's Prose Works, begun in 1897,
+  that since Sir Walter's edition of 1824 "there has been no serious
+  attempt to grapple with the difficulties which then prevented and
+  which still beset the attainment of a trustworthy and substantially
+  complete text."]
+
+  [Footnote 190: _Swift_, Vol. IV, p. 280. Two more of Scott's comments
+  may be given, further to illustrate his method. "This piece [William
+  Crowe's Address to her Majesty, _Swift_, Vol. XII, p. 265] and those
+  which follow, were first extracted by the learned Dr. Barrett, of
+  Trinity College, Dublin, from the Lanesborough and other manuscripts.
+  I have retained them from internal evidence, as I have discarded some
+  articles upon the same score." "The following poems [poems given as
+  "ascribed to Swift," Vol. X, p. 434] are extracted from the manuscript
+  of Lord Lanesborough, called the Whimsical Medley. They are here
+  inserted in deference to the opinion of a most obliging correspondent,
+  who thinks they are juvenile attempts of Swift. I own I cannot
+  discover much internal evidence in support of the supposition."]
+
+  [Footnote 191: Colonel Parnell, writing in the _English Historical
+  Review_ on "Dean Swift and the Memoirs of Captain Carleton," has
+  spoken of the biography as "this most partial, verbose, and inaccurate
+  account of the dean's life and writings." He says also that in editing
+  _Carleton's Memoirs_ Scott adopted, without investigation and in the
+  face of evidence, Johnson's opinion that the memoirs were genuine;
+  that Scott was mistaken about the date of the first edition and
+  misquoted the title page; and that his "glowing account" of Lord
+  Peterborough, in the introduction, was amplified (without
+  acknowledgment) from a panegyric by Dr. Birch in "Houbraken's Heads."
+  (_English Historical Review_, January, 1891; vi: 97. For a further
+  reference to the article see below, p. 144.)]
+
+  [Footnote 192: _Lockhart_, Vol. II, p. 20.]
+
+  [Footnote 193: September, 1816.]
+
+  [Footnote 194: _Swift_ Vol. XVII, p. 4, note.]
+
+  [Footnote 195: _Life of Swift_, conclusion.]
+
+  [Footnote 196: _Swift_, Vol. XI, p. 12.]
+
+  [Footnote 197: Vol. IX, p. 569. The tract had already been correctly
+  assigned. A similar note on another tract indicates more careful
+  research on the part of the editor. The paper is _A Secret History of
+  One Year_, which had commonly been attributed to Robert Walpole. Scott
+  says: "This tract in not to found in Mr. Coxe's list of Sir Robert
+  Walpole's publications, nor in that given by his son, the Earl of
+  Oxford, in the Royal and Noble Authors.... It does not seem at all
+  probable that Walpole should at this crisis have thought it proper to
+  advocate these principles." (Vol. XIII, p. 873.) The piece is now
+  attributed to Defoe.]
+
+  [Footnote 198: See above, p. 4.]
+
+  [Footnote 199: _Horace Walpole_, in _Lives of the Novelists_.]
+
+  [Footnote 200: _Lockhart_, Vol. III, p. 512.]
+
+  [Footnote 201: _Quarterly_, September, 1826.]
+
+  [Footnote 202: See his explanation, in the articles themselves.]
+
+  [Footnote 203: _The Mid-Eighteenth Century_, by J.H. Millar, p. 143,
+  note.]
+
+  [Footnote 204: _Ibid._, p. 159. Scott compares Fielding and Smollett
+  at some length in the _Life of Smollett_.]
+
+  [Footnote 205: _Life of Le Sage_.]
+
+  [Footnote 206: _Life of Richardson_.]
+
+  [Footnote 207: _Life of Fielding_.]
+
+  [Footnote 208: _Life of Goldsmith_. As we might expect, Scott speaks
+  rather too favorably of Goldsmith's hack work in history and science.]
+
+  [Footnote 209: _Life of Sterne_.]
+
+  [Footnote 210: _Lockhart_, Vol. I, p. 35.]
+
+  [Footnote 211: See above, p. 53, note.]
+
+  [Footnote 212: See also the Introductory epistle to _Ivanhoe_; and the
+  Review of _Walpole's Letters_. "In attaining his contemporary
+  triumph," says Mr. Brander Matthews, "Scott owed more to Horace
+  Walpole than to Maria Edgeworth." _The Historical Novel_, p. 10.]
+
+  [Footnote 213: Scott uses the word.]
+
+  [Footnote 214: Mr. G.A. Aitken has given convincing evidence that the
+  story was not invented by Defoe. Mr. Aitken also shows the falsity of
+  Scott's statement that Drelincourt's book was in need of advertising,
+  as William Lee, in his _Life of Defoe_, had previously done. (See _The
+  Nineteenth Century_, xxxvii: 95. January, 1895; and also Aitken's
+  edition of Defoe's _Romances and Narratives_, Vol. XV, Introduction.)
+  A passage from Defoe's _History of the Church of Scotland_ is quoted
+  in the review of _Tales of My Landlord_, by Scott, who says that it
+  probably suggested one of the scenes in _Old Mortality_. Scott there
+  speaks of Defoe's "liveliness of imagination," and says he "excelled
+  all others in dramatizing a story, and presenting it as if in actual
+  speech and action before the reader." (_Quarterly Review_, January,
+  1817.)]
+
+  [Footnote 215: See also _The Fortunes of Nigel_, Vol. II, pp. 88-9.]
+
+  [Footnote 216: _Life of Clara Reeve_.]
+
+  [Footnote 217: Blackwood, March, 1818.]
+
+  [Footnote 218: _Quarterly_, May, 1818.]
+
+  [Footnote 219: See a reference to Voltaire and other French authors;
+  _Napoleon_, Vol. I, ch. 2.]
+
+  [Footnote 220: _Life of Richardson_.]
+
+  [Footnote 221: We gather from Scott's article that he considered the
+  following to be the chief "speculative errors" of Bage: he was an
+  infidel; he misrepresented different classes of society, thinking the
+  high tyrannical and the low virtuous and generous; his system of
+  ethics was founded on philosophy instead of religion; he was inclined
+  to minimize the importance of purity in women; he considered
+  tax-gatherers extortioners, and soldiers, licensed murderers.]
+
+  [Footnote 222: _Lockhart_, Vol. II, p. 132.]
+
+  [Footnote 223: Familiar Letters, Vol. I, p. 192. In his _George the
+  Third_, Thackeray said: "Do you remember the verses--the sacred
+  verses--which Johnson wrote on the death of his humble friend Levett?"
+  (Biographical edition of Thackeray, Vol. VII, p. 671.)]
+
+  [Footnote 224: _Life of Johnson_.]
+
+  [Footnote 225: Introduction to _Chronicles of the Canongate_.]
+
+  [Footnote 226: _Dryden_, Vol. XI, p. 81, note; Review of the _Life and
+  Works of John Home_, _Quarterly_, June, 1827.]
+
+  [Footnote 227: _Familiar Letters_, Vol. II, p. 44.]
+
+  [Footnote 228: _Swift_, Vol. XVI, p. 275, note. On one of the last sad
+  days before Sir Walter left Scotland for his Italian journey he quoted
+  in full Prior's poem on Mezeray's History of France. (_Lockhart_, Vol.
+  V, pp. 339-40.)]
+
+  [Footnote 229: _Swift_, Vol. III, p. 36.]
+
+  [Footnote 230: _Ibid._, Vol. XIII, p. 24.]
+
+  [Footnote 231: _Correspondence of C.K. Sharpe_, Vol. II, p. 194.]
+
+  [Footnote 232: _Journal_, Vol. I, p. 67; _Lockhart_, Vol. IV, p. 401.]
+
+  [Footnote 233: Allan Cunningham's _Life of Scott_, p. 96.]
+
+  [Footnote 234: _Lockhart_, Vol. I, p. 483.]
+
+  [Footnote 235: See the satirical paragraph in his review of _Gertrude
+  of Wyoming_, on the habits of reviewers in general. "We are perfectly
+  aware," he says, "that, according to the modern canons of criticism,
+  the Reviewer is expected to show his immense superiority to the author
+  reviewed, and at the same time to relieve the tediousness of
+  narration, by turning the epic, dramatic, moral story before him into
+  quaint and lively burlesque." (_Quarterly_, May, 1809.) In his review
+  of the _Life and Works of John Home_ he speaks of "the hackneyed rules
+  of criticism, which, having crushed a hundred poets, will never, it
+  may be prophesied, create, or assist in creating, a single one."
+  (_Quarterly_, June, 1827.)]
+
+  [Footnote 236: _Lockhart_, Vol. I, p. 363.]
+
+  [Footnote 237: _Lockhart_, Vol. I, p. 501. For a further comparison of
+  Scott and Jeffrey as critics see below, pp. 134-5.]
+
+  [Footnote 238: _Lockhart_, Vol. II, p. 204.]
+
+  [Footnote 239: _Ibid._, Vol. V, p. 97.]
+
+  [Footnote 240: _Journal_, Vol. II, p. 262]
+
+  [Footnote 241: _Ibid._, Vol. I, p. 173]
+
+  [Footnote 242: In general Scott admired Lockhart. "I have known the
+  most able men of my time," he once wrote, "and I never met any one who
+  had such ready command of his own mind, and possessed in a greater
+  degree the power of making his talents available upon the shortest
+  notice, and upon any subject." (_Life of Murray_, Vol. II, p. 222.)
+  But in Lockhart's earlier days Scott said, "I am sometimes angry with
+  him for an exuberant love of fun in his light writings, which he has
+  caught, I think, from Wilson, a man of greater genius than himself
+  perhaps, but who disputes with low adversaries, which I think a
+  terrible error, and indulges in a sort of humour which exceeds the
+  bounds of playing at ladies and gentlemen, a game to which I have been
+  partial all my life." (_Letters of Lady Louisa Stuart_, p. 225.)]
+
+  [Footnote 243: _Familiar Letters_, Vol. II, p. 400.]
+
+  [Footnote 244: Lang's _Lockhart_, Vol. I, p. 406.]
+
+  [Footnote 245: _Life of Murray_, Vol. I, pp. 146-7.]
+
+  [Footnote 246: _Quarterly_, February, 1809.]
+
+  [Footnote 247: _Lockhart_, Vol. I, p. 327.]
+
+  [Footnote 248: Scott wrote a poetical epitaph for the burial place of
+  Miss Seward and her father. See _Edinburgh Annual Register_, Vol. II,
+  pt. 2. In the introduction to _The Tapestried Chamber_, Scott said,
+  "It was told to me many years ago by the late Miss Anna Seward, who,
+  among other accomplishments that rendered her an amusing inmate in a
+  country house, had that of recounting narratives of this sort with
+  very considerable effect; much greater, indeed, than anyone would be
+  apt to guess from the style of her written performances." It must be
+  remembered that Miss Seward was one of the first persons of any
+  literary note, outside of Edinburgh, to show an interest in Scott's
+  work, and he committed himself to admiration of her poetry when he was
+  still in a rather uncritical stage. In regard to his later feeling
+  about her see _Recollections_, by R.P. Gillies, _Fraser's_, xiii: 692,
+  January, 1836.]
+
+  [Footnote 249: J.L. Adolphus, in an interesting passage in his
+  _Letters to Heber on the Authorship of Waverley_, noted many of the
+  references to contemporary poets. See pp. 53-4. See also Hazlitt's
+  _Spirit of the Age_, art. _Sir Walter Scott_]
+
+  [Footnote 250: _Familiar Letters_, Vol. II, p. 341. See also a similar
+  anecdote in Forster's _Life of Landor_, Vol. II, p. 244.]
+
+  [Footnote 251: _Lockhart_, Vol. I, pp. 116-17.]
+
+  [Footnote 252: _Ibid._, Vol. II, p. 132.]
+
+  [Footnote 253: _Journal_, Vol. I, p. 321.]
+
+  [Footnote 254: Review of _Cromek's Reliques of Burns_, _Quarterly_,
+  February, 1809.]
+
+  [Footnote 255: _Ibid._]
+
+  [Footnote 256: _Ibid._]
+
+  [Footnote 257: Crabbe Robinson, in his diary (quoted by Knight in his
+  edition of Wordsworth, Vol. X, p. 189), says that Coleridge and his
+  friends "consider Scott as having stolen the verse" of _Christabel_.
+  On this point see also a letter by Coleridge, given in Meteyard's
+  _Group of Englishmen_, pp. 327-8. In 1807 Coleridge wrote to Southey:
+  "I did not over-hugely admire the 'Lay of the Last Minstrel,' but saw
+  no likeness whatever to the 'Christabel,' much less any improper
+  resemblance." (_Letters of Coleridge_, ed. by E.H. Coleridge, Vol. II,
+  p. 523.) Yet Mr. Lang seems to think that in this matter Scott "showed
+  something of the deficient sense of _meum_ and _tuum_ which marked his
+  freebooting ancestors." (_Sir Walter Scott_, p. 36.) Apparently Scott
+  never dreamed that the matter could be looked at in this way. In
+  Lockhart's _Scott_ (Vol. II, pp. 77-8) we find described an occasion
+  on which the two men once met in London, when they were asked, with
+  other poets who were present, to recite from their unpublished
+  writings. Coleridge complied with the request, but Scott said he had
+  nothing of his own and would repeat some stanzas he had seen in a
+  newspaper. The poem was criticised adversely in spite of Scott's
+  protests, till Coleridge lost patience and exclaimed, "Let Mr. Scott
+  alone; I wrote the poem." Coleridge's lines:
+
+     "The Knight's bones are dust
+      And his good sword rust,
+      His soul is with the saints, I trust,"
+
+  are probably much better known as they appear in _Ivanhoe_,
+  incorrectly quoted, than in their proper form. Scott also added a note
+  on Coleridge in this connection. (_Ivanhoe_, Chapter VIII.)]
+
+  [Footnote 258: But apparently not in any earlier than _The Black
+  Dwarf_, which was written in 1816, the year in which the poem was
+  published. It was about 1803 that Scott heard _Christabel_ recited.
+  See _Familiar Letters_, Vol. II, p. 221.]
+
+  [Footnote 259: _Lockhart_, Vol. I, p. 356.]
+
+  [Footnote 260: _Familiar Letters_, Vol. I, p. 315.]
+
+  [Footnote 261: See _Letters to Heber_, p. 293; _On Imitations of the
+  Ancient Ballad_; _Lockhart_, Vol. III, pp. 56 and 264; _Quentin
+  Durward_, Vol. II, p. 394.]
+
+  [Footnote 262: Note in _The Abbot_.]
+
+  [Footnote 263: _Lockhart_, Vol. III, p. 223.]
+
+  [Footnote 264: Note in _St. Ronan's Well_. See also the comment on
+  _Wallenstein_ in _Paul's Letters_, Letter XV.]
+
+  [Footnote 265: Review of _Childe Harold_, _Canto III_, _Quarterly_,
+  October, 1816.]
+
+  [Footnote 266: In 1818 Scott wrote a review of _Frankenstein_ in which
+  it appears that he thought Shelley was the author. Shelley had sent
+  the book with a note in which he said that it was the work of a friend
+  and he had merely seen it through the press; and Scott took this for
+  the conventional evasion so often resorted to by authors. (See Mr.
+  Lang's note in his Introduction to the Waverley Novels, p. lxxxvi.)
+  Scott praises the substance and style of the book, and advises the
+  author to cultivate his poetical powers, in words which make it
+  evident that he did not know Shelley as a poet, though _Alastor_ had
+  appeared in 1816. Scott also praises _Frankenstein_ in his article on
+  Hoffmann. In reading Scott's novels I have noted two reminiscences of
+  the line, "One word is too often profaned." They are to be found in
+  _Old Mortality_, Vol. II, p. 93, and in _Redgauntlet_, Vol. I, p.
+  224.]
+
+  [Footnote 267: _Journal_, Vol. II, p. 179.]
+
+  [Footnote 268: _Familiar Letters_, Vol. I, p. 40.]
+
+  [Footnote 269: _Familiar Letters_, Vol. I, p. 97.]
+
+  [Footnote 270: _Journal_, Vol. I, p. 333]
+
+  [Footnote 271: _Ibid._, Vol. II, p. 190.]
+
+  [Footnote 272: I quote from the letter as given in Knight's
+  _Wordsworth_, Vol. II, p. 105. Prof. Knight says that Lockhart quotes
+  the letter less exactly (Vol. I, p. 489.)]
+
+  [Footnote 273: _Lockhart_, Vol. III, p. 428.]
+
+  [Footnote 274: Even Byron admired Southey. He once wrote, "His prose
+  is perfect. Of his poetry there are various opinions: there is,
+  perhaps, too much of it for the present generation; posterity will
+  probably select. He has _passages_ equal to anything." (Byron's
+  _Letters and Journals_, ed. Prothero, Vol. II, p. 331.) Shelley also
+  had a high opinion of Southey's work. (Dowden's _Life of Shelley_,
+  Vol. I, p. 158, and pp. 471-2.) Landor liked _Madoc_ and _Thalaba_ so
+  much that, when he found Southey hesitating to write more poems of a
+  similar kind because they did not pay, he offered to bear the expense
+  of the publication. Southey refused the assistance, but was stimulated
+  by the kindness and considered Landor's encouragement responsible for
+  his later work in poetry. (Forster's _Life of Landor_, Vol. I, pp.
+  209-214.)]
+
+  [Footnote 275: _Lockhart_, Vol. II, p. 307.]
+
+  [Footnote 276: _Ibid._, Vol. I, p. 415.]
+
+  [Footnote 277: _Ibid._, Vol. I, p. 477; see also _Edinburgh Annual
+  Register_ for 1809, part 2, p. 588.]
+
+  [Footnote 278: _Lockhart_, Vol. III, p. 197.]
+
+  [Footnote 279: _Lockhart_, Vol. II, p. 127.]
+
+  [Footnote 280: In his youth Scott read Dante with other Italian
+  authors, but he did not become well acquainted with him, and later
+  even expressed dislike for his work. (See _Lockhart_, Vol. V, p. 408.)
+  In 1825 he wrote to W.S. Rose, "I will subscribe for Dante with all
+  pleasure, on condition you do not insist on my reading him." (_Fam.
+  Let._, Vol. II, p. 356.)]
+
+  [Footnote 281: It may be interesting to have Southey's comment on the
+  same article. (See _Southey's Letters_, Vol. II, p. 307.) He says,
+  "Bedford has seen the review which Scott has written of it, and which,
+  from his account, though a very friendly one, is, like that of the
+  'Cid,' very superficial. He sees nothing but the naked story; the
+  moral feeling which pervades it has escaped him. I do not know whether
+  Bedford will be able to get a paragraph interpolated touching upon
+  this, and showing that there is some difference between a work of high
+  imagination and a story of mere amusement." Either Bedford was
+  mistaken in saying that Scott had ignored the moral aspect of the
+  poem, or else he succeeded in getting a passage interpolated, for the
+  review is sufficiently definite on that point.]
+
+  [Footnote 282: _Lockhart_, Vol. I, p. 481.]
+
+  [Footnote 283: _Ibid._, Vol. II, p. 296.]
+
+  [Footnote 284: _Lockhart_, Vol. V, p. 413.]
+
+  [Footnote 285: _Journal_, Vol. I, p. 112; _Lockhart_, Vol. IV, p.
+  429.]
+
+  [Footnote 286: _Lockhart_, Vol. V, p. 391.]
+
+  [Footnote 287: _Ibid._, Vol. II, p. 211.]
+
+  [Footnote 288: Introduction to _Marmion_; _Lockhart_, Vol. II, p. 82.]
+
+  [Footnote 289: _Lockhart_, Vol. II, p. 508.]
+
+  [Footnote 290: Byron did not altogether approve of Scott's poetry, but
+  he felt its effectiveness. In his "Reply to Blackwood's Edinburgh
+  Magazine," Byron wrote: "What have we got instead [of following Pope]?
+  A deluge of flimsy and unintelligible romances, imitated from Scott
+  and myself, who have both made the best of our bad materials and
+  erroneous system."]
+
+  [Footnote 291: Review of _Childe Harold_, _Canto III_, _Quarterly_,
+  October, 1816.]
+
+  [Footnote 292: _Lockhart_, Vol. III, p. 182.]
+
+  [Footnote 293: It should be remembered also that Scott's first review
+  of _Childe Harold_ appeared at a time when all England was condemning
+  Byron for his treatment of Lady Byron, and that the article was
+  thought by many to be altogether too lenient. Byron wrote to Murray
+  expressing his pleasure in the review before he knew who was
+  responsible for it, and some years later he wrote to Scott as follows:
+  "To have been recorded by you in such a manner would have been a proud
+  memorial at any time, but at such a time ... was something still
+  higher to my self-esteem.... Had it been a common criticism, however
+  eloquent or panegyrical, I should have felt pleased, undoubtedly, and
+  grateful, but not to the extent which the extraordinary
+  good-heartedness of the whole proceeding must induce in any mind
+  capable of such sensations." (_Byron's Letters and Journals_, Vol. VI,
+  p. 2.) See _Lockhart_, Vol. II, p. 510, for quotations from Byron
+  showing his admiration for Scott. An interesting contrast between the
+  characters of the two poets is drawn by H.S. Legaré. (See his
+  _Collected Writings_, Vol. II, p. 258.)]
+
+  [Footnote 294: _Journal_, Vol. I, p. 221]
+
+  [Footnote 295: _Remarks on the Death of Lord Byron_.]
+
+  [Footnote 296: _Lockhart_, Vol. III, p. 525]
+
+  [Footnote 297: See Nichol's _Byron_ (English Men of Letters), p. 205;
+  and Arnold's essay on Byron.]
+
+  [Footnote 298: _Quarterly Review_, May, 1809.]
+
+  [Footnote 299: _Familiar Letters_, Vol. I, p. 341.]
+
+  [Footnote 300: _Journal_, Vol. I, p. 9.]
+
+  [Footnote 301: _Lockhart_, Vol. V, p. 70.]
+
+  [Footnote 302: _Ibid._, Vol. II, p. 306.]
+
+  [Footnote 303: Byron said, "Crabbe's the man, but he has got a coarse
+  and impracticable subject." (Moore's _Life and Letters of Byron_, Vol.
+  IV, pp. 63-4.) Leslie Stephen remarks that Crabbe "was admired by
+  Byron in his rather wayward mood of Pope-worship, as the last
+  representative of the legitimate school." (_English Literature and
+  Society in the 18th Century_, p. 207.)]
+
+  [Footnote 304: _Lockhart_, Vol. III, p. 197.]
+
+  [Footnote 305: The reader will at once recall the ingenuous remark of
+  Sophia Scott when she was asked, shortly after its appearance, how she
+  liked _The Lady of the Lake_. She said, "Oh, I have not read it; Papa
+  says there's nothing so bad for young people as reading bad poetry."
+  (_Lockhart_, Vol. II, p. 130. See also the _Life of Irving_, Vol. I,
+  p. 444.)]
+
+  [Footnote 306: _Familiar Letters_, Vol. II, p. 94.]
+
+  [Footnote 307: _Correspondence of C.K. Sharpe_, Vol. I, p. 353.]
+
+  [Footnote 308: See _Marmion_, introduction to Canto III, and other
+  passages noted by Adolphus in the _Letters to Heber_, p. 295. See also
+  _Familiar Letters_, Vol. I, p. 198, and the passage in _Lockhart_
+  (Vol. II, p. 132), in which James Ballantyne reports Scott as saying
+  to him, "If you wish to speak of a real poet, Joanna Baillie is now
+  the highest genius of our country."]
+
+  [Footnote 309: _Lockhart_, Vol. III, p. 306.]
+
+  [Footnote 310: _Lockhart_, Vol. V, p. 359; also Vol. I, p. 255; and
+  _Constable's Correspondence_, Vol. III, p. 300.]
+
+  [Footnote 311: _Lockhart_, Vol. IV, p. 117.]
+
+  [Footnote 312: _Ibid._, Vol. V, p. 448.]
+
+  [Footnote 313: _Ibid._, Vol. II, p. 14.]
+
+  [Footnote 314: _Forster_, Vol. I, p. 84, note.]
+
+  [Footnote 315: _Ibid._, Vol. I, p. 95.]
+
+  [Footnote 316: _Haydon's Correspondence_, Vol. I, p. 356.]
+
+  [Footnote 317: Hunt says Scott was interested in reading _The Story of
+  Rimini_. See Hunt's _Autobiography_, Vol. I, p. 260.]
+
+  [Footnote 318: _Journal_, Vol. I, p. 22. Scott wrote as follows to
+  Lockhart after the appearance of _Lord Byron and Some of his
+  Contemporaries_: "Hunt has behaved like a hyena to Byron, whom he has
+  dug up to girn and howl over him in the same breath." Mr. Lang makes
+  this comment: "Leigh Hunt ... had gone out of his way to insult Sir
+  Walter and to make the most baseless insinuations against him. Scott
+  probably never mentioned Leigh Hunt's name publicly in his life, and
+  he refers to the insults neither in his correspondence nor in his
+  _Journal_." (Lang's _Life of Lockhart_, Vol. II, pp. 22 and 24.) Hunt
+  evidently thought that Scott was partly responsible for the articles
+  in _Blackwood_ on the Cockney School. He says, "Unfortunately some of
+  the knaves were not destitute of talent: the younger were tools of
+  older ones who kept out of sight." (Hunt's _Lord Byron_, etc., Vol. I,
+  p. 423.) In his _Autobiography_, Hunt says, "Sir Walter Scott
+  confessed to Mr. Severn at Rome that the truth respecting Keats had
+  prevailed." (Vol. II, p. 44.) Mr. Lang points out that though Colvin
+  said of Scott (in his _Life of Keats_) "that he was in some measure
+  privy to the Cockney School outrages seems certain," he afterwards
+  recanted the statement. (In his edition of _Keats's Letters_, p. 60,
+  note. See Lang's _Lockhart_, Vol. I, pp. 196-8.) Scott invited Lamb to
+  Abbotsford when Lamb was looked upon as a leader of the Cockney
+  School. (Lang's _Scott_, p. 52.)]
+
+  [Footnote 319: _Journal_, Vol. I, p. 155; _Lockhart_, Vol. IV, p. 476,
+  and Vol. V, p. 380.]
+
+  [Footnote 320: _Quarterly_, October, 1815.]
+
+  [Footnote 321: Postscript to _Waverley_, and General Introduction.]
+
+  [Footnote 322: For references to the group of women novelists who were
+  so successful in depicting manners, see the _Life of Charlotte Smith_;
+  the Postscript to _Waverley_; the Introduction to _St. Ronan's Well_;
+  _Journal_, Vol. I, p. 164.]
+
+  [Footnote 323: _Journal_, Vol. II, p. III.]
+
+  [Footnote 324: _Ibid._, Vol. II, p. 116.]
+
+  [Footnote 325: _Lockhart_, Vol. IV, 164.]
+
+  [Footnote 326: _Journal_, Vol. I, p. 299; _Lockhart_, Vol. V, p. 65.]
+
+  [Footnote 327: _Journal_, Vol. I, p. 295; _Lockhart_, Vol. V, p. 62.]
+
+  [Footnote 328: The reference as given by Lockhart is as follows: "This
+  man, who has shown so much genius, has a good deal of the manners, or
+  want of manners, peculiar to his countrymen." (_Lockhart_, Vol. V, p.
+  62.) Cooper observes in regard to this point: "The manners of most
+  Europeans strike us as exaggerated, while we appear cold to them. Sir
+  Walter Scott was certainly so obliging as to say many flattering
+  things to me, which I, as certainly, did not repay in kind. As Johnson
+  said of his interview with George the Third, it was not for me to
+  bandy compliments with my sovereign. At that time the diary was a
+  sealed book to the world, and I did not know the importance he
+  attached to such civilities." It is a pity that the transcriber of the
+  passage in the _Journal_ changed "manner," which was the word Scott
+  wrote, to the more objectionable "manners." (_Journal_, Vol. I, p.
+  295.)]
+
+  [Footnote 329: Scott's letter was substantially as follows: "I have
+  considered in all its bearings the matter which your kindness has
+  suggested. Upon many former occasions I have been urged by my friends
+  in America to turn to some advantage the sale of my writings in your
+  country, and render that of pecuniary avail as an individual which I
+  feel as the highest compliment as an author. I declined all these
+  proposals, because the sale of this country produced me as much profit
+  as I desired, and more--far more--than I deserved. But my late heavy
+  losses have made my situation somewhat different, and have rendered it
+  a point of necessity and even duty to neglect no means of making the
+  sale of my works effectual to the extrication of my affairs, which can
+  be honorably and honestly resorted to. If therefore Mr. Carey, or any
+  other publishing gentleman of credit and character, should think it
+  worth while to accept such an offer, I am willing to convey to him the
+  exclusive right of publishing the _Life of Napoleon_, and my future
+  works in America, making it always a condition, which indeed will be
+  dictated by the publisher's own interest, that this monopoly shall not
+  be used for the purpose of raising the price of the work to my
+  American readers, but only for that of supplying the public at the
+  usual terms....
+
+  "At any rate, if what I propose should not be found of force to
+  prevent piracy, I cannot but think from the generosity and justice of
+  American feeling, that a considerable preference would be given in the
+  market to the editions emanating directly from the publisher selected
+  by the author, and in the sale of which the author had some interest.
+
+  "If the scheme shall altogether fail, it at least infers no loss, and
+  therefore is, I think, worth the experiment. It is a fair and open
+  appeal to the liberality, perhaps in some sort to the justice, of a
+  great people; and I think I ought not in the circumstances to decline
+  venturing upon it. I have done so manfully and openly, though not
+  perhaps without some painful feelings, which however are more than
+  compensated by the interest you have taken in this unimportant matter,
+  of which I will not soon lose the recollection." (_Knickerbocker
+  Magazine_, Vol. XI, p. 380 ff., April, 1838.)]
+
+  [Footnote 330: _Knickerbocker_, Vol. XII, p. 349 ff., October, 1838.]
+
+  [Footnote 331: In a letter written in January, 1839, Sumner said,
+  speaking of Cooper's article, "I think a proper castigation is applied
+  to the vulgar minds of Scott and Lockhart." (See _Memoir and Letters
+  of Charles Sumner_, by Edward L. Pierce, Vol. II, p. 38; and
+  Lounsbury's _Cooper_, p. 160.)]
+
+  [Footnote 332: _Lockhart_, Vol. IV, pp. 163-4.]
+
+  [Footnote 333: _Ibid._, Vol. III, p. 262.]
+
+  [Footnote 334: _Ibid._, Vol. III, p. 131, note; _Fam. Let._, Vol. I,
+  p. 440. "Walter Scott was the first transatlantic author to bear
+  witness to the merit of Knickerbocker," wrote P.M. Irving in his _Life
+  of Washington Irving_. Henry Brevoort presented Scott with a copy of
+  the second edition in 1813, and received this reply: "I beg you to
+  accept my best thanks for the uncommon degree of entertainment which I
+  have received from the most excellently jocose history of New York. I
+  am sensible that as a stranger to American parties and politics I must
+  lose much of the concealed satire of the piece, but I must own that
+  looking at the simple and obvious meaning only, I have never read
+  anything so closely resembling the style of Dean Swift, as the annals
+  of Diedrich Knickerbocker.... I think too there are passages which
+  indicate that the author possesses powers of a different kind, and has
+  some touches which remind me much of Sterne." (_Life of Irving_, Vol.
+  I, p. 240.) When, in 1819, Irving needed money, he wrote to Scott for
+  advice about publishing the _Sketch Book_ in England. "Scott was the
+  only literary man," he says, "to whom I felt that I could talk about
+  myself and my petty concerns with the confidence and freedom that I
+  would to an old friend--nor was I deceived. From the first moment that
+  I mentioned my work to him in a letter, he took a decided and
+  effective interest in it, and has been to me an invaluable friend."
+  (Vol. I, p. 456.) At this time Scott asked Irving to accept the
+  editorship of a political newspaper in Edinburgh, an offer which
+  Irving of course refused. (_Fam. Let._, Vol. II, p. 60; _Life of
+  Irving_, Vol. I, pp. 441-2, and Vol. III, pp. 272-3.) Scott called the
+  _Sketch Book_ "positively beautiful." He was by some people supposed
+  to be the author. In this connection it was said of him that his "very
+  numerous disguises," and his "well-known fondness for literary
+  masquerading, seem to have gained him the advantage of being suspected
+  as the author of every distinguished work that is published." (Letter
+  by Lady Lyttleton, in _Life of Irving_, Vol. II, p. 21.)]
+
+  [Footnote 335: _Lockhart_, Vol. III, p. 131; _Life of Irving_, Vol. I,
+  p. 240.]
+
+  [Footnote 336: _Lockhart_, Vol. IV, p. 161.]
+
+  [Footnote 337: _Letters on Demonology and Witchcraft_, Letter II.]
+
+  [Footnote 338: _Constable's Correspondence_, Vol. III, p. 199.]
+
+  [Footnote 339: _Lockhart_, Vol. V, pp. 100-104.]
+
+  [Footnote 340: Vol. I, p. 371.]
+
+  [Footnote 341: _Journal_, Vol. I, p. 359; _Lockhart_, Vol. V, p. 100.
+  See also _Journal_, Vol. II, pp. 483-4.]
+
+  [Footnote 342: Review of Hoffmann's novels, _Foreign Quarterly
+  Review_, July, 1827.]
+
+  [Footnote 343: _Lockhart_, Vol. IV, p. 19.]
+
+  [Footnote 344: M. Maigron says, speaking of the vogue of Scott in
+  France: "On peut affirmer mème que, de 1820 à 1830, aucun nom français
+  ne fut en France aussi connu et aussi glorieux." (_Le Roman Historique
+  à l'Époque Romantique_, p. 99. See also pp. 100-133.)]
+
+  [Footnote 345: The phrase is quoted from Scott's article on the _Life
+  and Works of John Home_, in which it is applied to Home's critical
+  work. The same idea occurs frequently in Scott's books, as indicating
+  one of the finest graces of life. It was one which Sir Walter was
+  foremost in practicing in all his social relations.]
+
+  [Footnote 346: He was talking about Pope. See the _Recollections_, by
+  R.P. Gillies, _Fraser's_, xii: 253 (Sept., 1835).]
+
+  [Footnote 347: Review of _The Battles of Talavera_, _Quarterly_,
+  November, 1809.]
+
+  [Footnote 348: Editor's Introduction to _Montrose_, Border edition of
+  the Waverley Novels.]
+
+  [Footnote 349: _Familiar Letters_, Vol. I, p. 125.]
+
+  [Footnote 350: _Quarterly_, January, 1817. Scott evidently wrote this
+  article chiefly for the purpose of defending the historical accuracy
+  of _Old Mortality_. He also wished to show that _The Black Dwarf_ was
+  founded on fact; and he devoted some space, as will appear in the
+  passage quoted below (pp. 111-112), to a discussion of the artistic
+  aspects of these and the earlier Waverly novels.]
+
+  [Footnote 351: _Journal_, Vol. II, p. 269.]
+
+  [Footnote 352: _Ibid._, Vol. II, p. 276.]
+
+  [Footnote 353: _Familiar Letters_, Vol. I, p. 96.]
+
+  [Footnote 354: Introductory epistle to _Nigel_; _Fam. Let._, Vol. I,
+  p. 28.]
+
+  [Footnote 355: Introduction to the _Monastery_.]
+
+  [Footnote 356: _Familiar Letters_, Vol. I, p. 258.]
+
+  [Footnote 357: _Rokeby_, Canto VI, stanza 26; _Waverley_, Vol. II, pp.
+  399-400; _Journal_, Vol. 1, p. 117; _Lockhart_, Vol. IV, pp. 447-8.]
+
+  [Footnote 358: Review of the _Life and Works of John Home_,
+  _Quarterly_, June, 1827.]
+
+  [Footnote 359: Review of Southery's _Life of Bunyan_, _Quarterly_,
+  October, 1830.]
+
+  [Footnote 360: _Quarterly_, January, 1817.]
+
+  [Footnote 361: _Lockhart_, Vol. II, pp. 7-8.]
+
+  [Footnote 362: _Quarterly_, November, 1809.]
+
+  [Footnote 363: _Lockhart_, Vol. II, p. 128.]
+
+  [Footnote 364: _Ibid._, Vol. II, p. 129.]
+
+  [Footnote 365: Epistle prefixed to Canto V.]
+
+  [Footnote 366: Epistle prefixed to Canto III.]
+
+  [Footnote 367: Hazlitt's _Spirit of the Age_, art. _Sir Walter Scott_;
+  see _Letters to Heber_, p. 75 ff.]
+
+  [Footnote 368: It is hard to say just how much he accomplished by the
+  proof-reading, which, to judge by his Journal, he habitually
+  performed. He wrote to Kirkpatrick Sharpe in 1809, after seeing a new
+  number of the _Quarterly_: "I am a little disconcerted with the
+  appearance of one or two of my own articles, which I have had no
+  opportunity to revise in proof." (_Sharpe's Correspondence_, Vol. I,
+  p. 370.) Lockhart gives an interesting sample of a sheet of Scott's
+  poetry tentatively revised by Ballantyne and reworked by the author.
+  (_Lockhart_, Vol. III, pp. 32-5.) It is certain that Ballantyne made
+  many suggestions, some of which Scott accepted and some of which he
+  summarily rejected. In Hogg's _Domestic Manners of Scott_ we find the
+  following account of what the printer said when Hogg reported that Sir
+  Walter was to correct some proofs for him: "He correct them for you!
+  Lord help you and him both! I assure you if he had nobody to correct
+  after him, there would be a bonny song through the country. He is the
+  most careless and incorrect writer that ever was born, for a
+  voluminous and popular writer, and as for sending a proof sheet to
+  him, we may as well keep it in the office. He never heeds it.... He
+  will never look at either your proofs or his own, unless it be for a
+  few minutes amusement" (pp. 242-3). When he wrote to Miss Baillie that
+  he had read the proofs of a play of hers which was being published in
+  Edinburgh, he added, "but this will not ensure their being altogether
+  correct, for in despite of great practice, Ballantyne insists I have a
+  bad eye." (_Familiar Letters_, Vol. I, p. 173.)]
+
+  [Footnote 369: _Journal_, Vol. II, p. 79; also 234 and 239;
+  _Lockhart_, Vol. V, pp. 116 and 240.]
+
+  [Footnote 370: _Journal_, Vol. I, p. 117; _Lockhart_, Vol. IV, p.
+  448.]
+
+  [Footnote 371: _Lockhart_, Vol. IV, pp. 2 and 391.]
+
+  [Footnote 372: _Familiar Letters_, Vol. I, p. 72.]
+
+  [Footnote 373: _Ibid._, Vol. I, p. 101.]
+
+  [Footnote 374: _Ibid._, Vol. I, p. 113.]
+
+  [Footnote 375: Essay on _Imitations of the Ancient Ballad_.]
+
+  [Footnote 376: A friend of Scott's once wrote to him, "You are the
+  only author I ever yet knew to whom one might speak plain about the
+  faults found with his works." (_Familiar Letters_, Vol. I, p. 282.) He
+  took great pains, contrary to his usual custom, in revising and
+  correcting the _Malachi Malagrowther_ papers, but these were
+  argumentative and in an altogether different class from his poems and
+  novels; and besides he felt a special responsibility in writing upon a
+  public matter "far more important than anything referring to [his]
+  fame or fortune alone." (_Lockhart_, Vol. IV, p. 460.)]
+
+  [Footnote 377: _Lockhart_, Vol. III, p. 379.]
+
+  [Footnote 378: Introduction to the _Pirate_.]
+
+  [Footnote 379: _Journal_, Vol. II, p. 250.]
+
+  [Footnote 380: This was, of course, an effect of overwork and disease.
+  Irving quotes Scott as saying: "It is all nonsense to tell a man that
+  his mind is not affected, when his body is in this state." (_Irving's
+  Life_, Vol. II, p. 459.)]
+
+  [Footnote 381: _Journal_, Vol. I, p. 181.]
+
+  [Footnote 382: See _Lockhart_, Vol. II, pp. 265-6.]
+
+  [Footnote 383: _Journal_, Vol. I, pp. 212-13; _Lockhart_, Vol. V, p.
+  13.]
+
+  [Footnote 384: See _Familiar Letters_, Vol. II, p. 309; _Lockhart_,
+  Vol. I, p. 216; Vol. IV, pp. 128 and 498; Vol. V, pp. 128, 412, 448.]
+
+  [Footnote 385: _Correspondence of C.K. Sharpe_, Vol. I, p. 352.]
+
+  [Footnote 386: _Journal_, Vol. II, p. 276. In the _Edinburgh Annual
+  Register_ for 1808 (published 1810) is an article on the _Living Poets
+  of Great Britain_, which if not written by Scott was evidently
+  influenced by him. Speaking of Southey, Campbell and Scott, the writer
+  says: "Were we set to classify their respective admirers we should be
+  apt to say that those who feel poetry most enthusiastically prefer
+  Southey; those who try it by the most severe rules admire Campbell;
+  while the general mass of readers prefer to either the Border Poet. In
+  this arrangement we should do Mr. Scott no injustice, because we
+  assign to him in the number of suffrages what we deny him in their
+  value." He once wrote to Miss Baillie, "No one can both eat his cake
+  and have his cake, and I have enjoyed too extensive popularity in this
+  generation to be entitled to draw long-dated bills upon the applause
+  of the next." (_Familiar Letters_, Vol. I, p. 173.) But in the
+  Introductory Epistle to _Nigel_ he said, "It has often happened that
+  those who have been best received in their own time have also
+  continued to be acceptable to posterity. I do not think so ill of the
+  present generation as to suppose that its present favour necessarily
+  infers future condemnation."]
+
+  [Footnote 387: Introduction to the _Lady of the Lake_; _Lockhart_,
+  Vol. II, p. 130.]
+
+  [Footnote 388: Introduction to _Chronicles of the Canongate_.]
+
+  [Footnote 389: _Journal_, Vol. II, p 473.]
+
+  [Footnote 390: _Lockhart_, Vol. II, p. 355.]
+
+  [Footnote 391: _Ibid._, Vol. V, p. 164.]
+
+  [Footnote 392: See speech of Humphry Gubbin, in _The Tender Husband_,
+  Act I, Sc. 2.]
+
+  [Footnote 393: _Lockhart_, Vol. IV, p 297; see also _Familiar
+  Letters_, Vol. I, p. 55.]
+
+  [Footnote 394: _Lockhart_, Vol. II, pp. 104 and 124.]
+
+  [Footnote 395: _Journal_, Vol. I, p. 222; _Lockhart_, Vol. V, p. 18.]
+
+  [Footnote 396: _Lockhart_, Vol. III, p. 350.]
+
+  [Footnote 397: _Ibid._, Vol. II, p. 508.]
+
+  [Footnote 398: _Lockhart_, Vol. IV, p. 229.]
+
+  [Footnote 399: When Constable was proposing to publish the poetry of
+  the novels separately, Scott wrote to him that it was beyond his own
+  power to distinguish what was original from what was borrowed, and
+  suggested the following Advertisement for the book:
+
+  "We believe by far the greater part of the poetry interspersed through
+  these novels to be original compositions by the author. At the same
+  time the reader will find passages which are quoted from other
+  authors, and may probably debit more of these than our more limited
+  reading has enabled us to ascertain. Indeed, it is our opinion that
+  some of the following poetry is neither entirely original nor
+  altogether borrowed, but consists in some instances of passages from
+  other authors, which the author has not hesitated to alter
+  considerably, either to supply defects of his own memory, or to adapt
+  the quotation more explicitly and aptly to the matter in hand."
+  (_Constable's Correspondence_, Vol. III, pp. 222-3.)]
+
+  [Footnote 400: "I have taught nearly a hundred gentlemen to fence very
+  nearly, if not altogether, as well as myself," he said. (_Journal_,
+  Vol. I, p. 167. See also pp. 273-5.)]
+
+  [Footnote 401: _Journal_, Vol. I, pp. 275-6; _Lockhart_, Vol. V, p.
+  45.]
+
+  [Footnote 402: _Lockhart_, Vol. IV, pp. 322 and 492; Vol. V, p. 186.]
+
+  [Footnote 403: _Ibid._, Vol. IV, p. 110.]
+
+  [Footnote 404: _Journal_, Vol. II, p. 106, and _Lockhart_, Vol. V, p.
+  162.]
+
+  [Footnote 405: _Lockhart_, Vol. I, pp. 33-4.]
+
+  [Footnote 406: _Ibid._, Vol. III, p. 259.]
+
+  [Footnote 407: _Waverley_, Vol. I, pp. 112-3. See also Mackenzie's
+  _Life of Scott_, p. 364.]
+
+  [Footnote 408: _Lockhart_, Vol. I, p. 29.]
+
+  [Footnote 409: _Journal_, Vol. I, pp. 274-5; _Lockhart_, Vol. V, p.
+  44. See also his review of Godwin's _Life of Chaucer_.]
+
+  [Footnote 410: _Lockhart_, Vol. IV, p. 103.]
+
+  [Footnote 411: _Ibid._, Vol. IV, p. 260.]
+
+  [Footnote 412: _Journal_, Vol. II, p. 96.]
+
+  [Footnote 413: Review of Tytler's _History of Scotland_, _Quarterly_,
+  November, 1829.]
+
+  [Footnote 414: _Southey's Letters_, Vol. IV, p. 62.]
+
+  [Footnote 415: Herford's _Age of Wordsworth_, pp. 39-40.]
+
+  [Footnote 416: _Lockhart_, Vol. II, p. 60.]
+
+  [Footnote 417: _Paul's Letters_, Letter XVI.]
+
+  [Footnote 418: _Lockhart_, Vol. II, p. 320.]
+
+  [Footnote 419: On Goethe's favorable opinion of the _Napoleon_, see a
+  letter given in the appendix to Scott's _Journal_ (Vol. II, pp. 485-6
+  and note).]
+
+  [Footnote 420: Carlyle's _Essay on Scott_. See also Taine's _History
+  of English Literature_, Introduction, I.]
+
+  [Footnote 421: Review of _Metrical Romances_, _Edinburgh Review_,
+  January, 1806.]
+
+  [Footnote 422: _Lockhart_, Vol. II, p. 333.]
+
+  [Footnote 423: _The Pirate_, Vol. II, p. 138.]
+
+  [Footnote 424: Introductory Epistle to _Ivanhoe_. Freeman, in his
+  _Norman Conquest_, vigorously attacks _Ivanhoe_ for its unwarranted
+  picture of the relations between Saxons and Normans in the thirteenth
+  century. (Vol. V, pp. 551-561.)]
+
+  [Footnote 425: Mr. Lang points out that he made many written notes of
+  his reading, as we should hardly expect a man of his unrivalled memory
+  to do. (_Life of Scott_, p. 27.)]
+
+  [Footnote 426: _Constable's Correspondence_, Vol. III, p. 161.]
+
+  [Footnote 427: _Constable's Correspondence_, Vol. III, pp. 93-4.]
+
+  [Footnote 428: _Letters of Lady Louisa Stuart_, p. 247.]
+
+  [Footnote 429: Mr. Lang's theory that Scott was responsible for a
+  decline in serious reading cannot be either proved or refuted
+  completely, but more than one man has given personal testimony
+  concerning the stimulating effect of the Waverley novels. Thierry's
+  _Norman Conquest_ was directly inspired by _Ivanhoe_, and with
+  _Ivanhoe_ is condemned by Freeman for its mistaken views. Mr. Andrew
+  D. White says in his _Autobiography_ that _Quentin Durward_ and _Anne
+  of Geierstein_ led him to see the first that he had ever clearly
+  discerned of the great principles that "lie hidden beneath the surface
+  of events"--"the secret of the centralization of power in Europe, and
+  of the triumph of monarchy over feudalism." (Vol. I, pp. 15-16.)]
+
+  [Footnote 430: Scott had theories as to what children's books ought to
+  be. They should stir the imagination, he said, instead of simply
+  imparting knowledge as certain scientific books attempted to do.
+  (_Lockhart_, Vol. II, p. 27.) But he seriously objected to any attempt
+  to write down to the understanding of children. Of the _Tales of a
+  Grandfather_ he said: "I will make, if possible, a book that a child
+  shall understand, yet a man will feel some temptation to peruse,
+  should he chance to take it up." (_Lockhart_, Vol. V, p. 112. See also
+  _ib._, Vol. I, p. 19.) Anatole France has expressed ideas about
+  children's books which are practically the same as those of Scott.
+  (See _Le Livre de Mon Ami_, 3me partie: "A Madame D * * *.")]
+
+  [Footnote 431: Introduction to _The Fortunes of Nigel_.]
+
+  [Footnote 432: See the Introduction to _Waverley_.]
+
+  [Footnote 433: Introductory Epistle to _Ivanhoe_.]
+
+  [Footnote 434: _Ibid._ In _Old Mortality_, Claverhouse was made to use
+  the phrase "sentimental speeches," but when Lady Louisa Stuart pointed
+  out to Scott that the word "sentimental" was modern, he struck it out
+  of the second edition.]
+
+  [Footnote 435: Introductory Epistle to _Ivanhoe_. For other references
+  to the use of a moderately antique diction see the essays on Walpole
+  and Clara Reeve in _Lives of the Novelists_, and the review of
+  Southey's _Amadis de Gaul_, _Edinburgh Review_, October, 1803.]
+
+  [Footnote 436: _Journal_, Vol. II, p. 226.]
+
+  [Footnote 437: _Ibid._, Vol. II, p. 319.]
+
+  [Footnote 438: _Ibid._, Vol. II, p. 216.]
+
+  [Footnote 439: _Ibid._, Vol. I, p. 323.]
+
+  [Footnote 440: _Lockhart_, Vol. I, p. 40.]
+
+  [Footnote 441: Introduction to _Chronicles of the Canongate_. See also
+  _Letters to Heber_, pp. 128-32, and 154; and Ruskin's analysis of
+  Scott's descriptions: _Modern Painters_, Part IV, ch. 16, § 23 ff.]
+
+  [Footnote 442: See particularly his reviews of _Childe Harold_, _Canto
+  III_, _Quarterly_, October, 1816; and of Southey's translation of the
+  _Amadis de Gaul_, _Edinburgh Review_, October, 1803.]
+
+  [Footnote 443: _Lockhart_, Vol. II, pp. 232-3.]
+
+  [Footnote 444: Quoted in _Wordsworth_ (English Men of Letters) by
+  F.W.H. Myers, p. 143.]
+
+  [Footnote 445: _Recollections of Scott_, by R.P. Gillies. _Fraser's_,
+  xii: 254.]
+
+  [Footnote 446: _Lockhart_, Vol. III, p. 62.]
+
+  [Footnote 447: _Journal_, Vol. I, p. 155, and Vol. II, p. 37;
+  _Lockhart_, Vol. IV, p. 476, and Vol. V, p. 380.]
+
+  [Footnote 448: In the discussion of _Lives of the Novelists_.]
+
+  [Footnote 449: See his _Essay on Scott_.]
+
+  [Footnote 450: _Dryden_, Vol. XIV, p. 136.]
+
+  [Footnote 451: _Lockhart_, Vol. V, p. 415, and Introductory Epistle to
+  _Nigel_.]
+
+  [Footnote 452: _Letters to Heber_, p. 44.]
+
+  [Footnote 453: _Op. cit._, p. 120.]
+
+  [Footnote 454: _My Aunt Margaret's Mirror_.]
+
+  [Footnote 455: _Journal_, Vol. II, p. 8.]
+
+  [Footnote 456: Review of Hoffmann's Novels, _Foreign Quarterly
+  Review_, July, 1827.]
+
+  [Footnote 457: _Letters to R. Polwhele_, etc., p. 102.]
+
+  [Footnote 458: Lodge's _Illustrious Personages_, Preface.]
+
+  [Footnote 459: Article on Molière, _Foreign Quarterly Review_,
+  February, 1828.]
+
+  [Footnote 460: _Three Studies in Literature_, p. 12.]
+
+  [Footnote 461: _Edinburgh Review_, No. 1, October, 1802: review of
+  _Thalaba_.]
+
+  [Footnote 462: _Three Studies in Literature_, p. 38.]
+
+  [Footnote 463: _Dryden_, Vol. XI, p. 26.]
+
+  [Footnote 464: Herford, _op. cit._, pp. 51-2.]
+
+  [Footnote 465: _Essay on the Drama_.]
+
+  [Footnote 466: Wylie, _Studies in Criticism_, pp. 107-8.]
+
+  [Footnote 467: _Table Talk_, August 4, 1833. _Works_, Vol. VI, p.
+  472.]
+
+  [Footnote 468: _Familiar Letters_, Vol. II, p. 402.]
+
+  [Footnote 469: Article on Scott's _Demonology and Witchcraft_,
+  _Fraser's_, December, 1830.]
+
+  [Footnote 470: Mackenzie's _Life of Scott_, p. 118.]
+
+  [Footnote 471: _The Plain Speaker_, Hazlitt's _Works_, Vol. VII, p.
+  345.]
+
+  [Footnote 472: _Dryden_, Vol. I, p. 342. See above, pp. 136-7.]
+
+  [Footnote 473: _Familiar Letters_, Vol. I, p. 84.]
+
+  [Footnote 474: _Life of Bage_, in _Novelists' Library_.]
+
+  [Footnote 475: _Essay on Judicial Reform_, _Edinburgh Annual
+  Register_, Vol. I, pt. 2, p. 352. Everyone knows that Scott was a
+  decided Tory, and it is commonly supposed that he was an extremely
+  prejudiced partisan. But he closes a political passage in _Woodstock_
+  with these words: "We hasten to quit political reflections, the rather
+  that ours, we believe, will please neither Whig nor Tory." (End of
+  Chapter 11.) From the definitions of Whig and Tory given in the _Tales
+  of a Grandfather_, no one could guess his politics. (Chapter 53.)]
+
+  [Footnote 476: Leigh Hunt's _Autobiography_, Vol. I, p. 263. See also
+  pp. 258-260, and the notes on his _Feast of the Poets_.]
+
+  [Footnote 477: Courthope's _Liberal Movement_, p. 122.]
+
+  [Footnote 478: _Life of Murray_, Vol. II, p. 159.]
+
+  [Footnote 479: _Ibid._, Vol. II, p. 232]
+
+  [Footnote 480: _Macmillan's Magazine_, lxx: 326.]
+
+  [Footnote 481: Newman's _Apologia_, pp. 96-97. Mark Twain thinks the
+  influence of the novels was pernicious. He says: "A curious
+  exemplification of the power of a single book for good or harm is
+  shown in the effects wrought by Don Quixote and those wrought by
+  Ivanhoe. The first swept the world's admiration for the mediaeval
+  chivalry-silliness out of existence; and the other restored it.... Sir
+  Walter had so large a hand in making Southern character, as it existed
+  before the war, that he is in great measure responsible for the war."
+  (_Life on the Mississippi_, ch. xlvi.)]
+
+  [Footnote 482: _Familiar Letters_, Vol. I, pp. 216-17. See also his
+  remarks upon booksellers in his review of Pitcairn's _Ancient Criminal
+  Trials_, _Quarterly_, February, 1831.]
+
+  [Footnote 483: _Fraser's_, xiii: 693.]
+
+  [Footnote 484: Essay on Dunbar in _Ephemera Critica_.]
+
+  [Footnote 485: _English Historical Review_, vi: 97.]
+
+  [Footnote 486: _Life, Letters and Journals of George Ticknor_, Vol. I,
+  p. 283.]
+
+  [Footnote 487: Carlyle's _Essay on Scott_.]
+
+  [Footnote 488: _Lockhart_, Vol. II, p. 9.]
+
+  [Footnote 489: _Journal_, Vol. II, p. 259; _Lockhart_, Vol. V, p.
+  248.]
+
+  [Footnote 490: _Dryden_, Vol. I, conclusion.]
+
+  [Footnote 491: _British Novelists and their Styles_, p. 204.]
+
+  [Footnote 492: _Journal_, Vol. II, p. 173; _Lockhart_, Vol. V, p. 99.]
+
+  [Footnote 493: _History of Criticism_, Vol. I, p. 156.]
+
+  [Footnote 494: _Recollections of Scott_ by R.P. Gillies, _Fraser's_,
+  xii: 688.]
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Sir Walter Scott as a Critic of
+Literature, by Margaret Ball
+
+*** END OF THIS PROJECT GUTENBERG EBOOK SIR WALTER SCOTT AS A CRITIC ***
+
+***** This file should be named 16715-8.txt or 16715-8.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/1/6/7/1/16715/
+
+Produced by Ted Garvin, Lynn Bornath, and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+*** END: FULL LICENSE ***
+
diff --git a/16715-8.zip b/16715-8.zip
new file mode 100644
index 0000000..1fb3ecf
--- /dev/null
+++ b/16715-8.zip
diff --git a/16715-h.zip b/16715-h.zip
new file mode 100644
index 0000000..4adf408
--- /dev/null
+++ b/16715-h.zip
diff --git a/16715-h/16715-h.htm b/16715-h/16715-h.htm
new file mode 100644
index 0000000..7639647
--- /dev/null
+++ b/16715-h/16715-h.htm
@@ -0,0 +1,11803 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+<meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of Sir Walter Scott as a Critic of Literature, by Margaret Ball.
+    </title>
+
+    <style type="text/css">
+    <!-- /* old browser blockout*/
+    /*<![CDATA[  XML blockout */
+body { margin-left: 10%; margin-right: 10%; }
+
+h1,h2,h3,h4 { text-align: center; }
+h3,h4 { font-weight: normal; }
+
+a:link			{ text-decoration: none; }
+a:visited		{ text-decoration: none; }
+a:active		{ text-decoration: underline; }
+a:link:hover	{ text-decoration: underline; }
+
+hr { width: 33%; margin-top: 5em; margin-bottom: 2em;
+     margin-left: auto; margin-right: auto; }
+
+#titlepages p { text-align: center; text-indent:0; }
+
+#preface p { margin-top: 1em; margin-bottom: 1em;
+             margin-right: 5%; margin-left: 5%;
+             text-align: justify; }
+#preface .indent { text-indent:2em; margin-top:-1em; }
+
+#toc { margin-right: 5%; margin-left: 5%; margin-top: 5em; }
+#toc p { text-indent: -1.5em; }
+#toc td { vertical-align: top; padding-bottom:.5em; }
+#toc td.years { width:10%; }
+#toc td.page { text-align:right; }
+#toc td.nowrap { white-space: nowrap; }
+#toc th { font-weight:normal; }
+#toc hr.list { margin-top:.5em; margin-bottom:0; text-align:left;
+          margin-right:0; margin-left:0; width:20%; }
+#toc table { margin-left:auto; margin-right:auto;}
+
+#content { margin-top: 5em; margin-bottom: 2em; }
+#content h2 { margin-top: 5em; }
+#content h4 { margin-bottom: -2em; margin-top: 4em; }
+
+p { margin-top: 1em; margin-bottom: 1em; text-align: justify;
+    text-indent: 1em; }
+p.noindent { text-indent: 0em; }
+p.indd { margin-left:2em; font-size:95%; }
+blockquote { font-size: 95%; text-align: justify; }
+
+.poem { text-align: center; margin-top: 2em; margin-bottom: 2em; }
+.poem .stanza { margin-left: 28%; margin-right: auto;
+                text-align: left; }
+.stanza div { line-height: 1.4em; margin-top: 0em;
+              text-align: left; margin-left: 2em;
+              text-indent: -2em; }
+.poem p.right { text-align: right; }
+.poem div.quote { text-indent: -2.4em; }
+
+.fnref { font-size: 90%; }
+.fn { padding: 1em 1em 1em 4em; text-align: justify; }
+.fn span.fnnum { position: absolute; left: 12%; text-align: left; }
+.fn .poem { text-align: center; margin-top: 0; margin-bottom: 1em; }
+.fn p { text-indent:0; margin-top:2em; }
+
+.small { font-size: 90%; }
+.center { text-align: center; }
+.chapdesc { font-size: 90%; margin-left:10%; margin-right:10%; }
+.right { text-align: right; }
+
+.pagenum {	display:inline; font-size:75%; text-align: right;
+	        		padding: 0 0 0 0 ; margin: 0 0 0 0; position: absolute;
+		         right: 1%; color:gray;}
+.pagenum a { color:gray;}
+.pagenum a:link:hover {text-decoration:none;}
+.pagenum a:active {text-decoration:none;}
+
+dt { margin-top: 1em; }
+dd.sec { margin-top: 1em; }
+
+ul { margin-bottom: 2em; }
+ul.sub { margin-bottom:0; }
+li { margin-bottom: .5em; list-style-type:none; }
+li.dec { list-style-type:decimal; }
+li.rom { list-style-type:upper-roman; }
+
+div.years { font-size: 1em; text-align: center; margin-top: -1em; margin-bottom: 3em; }
+
+    /* XML end  ]]>*/
+     /*old browser end */ -->
+    </style>
+  </head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of Sir Walter Scott as a Critic of Literature
+by Margaret Ball
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Sir Walter Scott as a Critic of Literature
+
+Author: Margaret Ball
+
+Release Date: September 18, 2005 [EBook #16715]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK SIR WALTER SCOTT AS A CRITIC ***
+
+
+
+
+Produced by Ted Garvin, Lynn Bornath, and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<div id="titlepages">
+
+<h1>SIR WALTER SCOTT</h1>
+<br />
+<h2>AS A CRITIC OF LITERATURE</h2>
+
+<br /><br />
+<h3>BY</h3>
+
+<h3>MARGARET BALL, P<span class="small">H</span>.D.</h3>
+
+
+<br />
+<p><img src="images/image01.png" width="129" height="150"
+alt="Columbia Press logo" /></p>
+<br />
+<p>New York<br />
+<span class="small">THE COLUMBIA UNIVERSITY PRESS</span><br />
+1907</p>
+
+<hr />
+
+
+<p>Copyright, 1907<br />
+<span class="small">BY THE COLUMBIA UNIVERSITY PRESS</span><br />
+<span class="small">Printed from type November, 1907</span></p>
+<br /><br />
+
+<p class="small">PRESS OF<br />
+THE NEW ERA PRINTING COMPANY<br />
+LANCASTER, PA.</p>
+
+</div>
+
+<div id="preface">
+<hr />
+
+<h2>PREFACE</h2>
+
+
+<p>The lack of any adequate discussion of Scott's critical work is a
+sufficient reason for the undertaking of this study, the subject of
+which was suggested to me more than three years ago by Professor Trent
+of Columbia University. We still use critical essays and monumental
+editions prepared by the author of the Waverley novels, but the
+criticism has been so overshadowed by the romances that its importance
+is scarcely recognized. It is valuable in itself, as well as in the
+opportunity it offers of considering the relation of the critical to the
+creative mood, an especially interesting problem when it is presented
+concretely in the work of a great writer.</p>
+
+<p>No complete bibliography of Scott's writings has been published, and
+perhaps none is possible in the case of an author who wrote so much
+anonymously. The present attempt includes some at least of the books and
+articles commonly left unnoticed, which are chiefly of a critical or
+scholarly character.</p>
+
+<p>I am glad to record my gratitude to Professor William Allan Neilson, now
+of Harvard University, and to Professors A.H. Thorndike, W.W. Lawrence,
+G.P. Krapp, and J.E. Spingarn, of Columbia, for suggestions in
+connection with various parts of the work. From the beginning Professor
+Trent has helped me constantly by his advice as well as by the
+inspiration of his scholarship, and my debt to him is one which can be
+understood only by the many students who have known his kindness.</p>
+
+<p><span class="small">MOUNT HOLYOKE COLLEGE</span>,</p>
+<p class="indent">June, 1907.</p>
+
+<hr />
+</div>
+
+<div id="toc">
+<span class="pagenum"><a name="pagevii" id="pagevii" href="#pagevii">[vii]</a></span>
+
+<h2>CONTENTS</h2>
+<br /><br />
+<table border="0" summary="Table of Contents">
+<tr><th colspan="2">CHAPTER I.</th></tr>
+
+<tr><td>Introduction: An Outline of Scott's Literary Career</td>
+    <td class="page"><a href="#page1">1</a></td></tr>
+
+<tr><td colspan="2">&nbsp;</td></tr>
+
+<tr><th colspan="2">CHAPTER II.</th></tr>
+
+<tr><td>Scott's Qualifications as Critic</td>
+    <td class="page"><a href="#page9">9</a></td></tr>
+
+<tr><td colspan="2">&nbsp;</td></tr>
+
+<tr><th colspan="2">CHAPTER III.</th></tr>
+
+<tr><td colspan="2">Scott's Work as Student and Editor in the Field of
+Literary History</td></tr>
+
+<tr><td colspan="2">&nbsp;</td></tr>
+
+<tr><td colspan="2">1. The Mediaeval Period</td></tr>
+<tr><td>&nbsp;&nbsp;&nbsp;&nbsp;(a) Minstrelsy of the Scottish Border</td>
+     <td class="page"><a href="#page17">17</a></td></tr>
+<tr><td>&nbsp;&nbsp;&nbsp;&nbsp;(b) Studies in the Romances</td>
+    <td class="page"><a href="#page32">32</a></td></tr>
+<tr><td>&nbsp;&nbsp;&nbsp;&nbsp;(c) Other Studies in Mediaeval Literature</td>
+    <td class="page"><a href="#page40">40</a></td></tr>
+
+<tr><td colspan="2">&nbsp;</td></tr>
+
+<tr><td>2. The Drama</td>
+    <td class="page"><a href="#page46">46</a></td></tr>
+
+<tr><td colspan="2">&nbsp;</td></tr>
+
+<tr><td>3. The Seventeenth Century: Dryden</td>
+    <td class="page"><a href="#page59">59</a></td></tr>
+
+<tr><td colspan="2">&nbsp;</td></tr>
+
+<tr><td colspan="2">   4. The Eighteenth Century</td></tr>
+<tr><td>&nbsp;&nbsp;&nbsp;&nbsp;(a) Swift</td>
+    <td class="page"><a href="#page65">65</a></td></tr>
+<tr><td>&nbsp;&nbsp;&nbsp;&nbsp;(b) The Somers Tracts</td>
+    <td class="page"><a href="#page70">70</a></td></tr>
+<tr><td>&nbsp;&nbsp;&nbsp;&nbsp;(c) The Lives of the Novelists, and Comments
+on other Eighteenth Century Writers</td>
+    <td class="page"><a href="#page72">72</a></td></tr>
+
+<tr><td colspan="2">&nbsp;</td></tr>
+
+<tr><th colspan="2">CHAPTER IV.</th></tr>
+
+<tr><td>Scott's Criticism of His Contemporaries</td>
+    <td class="page"><a href="#page81">81</a></td></tr>
+
+<tr><td colspan="2">&nbsp;</td></tr>
+
+<tr><th colspan="2">CHAPTER V.</th></tr>
+
+<tr><td>Scott as a Critic of His Own Work</td>
+    <td class="page"><a href="#page108">108</a></td></tr>
+
+<tr><td colspan="2">&nbsp;</td></tr>
+
+<tr><th colspan="2">CHAPTER VI.</th></tr>
+
+<tr><td>Scott's Position as Critic</td>
+    <td class="page"><a href="#page134">134</a></td></tr>
+
+<tr><td colspan="2">&nbsp;</td></tr>
+
+<tr><th colspan="2">APPENDICES</th></tr>
+
+<tr><td>I. Bibliography of Scott, Annotated</td>
+    <td class="page"><a href="#page147">147</a></td></tr>
+<tr><td>II. List of Books Quoted</td>
+    <td class="page"><a href="#page174">174</a></td></tr>
+<tr><td>Index</td>
+    <td class="page"><a href="#page179">179</a></td></tr>
+</table>
+
+<br /><br />
+<hr />
+
+<span class="pagenum"><a name="pageix" id="pageix" href="#pageix">[ix]</a></span>
+<h3>A DATED LIST OF SCOTT'S BOOKS, ASIDE FROM<br />
+THE POEMS AND NOVELS, AND OF THE<br />
+PRINCIPAL WORKS WHICH HE EDITED<br />
+(PERIODICAL CRITICISM NOT INCLUDED).</h3>
+<br />
+<table border="0" summary="Dated List of Scott's Books">
+<tr><td class="years">1802-3</td>
+    <td>Minstrelsy of the Scottish Border (edited).</td></tr>
+
+<tr><td>1804</td>
+    <td>Sir Tristrem (edited).</td></tr>
+
+<tr><td>1806</td>
+    <td>Original Memoirs written during the Great Civil War; the Life of
+        Sir H. Slingsby, and Memoirs of Capt. Hodgson (edited).</td></tr>
+
+<tr><td>1808</td>
+    <td>Memoirs of Capt. Carleton (edited).</td></tr>
+
+<tr><td>1808</td>
+    <td>The Works of John Dryden (edited).</td></tr>
+
+<tr><td>1808</td>
+    <td>Memoirs of Robert Carey, Earl of Monmouth, and Fragmenta Regalia
+        (edited).</td></tr>
+
+<tr><td>1808</td>
+    <td>Queenhoo Hall, a Romance; and Ancient Times, a Drama (edited).</td></tr>
+
+<tr><td>1809</td>
+    <td>The State Papers and Letters of Sir Ralph Sadler (edited).</td></tr>
+
+<tr><td>1809-15</td>
+    <td>The Somers Tracts (edited).</td></tr>
+
+<tr><td>1811</td>
+    <td>Memoirs of the Court of Charles II, by Count Grammont (edited).</td></tr>
+
+<tr><td>1811</td>
+    <td>Secret History of the Court of James the First (edited).</td></tr>
+
+<tr><td>1813</td>
+    <td>Memoirs of the Reign of King Charles I, by Sir Philip Warwick
+        (edited).</td></tr>
+
+<tr><td>1814</td>
+    <td>The Works of Jonathan Swift (edited).</td></tr>
+
+<tr><td class="nowrap">1814-17</td>
+    <td>The Border Antiquities of England and Scotland.</td></tr>
+
+<tr><td>1816</td>
+    <td>Paul's Letters.</td></tr>
+
+<tr><td>1818</td>
+    <td>Essay on Chivalry.</td></tr>
+
+<tr><td>1819</td>
+    <td>Essay on the Drama.</td></tr>
+
+<tr><td>1819-26</td>
+    <td>Provincial Antiquities and Picturesque Scenery of Scotland.</td></tr>
+
+<tr><td>1820</td>
+    <td>Trivial Poems and Triolets by Patrick Carey (edited).</td></tr>
+
+<tr><td>1821</td>
+    <td>Northern Memoirs, calculated for the Meridian of Scotland; and
+        the Contemplative and Practical Angler (edited).</td></tr>
+
+<tr><td>1821-24<span class="pagenum"><a name="pagex" id="pagex" href="#pagex">[x]</a></span></td>
+    <td>The Novelists' Library (edited).</td></tr>
+
+<tr><td>1822</td>
+    <td>Chronological Notes of Scottish Affairs from 1680 till 1701
+        (edited).</td></tr>
+
+<tr><td>1822</td>
+    <td>Military Memoirs of the Great Civil War (edited).</td></tr>
+
+<tr><td>1824</td>
+    <td>Essay on Romance.</td></tr>
+
+<tr><td>1826</td>
+    <td>Letters of Malachi Malagrowther on the Currency.</td></tr>
+
+<tr><td>1827</td>
+    <td>The Life of Napoleon Buonaparte.</td></tr>
+
+<tr><td>1828</td>
+    <td>Tales of a Grandfather, first series.</td></tr>
+
+<tr><td>1828</td>
+    <td>Religious Discourses, by a Layman.</td></tr>
+
+<tr><td>1828</td>
+    <td>Proceedings in the Court-martial held upon John, Master of
+        Sinclair, etc. (edited).</td></tr>
+
+<tr><td>1829</td>
+    <td>Memorials of George Bannatyne (edited).</td></tr>
+
+<tr><td>1829</td>
+    <td>Tales of a Grandfather, second series.</td></tr>
+
+<tr><td>1829-32</td>
+    <td>The "Opus Magnum" (Novels, Tales, and Romances, with
+        Introductions and Notes by the Author).</td></tr>
+
+<tr><td>1830</td>
+    <td>Tales of a Grandfather, third series.</td></tr>
+
+<tr><td>1830</td>
+    <td>Letters on Demonology and Witchcraft.</td></tr>
+
+<tr><td>1830</td>
+    <td>History of Scotland.</td></tr>
+
+<tr><td>1831</td>
+    <td>Tales of a Grandfather, fourth series.</td></tr>
+
+<tr><td>1831</td>
+    <td>Trial of Duncan Terig, etc. (edited).</td></tr>
+
+<tr><td>&nbsp;</td>
+    <td><hr class="list" /></td></tr>
+
+<tr><td>1890</td>
+    <td>The Journal of Sir Walter Scott.</td></tr>
+
+<tr><td>1894</td>
+    <td>Familiar Letters of Sir Walter Scott.</td></tr>
+</table>
+</div>
+
+<div id="content">
+
+<hr />
+<span class="pagenum"><a name="page1" id="page1" href="#page1">[1]</a></span>
+<h2>CHAPTER I</h2>
+
+<h3>INTRODUCTION</h3>
+
+    <p class="chapdesc">Importance of a study of Scott's critical and
+    scholarly work&mdash;Connection between his creative work and his
+    criticism&mdash;Chronological view of his literary career.</p>
+
+
+<p>Scott's critical work has become inconspicuous because of his
+predominant fame as an imaginative writer; but what it loses on this
+account it perhaps gains in the special interest attaching to criticism
+formulated by a great creative artist. One phase of his work is
+emphasized and explained by the other, and we cannot afford to ignore
+his criticism if we attempt fairly to comprehend his genius as a poet
+and novelist. The fact that he is the subject of one of the noblest
+biographies in our language only increases our obligation to become
+acquainted with his own presentation of his artistic principles.</p>
+
+<p>But though criticism by so great and voluminous a writer is valuable
+mainly because of the important relation it bears to his other work, and
+because of the authority it derives from this relation, Scott's
+scholarly and critical writings are individual enough in quality and
+large enough in extent to demand consideration on their own merits. Yet
+this part of his achievement has received very little attention from
+biographers and critics. Lockhart's book is indeed full of materials,
+and contains also some suggestive comment on the facts presented; but as
+the passing of time has made an estimation of Scott's power more safe,
+students have lost interest in his work as a critic, and recent writers
+have devoted little attention to this aspect of the great man of
+letters.<span class="fnref"><a name="fnref1" id="fnref1" href="#fn1">[1]</a></span></p>
+
+<p><span class="pagenum"><a name="page2" id="page2" href="#page2">[2]</a></span>
+The present study is an attempt to show the scope and quality of Scott's
+critical writings, and of such works, not exclusively or mainly
+critical, as exhibit the range of his scholarship. For it is impossible
+to treat his criticism without discussing his scholarship; since,
+lightly as he carried it, this was of consequence in itself and in its
+influence on all that he did. The materials for analysis are abundant;
+and by rearrangement and special study they may be made to contribute
+both to the history of criticism and to our comprehension of the power
+of a great writer. In considering him from this point of view we are
+bound to remember the connection between the different parts of his
+vocation. In him, more than in most men of letters, the critic resembled
+the creative writer, and though the critical temperament seems to show
+itself but rarely in his romances, we find that the characteristic
+absence of precise and conscious art is itself in harmony with his
+critical creed.</p>
+
+<p>The relation between the different parts of Scott's literary work is
+exemplified by the subjects he treated, for as a critic he touched many
+portions of the field, which in his capacity of poet and novelist he
+occupied in a different way. He was a historical critic no less than a
+historical romancer. A larger proportion of his criticism concerns
+itself with the eighteenth century, perhaps, than of his fiction,<span
+class="fnref"><a name="fnref2" id="fnref2" href="#fn2">[2]</a></span> and
+he often wrote reviews<span class="pagenum"><a name="page3" id="page3"
+href="#page3">[3]</a></span>
+of contemporary literature, but on the whole the
+literature with which he dealt critically was representative of those
+periods of time which he chose to portray in novel and poem. This
+evidently implies great breadth of scope. Yet Scott's vivid sense of the
+past had its bounds, as Professor Masson pointed out.<span class="fnref"><a
+name="fnref3" id="fnref3" href="#fn3">[3]</a></span> It was the
+"Gothic" past that he venerated. The field of his studies,
+chronologically considered, included the period between his own time and
+the crusades; and geographically, was in general confined to England and
+Scotland, with comparatively rare excursions abroad. When, in his
+novels, he carried his Scottish or English heroes out of Britain into
+foreign countries, he was apt to bestow upon them not only a special
+endowment of British feeling, but also a portion of that interest in
+their native literature which marked the taste of their creator. We find
+that the personages in his books are often distinguished by that love of
+stirring poetry, particularly of popular and national poetry, which was
+a dominant trait in Scott's whole literary career.</p>
+
+<p>With Scotland and with popular poetry any discussion of Sir Walter
+properly begins. The love of Scottish minstrelsy first awakened his
+literary sense, and the stimulus supplied by ballads and romances never
+lost its force. We may say that the little volumes of ballad chap-books
+which he collected and bound up before he was a dozen years old
+suggested the future editor, as the long poem on the Conquest of
+Grenada, which he is said to have written and burned when he was
+fifteen, foreshadowed the poet and romancer.</p>
+
+<p>Yet Scott's career as an author began rather late. He published a few
+translations when he was twenty-five years old, but his first notable
+work, the <i>Minstrelsy of the Scottish Border</i>, did not appear until
+1802-3, when he was over thirty. This book, the outgrowth of his early
+interest in ballads and his own attempts at versifying, exhibited both
+his editorial and his creative powers. It led up to the publication of
+two important<span class="pagenum"><a name="page4" id="page4" href="#page4">[4]</a></span>
+volumes which contained material originally intended to
+form part of the <i>Minstrelsy</i>, but which outgrew that work. These were
+the edition of the old metrical romance <i>Sir Tristrem</i>, which showed
+Scott as a scholar, and the <i>Lay of the Last Minstrel</i>, the first of
+Scott's own metrical romances. So far his literary achievement was all
+of one kind, or of two or three kinds closely related. In this first
+period of his literary life, perhaps even more than later, his editorial
+impulse, his scholarly activity, was closely connected with the
+inspiration for original writing. The <i>Lay of the Last Minstrel</i> was the
+climax of this series of enterprises.</p>
+
+<p>With the publication of the <i>Minstrelsy</i>, Scott of course became known
+as a literary antiquary. He was naturally called upon for help when the
+<i>Edinburgh Review</i> was started a few weeks afterwards, especially as
+Jeffrey, who soon became the editor, had long been his friend. The
+articles that he wrote during 1803 and 1804 were of a sort that most
+evidently connected itself with the work he had been doing: reviews, for
+example, of Southey's <i>Amadis de Gaul</i>, and of Ellis's <i>Early English
+Poetry</i>. During 1805-6 the range of his reviewing became wider and he
+included some modern books, especially two or three which offered
+opportunity for good fun-making. About 1806, however, his aversion to
+the political principles which dominated the <i>Edinburgh Review</i> became
+so strong that he refused to continue as a contributor, and only once,
+years later, did he again write an article for that periodical.</p>
+
+<p>In the same year, 1806, Scott supplied with editorial apparatus and
+issued anonymously <i>Original Memoirs Written during the Great Civil
+War</i>, the first of what proved to be a long list of publications having
+historical interest, sometimes reprints, sometimes original editions
+from old manuscripts, to which he contributed a greater or less amount
+of material in the shape of introductions and notes. These were
+undertaken in a few cases for money, in others simply because they
+struck him as interesting and useful labors. It is easy to trace the
+relation of this to his other work, particularly to the novels. He once
+wrote to a friend, "The editing a new edition of <i>Somers's Tracts</i> some
+years ago made me wonderfully well<span class="pagenum"><a name="page5"
+id="page5" href="#page5">[5]</a></span> acquainted with the little traits
+which marked parties and characters in the seventeenth century, and the
+embodying them is really an amusing task."<span class="fnref"><a
+name="fnref4" id="fnref4" href="#fn4">[4]</a></span> Among the works which he
+edited in this way the number of historical memoirs is noticeable. After
+the volume that has been mentioned as the first, he prepared another
+book of <i>Memoirs of the Great Civil War</i>; and we find in the list a
+<i>Secret History of the Court of James I.</i>, <i>Memoirs of the Reign of King
+Charles I.</i>, Count Grammont's <i>Memoirs of the Court of Charles
+II.</i>, <i>A
+History of Queen Elizabeth's Favourites</i>, etc. Such books as these,
+besides furnishing material for his novels, led Scott to acquire a mass
+of information that enabled him to perform with great facility and with
+admirable results whatever editorial work he might choose to undertake.</p>
+
+<p>These labors Scott always considered as trifles to be dispatched in the
+odd moments of his time, but the great edition of <i>Dryden's Complete
+Works</i>, which he began to prepare soon after the <i>Minstrelsy</i> appeared,
+was more important. This, next to the <i>Minstrelsy</i>, was probably the
+most notable of all Scott's editorial enterprises. It was published in
+eighteen volumes in 1808, the year in which <i>Marmion</i> also appeared.
+When the poet was reproached by one of his friends for not working more
+steadily at his vocation, he replied, "The public, with many other
+properties of spoiled children, has all their eagerness after novelty,
+and were I to dedicate my time entirely to poetry they would soon tire
+of me. I must therefore, I fear, continue to edit a little."<span
+class="fnref"><a name="fnref5" id="fnref5" href="#fn5">[5]</a></span> His
+interest in scholarly pursuits appears even in his first attempt at
+writing prose fiction, since Joseph Strutt's unfinished romance,
+<i>Queenhoo Hall</i>, for which Scott wrote a conclusion, is of consequence
+only on account of the antiquarian learning which it exhibits.</p>
+
+<p>Having become seriously alarmed over the political influence of the
+<i>Edinburgh Review</i>, Scott was active in forwarding plans for starting a
+strong rival periodical in London, and 1809 saw the establishment of the
+<i>Quarterly Review</i>. By that time he had done a considerable amount of
+work in practically every<span class="pagenum"><a name="page6"
+id="page6" href="#page6">[6]</a></span> kind except the novel, and he was recognized
+as a most efficient assistant and adviser in any such enterprise as the
+promoters of the <i>Quarterly</i> were undertaking. Moreover, his own
+writings were prominent among the books which supplied material for the
+reviewer. He worked hard for the first volume. But after that year he
+wrote little for the <i>Quarterly</i> until 1818, and again little until
+after Lockhart became editor in 1825. From that time until 1831 he was
+an occasional contributor.</p>
+
+<p>1814 was the year of <i>Waverley</i>. Before that the poems had been
+appearing in rapid succession, and Scott had been busy with the <i>Works
+of Swift</i>, which came out also in 1814. The thirteen volumes of the
+edition of <i>Somers' Tracts</i>, already mentioned, and several smaller
+books, bore further witness to his editorial energy. The last of the
+long poems was published in 1815, about the same time with <i>Guy
+Mannering</i>, the second novel, and after that the novels continued to
+appear with that rapidity which constitutes one of the chief facts of
+Scott's literary career. For a few years after this period he did
+comparatively little in the way of editorial work, but his odd moments
+were occupied in writing about history, travels, and antiquities.<span
+class="fnref"><a name="fnref6" id="fnref6" href="#fn6">[6]</a></span></p>
+
+<p>In 1820 Scott wrote the <i>Lives of the Novelists</i>, which appeared the
+next year in Ballantyne's <i>Novelists' Library</i>. By this time he had
+begun, with <i>Ivanhoe</i>, to strike out from the Scottish field in which
+all his first novels had been placed. The martial pomp prominent in this
+novel reflects the eager interest with which he was at that time
+following his son's opening career in the army; just as <i>Marmion</i>,
+written by the young quartermaster of the Edinburgh Light Horse, also
+expresses the military ardor which was so natural to Scott, and which
+reminds us of his remark that in those days a regiment of dragoons was
+tramping through his head day and night. Probably we might trace many a
+reason for his literary preoccupations at special times besides those
+that he has himself commented upon. In the case of the critical work,
+however,<span class="pagenum"><a name="page7" id="page7" href="#page7">[7]</a></span> the
+matter was usually determined for him by circumstances of a
+much less intimate sort, such as the appeal of an editor or the
+appearance of a book which excited his special interest.</p>
+
+<p>When Scott was obliged to make as much money as possible he wrote novels
+and histories rather than criticism. His <i>Life of Napoleon Buonaparte</i>,
+which appeared in nine volumes in 1827, enabled him to make the first
+large payment on the debts that had fallen upon him in the financial
+crash of the preceding year, and the <i>Tales of a Grandfather</i> were among
+the most successful of his later books. His critical biographies and
+many of his other essays were brought together for the first time in
+1827, and issued under the title of <i>Miscellaneous Prose Works</i>. The
+world of books was making his life weary with its importunate demands in
+those years when he was writing to pay his debts, and it is pleasant to
+see that some of his later reviews discussed matters that were not less
+dear to his heart because they were not literary. The articles on
+fishing, on ornamental gardening, on planting waste lands, remind us of
+the observation he once made, that his oaks would outlast his laurels.</p>
+
+<p>By this time the "Author of Waverley" was no longer the "unknown." His
+business complications compelled him to give his name to the novels, and
+with the loss of a certain kind of privacy he gained the freedom of
+which later he made such fortunate use in annotating his own works. From
+the beginning of 1828 until the end of his life in 1832, Scott was
+engaged, in the intervals of other occupations, in writing these
+introductions and notes for his novels, for an edition which he always
+called the <i>Opus Magnum</i>. This was a pleasant task, charmingly done.
+Indeed we may call it the last of those great editorial labors by which
+Scott's fame might live unsupported by anything else. First came the
+<i>Minstrelsy of the Scottish Border</i>, then the editions of Dryden and
+Swift. Next we may count the <i>Lives of the Novelists</i>, even in the
+fragmentary state in which the failure of the <i>Novelists' Library</i> left
+them; and finally the <i>Opus Magnum</i>. When, in addition, we remember the
+mass of his critical work written for periodicals, and the number of
+minor volumes he edited, it becomes<span class="pagenum"><a name="page8"
+id="page8" href="#page8">[8]</a></span> evident that a study of Scott which
+disregards this part of his work can present only a one-sided view of
+his achievement. And the qualities of his abundant criticism, especially
+its large fresh sanity, seem to make it worthy of closer analysis than
+it usually receives, not only because it helps to reveal Scott's genius,
+but also on account of the historical and ethical importance which
+always attaches to the ideals, literary and other, of a noble man and a
+great writer.</p>
+
+<hr />
+
+<span class="pagenum"><a name="page9" id="page9" href="#page9">[9]</a></span>
+<h2>CHAPTER II</h2>
+
+<h3>SCOTT'S QUALIFICATIONS AS CRITIC</h3>
+
+    <p class="chapdesc">Wide reading Scott's first qualification&mdash;Scott
+    the antiquary&mdash;Character of his interest in history&mdash;His
+    imagination&mdash;His knowledge of practical affairs&mdash;Common-sense in
+    criticism&mdash;Cheerfulness, good-humor, and optimism&mdash;General
+    aspect of Scott's critical work.</p>
+
+
+<p>Wide and appreciative reading was Scott's first qualification for
+critical work. A memory that retained an incredible amount of what he
+read was the second. One of the severest censures he ever expressed was
+in regard to Godwin, who, he thought, undertook to do scholarly work
+without adequate equipment. "We would advise him," Scott said in his
+review of Godwin's <i>Life of Chaucer</i>, "in future to read before he
+writes, and not merely while he is writing." Scott himself had
+accumulated a store of literary materials, and he used them according to
+the dictates of a temperament which had vivid interests on many sides.</p>
+
+<p>We may distinguish three points of view which were habitual to Scott,
+and which determined the direction of his creative work, as well as the
+tone of his criticism. These were&mdash;as all the world knows&mdash;the
+historical, the romantic, the practical.</p>
+
+<p>He was, as he often chose to call himself, an antiquary; he felt the
+appeal of all that was old and curious. But he was much more than that.
+The typical antiquary has his mind so thoroughly devoted to the past
+that the present seems remote to him. The sheer intellectual capacity of
+such a man as Scott might be enough to save him from such a limitation,
+for he could give to the past as much attention as an ordinary man could
+muster, and still have interest for contemporary affairs; but his
+capacity was not all that saved Scott. He viewed the past always as
+filled with living men, whose chief occupation was to think and feel
+rather than to provide towers and armor<span class="pagenum"><a
+name="page10" id="page10" href="#page10">[10]</a></span> for the delectation of future
+antiquaries.<span class="fnref"><a name="fnref7" id="fnref7" href="#fn7">[7]</a></span>
+A sympathetic student of his work has said, "There is
+... throughout the poetry of this author, even when he leads us to the
+remotest wildernesses and the most desolate monuments of antiquity, a
+constant reference to the feelings of man in his social condition."<span
+class="fnref"><a name="fnref8" id="fnref8" href="#fn8">[8]</a></span>
+The past, to the author of <i>Kenilworth</i>, was only the far end of the
+present, and he believed that the most useful result of the study of
+history is a comprehension of the real quality of one's own period and a
+wisdom in the conduct of present day affairs.<span class="fnref"><a
+name="fnref9" id="fnref9" href="#fn9">[9]</a></span></p>
+
+<p>The favorite pursuits of Scott's youth indicate that his characteristic
+taste showed itself early; indeed it is said that he retained his boyish
+traits more completely than most people do. We can trace much of his
+love of the past to the family traditions which made the adventurous
+life of his ancestors vividly real to him. The annals of the Scotts were
+his earliest study, and he developed such an affection for his
+freebooting grandsires that in his manhood he confessed to an
+unconquerable liking for the robbers and captains of banditti of his
+romances, characters who could not be prevented from usurping the place
+of the heroes. "I was always a willing listener to tales of broil and
+battle and hubbub of every kind," he wrote in later life, "and now I
+look back upon it, I think what a godsend I must have been while a boy
+to the old Trojans of 1745, nay 1715, who used to frequent my father's
+house, and who knew as little as I did for what market I was laying up
+the raw materials of their oft-told tales."<span class="fnref"><a
+name="fnref10" id="fnref10" href="#fn10">[10]</a></span> What attracted him in
+his boyhood, and what continued to attract him, was the picturesque
+incident, the color of the past, the mere look<span class="pagenum"><a
+name="page11" id="page11" href="#page11">[11]</a></span> of its varied activity.
+The philosophy of history was gradually revealed to him, however, and
+his generalizing faculty found congenial employment in tracing out the
+relation of men to movements, of national impulses to world history. But
+however much he might exercise his analytical powers, history was never
+abstract to him, nor did it require an effort for him to conjure up
+scenes of the past. An acquaintance with the stores of early literature
+served to give him the spirit of remote times as well as to feed his
+literary tastes. On this side he had an ample equipment for critical
+work, conditioned, of course, by the other qualities of his mind, which
+determined how the equipment should be used.</p>
+
+<p>That Scott was not a dull digger in heaps of ancient lore was owing to
+his imaginative power,&mdash;the second of the qualities which we have
+distinguished as dominating his literary temperament. "I can see as many
+castles in the clouds as any man," he testified.<span class="fnref"><a
+name="fnref11" id="fnref11" href="#fn11">[11]</a></span> A recent writer has
+said that Scott had more than any other man that ever lived a sense of
+the romantic, and adds that his was that true romance which "lies not
+upon the outside of life, but absolutely in the centre of it."<span
+class="fnref"><a name="fnref12" id="fnref12" href="#fn12">[12]</a></span> The
+situations and the very objects that he described have the power of
+stirring the romantic spirit in his readers because he was alive to the
+glamour surrounding anything which has for generations been connected
+with human thoughts and emotions. The subjectivity which was so
+prominent an element in the romanticism of Shelley, Keats, and Byron,
+does not appear in Scott's work. Nor was his sense of the mystery of
+things so subtle as that of Coleridge. But Scott, rather than Coleridge,
+was the interpreter to his age of the romantic spirit, for the ordinary
+person likes his wonders so tangible that he may know definitely the
+point at which they impinge upon his consciousness. In Scott's work the
+point of contact is made clear: the author brings his atmosphere not
+from another world but from the past, and with all its strangeness it
+has no unearthly quality.<span class="pagenum"><a name="page12"
+id="page12" href="#page12">[12]</a></span> In general the romance of his nature is rather
+taken for granted than insisted on, for there are the poems and the
+novels to bear witness to that side of his temperament; and the
+surprising thing is that such an author was a business man, a large
+landowner, an industrious lawyer.<span class="fnref"><a name="fnref13"
+id="fnref13" href="#fn13">[13]</a></span></p>
+
+<p>Scott's imaginative sense, which clothed in fine fancies any incident or
+scene presented, however nakedly, to his view, accounts in part for his
+notorious tendency to overrate the work of other writers, especially
+those who wrote stories in any form. This explanation was hinted at by
+Sir Walter himself, and formulated by Lockhart; it seems a fairly
+reasonable way of accounting for a trait that at first appears to
+indicate only a foolish excess of good-nature. This rich and active
+imagination, which Scott brought to bear on everything he read, perhaps
+explains also his habit of paying little attention to carefully worked
+out details, and of laying almost exclusive emphasis upon main outlines.
+When he was writing his <i>Life of Napoleon</i>, he said in his
+<i>Journal</i>:
+"Better a superficial book which brings well and strikingly together the
+known and acknowledged facts, than a dull boring narrative, pausing to
+see further into a mill-stone at every moment than the nature of the
+mill-stone admits."<span class="fnref"><a name="fnref14" id="fnref14"
+href="#fn14">[14]</a></span> Probably his high gift of imagination made him a
+little impatient with the remoter reaches of the analytic faculties. Any
+sustained exercise of the pure reason was outside his province,
+reasonable as he was in everyday affairs. He preferred to consider
+facts, and to theorize only so far as was necessary to establish
+comfortable relations between the facts,&mdash;never to the extent of trying
+to look into<span class="pagenum"><a name="page13" id="page13" href="#page13">[13]</a></span>
+the center of a mill-stone. It was not unusual for him to
+make very acute observations in the spheres of ethics, economics, and
+psychology, and to use them in explaining any situation which might seem
+to require their assistance; but these remarks were brief and
+incidental, and bore a very definite relation to the concrete ideas they
+were meant to illustrate.</p>
+
+<p>Scott was a business man as well as an antiquary and a poet. Mr.
+Palgrave thought Lockhart went too far in creating the impression that
+Scott could detach his mind from the world of imagination and apply its
+full force to practical affairs.<span class="fnref"><a name="fnref15"
+id="fnref15" href="#fn15">[15]</a></span> Yet the oversight of lands and
+accounts and of all ordinary matters was so congenial to him, and his
+practical activities were on the whole conducted with so much spirit and
+capability, that after emphasizing his preoccupation with the poetic
+aspects of the life of his ancestors, we must turn immediately about and
+lay stress upon his keen judgment in everyday affairs. To a school-boy
+poet he once wrote: "I would ... caution you against an enthusiasm
+which, while it argues an excellent disposition and a feeling heart,
+requires to be watched and restrained, though not repressed. It is apt,
+if too much indulged, to engender a fastidious contempt for the ordinary
+business of the world, and gradually to render us unfit for the exercise
+of the useful and domestic virtues which depend greatly upon our not
+exalting our feelings above the temper of well-ordered and well-educated
+society."<span class="fnref"><a name="fnref16" id="fnref16" href="#fn16">[16]</a></span>
+He phrased the same matter differently when he said: "'I'd
+rather be a kitten and cry, Mew!' than write the best poetry in the
+world on condition of laying aside common-sense in the ordinary
+transactions and business of the world."<span class="fnref"><a name="fnref17"
+id="fnref17" href="#fn17">[17]</a></span> "He thought," said
+Lockhart, "that to spend some fair portion of every day in any
+matter-of-fact occupation is good for the higher faculties themselves in
+the upshot."<span class="fnref"><a name="fnref18" id="fnref18" href="#fn18">[18]</a></span>
+Whether or not we consider this the ideal theory of
+life for a poet, we find it reasonable to suppose that a critic will be
+the better critic if he preserve some balance between matter-of-fact
+occupation and the exercise of his<span class="pagenum"><a name="page14"
+id="page14" href="#page14">[14]</a></span> higher faculties. Sir Walter's maxim
+applies well to himself at least, and an analysis of his powers as a
+critic derives some light from it.</p>
+
+<p>The thing that is waiting to be said is of course that his criticism is
+distinguished by common-sense. Whether common-sense should really
+predominate in criticism might perhaps be debated; the quality
+indicates, indeed, not only the excellence but also the limitations of
+his method. For example, Scott was rather too much given to accepting
+popular favor as the test of merit in literary work, and though the
+clamorously eager reception of his own books was never able to raise his
+self-esteem to a very high pitch, it seems to have been the only thing
+that induced him to respect his powers in anything like an appreciative
+way.<span class="fnref"><a name="fnref19" id="fnref19" href="#fn19">[19]</a></span>
+His instinct and his judgment agreed in urging him to avoid
+being a man of "mere theory,"<span class="fnref"><a name="fnref20"
+id="fnref20" href="#fn20">[20]</a></span> and he sought always to test
+opinions by practical standards.</p>
+
+<p>More or less connected with his good sense are other qualities which
+also had their effect upon his critical work,&mdash;his cheerfulness, his
+sweet temper and human sympathy, his modesty, his humor, his
+independence of spirit, and his enthusiastic delight in literature. That
+his cheerfulness was a matter of temperament we cannot doubt, but it was
+also founded on principle. He had remarkable power of self-control.<span
+class="fnref"><a name="fnref21" id="fnref21" href="#fn21">[21]</a></span>
+His opinion that it is a man's duty to live a happy life appears rather
+quaintly in the sermonizing with which he felt called upon to temper the
+admiration expressed in his articles on <i>Childe Harold</i>, and it is
+implicit in many of his biographical studies. His own amiability of
+course influenced all his work. Satire he considered objectionable, "a
+woman's fault,"<span class="fnref"><a name="fnref22" id="fnref22"
+href="#fn22">[22]</a></span> as he once called it; though he did not feel himself
+"altogether disqualified<span class="pagenum"><a name="page15"
+id="page15" href="#page15">[15]</a></span> for it by nature."<span class="fnref"><a
+name="fnref23" id="fnref23" href="#fn23">[23]</a></span> "I have refrained, as
+much as human frailty will permit, from all satirical composition,"<span
+class="fnref"><a name="fnref24" id="fnref24" href="#fn24">[24]</a></span>
+he said. For satire he seems to have substituted that kind of "serious
+banter, a style hovering between affected gravity and satirical
+slyness," which has been pointed out as characteristic of him.<span
+class="fnref"><a name="fnref25" id="fnref25" href="#fn25">[25]</a></span>
+Washington Irving noticed a similar tone in all his familiar
+conversations about local traditions and superstitions.<span class="fnref"><a
+name="fnref26" id="fnref26" href="#fn26">[26]</a></span></p>
+
+<p>He was really optimistic, except on some political questions. In his
+<i>Lives of the Novelists</i> he shows that he thought manners and morals had
+improved in the previous hundred years; and none of his reviews exhibits
+the feeling so common among men of letters in all ages, that their own
+times are intellectually degenerate. It is true that he looked back to
+the days of Blair, Hume, Adam Smith, Robertson, and Ferguson, as the
+"golden days of Edinburgh,"<span class="fnref"><a name="fnref27" id="fnref27"
+href="#fn27">[27]</a></span> but those golden days were no farther
+away than his own boyhood, and he had felt the exhilaration of the
+stimulating society which he praised. One of his contemporaries spoke of
+Scott's own works as throwing "a literary splendour over his native
+city";<span class="fnref"><a name="fnref28" id="fnref28" href="#fn28">[28]</a></span>
+and George Ticknor said of him, "He is indeed the lord of the
+ascendant now in Edinburgh, and well deserves to be, for I look upon him
+to be quite as remarkable in intercourse and conversation, as he is in
+any of his writings, even in his novels."<span class="fnref"><a
+name="fnref29" id="fnref29" href="#fn29">[29]</a></span> But he could hardly be
+expected to perceive the luster surrounding his own personality, and
+this one instance of regret for former days counts little against the
+abundant evidence that he thought the world was improving. Yet of all
+his contemporaries he was probably the one who looked back at the past
+with the greatest interest. The impression made by the author of
+<i>Waverley</i> upon the mind of a young enthusiast of his own time is too
+delightful to pass over without quotation. "He has no eccentric
+sympathies or antipathies"; wrote J.L. Adolphus, "no maudlin
+philanthropy or impertinent cynicism; no nondescript hobby-horse; and
+with<span class="pagenum"><a name="page16" id="page16" href="#page16">[16]</a></span> all
+his matchless energy and originality of mind, he is content to
+admire popular books, and enjoy popular pleasures; to cherish those
+opinions which experience has sanctioned; to reverence those
+institutions which antiquity has hallowed; and to enjoy, admire,
+cherish, and reverence all these with the same plainness, simplicity,
+and sincerity as our ancestors did of old."<span class="fnref"><a
+name="fnref30" id="fnref30" href="#fn30">[30]</a></span></p>
+
+<p>By temperament, then, Scott was enthusiastic over the past and cheerful
+in regard to his own day; he was imaginative, practical, genial; and
+these traits must be taken into account in judging his critical
+writings. These and other qualities may be deduced from the most
+superficial study of his creative work. The mere bulk of that work bears
+witness to two things: first that Scott was primarily a creative writer;
+again, that he was of those who write much rather than minutely. It is
+obvious that to attack details would be easy. And since he was only
+secondarily a critic, it is natural that his critical opinions should
+not have been erected into any system. But while they are essentially
+desultory, they are the ideas of a man whose information and enthusiasm
+extended through a wide range of studies; and they are rendered
+impressive by the abundance, variety, and energy, which mark them as
+characteristic of Scott.</p>
+
+<hr />
+
+<span class="pagenum"><a name="page17" id="page17" href="#page17">[17]</a></span>
+<h2>CHAPTER III</h2>
+
+<h3>SCOTT'S WORK AS STUDENT AND EDITOR<br /> IN THE FIELD OF LITERARY
+HISTORY</h3>
+
+
+<h3>THE MEDIAEVAL PERIOD</h3>
+
+<h3><i>Minstrelsy of the Scottish Border</i></h3>
+
+    <p class="chapdesc">Scott's early interest in ballads&mdash;Casual origin
+    of the <i>Minstrelsy</i>&mdash;Importance of the book in Scott's
+    career&mdash;Plan of the book&mdash;Mediaeval scholarship of Scott's
+    time&mdash;His theory as to the origin of ballads and their
+    deterioration&mdash;His attitude toward the
+    work of previous editors&mdash;His method of forming texts&mdash;Kinds of
+    changes he made&mdash;His qualifications for emending old poetry&mdash;
+    Modern imitations of the ballad included in the <i>Minstrelsy</i>&mdash;
+    Remarks on the ballad style&mdash;Impossibility of a scientific treatment
+    of folk-poetry in Scott's time&mdash;Real importance of the
+    <i>Minstrelsy</i>.</p>
+
+
+<p>We think of the <i>Border Minstrelsy</i> as the first work which resulted
+from the preparation of Scott's whole youth, between the days when he
+insisted on shouting the lines of <i>Hardyknute</i> into the ears of the
+irate clergyman making a parish call, and the time when he and his
+equally ardent friends gathered their ballads from the lips of old women
+among the hills. But we have seen that the inspiration for his first
+attempts at writing poetry came only indirectly from the ballads of his
+own country. We learn from the introduction to the third part of the
+<i>Minstrelsy</i> that some of the young men of Scott's circle in Edinburgh
+were stimulated by what the novelist, Henry Mackenzie, told them of the
+beauties of German literature, to form a class for the study of that
+language. This was when Scott was twenty-one, but it was still four
+years before he found himself writing those translations which mark the
+sufficiently modest beginning of his literary career. His enthusiasm for
+German literature was not at first tempered by any critical
+discrimination, if we may judge from the opinions of one or two<span
+class="pagenum"><a name="page18" id="page18" href="#page18">[18]</a></span> of his
+friends who labored to point out to him the extravagance and false
+sentiment which he was too ready to admire along with the real genius of
+some of his models.<span class="fnref"><a name="fnref31" id="fnref31"
+href="#fn31">[31]</a></span> Apparently their efforts were useful, for in a
+review written in 1806 we find Scott, in a remark on Bürger, referring
+to "the taste for outrageous sensibility, which disgraces most German
+poetry."<span class="fnref"><a name="fnref32" id="fnref32" href="#fn32">[32]</a></span>
+His special interest in the Germans was an early mood which
+seems not to have returned. After the process of translation had
+discovered to him his verse-making faculty, he naturally passed on to
+the writing of original poems, and circumstances of a half accidental
+sort determined that the Scottish ballads which he had always loved
+should absorb his attention for the next two or three years.</p>
+
+<p>The publication of a book of ballads was first suggested by Scott as an
+opportunity for his friend Ballantyne to exhibit his skill as a printer
+and so increase his business. "I have been for years collecting old
+Border ballads," Scott remarked, "and I think I could with little
+trouble put together such a selection from them as might make a neat
+little volume to sell for four or five shillings."<span class="fnref"><a
+name="fnref33" id="fnref33" href="#fn33">[33]</a></span> From this casual
+proposition resulted <i>The Minstrelsy of the Scottish Border</i>, published
+in three volumes in 1802-3 and often revised and reissued during the
+editor's lifetime.</p>
+
+<p>This book and the prefaces to his own novels are likely to be thought of
+first when Scott is spoken of as a critic. The connection between the
+<i>Minstrelsy</i> and the novels has often been pointed out, ever since the
+day of the contemporary who, on reading the ballads with their
+introductions, exclaimed that in that book were the elements of a
+hundred historical romances.<span class="fnref"><a name="fnref34"
+id="fnref34" href="#fn34">[34]</a></span> The interest of the earlier work is
+undoubtedly multiplied by the associations in the light of which we read
+it&mdash;associations connected with the editor's whole experience as an
+author, from the <i>Lay of the Last Minstrel</i> to <i>Castle Dangerous</i>.</p>
+
+<p>Important as the <i>Minstrelsy</i> is from the point of view of literary
+criticism, the material of its introductions is chiefly<span class="pagenum"><a
+name="page19" id="page19" href="#page19">[19]</a></span> historical. The
+introduction in the original edition gives an account of life on the
+Border in the fifteenth and sixteenth centuries, with the outlines of
+many of the events that stimulated ballad-making, and an analysis of the
+temper of the Marchmen among whom this kind of poetry flourished; then
+by special introductions and notes to the poems an attempt is made to
+explain both the incidents on which they seem to have been founded, and
+parallel cases that appear in tradition or record. Some enthusiastic
+comment is included, of the kind that was so natural to Scott, on the
+effect of ballad poetry upon a spirited and warlike people. The writer
+continues: "But it is not the Editor's present intention to enter upon a
+history of Border poetry; a subject of great difficulty, and which the
+extent of his information does not as yet permit him to engage in." It
+was, in fact, nearly thirty years later<span class="fnref"><a name="fnref35"
+id="fnref35" href="#fn35">[35]</a></span> that Scott wrote the
+<i>Remarks on Popular Poetry</i> which since that date have formed an
+introduction to the book, as well as the essay, <i>On Imitations of the
+Ancient Ballad</i>, which at present precedes the third part. The more
+purely literary side of the editor's duty&mdash;leaving out of account the
+modern poems written by Scott and others&mdash;was exhibited chiefly in the
+construction of texts, a matter of which I shall speak later, after
+considering his views of the origin and character of folk-poetry in
+general.</p>
+
+<p>But first we may recall the fact that Scott was following a fairly well
+established vogue in giving scholarly attention to ancient popular
+poetry. A revival of interest in the study of mediaeval literature had
+been stimulated in England by the publication of Percy's <i>Reliques</i> in
+1765 and Warton's <i>History of English Poetry</i> in 1774. In 1800 there
+were enough well-known antiquaries to keep Scott from being in any sense
+lonely. Among them Joseph Ritson<span class="fnref"><a name="fnref36"
+id="fnref36" href="#fn36">[36]</a></span> was the most learned, but he was
+crotchety in the extreme; and while his notions as to<span class="pagenum"><a
+name="page20" id="page20" href="#page20">[20]</a></span> research were in
+advance of his time, his controversial style resembled that of the
+seventeenth century. George Ellis,<span class="fnref"><a name="fnref37"
+id="fnref37" href="#fn37">[37]</a></span> on the other hand, was
+distinguished by an eighteenth-century urbanity, and his combination of
+learning and good taste fitted him to influence a broader public than
+that of specialists. At the same time he was a delightful and
+stimulating friend to other scholars. Southey was becoming known as an
+authority on the history and literature of the Spanish peninsula. A
+review in the <i>Quarterly</i> a dozen years later mentions these
+three,&mdash;Ellis, Scott, and Southey,&mdash;as "good men and true" to serve as
+guides in the remote realms of literature.<span class="fnref"><a
+name="fnref38" id="fnref38" href="#fn38">[38]</a></span> Ellis's friend, John
+Hookham Frere, had great abilities but was an incurable dillettante.
+Scott particularly admired a Middle-English version of <i>The Battle of
+Brunanburgh</i> which Frere wrote in his school-boy days, and considered
+him an authoritative critic of mediaeval English poetry. Robert
+Surtees<span class="fnref"><a name="fnref39" id="fnref39" href="#fn39">[39]</a></span>
+and Francis Douce<span class="fnref"><a name="fnref40" id="fnref40"
+href="#fn40">[40]</a></span> were antiquaries of some importance,
+and both, like all the others named, were friends of Scott. Mr. Herford
+calls this period a day of "Specimens" and extracts: "Mediaeval romance
+was studied in Ellis's <i>Specimens</i>," he says, "the Elizabethan drama in
+Lamb's, literary history at large in D'Israeli's gently garrulous
+compilations of its 'quarrels,' 'amenities,' 'calamities,' and
+'curiosities.'"<span class="fnref"><a name="fnref41" id="fnref41"
+href="#fn41">[41]</a></span> But the scholarship of the time on the whole is
+worthy of respect. In the case of ballads and romances notable work had
+been done before Scott entered the field,<span class="fnref"><a
+name="fnref42" id="fnref42" href="#fn42">[42]</a></span> and he and his
+contemporaries<span class="pagenum"><a name="page21" id="page21" href="#page21">[21]</a></span>
+were carrying out the promise of the half century before
+them&mdash;continuing the work that Percy and Warton had begun.</p>
+
+<p>Among the problems connected with ballad study, that which arises first
+is naturally the question of origins. Scott made no attempt to formulate
+a theory different in any main element from that which was held by his
+predecessors. He agreed with Percy that ballads were composed and sung
+by minstrels, and based his discussion on the materials brought forward
+by Percy and Ritson for use in their great controversy.<span class="fnref"><a
+name="fnref43" id="fnref43" href="#fn43">[43]</a></span> Ritson
+himself never doubted that ballads were composed and sung by individual
+authors, though he might refuse to call them minstrels. The idea of
+communal authorship, which Jacob Grimm was to suggest only half a dozen
+years after the first edition of the <i>Minstrelsy</i>, would doubtless have
+been rejected by Scott, even if he had considered it. But we have no
+evidence that he did so. Probably he did not, as he never felt the need
+of a new theory.<span class="fnref"><a name="fnref44" id="fnref44"
+href="#fn44">[44]</a></span></p>
+
+<p><span class="pagenum"><a name="page22" id="page22" href="#page22">[22]</a></span>
+Scott's opinion in regard to the transmission of ballads followed
+naturally from his theory of their origin. His aristocratic instincts
+perhaps helped to determine his belief that ballads were composed by
+gifted minstrels, and that they had deteriorated in the process of being
+handed down by recitation. He called tradition "a sort of perverted
+alchymy which converts gold into lead." "All that is abstractedly
+poetical," he said, "all that is above the comprehension of the merest
+peasant, is apt to escape in frequent repetition; and the <i>lacunae</i> thus
+created are filled up either by lines from other ditties or from the
+mother wit of the reciter or singer. The injury, in either case, is
+obvious and irreparable."<span class="fnref"><a name="fnref45" id="fnref45"
+href="#fn45">[45]</a></span> From this point of view Scott considered
+that the ballads were only getting their rights when a skilful hand gave
+them such a retouching as should enable them to appear in something of
+what he called their original vigor.<span class="fnref"><a name="fnref46"
+id="fnref46" href="#fn46">[46]</a></span></p>
+
+<p>We may learn what qualities he considered necessary for an editor in
+this field, from the latter part of his <i>Remarks on Popular Poetry</i>, in
+which he discusses previous attempts to collect English and Scottish
+ballads. Of Percy he speaks in the highest terms, here and elsewhere. We
+have seen that he felt<span class="pagenum"><a name="page23"
+id="page23" href="#page23">[23]</a></span> a strong sympathy with Percy's desire to dress up
+the ballads and make them as attractive to the public as their intrinsic
+charms render them to their friends. He did not of course realize the
+extent to which the Bishop reworked his materials, as the publication of
+the folio manuscript has since revealed it, and Ritson's captious
+remarks on the subject were naturally discounted on the score of their
+ill-temper. But it is not to be doubted that Ritson had an appreciable
+effect on Scott's attitude, by stirring him up to some comprehension of
+the things that might be said in favor even of dull accuracy. Ritson's
+collections are cited in their place, with a tribute to the extreme
+fidelity of their editor. It is a pity that this accurate scholar could
+not have had a sufficient amount of literary taste, to say nothing of
+good manners, to inspire others with a fuller trust in his method. Scott
+expresses impatience with him for seeming to prefer the less effective
+text in many instances, "as if a poem was not more likely to be
+deteriorated than improved by passing through the mouths of many
+reciters."<span class="fnref"><a name="fnref47" id="fnref47" href="#fn47">[47]</a></span>
+He admitted, however, that it was not in his own period
+necessary to rework the ballads as much as Bishop Percy had done, since
+the <i>Reliques</i> had already created an audience for popular poetry. His
+purpose evidently was to steer a middle course between such graceful but
+sophisticated versions as were given in the <i>Reliques</i>, and the exact
+transcript of everything to be gathered from tradition, whether
+interesting or not, that was attempted by Ritson. In his later revisions
+he gave way more than at first to his natural impulse in favor of the
+added graces which he could supply.<span class="fnref"><a name="fnref48"
+id="fnref48" href="#fn48">[48]</a></span></p>
+
+<p>It is easy to see how his own contributions of word and phrase might
+slip in, since his avowed method was to collate the different texts
+secured from manuscripts or recitation or both, and so to give what to
+his mind was the worthiest version. Believing that the ballads had been
+composed by men not unlike himself, he assumed, in the manner well known
+to classical text-critics, that his familiarity with the conditions of
+the<span class="pagenum"><a name="page24" id="page24" href="#page24">[24]</a></span>
+ancient social order gave him some license for changing here and
+there a word or a line. In determining which stanzas or lines to choose,
+when choice was possible, he was guided by his antiquarian knowledge and
+by the general principle of selecting the most poetic rendering among
+those at his command. This was his way of showing his respect for the
+minstrel bards of whom he was fond of considering himself a successor.</p>
+
+<p>So far it is perfectly easy to take his point of view. But it is more
+difficult to reconcile his practice with his professions. We find this
+declaration in the forefront of the book: "No liberties have been taken
+either with the recited or written copies of these ballads, farther than
+that, where they disagreed, which is by no means unusual, the editor, in
+justice to the author, has uniformly preserved what seemed to him the
+best or most poetical rendering of the passage.... Some arrangement was
+also occasionally necessary to recover the rhyme, which was often, by
+the ignorance of the reciters, transposed or thrown into the middle of
+the line. With these freedoms, which were essentially necessary to
+remove obvious corruptions and fit the ballads for the press, the editor
+presents them to the public, under the complete assurance that they
+carry with them the most indisputable marks of their authenticity."<span
+class="fnref"><a name="fnref49" id="fnref49" href="#fn49">[49]</a></span>
+In the face of this fair announcement we are surprised, to say the
+least, at the number of lines and stanzas which scholars have discovered
+to be of Scott's own composition.<span class="fnref"><a name="fnref50"
+id="fnref50" href="#fn50">[50]</a></span></p>
+
+<p><span class="pagenum"><a name="page25" id="page25" href="#page25">[25]</a></span>
+Occasionally his notes give some slight indication of his method of
+treatment, as for instance this, on <i>The Dowie Dens of Yarrow</i>: "The
+editor found it easy to collect a variety of copies; but very difficult
+indeed to select from them such a collated edition as might in any
+degree suit the taste of 'these more light and giddy-paced times.'"
+Notes on some others of the ballads say that "a few conjectural
+emendations have been found necessary," but no one of these remarks
+would seem really ingenuous in a modern scholar when we consider how far
+the "conjectural emendations" extended. Moreover, changes were often
+made without the slightest clue in introduction or note.<span
+class="fnref"><a name="fnref51" id="fnref51" href="#fn51">[51]</a></span></p>
+
+<p>The case was complicated for Scott by the poetical tastes of his
+assistants. Leyden<span class="fnref"><a name="fnref52" id="fnref52"
+href="#fn52">[52]</a></span> was apparently quite capable of taking<span
+class="pagenum"><a name="page26" id="page26" href="#page26">[26]</a></span> down a
+ballad from recitation in such a way as to produce a more finished poem
+than one would expect a traditional ballad to be. And Hogg,<span
+class="fnref"><a name="fnref53" id="fnref53" href="#fn53">[53]</a></span> who
+supplied several ballads from the recitations of his mother and other
+old people, was probably still less strict. "Sure no man," he is quoted
+as having said, "will think an old song the worse of being somewhat
+harmonious."<span class="fnref"><a name="fnref54" id="fnref54" href="#fn54">[54]</a></span>
+Yet it is easy to see that Scott's friends might have
+acted differently if his own practice had favored absolute fidelity to
+the texts.</p>
+
+<p>A remark in Scott's review of Evans's <i>Old Ballads</i> seems a pretty
+definite arraignment of his own procedure. "It may be asked by the
+severer antiquary of the present day, why an editor, thinking it
+necessary to introduce such alterations in order to bring forth a new,
+beautiful, and interesting sense from a meagre or corrupted original,
+did not in good faith to his readers acquaint them with the liberties he
+had taken and make them judge whether in so doing he transgressed his
+limits. We answer that unquestionably such would be the express duty of
+a modern editor, but such were not the rules of the service when Dr.
+Percy first opened the campaign."<span class="fnref"><a name="fnref55"
+id="fnref55" href="#fn55">[55]</a></span></p>
+
+<p>One wonders whether the "rules of the service" did not in Scott's
+opinion occasionally permit a little wilful mystification. The case of
+<i>Kinmont Willie</i> tempts one to such an explanation.<span class="pagenum"><a
+name="page27" id="page27" href="#page27">[27]</a></span> Besides the capital
+instance of his anonymity as regards the novels, Scott several times
+seemed to amuse himself in perplexing the public. There was the case of
+the <i>Bridal of Triermain</i>, which he tried by means of various careful
+devices to pass off as the work of a friend. But perhaps the best
+example appears in connection with <i>The Fortunes of Nigel</i>. He first
+designed the material of that book for a series of "private letters"
+purporting to have been written in the reign of James I., but when he
+had finally complied with the advice of his friends and used it for a
+novel, he said to Lockhart, "You were all quite right: if the letters
+had passed for genuine, they would have found favour only with a few
+musty antiquaries."<span class="fnref"><a name="fnref56" id="fnref56"
+href="#fn56">[56]</a></span> This suggests comparison with the conduct of his
+friend Robert Surtees, who palmed off upon him three whole ballads of
+his own and got them inserted in the <i>Minstrelsy</i> as ancient, with a
+plausible tale concerning the circumstances of their recovery. Surtees,
+one is interested to observe, never dared tell Scott the truth, and
+Scott always accepted the ballads as genuine&mdash;a lack of discernment
+rather compromising in an editor, though one may perhaps excuse him on
+the ground of his confidence in his brother antiquary.<span class="fnref"><a
+name="fnref57" id="fnref57" href="#fn57">[57]</a></span></p>
+
+<p>In one direction Scott seems to have been more conscientious than we
+might be inclined to suppose after seeing the discrepancy between the
+standard of exactness that his own statements lead us to expect and the
+results that actually appear. I believe that he intended to preserve the
+manuscript texts just as he received them, and that he would have wished
+to have them given to the public when the public was prepared to want
+them. To support this theory we have first the fact that most of his own
+emendations have been traced by means of the manuscripts<span class="pagenum"><a
+name="page28" id="page28" href="#page28">[28]</a></span> which he
+used.<span class="fnref"><a name="fnref58" id="fnref58" href="#fn58">[58]</a></span>
+It is significant that in speaking of a poet who had altered a
+manuscript to suit a revised reading he grew indignant over that fault
+far more than over the mere change in the published version. <i>The Raid
+of the Reidswire</i>, he said, "first appeared in Allan Ramsay's
+<i>Evergreen</i>, but some liberties have been taken by him in transcribing
+it; and, what is altogether unpardonable, the manuscript, which is
+itself rather inaccurate, has been interpolated to favour his readings;
+of which there remain obvious marks."<span class="fnref"><a name="fnref59"
+id="fnref59" href="#fn59">[59]</a></span> Scott said also that the time
+had come for the publication of Percy's folio manuscript; though we must
+believe that he would not have wished to see the manuscript published
+until the ballads had become familiar to the world in what he considered
+a beautified form.</p>
+
+<p>The changes Scott made were usually in style rather than in substance.
+Often he merely substituted an archaic word for a modern one; but often
+whole lines and longer passages offered temptations which the poet in
+him could not resist, and he "improved" lavishly. For example, we have
+his note on <i>Earl Richard</i>&mdash;"The best verses are here selected from both
+copies, and some trivial alterations have been adopted from
+tradition,"&mdash;with the comment by Mr. Henderson&mdash;"The emendations of
+Scott are so many, and the majority relate so entirely to style, that no
+mere tradition could have supplied them."<span class="fnref"><a
+name="fnref60" id="fnref60" href="#fn60">[60]</a></span> His versions are in
+general characterized by a smoothness and precision of meter which to
+the student of ballads is very suspicious. But he seems occasionally to
+have altered or supplied incidents as well as phrases. The historical
+event<span class="pagenum"><a name="page29" id="page29" href="#page29">[29]</a></span> which
+furnished the purpose for the expedition of Sir Patrick
+Spens seems to have been introduced into the ballad by Scott, and Mr.
+Henderson thinks that "when the deeds of his ancestors were concerned it
+was impossible for him to resist the temptation to employ some of his
+own minstrel art on their behalf."<span class="fnref"><a name="fnref61"
+id="fnref61" href="#fn61">[61]</a></span></p>
+
+<p>Certainly Scott's qualifications for evolving true poetry out of the
+crude fragments that sometimes served as a basis formed a very unusual
+combination when they were united with his knowledge of early history
+and literature. He had such confidence in his own powers in this
+direction that he at one time intended to write a series of imitations
+of Scottish poets of different periods, from Thomas the Rhymer down, and
+thus to exhibit changes in language as well as variations in literary
+style.<span class="fnref"><a name="fnref62" id="fnref62" href="#fn62">[62]</a></span>
+He evidently thought that the ballads as they appeared in the
+<i>Minstrelsy</i> were truer to their originals than were the copies he was
+able to procure from recitation. Lockhart gives him precisely the kind
+of praise he would have desired, in saying, "From among a hundred
+corruptions he seized with instinctive tact the primitive diction and
+imagery."<span class="fnref"><a name="fnref63" id="fnref63" href="#fn63">[63]</a></span></p>
+
+<p>It is evident that Scott's public did not wish him to be more careful
+than he was in discriminating between new and old matter. One of his
+moments of strict veracity seems even to have occasioned some annoyance
+to the writer of the <i>Edinburgh</i> article, who apparently preferred to
+believe in the antiquity of <i>The Flowers of the Forest</i> rather than to
+learn that "the most positive evidence" proved its modern origin. The
+editor's introduction to the poem seems perfectly clear; he names his
+authority and quotes two verses which are ancient;<span class="fnref"><a
+name="fnref64" id="fnref64" href="#fn64">[64]</a></span> but the reviewer
+says with a perverse irritability: "Mr. Scott would have done well to
+tell us how much he deems ancient, and to give us the 'positive
+evidence' that convinced him <i>the whole</i> was not so."<span
+class="fnref"><a name="fnref65" id="fnref65" href="#fn65">[65]</a></span>
+This review was, however, for the most part favorable.</p>
+
+<p>The fact that Scott included modern imitations of the ballad<span
+class="pagenum"><a name="page30" id="page30" href="#page30">[30]</a></span> in his book
+is another indication that his attitude was like that of his
+predecessors.<span class="fnref"><a name="fnref66" id="fnref66" href="#fn66">[66]</a></span>
+Doubtless these helped the <i>Minstrelsy</i> to sell, but a
+more modern taste would choose to put them in a place by themselves, not
+in a collection of old ballads. An essay on <i>Imitations of the Ancient
+Ballad</i> was written, as were the <i>Remarks on Popular Poetry</i>, for the
+1833 edition. It is chiefly interesting for its autobiographical matter,
+though it also contains criticisms of Burns and other writers of ballad
+poetry&mdash;"a species of literary labour which the author has himself
+pursued with some success."<span class="fnref"><a name="fnref67" id="fnref67"
+href="#fn67">[67]</a></span> Scott's statement that the ballad style
+was very popular at the time he began to write, and that he followed the
+prevailing fashion, was one of many examples of his modesty, taken in
+connection with the remark in another part of the essay to the effect
+that this style "had much to recommend it, especially as it presented
+considerable facilities to those who wished at as little exertion or
+trouble as possible to attain for themselves a certain degree of
+literary reputation." To complete the comparison, however, we need an
+observation found in one of Scott's reviews, on the spurious ballad
+poetry, full of false sentiment, sometimes written in the eighteenth
+century. "It is the very last refuge of those who can do nothing better
+in the shape of verse; and a man<span class="pagenum"><a name="page31"
+id="page31" href="#page31">[31]</a></span> of genius should disdain to invade the
+province of these dawdling rhymers."<span class="fnref"><a name="fnref68"
+id="fnref68" href="#fn68">[68]</a></span></p>
+
+<p>Scott's criticism of ballad style probably suffered from his interest in
+modern imitations of ballads. Perhaps also the real quality of ancient
+popular poetry was a little obscured for him by his belief that it was
+written by professional or semi-professional poets. If he wrote <i>Kinmont
+Willie</i>, he succeeded in catching the right tone better than anyone
+since him has been able to do, but even in this poem there are turns of
+phrase that remind one of the <i>Lay of the Last Minstrel</i> rather than of
+the true folk-song.<span class="fnref"><a name="fnref69" id="fnref69"
+href="#fn69">[69]</a></span> After his first attempts at versifying he
+received from William Taylor, of Norwich, who had made an earlier
+translation of Bürger's <i>Lenore</i>, a letter of hearty praise intermingled
+with very sensible remarks about the tendency in some parts of Scott's
+<i>Chase</i> toward too great elaboration.<span class="fnref"><a
+name="fnref70" id="fnref70" href="#fn70">[70]</a></span> Scott's answer was as follows:
+"I do not ... think quite so severely of the Darwinian style, as to deem
+it utterly inconsistent with the ballad, which, at least to judge from
+the examples left us by antiquity, admits in some cases of a
+considerable degree of decoration. Still, however, I do most sincerely
+agree with you, that this may be very easily overdone, and I am far from
+asserting that this may not be in some degree my own case; but there is
+scarcely so nice a line to distinguish, as that which divides true
+simplicity from flatness and <i>Sternholdianism</i> (if I may be allowed to
+coin the word), and therefore it is not surprising, that in endeavouring
+to avoid the latter, so young and inexperienced a rhymer as myself
+should sometimes have deviated also from the former."<span class="fnref"><a
+name="fnref71" id="fnref71" href="#fn71">[71]</a></span> This was
+Scott's earliest stage as a man of letters, and he evidently learned
+more about ballads later. But there appears in much of his criticism on
+the subject a limitation which may be assigned partly to his<span
+class="pagenum"><a name="page32" id="page32" href="#page32">[32]</a></span> time, and
+partly, no doubt, to the fact that he was a poet and could not forget
+all the sophistications of his art.</p>
+
+<p>The true nature of ballad poetry could hardly be understood until
+scholars had investigated the structure of primitive society in a way
+that Scott's contemporaries were not at all prepared to do. Even Scott,
+with all his intelligent interest in bygone institutions and modes of
+expression, could hardly have foreseen the anthropological researches
+which the problem of literary origins has since demanded. We do not
+find, then, that Scott's work on ballads was marked by any special
+originality in point of view or method. <i>The Minstrelsy of the Scottish
+Border</i> was a notable book because it did better what other men had
+tried to do, and especially because of the charm and effectiveness of
+its historical comment. It was more trustworthy than Percy's collection
+and more graceful than Ritson's; it was richer than other books of the
+kind in what people cared to have when they wanted ballads, and yet was
+not, for its time, over-sophisticated. Scott's conclusions cannot now be
+accepted without question, but the illustrations with which he sets them
+forth and the wide reading and sincere love of folk-poetry which
+evidently lie behind them produce a pleasant effect of ripe and
+reasonable judgment. The admirable qualities of the book were at once
+recognized by competent critics, and it will always be studied with
+enthusiasm by scholars as well as by the uncritical lover of ballads.</p>
+<br />
+
+<h3><i>Studies in the Romances</i></h3>
+
+    <p class="chapdesc">Scott's theory as to the connection between ballads and
+    romances&mdash;His early fondness for romances&mdash;His acquaintance with
+    Romance languages&mdash;His work on the <i>Sir Tristrem</i>&mdash;Value of his
+    edition&mdash;Special quality of Scott's interest in the Middle
+    Ages&mdash;General theories expressed in the body of his work on
+    romances&mdash;His type of scholarship.</p>
+
+<p>Ballads and romances are so closely related that Scott's early and
+lasting interest in the one form naturally grew out of his interest in
+the other. He held the theory that "the romantic ballads of later times
+are for the most part abridgments of the ancient metrical romances,
+narrated in a smoother<span class="pagenum"><a name="page33"
+id="page33" href="#page33">[33]</a></span> stanza and more modern language."<span
+class="fnref"><a name="fnref72" id="fnref72" href="#fn72">[72]</a></span> It is not
+surprising, then, that a considerable body of his critical work has to
+do with the subject of mediaeval romance.</p>
+
+<p>Throughout his boyhood Scott read all the fairy tales, eastern stories,
+and romances of knight-errantry that fell in his way. When he was about
+thirteen, he and a young friend used to spend hours reading together
+such authors as Spenser, Ariosto, and Boiardo.<span class="fnref"><a
+name="fnref73" id="fnref73" href="#fn73">[73]</a></span> He remembered the
+poems so well that weeks or months afterwards he could repeat whole
+pages that had particularly impressed him. Somewhat later the two boys
+improvised similar stories to recite to each other, Scott being the one
+who proposed the plan and the more successful in carrying it out. With
+this same friend he studied Italian and began to read the Italian poets
+in the original. In his autobiography he says:<span class="fnref"><a
+name="fnref74" id="fnref74" href="#fn74">[74]</a></span> "I had previously
+renewed and extended my knowledge of the French language, from the same
+principle of romantic research. Tressan's romances, the Bibliothèque
+Bleue, and Bibliothèque de Romans, were already familiar to me, and I
+now acquired similar intimacy with the works of Dante, Boiardo, Pulci,
+and other eminent Italian authors." Writing some years later he
+remarked: "I was once the most enormous devourer of the Italian romantic
+poetry, which indeed is the only poetry of their country which I ever
+had much patience for; for after all that has been said of Petrarch and
+his school, I am always tempted to exclaim like honest Christopher Sly,
+'Marvellous good matter, would it were done.' But with Charlemagne and
+his paladins I could dwell forever."<span class="fnref"><a name="fnref75"
+id="fnref75" href="#fn75">[75]</a></span> Scott learned languages easily,
+and he read Spanish with about as much facility as Italian. Don Quixote
+seems often to be the guide with whom he chooses to traverse the fields
+of romance.<span class="fnref"><a name="fnref76" id="fnref76" href="#fn76">[76]</a></span>
+In Scott's boyhood one of his teachers noticed that he
+could follow and enjoy the meaning of what he<span class="pagenum"><a
+name="page34" id="page34" href="#page34">[34]</a></span> read in Latin better than
+many of his school-fellows who knew more about the language, and it was
+the same all through his life&mdash;he got what he wanted from foreign
+literatures with very little trouble.</p>
+
+<p>Scott constantly refers to the work of Percy, Warton, Tressan,<span
+class="fnref"><a name="fnref77" id="fnref77" href="#fn77">[77]</a></span>
+Ritson, and Ellis, in the study of ancient romances, but in editing <i>Sir
+Tristrem</i> he made one part of the field his own, and became the
+authority whom he felt obliged to quote in the Essay on Romance.</p>
+
+<p>Thomas the Rhymer of Erceldoune was at first an object of interest to
+Scott because of the ballad of <i>True Thomas</i> and the traditions
+concerning him that floated about the countryside. The "Rhymer's Glen"
+was afterwards a cherished possession of Scott's own on the Abbotsford
+estate. In the Advocates' Library at Edinburgh, of which Scott was in
+1795 appointed a curator, was an important manuscript that contained
+among other metrical romances one professing to be a copy of that
+written by Thomas of Erceldoune on Sir Tristrem. From a careful piecing
+together of evidence furnished by this poem and by Robert of Brunne,
+with the assistance of certain legal documents which supplied dates,
+Scott built up about the old poet a theory that he elaborated in his
+edition of <i>Sir Tristrem</i>, published in 1804, and that continued to
+interest him vividly as long as he lived. It reappears in many of his
+critical writings<span class="fnref"><a name="fnref78" id="fnref78"
+href="#fn78">[78]</a></span> and also in the novels. In the <i>Bride of
+Lammermoor</i> Ravenswood goes to his death in compliance with the prophecy
+of Thomas quoted by the superstitious Caleb Balderstone. And in <i>Castle
+Dangerous</i> Bertram, who is unconvincing perhaps because he is endowed
+with the literary and antiquarian tastes of a Walter Scott himself, is
+actuated by an irrepressible desire to discover works of the Rhymer.</p>
+
+<p><span class="pagenum"><a name="page35" id="page35" href="#page35">[35]</a></span>Scott's
+edition of <i>Sir Tristrem</i> gives&mdash;besides the text, introduction,
+and notes&mdash;a short conclusion written by himself in imitation of the
+original poet's style. Much of his theory has fallen. He considered this
+<i>Sir Tristrem</i> to be the first of the written versions of that story, a
+supposition that was not long tenable. The poem is now known to be based
+upon a French original, and many scholars think the name Erceldoune was
+arbitrarily inserted by the English translator; though Mr. McNeill, the
+latest editor, thinks there is a "reasonable probability" in favor of
+Scott's opinion that the author was the historic Thomas, who flourished
+in the thirteenth century. It is important, however, that Scott's
+scholarship in the matter passed muster at that time with such men as
+Ellis, who wrote the review in the <i>Edinburgh</i>, in which he said, "Upon
+the whole we are much disposed to adopt the general inferences drawn by
+Mr. Scott from his authorities, and have great pleasure in bearing
+testimony to the very uncommon diligence which he has evinced in
+collecting curious materials, and to the taste and sagacity with which
+he has employed them.... With regard to the notes, they contain an
+almost infinite variety of curious information, which had been hitherto
+unknown or unnoticed."<span class="fnref"><a name="fnref79" id="fnref79"
+href="#fn79">[79]</a></span> John Hookham Frere said, as quoted in a
+letter by Ellis, "I consider <i>Sir Tristrem</i> as by far the most
+interesting work that has as yet been published on the subject of our
+earliest poets."<span class="fnref"><a name="fnref80" id="fnref80"
+href="#fn80">[80]</a></span> Scott's opinions were in 1824 thought to be of
+sufficient importance, either from their own merits or on account of his
+later fame, to call forth a dissertation appended to the edition of
+Warton's <i>History of English Poetry</i> published in that year.</p>
+
+<p>The first edition of the text swarms with errors, according to
+Kölbing,<span class="fnref"><a name="fnref81" id="fnref81" href="#fn81">[81]</a></span>
+a recent editor of the romance, and later editions are
+<span class="pagenum"><a name="page36" id="page36" href="#page36">[36]</a></span>still very
+inaccurate.<span class="fnref"><a name="fnref82" id="fnref82" href="#fn82">[82]</a></span>
+It could hardly be expected that a man with
+Scott's habits of mind would edit a text accurately. But no one of that
+period was competent to construct a text that would seem satisfactory
+now. The study of English philology was not sufficiently developed in
+that direction, nor did scholars appreciate either the difficulties or
+the requirements of text-criticism. It is not to be wondered at that
+Scott failed, in this instance as well as afterwards in the case of the
+text of Dryden, to give a version that would stand the minute scrutiny
+of later scholarship.</p>
+
+<p>His sympathies were rather with the scholar who opens the store of old
+poetry to the public, than with him who uses his erudition simply for
+the benefit of erudite people. The diction of the Middle Ages was
+interesting to him only as it reflected the customs and emotions of its
+period. He used the romances as authorities on ancient manners. The
+<i>Chronicles</i> of Froissart, because they give "a knowledge of
+mankind,"<span class="fnref"><a name="fnref83" id="fnref83" href="#fn83">[83]</a></span>
+were almost as much a hobby with him as Thomas the Rhymer,
+and in this case also he endows characters in his novels with his own
+fondness for the ancient writer.<span class="fnref"><a name="fnref84"
+id="fnref84" href="#fn84">[84]</a></span> The fruit of Scott's acquaintance
+with Froissart appears prominently in his essay on <i>Chivalry</i> and in
+various introductions to ballads in the <i>Minstrelsy</i>, as well as in the
+novels of chivalry. Scott at one time<span class="pagenum"><a
+name="page37" id="page37" href="#page37">[37]</a></span> proposed to publish an edition of
+Malory, but abandoned the project on learning that Southey had the same
+thing in mind.<span class="fnref"><a name="fnref85" id="fnref85" href="#fn85">[85]</a></span></p>
+
+<p>The first periodical review Scott ever published was on the subject of
+the <i>Amadis de Gaul</i>, as translated by Southey and by Rose. The article
+is long and very carefully constructed, and expresses many ideas on the
+subject of the mediaeval romance in general that reappear again and
+again, particularly in the essay on <i>Romance</i> written in 1823 for the
+<i>Encyclopĉdia Britannica</i>. Among these general ideas that found frequent
+expression in his critical writings, one which in the light of his
+creative work becomes particularly interesting to us is his judgment on
+the distinctions between metrical and prose romances. He always
+preferred the poems, though he was so interested in the prose stories
+that he talked about them with much enthusiasm, and it sometimes seems
+as if he liked best the kind he happened to be analyzing at the moment.</p>
+
+<p>Other matters that necessarily presented themselves when he was treating
+the subject of romance were the problem of the sources of narrative
+material, especially the perplexed question concerning the development
+of the Arthurian cycle, and the problem, already discussed in connection
+with ballads, concerning the character of minstrels. The minstrels
+reappear throughout Scott's studies in mediaeval literature, and were
+perhaps more interesting to him than any other part of the subject.
+Though, as we have seen, he formulated a compromise between the opposing
+opinions of Percy and Ritson, no one who reads the description of the
+Last Minstrel can doubt what was the picture that he preferred to carry
+in his mind.</p>
+
+<p>His ideas on the subject of the origin and diffusion of narrative
+material were those of the sensible man trying to look at the matter in
+a reasonable way. Here again he adopted an attitude of compromise, in
+that he admitted the partial truth of various theories which he
+considered erroneous only in so far as any one of them was stretched
+beyond its proper compass. "Romance," he said, "was like a compound
+metal, derived from various mines, and in the different specimens of
+which one metal or other was alternately predominant."<span class="fnref"><a
+name="fnref86" id="fnref86" href="#fn86">[86]</a></span></p>
+
+<p><span class="pagenum"><a name="page38" id="page38" href="#page38">[38]</a></span>
+On the subject of the Arthurian cycle, the origin of which has never
+ceased to be matter for debate, he held essentially the opinions that
+the highest French authority has adopted that Celtic traditions were the
+foundation, and that the metrical romances preceded those in prose.<span
+class="fnref"><a name="fnref87" id="fnref87" href="#fn87">[87]</a></span>
+The important offices of French poets in giving form to the story he
+underestimated. When he said, "It is now completely proved, that the
+earliest and best French romances were composed for the meridian of the
+English court,"<span class="fnref"><a name="fnref88" id="fnref88"
+href="#fn88">[88]</a></span> he fell into the error that has not always been
+avoided by scholars who have since written on the subject, of feeling
+certitude about a proposition in which there is no certainty.</p>
+
+<p>Scott's work on romances, though it does not always rise above
+commonplaceness, escapes the perfunctory quality of hack writing by
+virtue of his keen interest in the subject. He continued to like this
+prosaic kind of literary task even while he was writing novels with the
+most wonderful facility. We may judge not only by the fact that he
+continued to write reviews at intervals throughout his life, but by an
+explicit reference in his <i>Journal</i>: "I toiled manfully at the review
+till two o'clock, commencing at seven. I fear it will be uninteresting,
+but I like the muddling work of antiquities, and besides wish to record
+my sentiments with regard to the Gothic question."<span class="fnref"><a
+name="fnref89" id="fnref89" href="#fn89">[89]</a></span></p>
+
+<p>It is evident that Scott did not himself find the "muddling work of
+antiquities" dull, because he realized, emotionally as well as
+intellectually, the life of past times. This led him to form broader
+views than the ordinary student constructs out of his knowledge of
+special facts. An admirable illustration of this characteristic occurs
+in the essay on Romance, at the point where Scott is discussing the
+social position of the minstrels, in the light of what Percy and Ritson
+had said on the subject. He goes on: "In fact, neither of these
+excellent antiquaries has cast a general or philosophic glance on the
+necessary condition of a set of men, who were by profession the
+instruments of the pleasure of others during a period of society<span
+class="pagenum"><a name="page39" id="page39" href="#page39">[39]</a></span> such as
+was presented in the Middle Ages." There follows a detailed and very
+interesting account of what the writer's own "philosophic glance" leads
+him to believe. The method is useful but dangerous; in the same essay
+occurs an amusing example of what philosophy may do when it is given
+free rein. Within two pages appear these conflicting statements: "The
+Metrical Romances, though in some instances sent to the press, were not
+very fit to be published in this form. The dull amplifications, which
+passed well enough in the course of a half-heard recitation, became
+intolerable when subjected to the eye." "The Metrical Romances in some
+instances indeed ran to great length, but were much exceeded in that
+particular by the folios which were written on the same or similar
+topics by their prose successors. Probably the latter judiciously
+reflected that a book which addresses itself only to the eyes may be
+laid aside when it becomes tiresome to the reader; whereas it may not
+always have been so easy to stop the minstrel in the full career of his
+metrical declamation." Flaws like this may be picked in the details of
+Scott's method, just as we may sometimes find fault with the lapses in
+his mediaeval scholarship. We do him no injustice when we say that aside
+from certain aspects of his work on the ballads and <i>Sir Tristrem</i>, his
+achievement was that of a popularizer of learning.</p>
+
+<p>But if he lacked some of the authority of erudition, he escaped also the
+induration of pedantry. In writing of remote and dimly known periods,
+critics are perhaps most apt to show their defects of temper, and Scott
+often commented on the acerbity of spirit which such studies seem to
+induce. "Antiquaries," he said, "are apt to be both positive and
+polemical upon the very points which are least susceptible of proof, and
+which are least valuable if the truth could be ascertained; and which
+therefore we would gladly have seen handled with more diffidence and
+better temper in proportion to their uncertainty."<span class="fnref"><a
+name="fnref90" id="fnref90" href="#fn90">[90]</a></span> Of Ritson he says
+many times in one form or another that his "severe accuracy was
+connected with an unhappy eagerness and irritability of temper." Scott
+rode his own hobbies with an expansive cheerfulness that did not at all
+hinder them from being essentially serious.</p>
+<br />
+<span class="pagenum"><a name="page40" id="page40" href="#page40">[40]</a></span>
+<h3><i>Other Studies in Mediaeval Literature</i></h3>
+
+    <p class="chapdesc">Scott's attitude on the Ossianic controversy&mdash;His slight
+    acquaintance with other northern literatures&mdash;Anglo-Saxon
+    scholarship of the time&mdash;Character of his familiarity with
+    Middle-English poetry&mdash;His opinions in regard to Chaucer&mdash;General
+    importance of Scott's work on mediaeval literature.</p>
+
+<p>Part of Scott's critical work on mediaeval literature falls outside the
+limits of the two divisions we have been considering&mdash;those of ballad
+and romance. He knew comparatively little about the early poetry of the
+northern nations, but at some points his knowledge of Scottish
+literature made the transition fairly easy to the literature of other
+Teutonic peoples. But he was especially bound to be interested in the
+Gaelic, for a Scotsman of his day could hardly avoid forming an opinion
+in regard to the Ossianic controversy then raging with what Scott
+thought must be its final violence. He did not understand the Gaelic
+language,<span class="fnref"><a name="fnref91" id="fnref91" href="#fn91">[91]</a></span>
+but he had a vivid interest in the Highlanders. The
+picturesque quality of their customs made it natural enough for him to
+use them in his novels, and by the "sheer force of genius," says Mr.
+Palgrave, who considers this Scott's greatest achievement, "he united
+the sympathies of two hostile races."<span class="fnref"><a name="fnref92"
+id="fnref92" href="#fn92">[92]</a></span></p>
+
+<p>As early as 1792 Scott had written for the Speculative Society an essay
+on the authenticity of Ossian's poems, and one of his articles for the
+<i>Edinburgh Review</i> in 1805 was on the same subject, occasioned by a
+couple of important documents which supported opposite sides, and which,
+he said, set the question finally at issue. This article represents
+Scott the critic in a typical attitude. The material was almost
+altogether furnished in the works which he was surveying.<span
+class="fnref"><a name="fnref93" id="fnref93" href="#fn93">[93]</a></span>
+His task was to distinguish the essential points of the problem,<span
+class="pagenum"><a name="page41" id="page41" href="#page41">[41]</a></span> to state them
+plainly, and to weigh the evidence on each side. In this he shows
+notable clearness of thought, and also, throughout the rather long
+treatment of a complicated subject, great lucidity in arrangement and
+statement. He was led by this study to change the opinion which he had
+held in common with most of his countrymen, and to adopt the belief that
+the poems were essentially creations of Macpherson, with only the names
+and some parts of the story adopted from the Gaelic.<span class="fnref"><a
+name="fnref94" id="fnref94" href="#fn94">[94]</a></span> Other
+references to Ossian occur in Scott's writings, and it is evident in
+this case, as in many others, that an investigation of the matter in his
+early career, whether from original or from secondary sources, gave him
+material for allusion and comment throughout his life. For, as we have
+constant occasion to remark in studying Scott, with a very definite
+grasp of concrete fact he combined a vigorous generalizing power, and
+all the parts of his knowledge were actively related. He seems to have
+made little preparation for some of his most interesting reviews, but to
+have utilized in them the store gathered in his mind for other purposes.</p>
+
+<p>Of the northern Teutonic languages Scott had slight knowledge, though he
+was always interested in the northern literatures. In a review of the
+<i>Poems of William Herbert</i>, of which the part most interesting to the
+reviewer consisted of translations from the Icelandic, Scott says: "We
+do not pretend any great knowledge of Norse; but we have so far traced
+the 'Runic rhyme' as to be sensible how much more easy it is to give a
+just translation of that poetry into English than into Latin." In the
+same review we find him saying, after a slight discussion of the style
+of Scaldic poetry, "The other translations are generally less
+interesting than those from the Icelandic. There is, however, one poem
+from the Danish, which I transcribe as an instance how very clearly the
+ancient popular ballad of that country corresponds with our own." So we
+see him drawing from all sources fuel for his favorite fire&mdash;the study
+of ballads. Very characteristically also Scott suggests<span class="pagenum"><a
+name="page42" id="page42" href="#page42">[42]</a></span> that the author
+should extend his researches to the popular poetry of Scandinavia,
+"which we cannot help thinking is the real source of many of the tales
+of our minstrels."<span class="fnref"><a name="fnref95" id="fnref95"
+href="#fn95">[95]</a></span> It seems probable that Scott's acquaintance with
+northern literatures came partly through his ill-fated amanuensis, Henry
+Weber.<span class="fnref"><a name="fnref96" id="fnref96" href="#fn96">[96]</a></span>
+His acknowledgement in the introduction to <i>Sir Tristrem</i>
+would indicate this, taken together with other references by Scott to
+Weber's attainments.</p>
+
+<p>Scott could hardly be called a student of Anglo-Saxon, though he was
+perhaps able to read the language. His remarks on the subject may,
+however, mean simply that he was familiar with early Middle English.<span
+class="fnref"><a name="fnref97" id="fnref97" href="#fn97">[97]</a></span>
+In his essay on Romance he referred to Sharon Turner's account of the
+story of Beowulf, but called the poem Caedmon, and made no correction
+when he added the later footnote in regard to Conybeare's fuller and
+more interesting analysis published in 1826.<span class="fnref"><a
+name="fnref98" id="fnref98" href="#fn98">[98]</a></span> The researches of
+these men indicate the state of Anglo-Saxon scholarship in England. Sharon
+Turner's very inaccurate description of <i>Beowulf</i> was published in 1805.
+Danish scholars made the first translations of the poem, but no one
+could give a really<span class="pagenum"><a name="page43" id="page43" href="#page43">[43]</a></span>
+scholarly text or translation until the year after
+Scott died, when the first edition by J.M. Kemble appeared. There were
+students of the language, however, who were doing good work in feeling
+their way toward a comprehension of its special qualities. One of these
+was George Ellis. In his <i>Specimens</i> he published examples of
+Anglo-Saxon and Middle-English poetry, and his information was helpful
+in enlarging Scott's outlook. Scott's own knowledge of Anglo-Saxon
+literature did not amount to enough to be of importance by itself, but
+it served perhaps to fortify the basis of his generalizations about all
+early poetry.</p>
+
+<p>A review of the <i>Life and Works of Chatterton</i> gave Scott an opportunity
+to discuss the characteristics of Middle-English poetry, but his general
+thesis, that the Rowley poems exhibit graces and refinements which are
+in marked contrast to the tenuity of idea and tautology of expression
+found in genuine works of the period, is supported by an argument which
+seems to be based on a characterization of the romances rather than on a
+close acquaintance with other Middle-English poetry. We notice a similar
+quality in what Scott says elsewhere concerning Frere's translation into
+Chaucerian English of the <i>Battle of Brunanburgh</i>: "This appears to us
+an exquisite imitation of the antiquated English poetry, not depending
+on an accumulation of hard words like the language of Rowley, which in
+everything else is refined and harmonious poetry, nor upon an
+agglomeration of consonants in the orthography, the resource of later
+and more contemptible forgers, but upon the style itself, upon its
+alternate strength and weakness, now nervous and concise, now diffuse
+and eked out by the feeble aid of expletives."<span class="fnref"><a
+name="fnref99" id="fnref99" href="#fn99">[99]</a></span> Of Middle-English
+poets other than Chaucer and the author or translator of <i>Sir Tristrem</i>,
+Laurence Minot was the one to whom Scott alluded most frequently,
+doubtless because in Ritson's edition of Minot that poet had become more
+accessible than most of his contemporaries. Whatever detailed work Scott
+did on the poetry of this period was chiefly in connection with <i>Sir
+Tristrem</i>, which has naturally been considered in relation with his
+other studies in romances.</p>
+
+<p><span class="pagenum"><a name="page44" id="page44" href="#page44">[44]</a></span>Scott's
+familiarity with Chaucer appears in his numerous quotations from
+that poet, but usually the passages are cited to illustrate mediaeval
+manners rather than for any specifically literary purpose. Yet there are
+Chaucer enthusiasts among the characters of <i>Woodstock</i> and <i>Peveril of
+the Peak</i>.<span class="fnref"><a name="fnref100" id="fnref100"
+href="#fn100">[100]</a></span> Chaucer's fame was well enough established so that Scott
+seems on the whole to have taken his merit for granted, and not to have
+said much about it except in casual references.<span class="fnref"><a
+name="fnref101" id="fnref101" href="#fn101">[101]</a></span> Among general
+readers he must have been comparatively little known, however,
+notwithstanding the respect paid him by scholars. In 1805 we find Scott
+writing to Ellis that his scheme for editing a collection of the British
+Poets had fallen through, for, he said, "My plan was greatly too liberal
+to stand the least chance of being adopted by the trade at large, as I
+wished them to begin with Chaucer. The fact is, I never expected they
+would agree to it."<span class="fnref"><a name="fnref102" id="fnref102"
+href="#fn102">[102]</a></span></p>
+
+<p>Scott's review of Godwin's <i>Life of Chaucer</i>, one of the best known of
+his periodical essays, is altogether concerned with the manner in which
+Godwin did his work, and so exhibits Scott's ideas on the subject of
+biography and his methods of reviewing rather than his attitude towards
+Chaucer's poetry. His most definite remarks concerning Chaucer are to be
+found in his comments upon Dryden's <i>Fables</i>, as for example: "The
+Knight's Tale, whether we consider Chaucer's original poem, or the
+spirited and animated version of Dryden, is one of the best pieces of
+composition in our language";<span class="fnref"><a name="fnref103"
+id="fnref103" href="#fn103">[103]</a></span> "Of all Chaucer's multifarious
+powers, none is more wonderful than the<span class="pagenum"><a
+name="page45" id="page45" href="#page45">[45]</a></span> humour with which he touched
+upon natural frailty, and the truth with which he describes the inward
+feelings of the human heart."<span class="fnref"><a name="fnref104"
+id="fnref104" href="#fn104">[104]</a></span> Yet he once called <i>Troilus and
+Criseyde</i> "a somewhat dull poem."<span class="fnref"><a name="fnref105"
+id="fnref105" href="#fn105">[105]</a></span> <i>The Cock and the Fox</i>, on the
+other hand, he speaks of as "a poem which, in grave ironical narrative,
+liveliness of illustration, and happiness of humorous description,
+yields to none that ever was written."<span class="fnref"><a name="fnref106"
+id="fnref106" href="#fn106">[106]</a></span></p>
+
+<p>In estimating the importance of Scott's studies on any one period we
+have to think of them as part of a greater whole. The wide range of his
+investigations would evidently make it impossible to expect a complete
+treatment of all the subjects he might choose to discuss, and we have
+found, in fact, that his criticism of mediaeval literature led to
+systematic results in no other lines than those of the ballad and the
+romance. But these were large and important matters. Moreover, to all
+that he wrote in connection with the Middle Ages there attaches a
+special interest; for with that work he made his real start in
+literature; and it reflected the peculiarly delightful vein in his own
+nature which was constant from youth to age, and which gave to his poems
+and novels some of their most brilliant qualities.<span class="fnref"><a
+name="fnref107" id="fnref107" href="#fn107">[107]</a></span></p>
+<br />
+<span class="pagenum"><a name="page46" id="page46" href="#page46">[46]</a></span>
+<h3>THE DRAMA</h3>
+
+    <p class="chapdesc">Scott's fondness for the drama and his acquaintance with actors&mdash;His
+    ideas about plot structure&mdash;His own dramatic experiments&mdash;His
+    opinion of the theaters of his day&mdash;His knowledge of English
+    dramatic literature&mdash;Familiarity with Elizabethan plays shown in his
+    novels&mdash;His Essay on the Drama&mdash;Ancient drama&mdash;French
+    drama&mdash;Dramatic unities&mdash;German drama&mdash;Elizabethan
+    drama&mdash;Shakspere&mdash;Ben Jonson&mdash;Dryden and other Restoration
+    dramatists&mdash;Morality of theater-going&mdash;Character of Scott's interest
+    in the drama.</p>
+
+<p>Like most of his characteristics, Scott's taste for the theater was
+exhibited in his childhood. We find him reverting, in a review written
+in 1826,<span class="fnref"><a name="fnref108" id="fnref108" href="#fn108">[108]</a></span>
+to his rapturous emotions on the occasion of seeing his
+first play; and in the private theatricals which he and his brothers and
+sister performed in the family dining-room he was always the manager. In
+1810 he was active in helping to bring out in Edinburgh the <i>Family
+Legend</i> of his friend Joanna Baillie.<span class="fnref"><a
+name="fnref109" id="fnref109" href="#fn109">[109]</a></span> One of the actors on that
+occasion was Daniel Terry,<span class="fnref"><a name="fnref110"
+id="fnref110" href="#fn110">[110]</a></span> who became an intimate friend of
+Scott's. For Terry Scott wrote <i>The Doom of Devorgoil</i>, but the piece
+<span class="pagenum"><a name="page47" id="page47" href="#page47">[47]</a></span>was not
+found suitable for presentation. Several of the novels were more
+successfully dramatized by the same friend, so that we find the "Author"
+humorously complaining in the "Introductory Epistle" to <i>The Fortunes of
+Nigel</i>, "I believe my muse would be <i>Terry</i>fied into treading the stage
+even if I should write a sermon." Among Scott's friends were several
+other actors, particularly Mrs. Siddons and her brother John Kemble, and
+the comedian Charles Mathews. In Scott's review of <i>Kelly's
+Reminiscences and the Life of Kemble</i> we find recorded many of the
+discriminations he was fond of making in regard to the talents of
+particular actors.</p>
+
+<p>In his childhood Scott felt well qualified to take the part of Richard
+III., for he considered that his limp "would do well enough to represent
+the hump."<span class="fnref"><a name="fnref111" id="fnref111" href="#fn111">[111]</a></span>
+After a similar fashion we find him commenting on the
+improbabilities of the tragedy of <i>Douglas</i>: "But the spectator should,
+and indeed must, make considerable allowances if he expects to receive
+pleasure from the drama. He must get his mind, according to Tony
+Lumpkin's phrase, into 'a concatenation accordingly,'<span class="fnref"><a
+name="fnref112" id="fnref112" href="#fn112">[112]</a></span> since he
+cannot reasonably expect that scenes of deep and complicated interest
+shall be placed before him, in close succession, without some force
+being put upon ordinary probability; and the question is not, how far
+you have sacrificed your judgment in order to accommodate the fiction,
+but rather, what is the degree of delight you have received in
+return."<span class="fnref"><a name="fnref113" id="fnref113" href="#fn113">[113]</a></span></p>
+
+<p>Scott disclaimed any special knowledge of stage-craft. "I know as little
+about the division of a drama as the spinster about the division of a
+battle, to use Iago's simile,"<span class="fnref"><a name="fnref114"
+id="fnref114" href="#fn114">[114]</a></span> he once wrote to a friend. Yet as a
+critic he had of course some general ideas about the making of plays,
+without having worked out any subtle theories on the subject. In
+criticising a play by Allan Cunningham, who had asked for his judgment
+on it,<span class="pagenum"><a name="page48" id="page48" href="#page48">[48]</a></span> he
+remarked first that the plot was ill-combined. "If the mind
+can be kept upon one unbroken course of interest, the effect even in
+perusal is more gratifying. I have always considered this as the great
+secret in dramatic poetry, and conceive it one of the most difficult
+exercises of the invention possible, to conduct a story through five
+acts, developing it gradually in every scene, so as to keep up the
+attention, yet never till the very conclusion permitting the nature of
+the catastrophe to become visible,&mdash;and all the while to accompany this
+by the necessary delineation of character and beauty of language."<span
+class="fnref"><a name="fnref115" id="fnref115" href="#fn115">[115]</a></span>
+And again he said to the same person, "I hope you will make another
+dramatic attempt; and in that case I would strongly recommend that you
+should previously make a model or skeleton of your incidents, dividing
+them regularly into scenes and acts, so as to insure the dependence of
+one circumstance upon another, and the simplicity and union of your
+whole story."<span class="fnref"><a name="fnref116" id="fnref116"
+href="#fn116">[116]</a></span> Here we find Scott giving advice which by his own
+admission he was not himself able to follow in the composition of
+fiction. "I never could lay down a plan, or having laid it down I never
+could adhere to it," he wrote in his journal<span class="fnref"><a
+name="fnref117" id="fnref117" href="#fn117">[117]</a></span>. And the "Author" in
+the introductory epistle to <i>Nigel</i> remarks, "It may pass for one good
+reason for not writing a play, that I cannot form a plot."</p>
+
+<p>The few experiments that he made he did not seem to regard seriously at
+any time, though he was rather favorably impressed on rereading the
+<i>Doom of Devorgoil</i> after it had lain unused for several years.<span
+class="fnref"><a name="fnref118" id="fnref118" href="#fn118">[118]</a></span> Of
+<i>Halidon Hill</i> he said, "It is designed to illustrate military
+antiquities and the manners of chivalry. The drama (if it can be called
+one) is in no particular either designed or calculated for the
+stage."<span class="fnref"><a name="fnref119" id="fnref119" href="#fn119">[119]</a></span>
+He seems<span class="pagenum"><a name="page49" id="page49" href="#page49">[49]</a></span> to
+have been "often urged" to write plays, if one
+may trust Captain Clutterbuck's authority, and the effectiveness of the
+many poetical mottoes improvised by the Author of Waverley for the
+chapters of his novels, and subscribed "Old Play,"<span class="fnref"><a
+name="fnref120" id="fnref120" href="#fn120">[120]</a></span> was naturally
+used as an argument.<span class="fnref"><a name="fnref121" id="fnref121"
+href="#fn121">[121]</a></span> Scott's own judgment in the matter was
+expressed thus: "Nothing so easy when you are full of an author, as to
+write a few lines in his taste and style; the difficulty is to keep it
+up. Besides, the greatest success would be but a spiritless imitation,
+or, at best, what the Italians call a <i>centone</i> [<i>sic</i>] from
+Shakspeare."<span class="fnref"><a name="fnref122" id="fnref122"
+href="#fn122">[122]</a></span> When Elliston became manager of Drury Lane in 1819 he
+applied to Scott for plays, but without effect.<span class="fnref"><a
+name="fnref123" id="fnref123" href="#fn123">[123]</a></span> Scott seems never
+to have felt any concern over the fact that the dramatized versions of
+his novels were often very poor, but Hazlitt wished that he would "not
+leave it to others to mar what he has sketched so admirably as a
+ground-work," for he saw no good reason why the author of Waverley could
+not write "a first-rate tragedy as well, as so many first-rate
+novels."<span class="fnref"><a name="fnref124" id="fnref124" href="#fn124">[124]</a></span></p>
+
+<p>Scott felt that to write for the stage in his day was a thankless and
+almost degrading occupation. "Avowedly I will never write for the stage;
+if I do, 'call me horse.'" he said in a letter to Terry.<span
+class="fnref"><a name="fnref125" id="fnref125" href="#fn125">[125]</a></span> Again in
+a letter to Southey: "I do not think the character of the audience in
+London is such that one could have the least pleasure in pleasing
+them.... On the whole, I would far rather write verses for mine honest
+friend Punch and his audience";<span class="fnref"><a name="fnref126"
+id="fnref126" href="#fn126">[126]</a></span> and to a would-be tragedian he
+said: "In the present day there is only one reason which seems to me
+adequate for the encountering the plague of trying to please a set of
+conceited performers and a very motley audience,&mdash;I mean the want of
+money."<span class="fnref"><a name="fnref127" id="fnref127" href="#fn127">[127]</a></span>
+This degraded condition of the London stage Scott thought
+to be a consequence of limiting the number of theaters. We can<span
+class="pagenum"><a name="page50" id="page50" href="#page50">[50]</a></span> hardly
+suppose, however, that he was pessimistic in regard to the written drama
+of his day, when he could say of Byron, "There is one who, to judge from
+the dramatic sketch he has given us in Manfred, must be considered as a
+match for Aeschylus, even in his sublimest moods of horror";<span
+class="fnref"><a name="fnref128" id="fnref128" href="#fn128">[128]</a></span> or
+when he could place Joanna Baillie in the same class with
+Shakspere<span class="fnref"><a name="fnref129" id="fnref129" href="#fn129">[129]</a></span>.</p>
+
+<p>Scott probably did much reading in the drama in his early life. We know
+that by 1804 he had "long since" annotated his copy of Beaumont and
+Fletcher sufficiently so that he wished to offer it to Gifford, who,
+Scott erroneously understood, was about to edit their dramas.<span
+class="fnref"><a name="fnref130" id="fnref130" href="#fn130">[130]</a></span> The
+edition of Dryden, published in 1808, shows familiarity with Elizabethan
+as well as Restoration dramatists. He seems to have had first-hand
+knowledge of such men as Ford, Webster, Marston, Brome, Shirley,
+Chapman, and Dekker, whom he mentions as being "little known to the
+general readers of the present day, even by name."<span class="fnref"><a
+name="fnref131" id="fnref131" href="#fn131">[131]</a></span> But 1808 was
+the very year in which<span class="pagenum"><a name="page51"
+id="page51" href="#page51">[51]</a></span> appeared Lamb's <i>Specimens of English Dramatic
+Poets</i> and Coleridge's first course of lectures on Shakspere. The old
+dramatists were beginning to come to their own, through the sympathetic
+appreciation of the Romantic critics. Scott never refers, however, to
+the work of Lamb, Coleridge, or Hazlitt<span class="fnref"><a name="fnref132"
+id="fnref132" href="#fn132">[132]</a></span> in this field and we
+conclude that his researches in dramatic literature were the recreation
+of a man who realized that his business lay in another direction. But in
+preparing the <i>Dryden</i>, he doubtless read more widely in Restoration
+drama than he would otherwise have done. Throughout his life he
+continued to read plays at intervals, as we know from occasional
+references in the <i>Journal</i>; but after the <i>Dryden</i> appeared we can
+point to no time in his career when such reading was his especial
+occupation. His familiarity with Elizabethan drama he showed even more
+emphatically than by serious critical writings on the subject, in his
+fragments from mythical "Old Plays,"<span class="fnref"><a name="fnref133"
+id="fnref133" href="#fn133">[133]</a></span> in his frequent references to
+single plays, and in the substance of some of the novels, particularly
+<i>The Fortunes of Nigel</i> and <i>Woodstock</i>, which make use of settings,
+situations, and characterizations suggested by the drama.<span
+class="fnref"><a name="fnref134" id="fnref134" href="#fn134">[134]</a></span> Mr. Lang
+says of <i>The Fortunes of Nigel</i>, "The scenes in Alsatia are a distinct
+gain to literature, a pearl rescued from the unread mass of
+Shadwell."<span class="fnref"><a name="fnref135" id="fnref135" href="#fn135">[135]</a></span></p>
+
+<p><span class="pagenum"><a name="page52" id="page52" href="#page52">[52]</a></span>
+His serious critical writings on the subject comprise little else than
+his <i>Essay on the Drama</i>, which appeared in the supplement to the
+<i>Encyclopĉdia Britannica</i>, published in 1819, and the discussions given
+in connection with Dryden's plays.<span class="fnref"><a name="fnref136"
+id="fnref136" href="#fn136">[136]</a></span> Although the Essay was written
+ten years later than the <i>Dryden</i>, we have no reason to think that Scott
+changed his<span class="pagenum"><a name="page53" id="page53" href="#page53">[53]</a></span>
+views or added greatly to his knowledge in the interval, and
+using these two sources we may discuss his account of the drama in
+general without regard to the particular date at which his opinions were
+expressed.</p>
+
+<p>His exposition in the <i>Essay on the Drama</i> rested on the basis furnished
+by a historical study of the stage. He did not, of course, pretend to
+have formed his own conclusions on all points, and we find him quoting
+from various authorities, sometimes naming them and sometimes only
+indicating, perhaps, that he was "abridging from the best antiquaries."
+This, however, was chiefly in connection with the ancient drama. As I
+have already remarked, we do not find him referring to recent studies on
+the English drama. And though Scott had forgotten all his Greek we
+observe that he is bold enough to disagree with "the ingenious Schlegel"
+in regard to the comparative value of the Greek New Comedy. In his
+treatment of the ancient drama the main point for note is the success
+with which he gives a broad and connected view of the subject. His
+account of the drama in France needs correction in certain
+respects,<span class="fnref"><a name="fnref137" id="fnref137" href="#fn137">[137]</a></span>
+but it seems to indicate some first-hand knowledge and
+very definite opinions. He quotes Molière frequently throughout his
+writings, and always speaks of him with admiration; but with no other
+French dramatist does he seem to have been familiar to such a degree.
+Judging French tragic poets too much from the Shaksperian point of view,
+he was not prepared to do them justice.<span class="fnref"><a name="fnref138"
+id="fnref138" href="#fn138">[138]</a></span> On the dramatic unities, of
+which he remarked, "Aristotle says so little and his commentators and
+followers talk so much," Scott wrote, here and elsewhere, with decision
+and vivacity. The unities of time and place he calls "fopperies," though
+time and place, he admits, are not to be lightly changed.<span
+class="fnref"><a name="fnref139" id="fnref139" href="#fn139">[139]</a></span> He
+connects the whole discussion with the study of theatrical conditions,
+and never bows<span class="pagenum"><a name="page54" id="page54" href="#page54">[54]</a></span>
+down to authority as such. He says, "Surely it is of less
+consequence merely to ascertain what was the practice of the ancients,
+than to consider how far such practice is founded upon truth, good
+taste, and general effect"; and again, "Aristotle would probably have
+formulated different rules if he had written in our time." And though he
+adopted and applied to the drama the Horatian dictum that the end of
+poetry is to instruct and delight, it was not because Horace and a long
+line of critics had said it, but because he thought it was true.
+Doubtless his phrase would have been different if he had not taken what
+was lying nearest, but his habit was never carefully to avoid the common
+phrase. His general opinion of French drama was decidedly unfavorable,
+and he thought it was doubtful whether their plays would ever be any
+nearer to nature. "That nation," he observes calmly, "is so unfortunate
+as to have no poetical language."</p>
+
+<p>His remarks on German drama are general in character, though we know
+that in his early days he was much interested in translating
+contemporary German plays. His version of Goethe's <i>Goetz von
+Berlichingen</i> was the most important of these translations. A letter of
+Scott's contains the following reference to this play:<span class="fnref"><a
+name="fnref140" id="fnref140" href="#fn140">[140]</a></span> "The
+publication of Goetz was a great era ... in German literature, and
+served completely to free them from the French follies of unities and
+decencies of the scene, and gave an impulse to their dramas which was
+unique of its kind. Since that, they have been often stark mad but
+never, I think, stupid. They either divert you by taking the most
+brilliant leaps through the hoop, or else by tumbling into the custard,
+as the newspapers averred the Champion did at the Lord Mayor's dinner."</p>
+
+<p>When he is on English ground we can best trace Scott's individual
+opinions, yet even here he reflects some of the limitations of the less
+enlightened scholarship of his time, especially in connection with early
+Elizabethan writers. He passes from <i>Ferrex and Porrex</i><span
+class="fnref"><a name="fnref141" id="fnref141" href="#fn141">[141]</a></span>
+and <i>Gammer Gurton's Needle</i><span class="pagenum"><a name="page55"
+id="page55" href="#page55">[55]</a></span> directly to Shakspere, and quite omits Marlowe and the
+other immediate predecessors. He was not ignorant of their existence,
+for against a statement of Dryden's that Shakspere was the first to use
+blank verse we find in Scott's edition the note,&mdash;"This is a mistake.
+Marlowe and several other dramatic authors used blank verse before the
+days of Shakespeare";<span class="fnref"><a name="fnref142" id="fnref142"
+href="#fn142">[142]</a></span> and one of his youthful notebooks contains
+this comment on <i>Faustus</i>: "A very remarkable thing. Grand subject&mdash;end
+grand."<span class="fnref"><a name="fnref143" id="fnref143" href="#fn143">[143]</a></span>
+In 1831 Scott intended to write an article for the
+<i>Quarterly Review</i> on Peele, Greene, and Webster, and in asking
+Alexander Dyce to have Webster's works sent to him he said, "Marlowe and
+others I have,&mdash;and some acquaintance with the subject, though not
+much."<span class="fnref"><a name="fnref144" id="fnref144" href="#fn144">[144]</a></span>
+Webster he considered "one of the best of our ancient
+dramatists." The proposed article was never written, because of Scott's
+final illness.</p>
+
+<p>In spite of his statement that "the English stage might be considered
+equally without rule and without model when Shakspeare arose," Scott did
+not seem inclined to leave the great man altogether unaccounted for, as
+some critics have preferred to do, for he says, "The effect of the
+genius of an individual upon the taste of a nation is mighty; but that
+genius in its turn is formed according to the opinions prevalent at the
+period when it comes into existence." These opinions, however, Scott
+assigns very vaguely to the influence of "a nameless crowd of obscure
+writers," and thinks it fortunate that Shakspere was unacquainted with
+classical rules. The critic had evidently made no attempt to define the
+influence of particular writers upon Shakspere. His criticism is at some
+points purely conventional, as for instance when he calls the poet "that
+powerful magician, whose art could fascinate us even by means of
+deformity itself "; but on the whole Scott seems to write about
+Shakspere in a very reasonable and discriminating way.</p>
+
+<p><span class="pagenum"><a name="page56" id="page56" href="#page56">[56]</a></span>He has a
+good deal to say of Ben Jonson, in other places as well as in
+this Essay on the Drama.<span class="fnref"><a name="fnref145" id="fnref145"
+href="#fn145">[145]</a></span> He was evidently well acquainted with that
+poet, and admired him without liking him. Somewhere he calls him "the
+dry and dogged Jonson,"<span class="fnref"><a name="fnref146" id="fnref146"
+href="#fn146">[146]</a></span> and again he speaks of his genius in very
+high terms. The contrast between Shakspere and Jonson moved him even to
+epigram:<span class="fnref"><a name="fnref147" id="fnref147" href="#fn147">[147]</a></span>
+"In reading Shakespeare we often meet passages so
+congenial to our nature and feelings that, beautiful as they are, we can
+hardly help wondering they did not occur to ourselves; in studying
+Jonson, we have often to marvel how his conceptions could have occurred
+to any human being." It was characteristic of Scott to note the fact
+that Shakspere wrote rapidly, Jonson slowly, for he was fond of getting
+support for his theory that rapid writing is the better.</p>
+
+<p>As early as 1804 Scott referred to <i>The Changeling</i> as "an old play
+which contains some passages horribly striking,"<span class="fnref"><a
+name="fnref148" id="fnref148" href="#fn148">[148]</a></span> and in so doing
+voiced, as Mr. Swinburne says, "the first word of modern tribute to the
+tragic genius of Thomas Middleton."<span class="fnref"><a name="fnref149"
+id="fnref149" href="#fn149">[149]</a></span> Scott also praised Massinger
+highly, especially for his strength in characterization, and once called
+him "the most gentleman-like of all the old English dramatists."<span
+class="fnref"><a name="fnref150" id="fnref150" href="#fn150">[150]</a></span> He
+discussed Beaumont and Fletcher sympathetically, for he knew them well
+and frequently quoted from them. He named Shirley, Ford, Webster, and
+Dekker in a group, and spoke of the singular profusion of talents
+devoted in this period to the writing of plays, an observation which is
+made more explicitly later in the <i>Journal</i>, when he has just been
+reading an old play which, he says, "worthless in the extreme, is, like
+many of the plays in the beginning of the seventeenth century, written
+to a good tune. The dramatic poets of that time seem to have possessed
+as joint-stock a highly poetical and abstract tone of language, so that
+the worst of them often remind you of the very best."<span class="fnref"><a
+name="fnref151" id="fnref151" href="#fn151">[151]</a></span> <span
+class="pagenum"><a name="page57" id="page57" href="#page57">[57]</a></span>This
+circumstance he accounts for by a reference to the audiences, and this
+in turn he seems to ascribe partly to the great number of theaters then
+open in London. He dwells so much on the evils of limiting the number of
+play-houses to two or three, that we may fairly consider it one of his
+hobbies, and it is possible that he had some slight influence toward
+increasing that public opposition to the theatrical monopoly which
+finally, in 1843, resulted in the nullification of the patents.</p>
+
+<p>Scott's discussion of Restoration drama is admirably vigorous and clear.
+He probably simplified the matter too much at some points, indeed, as
+for example in over-estimating the influence exerted upon the stage by
+Charles II. and his French tastes, and in tracing the origin of the
+French drama to romances. But in general his facts are right and his
+deductions fair. Mr. Saintsbury has accused him of depreciating Dryden's
+plays, especially the comedies, out of disgust at their indecency; yet
+in judging the period as a whole he seems to discriminate sufficiently
+between indelicacy and dulness. "The talents of Otway," he says, "in his
+scenes of passionate affection rival, at least, and sometimes excel
+those of Shakspeare." Again: "The comedies of Congreve contain probably
+more wit than was ever before embodied upon the stage; each word was a
+jest, and yet so characteristic that the repartee of the servant is
+distinguished from that of the master; the jest of the cox-comb from
+that of the humorist or fine gentleman of the piece." Lesser writers of
+the time are also sympathetically characterized,&mdash;Shadwell, for
+instance, whom he thought to be commonly underestimated.<span
+class="fnref"><a name="fnref152" id="fnref152" href="#fn152">[152]</a></span> The heroic
+play Scott discussed vivaciously in more than one connection, for, as we
+should expect, his sense of humor found its absurdities tempting.<span
+class="fnref"><a name="fnref153" id="fnref153" href="#fn153">[153]</a></span>
+On the rant in the <i>Conquest of Granada</i> he remarked, "Dryden's apology
+for these extravagances seems to be that Almanzor is in a passion. But
+although talking nonsense is a<span class="pagenum"><a name="page58"
+id="page58" href="#page58">[58]</a></span> common effect of passion, it seems hardly
+one of those consequences adapted to show forth the character of a hero
+in theatrical representation."<span class="fnref"><a name="fnref154"
+id="fnref154" href="#fn154">[154]</a></span> Scott's opinion of the form of these
+plays appears in the following comment: "We doubt if, with his utmost
+efforts, [Molière] could have been absolutely dull, without the
+assistance of a pastoral subject and heroic measure."<span class="fnref"><a
+name="fnref155" id="fnref155" href="#fn155">[155]</a></span> Concerning
+the indecency of the literature of the period Scott wrote emphatically.
+He was much troubled by the problem of whether to publish Dryden's works
+without any cutting, and came near taking Ellis's advice to omit some
+portions, but he finally adhered to his original determination: "In
+making an edition of a man of genius's works for libraries and
+collections ... I must give my author as I find him, and will not tear
+out the page, even to get rid of the blot, little as I like it."<span
+class="fnref"><a name="fnref156" id="fnref156" href="#fn156">[156]</a></span></p>
+
+<p>The question of the morality of theater-going was one Scott felt obliged
+to discuss when he was writing upon the drama. He found its vindication,
+characteristically, in a universal human trait,&mdash;the impulse toward
+mimicry and impersonation,&mdash;and in the good results that may be supposed
+to attend it. In naming these he lays what seems like undue stress on
+the teaching of history by the drama, in language that might quite as
+well be applied to historical novels. His argument on the literary side
+also is stated in a somewhat too sweeping way:&mdash;"Had there been no
+drama, Shakespeare would, in all likelihood, have been but the author of
+<i>Venus and Adonis</i> and of a few sonnets forgotten among the numerous
+works of the Elizabethan age, and Otway had been only the compiler of
+fantastic odes."<span class="fnref"><a name="fnref157" id="fnref157"
+href="#fn157">[157]</a></span> A final plea, in favor of the stage as a
+democratic agency&mdash;though this of course is not Scott's phrasing&mdash;seems
+slightly unusual for him, although not essentially out of character.
+"The entertainment," he says, "which is the subject of general
+enjoyment, is of a nature which tends to soften, if not to level, the
+distinction of ranks."<span class="fnref"><a name="fnref158" id="fnref158"
+href="#fn158">[158]</a></span> In another mood he<span class="pagenum"><a
+name="page59" id="page59" href="#page59">[59]</a></span> admitted the greater
+likelihood that immoral plays would injure the public character than
+that moral plays would elevate it.<span class="fnref"><a name="fnref159"
+id="fnref159" href="#fn159">[159]</a></span></p>
+
+<p>It is sufficiently apparent to any student of Scott's work that he was
+personally very fond of the drama. Many of the literary references and
+allusions which appear in great abundance throughout his writings are
+from plays, and show, as we have seen, a wide acquaintance with English
+dramatic writers, from Shakspere to such comparatively little-known
+playwrights as Suckling and Cowley. In the <i>Letters of Malachi
+Malagrowther on the Currency</i>, for example, Scott's unusual range of
+reading reveals itself even in connection with a subject remote from his
+ordinary field, and here as elsewhere he shows himself prone to quote
+from the drama.<span class="fnref"><a name="fnref160" id="fnref160"
+href="#fn160">[160]</a></span> But Scott was interested in plays for what he found
+in them of characters and manners, of witty and sententious speech, of
+situations and incidents, and only secondarily in the technical aspects
+of the drama. Reading his novels we could guess that he would care more
+for the concrete elements of a play than for the orderly march of events
+through the various stages of a formally proper construction. In this
+respect he differs from Coleridge; but indeed the two men may be
+contrasted at almost every point. In summing up this part of Scott's
+criticism we must remember also that it was chiefly incidental. Perhaps
+whatever qualities it exhibits are on this account particularly
+characteristic: at any rate his opinions on the drama were the reaction
+of an unusually capable mind upon a department of literature in which
+his reading was all the more fruitful because it followed the lines of a
+natural inclination.</p>
+<br />
+
+<h3>THE SEVENTEENTH CENTURY</h3>
+
+<h3><i>Dryden</i></h3>
+
+    <p class="chapdesc">Scott's preparations for his edition of Dryden&mdash;Wide Scope of the
+    work&mdash;Scott's estimation of Dryden&mdash;Grounds for putting Dryden above
+    Chaucer and Spenser&mdash;Admirable style of the biography&mdash;Comments by
+    Scott on other seventeenth century writers.</p>
+
+<p>The edition of <i>Dryden's Complete Works</i> deserves further notice,
+especially since only eight of the eighteen volumes are<span class="pagenum"><a
+name="page60" id="page60" href="#page60">[60]</a></span> occupied with
+the plays, and these have less commentary than other parts of the works.
+In 1805 Scott wrote to his friend George Ellis, "My critical notes will
+not be very numerous but I hope to illustrate the political poems, as
+<i>Absalom and Achitophel</i>, the <i>Hind and Panther</i>, etc., with some
+curious annotations. I have already made a complete search among some
+hundred pamphlets of that pamphlet-writing age, and with considerable
+success, as I have found several which throw light on my author."<span
+class="fnref"><a name="fnref161" id="fnref161" href="#fn161">[161]</a></span>
+He added that another edition of Dryden was proposed, and Ellis wrote in
+answer, "With regard to your competitors, I feel perfectly at my ease,
+because I am convinced that though you should generously furnish them
+with all the materials, they would not know how to use them; <i>non cuivis
+hominum contingit</i> to write critical notes that anyone will read."<span
+class="fnref"><a name="fnref162" id="fnref162" href="#fn162">[162]</a></span></p>
+
+<p><span class="pagenum"><a name="page61" id="page61" href="#page61">[61]</a></span>
+When Scott's Dryden was reëdited and reissued in 1882-93 by Professor
+Saintsbury, the new editor said: "It certainly deserves the credit of
+being one of the best-edited books on a great scale in English, save in
+one particular,&mdash;the revision of the text."<span class="fnref"><a
+name="fnref163" id="fnref163" href="#fn163">[163]</a></span> The elaborate
+historical notes are left untouched, as being "in general thoroughly
+trustworthy,"<span class="fnref"><a name="fnref164" id="fnref164"
+href="#fn164">[164]</a></span> though the editor considers them somewhat excessive,
+especially as sometimes containing illustrative material from perfectly
+worthless contemporaries. On the other hand, the "explanation of word
+and phrase is a little defective."<span class="fnref"><a name="fnref165"
+id="fnref165" href="#fn165">[165]</a></span></p>
+
+<p>The most notable quality of the <i>Life of Dryden</i> which composes the
+first of the eighteen volumes is its breadth of scope. Scott's aim may
+best be given in his own words in the Advertisement: "The general
+critical view of Dryden's works being sketched by Johnson with
+unequalled felicity, and the incidents of his life accurately discussed
+and ascertained by Malone, something seemed to remain for him who should
+consider these literary productions in their succession, as actuated by,
+and operating upon, the taste of an age where they had so predominant
+influence; and who might, at the same time, connect the life of Dryden
+with the history of his publications, without losing sight of the fate
+and character of the individual."<span class="fnref"><a name="fnref166"
+id="fnref166" href="#fn166">[166]</a></span></p>
+
+<p>Errors of judgment appear in places; sometimes they are due to the
+imperfect scholarship of the time; sometimes they arise from prejudices
+of Scott's own. In the very first chapter we find him condemning Lyly
+and all writers of "conceited" language&mdash;particularly of course the
+Metaphysicals&mdash;with a thoroughness that a truly catholic critic ought
+probably to avoid. Scott had a constitutional dislike for a labored
+style, and at the same time a fondness for the direct and
+straightforward way of looking at things. So, though he was open<span
+class="pagenum"><a name="page62" id="page62" href="#page62">[62]</a></span> to the
+emotional appeal of a poem like <i>Christabel</i>, he took no pleasure in the
+devious processes by which the cold intellect has sometimes tried to
+give fresh interest to familiar words and ideas. They quite prevented
+him from seeing the passion in the work of Donne, for example, and he
+considered all metaphysical poets, in so far as they showed the traits
+of their class, to be without poetical feeling.</p>
+
+<p>Scott placed Dryden after Shakspere and Milton as third in the list of
+English writers. I think he would even have been willing to say that
+Dryden was the third as a poet. For greatly as he admired Chaucer, Scott
+did not feel Chaucer's full power, and indeed it was only beginning to
+be possible to read Chaucer with any appreciation of his metrical
+excellence. Spenser, of whom he once wrote: "No author, perhaps, ever
+possessed and combined in so brilliant a degree the requisite qualities
+of a poet,"<span class="fnref"><a name="fnref167" id="fnref167"
+href="#fn167">[167]</a></span> was more of a favorite with Scott than
+Chaucer. But at another time he spoke of Drayton as possessing perhaps equal
+powers of poetry,<span class="fnref"><a name="fnref168" id="fnref168"
+href="#fn168">[168]</a></span> and he seems to have felt that Spenser becomes tedious
+through the continued use of his difficult stanza and even more because
+of the "languor of a continued allegory."<span class="fnref"><a
+name="fnref169" id="fnref169" href="#fn169">[169]</a></span> In comparing his
+judgments on Spenser and Dryden we may conclude that the critic found
+more in the later poet of that solid intellectual basis which he
+emphasizes in characterizing him. "This power of ratiocination," says
+Scott, "of investigating, discovering, and appreciating that which is
+really excellent, if accompanied with the necessary command of fanciful
+illustration and elegant expression, is the most interesting quality
+which can be possessed by a poet."<span class="fnref"><a name="fnref170"
+id="fnref170" href="#fn170">[170]</a></span> Again he lays emphasis on
+Dryden's versatility,&mdash;greater, he says, than that of Shakspere and
+Milton. In <i>Old Mortality</i> Dryden is referred to as "the great
+High-priest of all the Nine." Scott would have called this another point
+of his superiority over Spenser, if he had made the comparison.</p>
+
+<p>Yet he saw Dryden's deficiencies. "It was a consequence of his mental
+acuteness that his dramatic personages often philosophized<span
+class="pagenum"><a name="page63" id="page63" href="#page63">[63]</a></span> and reasoned
+when they ought only to have felt,"<span class="fnref"><a name="fnref171"
+id="fnref171" href="#fn171">[171]</a></span> Scott remarks and he frequently
+deplores Dryden's failure "in expressing the milder and more tender
+passions."<span class="fnref"><a name="fnref172" id="fnref172" href="#fn172">[172]</a></span>
+Of Dryden's great gift of style, Scott speaks in the
+highest terms. "With this power," he says, "Dryden's poetry was gifted
+in a degree surpassing in modulated harmony that of all who had preceded
+him and inferior to none that has since written English verse [<i>sic</i>].
+He first showed"&mdash;and here we see Scott's eighteenth-century
+affinities&mdash;"that the English language was capable of uniting smoothness
+and strength."<span class="fnref"><a name="fnref173" id="fnref173"
+href="#fn173">[173]</a></span></p>
+
+<p>Such criticism as Scott gives on specific parts of Dryden's work is
+clear-cut, fair for the most part, and has the sanity and reasonableness
+which are the most noticeable qualities of his criticism in general. It
+would be easier to find illustrations of shrewdness than of subtlety
+among his notes, but his discriminations are often effective and
+satisfying. His discussion, for example, of prologues and epilogues
+considered in relation to the theatrical conditions which determined
+their character is admirable.<span class="fnref"><a name="fnref174"
+id="fnref174" href="#fn174">[174]</a></span> A note on "the cant of supposing that
+the <i>Iliad</i> contained an obvious and intentional moral"<span
+class="fnref"><a name="fnref175" id="fnref175" href="#fn175">[175]</a></span> is also
+full of sense and vigor, but these qualities are so thoroughly diffused
+through the work that there is no need of particularizing. His praise of
+<i>Alexander's Feast</i> may be referred to, however, as showing his
+characteristic delight in objective poetry.<span class="fnref"><a
+name="fnref176" id="fnref176" href="#fn176">[176]</a></span> As a lyric poet, he
+says, Dryden "must be allowed to have no equal."<span class="fnref"><a
+name="fnref177" id="fnref177" href="#fn177">[177]</a></span></p>
+
+<p><span class="pagenum"><a name="page64" id="page64" href="#page64">[64]</a></span>
+The peculiarly congenial qualities of the subject may have had something
+to do with the fact that the style in which the <i>Life of Dryden</i> is
+written is noticeably better than that of Scott's ordinary work. It is
+marked with a care and accuracy that were not, unfortunately, habitual
+to him. Perhaps it was an advantage that when he wrote the book he had
+not yet become altogether familiar with his own facility; certainly the
+substance and the manner of treatment unite in making this the most
+important of his critical biographies.</p>
+
+<p>Various references indicate that Scott was acquainted in at least a
+general way with English writers throughout the whole of Dryden's
+century. He speaks of the poems of Phineas Fletcher as containing "many
+passages fully equal to Spenser"<span class="fnref"><a name="fnref178"
+id="fnref178" href="#fn178">[178]</a></span>; he says that Cowley "is now ...
+undeservedly forgotten"<span class="fnref"><a name="fnref179" id="fnref179"
+href="#fn179">[179]</a></span>; he calls <i>Hudibras</i> "the most witty poem
+that ever was written,"<span class="fnref"><a name="fnref180" id="fnref180"
+href="#fn180">[180]</a></span> but says, "the perpetual scintillation of
+Butler's wit is too dazzling to be delightful"<span class="fnref"><a
+name="fnref181" id="fnref181" href="#fn181">[181]</a></span>; he talks of Waller
+and quotes from him<span class="fnref"><a name="fnref182" id="fnref182"
+href="#fn182">[182]</a></span>; he refers to the charming quality of Isaac
+Walton's<span class="pagenum"><a name="page65" id="page65" href="#page65">[65]</a></span>
+work;<span class="fnref"><a name="fnref183" id="fnref183" href="#fn183">[183]</a></span>
+and he adopts Samuel Pepys as a familiar
+acquaintance.<span class="fnref"><a name="fnref184" id="fnref184"
+href="#fn184">[184]</a></span> These references occur mostly in the
+<i>Dryden</i> or in
+the novels, and we may conclude that the work for the <i>Dryden</i> gathered
+up and strengthened all Scott's acquaintance with the literature of the
+seventeenth century, from Shakspere and Milton down to writers of
+altogether minor importance; and gave him material for many of the
+allusions that appear in his later work. It is probably true that there
+are more quotations from Dryden in Scott's books than from any other one
+author,<span class="fnref"><a name="fnref185" id="fnref185" href="#fn185">[185]</a></span>
+though lines from Shakspere occurred more often in his
+conversation and familiar letters.</p>
+<br />
+
+<h3>THE EIGHTEENTH CENTURY</h3>
+
+<h3><i>Swift</i></h3>
+
+    <p class="chapdesc">The preparation of <i>Swift's Complete Works</i>&mdash;Comparison of the
+    <i>Dryden</i> and the <i>Swift</i>&mdash;The bibliographical problem presented by
+    Swift's works&mdash;Inaccuracies in the biography&mdash;Scott's success in
+    portraying a perplexing temperament&mdash;Judicious quality of his
+    literary criticism.</p>
+
+<p>As soon as the <i>Dryden</i> was completed Scott was offered twice as much
+money as he had received for that work, for a similar edition of
+Swift.<span class="fnref"><a name="fnref186" id="fnref186" href="#fn186">[186]</a></span>
+He readily undertook the task, and in the midst of many
+other editorial engagements set to work upon it. The preparation of the
+book extended over the six years during which Scott ran the greater part
+of his poetical career. On its appearance one of his friends expressed
+the<span class="pagenum"><a name="page66" id="page66" href="#page66">[66]</a></span>
+feeling which every student of Scott must have had in regard to the
+large editorial labors that he undertook, in saying, "I am delighted and
+surprised; for how a person of your turn could wade through, and so
+accurately analyze what you have done (namely, all the dull things
+calculated to illustrate your author), seems almost impossible, and a
+prodigy in the history of the human mind."<span class="fnref"><a
+name="fnref187" id="fnref187" href="#fn187">[187]</a></span> The work was first
+published in 1814. Ten years later it was revised and reissued; and
+Scott's <i>Swift</i> has, like his <i>Dryden</i>, been the standard edition of
+that author ever since.</p>
+
+<p>In each case Scott had to deal with an important and varied body of
+literature in the two fields of poetry and prose, though the proportions
+were different; and in each case he had occasion for illustrative
+historical annotations of the kind that he wrote with unrivalled
+facility. He was master of the political intrigues of Queen Anne's reign
+no less completely than of the circumstances which gave rise to <i>Absalom
+and Achitophel</i>, and the fact that his notes are less voluminous in the
+<i>Swift</i> is probably to be accounted for by the comparative absence of
+quaintness in the literary and social fashions of the eighteenth
+century.</p>
+
+<p>The peculiar conditions under which Swift's writings had appeared, and
+his remarkable indifference to literary fame, gave the editor
+opportunity to look for material which had not before been included in
+his works. The diligent search of Scott and his various correspondents
+enabled him to add about thirty poems, between sixty and seventy letters
+from Swift, and about sixteen other small pieces. The most noteworthy
+item among these additions was the correspondence between Swift and Miss
+Vanhomrigh, of which only a very small part had previously been made
+public.<span class="fnref"><a name="fnref188" id="fnref188" href="#fn188">[188]</a></span></p>
+
+<p>Scott's notes seem to indicate that most of the necessary searching
+through newspapers and obscure pamphlets for forgotten work of Swift was
+performed by "obliging correspondents," and that the editor himself had
+only to pass judgment on what was brought to his attention. This
+impression may<span class="pagenum"><a name="page67" id="page67" href="#page67">[67]</a></span>
+arise largely from his cordiality in expressing
+indebtedness to his helpers, but it is certain that his position as a
+popular poet gave Scott the assistance of many people who would not have
+been enlisted in the work by an ordinary editor. But Scott had the
+difficult task of deciding whether the unauthenticated pieces were to be
+assigned to Swift. The bibliography of Swift is still so uncertain that
+it is impossible to say how many of the small pamphlets in verse and
+prose added in this edition are really his work.<span class="fnref"><a
+name="fnref189" id="fnref189" href="#fn189">[189]</a></span> Scott had good
+reason for his additions in most cases, though sometimes, as he was
+aware, the Dean had merely revised the work of other people. The editor
+was occasionally over-credulous in attributing pieces to Swift, but he
+was perhaps oftener too generous in giving room to things which he knew
+had very little claim to be considered Swift's work. When he was in
+doubt he chose to err on the safe side, according to the principles set
+forth in the following note on the <i>Letter from Dr. Tripe to Nestor
+Ironside</i>: "The piece contains a satirical description of Steele's
+person, and should the editor be mistaken in conjecturing that Swift
+contributed to compose it, may nevertheless, at this distance of time,
+merit preservation as a literary curiosity."<span class="fnref"><a
+name="fnref190" id="fnref190" href="#fn190">[190]</a></span> The ample space
+afforded by the<span class="pagenum"><a name="page68" id="page68" href="#page68">[68]</a></span>
+nineteen volumes of the book gives room to Arbuthnot's
+<i>History of John Bull</i>&mdash;because it was "usually published in Swift's
+works,"&mdash;to the verses addressed to the Dean and those written in memory
+of him, as well as to the prose and verse miscellanies of Pope and
+Swift, and the miscellanies and <i>jeux d'esprit</i> of Swift and Sheridan.
+Swift's correspondence fills the last four and a half volumes.</p>
+
+<p>The biography, which occupies the first volume, is admirable in tone,
+but the facts Scott gives are less to be relied upon than the inferences
+and conclusions he derives from them. He corresponded with persons who
+were in a position to know about Swift from his friends and
+acquaintances, and probably he trusted too much to these "original
+sources." We find, as perhaps the most noteworthy instance, that the
+marriage to Stella is stated as an ascertained fact, on authority that
+is not now considered convincing. Later biographers of Swift,&mdash;Sir Henry
+Craik, Leslie Stephen, Mr. Churton Collins,&mdash;have borne witness to the
+human interest of Scott's biography, and its preeminence, in spite of
+inaccuracies, among all the Lives of Swift that have been written. But
+Mr. Churton Collins thinks Scott did not present a really clear view of
+Swift's mysterious character, and Craik says he took only the
+conventional attitude towards Swift's politics, misanthropy, and
+religion. The charge indicates Scott's weakness, and perhaps also much
+of his strength, as a biographer and critic, for he had no prejudice
+against the conventional as such, and was never anxious to exhibit
+special "insight" of any kind. Yet I think his portrayal of Swift has
+seemed to most readers a clear presentation of a real and comprehensible
+character.<span class="fnref"><a name="fnref191" id="fnref191" href="#fn191">[191]</a></span></p>
+
+<p><span class="pagenum"><a name="page69" id="page69" href="#page69">[69]</a></span>Scott's
+remark when he undertook the work, that Swift was of his early
+favorites,<span class="fnref"><a name="fnref192" id="fnref192" href="#fn192">[192]</a></span>
+seems surprising when one remembers how his genial
+nature recoiled from misanthropy and cynicism; but his treatment of the
+Dean was so sympathetic that Jeffrey thought him decidedly too lenient,
+and was moved to express righteous indignation in the pages of the
+<i>Edinburgh Review</i>.<span class="fnref"><a name="fnref193" id="fnref193"
+href="#fn193">[193]</a></span> The rebuke was unnecessary, for Scott did not
+omit to record Swift's failings and to express wholesomely vigorous
+opinions concerning them, though he felt that they ought to be looked
+upon as evidences of disease rather than of guilt. He felt also, with
+perhaps some excess of charity but surely not such as could be in the
+least harmful, that "if the Dean's principles were misanthropical, his
+practice was benevolent. Few have written so much with so little view
+either to fame or to profit, or to aught but benefit to the
+public."<span class="fnref"><a name="fnref194" id="fnref194" href="#fn194">[194]</a></span>
+Jeffrey's condemnation of Scott's point of view was
+mingled with just praise. He said of the biography: "It is quite fair
+and moderate in politics; and perhaps rather too indulgent and tender
+towards individuals of all descriptions,&mdash;more full, at least, of
+kindness and veneration for genius and social virtue, than of
+indignation at baseness and profligacy. Altogether it is not much like
+the production of a mere man of letters, or a fastidious speculator in
+sentiment and morality; but exhibits throughout, and in a very pleasing
+form, the good sense and large toleration of a man of the world."</p>
+
+<p>The very practical motives that inspired most of Swift's pamphlets would
+naturally attract Scott. Probably it was the remembrance of the
+<i>Drapier's Letters</i> that suggested to him a similar form of protest
+against proposed changes in the Scottish currency; certainly the
+<i>Letters of Malachi Malagrowther</i> had an effect comparable to that of
+Swift's more consummately ingenious appeal. Another quality in Swift's
+work that would naturally arouse Scott's admiration was the remarkable
+directness and lucidity of the style. Scott appreciated the originality
+force of Swift, even when it was used in the service of<span class="pagenum"><a
+name="page70" id="page70" href="#page70">[70]</a></span> satire.
+Sometimes, he says, "the intensity of his satire gives to his poetry a
+character of emphatic violence which borders upon grandeur."<span
+class="fnref"><a name="fnref195" id="fnref195" href="#fn195">[195]</a></span> The
+editor's discussion of <i>Gulliver's Travels</i> an acute and illuminating
+little essay, contains one comment that gives an amusing revelation of
+his point of view. He says in regard to the fourth part of the story:
+"It is some consolation to remark that the fiction on which this libel
+on human nature rests is in every respect gross and improbable, and, far
+from being entitled to the praise due to the management of the first two
+parts, is inferior in plan even to the third."<span class="fnref"><a
+name="fnref196" id="fnref196" href="#fn196">[196]</a></span> This is a sound
+verdict, even if it does contain an extra-literary element. Scott
+surpassed most of his contemporaries, except the younger Romantic
+writers, in his ability to eliminate irrelevant considerations in
+estimating any literary work; and if occasionally his strong moral
+feeling appears in his criticism, it serves to remind us how much less
+often this happens than a knowledge of his temperament would lead us to
+expect. In spite of the qualities in his subject that might naturally
+bias Scott's judgment, his criticism throughout this edition of Swift
+seems on the whole very judicious. It defines the literary importance
+and brings out plainly the power of a man whose work presents unusual
+perplexities to the critic.</p>
+<br />
+
+<h3><i>The Somers Tracts</i></h3>
+
+    <p class="chapdesc">Character of the collection and of Scott's work on it&mdash;Occasional
+    carelessness&mdash;Purpose of the notes&mdash;Scott's attitude towards these
+    studies.</p>
+
+<p>While Scott was working on his <i>Dryden</i> and before he began the
+<i>Swift</i>
+he undertook to edit the great collection which had been published fifty
+years before as <i>Somers' Tracts</i>. His task was to arrange, revise, and
+annotate pamphlets which represented every reign from Elizabeth to
+George I. He grouped them chronologically by reigns, and separated them
+further into sections under the headings,&mdash;Ecclesiastical, Historical,
+Civil, Military, Miscellaneous; he also added eighty-one pamphlets, all
+written before the time of James II. The largest<span class="pagenum"><a
+name="page71" id="page71" href="#page71">[71]</a></span> number of additions in
+any one section was historical and had reference to Stafford. Among the
+miscellaneous tracts that he incorporated were Derrick's <i>Image of
+Ireland</i> from a copy in the Advocates' Library, and Gosson's <i>School of
+Abuse</i>. Scott's statement in the Advertisement as to why he did not omit
+any of the original collection shows his unpedantic attitude toward the
+kind of studies which he was encouraging by the republication of this
+series. He says: "When the variety of literary pursuits, and the
+fluctuation of fashionable study is considered, it may seem rash to pass
+a hasty sentence of exclusion, even upon the dullest and most despised
+of the essays which this ample collection offers to the public. There
+may be among the learned, even now, individuals to whom the rabbinical
+lore of Hugh Broughton presents more charms than the verses of Homer;
+and a future day may arise when tracts on chronology will bear as high a
+value among antiquaries as 'Greene's Groats' Worth of Wit,' or 'George
+Peele's Jests,' the present respectable objects of research and
+reverence."</p>
+
+<p>In editing this collection Scott made little attempt to decide disputed
+problems of authorship when the explanation did not lie upon the
+surface. Indeed the following note regarding the tract called <i>A New
+Test of the Church of England's Loyalty</i> shows that he sometimes
+neglected very obvious sources of information, for the piece is given in
+one of Defoe's own collections of his works: "This defence of whiggish
+loyalty," says Scott, "seems to have been written by the celebrated
+Daniel De Foe, a conjecture which is strengthened by the frequent
+reference to his poem of the True-born Englishman."<span class="fnref"><a
+name="fnref197" id="fnref197" href="#fn197">[197]</a></span> He was not
+often so careless, but the rapidity and range of his work during these
+years undoubtedly gave occasion for more than one lapse of accuracy,
+while at the same time it perhaps increased the effectiveness of his
+comment.</p>
+
+<p><span class="pagenum"><a name="page72" id="page72" href="#page72">[72]</a></span>
+His notes and introductions vary in length according to the requirements
+of the case, for he aimed to provide such material as would prevent the
+necessity of reference to other works. Matters that were obscure he
+explained, and he wrote little comment on those that were generally
+understood. When he left himself so free a hand he could indulge his
+personal tastes somewhat also, and we are not surprised to find an
+especial abundance of notes on an account of the Gowrie Conspiracy which
+presented a perplexing problem in Scottish history.</p>
+
+<p>The connection of <i>Somers' Tracts</i> with other things that Scott did has
+already been remarked upon.<span class="fnref"><a name="fnref198"
+id="fnref198" href="#fn198">[198]</a></span> That he found some sort of stimulation
+in all his scholarly employments is sufficiently evident to anyone who
+studies his work as a whole, and this fact might well serve as a motive
+for such study. Yet it is only fair to remember that Scott was not a
+novelist during these years when he was performing his most laborious
+editorial tasks. We are accustomed to think of the brilliant use he was
+afterwards to make of the knowledge he was gaining, but the motives
+which influenced him were those of the man whose interest in literature
+and history makes scholarly work seem the most natural way of earning
+money. "These are studies, indeed, proverbially dull," he once wrote,
+speaking of Horace Walpole's antiquarian researches, "but it is only
+when they are pursued by those whose fancies nothing can enliven."<span
+class="fnref"><a name="fnref199" id="fnref199" href="#fn199">[199]</a></span></p>
+<br />
+
+<h3><i>The Lives of the Novelists, and Comments on Other Eighteenth Century
+Writers</i></h3>
+
+    <p class="chapdesc">The <i>Novelists' Library</i>&mdash;Writers discussed&mdash;Value of the
+    <i>Lives</i>&mdash;General tone of competence in these essays&mdash;Scott's
+    catholic taste&mdash;Points of special interest in the
+    discussion&mdash;Relations of the novel and the drama&mdash;Supernatural
+    machinery in novels&mdash;Mistakes in the criticism of
+    Defoe&mdash;Realism&mdash;Motive in the novel&mdash;Aim of the prefaces&mdash;Scott's
+    familiarity with eighteenth century literature.</p>
+
+<p>It has already been said that a large part of Scott's critical work
+concerned itself with the eighteenth century. Of his greater editorial
+labors two may be considered as belonging to that period, for
+Ballantyne's <i>Novelists' Library</i>, though an<span class="pagenum"><a
+name="page73" id="page73" href="#page73">[73]</a></span> enterprise which was
+commercially a failure and which consequently remained incomplete, may
+from the point of view of Scott's contributions fitly be compared with
+the <i>Dryden</i> and the <i>Swift</i>. Such parts as were published appeared in
+1821. The bulk of the volumes and the small type in which they were
+printed were considered to be the cause of their failure, and it was not
+until the critical biographies were extracted and published separately,
+by Galignani the Parisian bookseller, in 1825, that they seem to have
+attracted notice.</p>
+
+<p>Scott wrote these <i>Lives of the Novelists</i> at a time when his hands were
+full of literary projects, altogether for John Ballantyne's benefit. The
+author afterwards spoke of them as "rather flimsily written,"<span
+class="fnref"><a name="fnref200" id="fnref200" href="#fn200">[200]</a></span> but
+we may surmise that to the fact that they were not the result of special
+study is due something of their ripeness of reflection and breadth of
+generalization. "They contain a large assemblage of manly and sagacious
+remarks on human life and manners,"<span class="fnref"><a name="fnref201"
+id="fnref201" href="#fn201">[201]</a></span> wrote the <i>Quarterly</i> reviewer.</p>
+
+<p>The writers considered were all British, with the exception of LeSage.
+The choice, or at least the arrangement, seems more or less haphazard.
+Richardson, Fielding, and Smollett naturally began the group, and Sterne
+followed after an interval. Johnson and Goldsmith were treated briefly,
+for the prefaces were to be proportioned to the amount of work by each
+author included in the text. Horace Walpole, Clara Reeve, and Mrs.
+Radcliffe represented the Gothic romance. Charles Johnstone, Robert
+Bage, and Richard Cumberland were among the inferior writers included.
+Henry Mackenzie, who was still living and was a personal friend of
+Scott, completes the list so far as it went before the series was
+terminated by the publisher's death. When Scott's <i>Miscellaneous Prose
+Works</i> were collected he added the lives of Charlotte Smith and Defoe,
+but in each of these cases the biographical portion was by another hand,
+the criticism being his own.<span class="fnref"><a name="fnref202" id="fnref202" href="#fn202">[202]</a></span></p>
+
+<p>The study of the novel as a <i>genre</i> was naturally undeveloped at that
+time. Dunlop's <i>History of Prose Fiction</i> had appeared<span
+class="pagenum"><a name="page74" id="page74" href="#page74">[74]</a></span> in 1814,
+evidently a much more ambitious attempt than Scott's; but Scott could
+treat the British novelists with comparative freedom from the trammels
+of any established precedent. Of course his position as one who had
+struck out a wonderful new path in the writing of novels gave to his
+reflections on other novelists a very special interest. The <i>Lives of
+the Novelists</i> are not to be neglected even now, and this is the more to
+be insisted on because the criticism of novels has been practiced with
+increasing zeal since Scott himself has become a classic and since his
+successors have made this field of literature more varied and popular,
+if not greater, than the first masters made it. A recent writer on
+eighteenth century literature says: "By far the best criticism of the
+eighteenth century novelists will be found in the prefatory notices
+contributed by Scott to Ballantyne's <i>Novelists' Library</i>."<span
+class="fnref"><a name="fnref203" id="fnref203" href="#fn203">[203]</a></span> But the
+same writer adds: "Sir Walter Scott, indeed, considered <i>Fathom</i>
+superior to <i>Jonathan Wild</i>, an opinion which must always remain one of
+the mysteries of criticism."<span class="fnref"><a name="fnref204"
+id="fnref204" href="#fn204">[204]</a></span></p>
+
+<p>This comment indicates that there was no lack of assuredness in Scott's
+treatment, and we do indeed find a very pleasant tone of competence
+which, though liable to error as in the exaggerated praise bestowed upon
+Smollett, gives much of their effectiveness to the criticisms. The
+quality appears elsewhere in Scott's critical work, but it is perhaps
+especially noticeable here. For example, we find this dictum: "There is
+no book in existence, in which so much of the human character, under all
+its various shades and phases, is described in so few words, as in the
+<i>Diable Boiteux</i>."<span class="fnref"><a name="fnref205" id="fnref205"
+href="#fn205">[205]</a></span> The illustration is perhaps a trifle extreme,
+for Scott is not often really dogmatic. From this point of view as from
+others we naturally make the comparison with Johnson's <i>Lives of the
+Poets</i>, and we find that without being so sententious, so admirably
+compact in style, Scott is also not so dictatorial.</p>
+
+<p>We cannot accuse Scott of liking any one kind of novel to the exclusion
+of others. He ranks <i>Clarissa Harlowe</i> very<span class="pagenum"><a
+name="page75" id="page75" href="#page75">[75]</a></span> high;<span class="fnref"><a
+name="fnref206" id="fnref206" href="#fn206">[206]</a></span> he says <i>Tom
+Jones</i> is "truth and human nature itself."<span class="fnref"><a
+name="fnref207" id="fnref207" href="#fn207">[207]</a></span> <i>The Vicar of
+Wakefield</i>
+he calls "one of the most delicious morsels of fictitious composition on
+which the human mind was ever employed." "We return to it again and
+again," he says, "and bless the memory of an author who contrives so
+well to reconcile us to human nature."<span class="fnref"><a name="fnref208"
+id="fnref208" href="#fn208">[208]</a></span> He praises <i>Tristram
+Shandy</i>, calling Uncle Toby and his faithful Squire, "the most
+delightful characters in the work, or perhaps in any other."<span
+class="fnref"><a name="fnref209" id="fnref209" href="#fn209">[209]</a></span> The
+quiet fictions of Maria Edgeworth and Jane Austen, the exciting tales of
+Mrs. Radcliffe, the sentiment of Sterne, even the satires of Bage,&mdash;all
+pleased him in one way or another. Scott's autobiography contains the
+following comment on his boyish tastes in the matter of novels: "The
+whole Jemmy and Jenny Jessamy tribe I abhorred, and it required the art
+of Burney, or the feeling of Mackenzie, to fix my attention upon a
+domestic tale. But all that was adventurous and romantic I devoured
+without much discrimination."<span class="fnref"><a name="fnref210"
+id="fnref210" href="#fn210">[210]</a></span> In later life he learned to exercise
+his judgment in regard to stories of adventure not less than those of
+the "domestic" sort, and perhaps the liking for quiet tales grew upon
+him; at any rate his taste seems remarkably catholic.</p>
+
+<p>The most interesting portions of the <i>Lives of the Novelists</i> are those
+which show us, by the frequent recurrence of the same subjects, what
+parts of the theory of novel-writing had particularly engaged Scott's
+attention. For example we find him discussing, most fully in the <i>Life
+of Fielding</i>, the reasons why a successful novelist is likely not to be
+a successful playwright. The way in which he looks at the matter
+suggests that he was thinking quite as much of the probability of
+failure in his own case should he begin to write plays, as of the
+subject of the memoir; for Fielding wrote his plays before his novels,
+but the argument assumes a man who writes good novels first and bad
+plays afterwards. One of his statements seems rather curious and hard to
+explain,&mdash;"Though a good acting play may be made by selecting a plot and
+characters from a novel, yet scarce any effort of genius could render a
+<span class="pagenum"><a name="page76" id="page76" href="#page76">[76]</a></span>play into
+a narrative romance." Perhaps he expected the "Terryfied"
+versions of <i>Guy Mannering</i> and <i>Rob Roy</i> to hold the stage longer than
+fate has permitted them to do. From another point of view also he was
+interested in the connection of the novel and the drama. He felt that
+the direction of the drama in the modern period had been largely
+determined by the influence of successful novels; and he probably
+overestimated the effect of the "romances of Calprenède and Scudéri" on
+heroic tragedy.<span class="fnref"><a name="fnref211" id="fnref211"
+href="#fn211">[211]</a></span></p>
+
+<p>A subject which recurs even oftener than that of the distinction between
+drama and novel is the question of supernatural machinery in novels.
+Horace Walpole is commended for giving us ghosts without furnishing
+explanations. Indeed the <i>Castle of Otranto</i> is highly praised;<span
+class="fnref"><a name="fnref212" id="fnref212" href="#fn212">[212]</a></span> but
+so also is Mrs. Radcliffe's work, except on the one point of the attempt
+to rationalize mysteries. The kind of romance which she
+"introduced"<span class="fnref"><a name="fnref213" id="fnref213"
+href="#fn213">[213]</a></span> is compared with the melodrama, and its particular
+mode of appeal is analyzed in very interesting fashion. In the <i>Life of
+Clara Reeve</i> the proper treatment of ghosts is discussed at length, for
+that author had contended that ghosts should be very mild and of "sober
+demeanour." Scott justifies her practice, but not her theory, on the
+following grounds: "What are the limits to be placed to the reader's
+credulity, when those of common-sense and ordinary nature are at once
+exceeded? The question admits only one answer, namely, that the author
+himself, being in fact the magician, shall evoke no spirits whom he is
+not capable of endowing with manners and language corresponding to their
+supernatural character."</p>
+
+<p>Scott writes with much enthusiasm about Defoe's famous little
+ghost-story, <i>The Apparition of Mrs. Veal</i>, praising Defoe's wonderful
+skill in making the unreal seem credible. In connection with this tale
+Scott developed a very interesting anecdote to explain the fact that
+Drelincourt's <i>Defence against the Fear of Death</i> is recommended by the
+apparition.<span class="pagenum"><a name="page77" id="page77" href="#page77">[77]</a></span>
+"Drelincourt's book," he says, "being neglected, lay a dead
+stock on the hands of the publisher. In this emergency he applied to De
+Foe to assist him (by dint of such means as were then, as well as now,
+pretty well understood in the literary world) in rescuing the
+unfortunate book from the literary death to which general neglect seemed
+about to consign it." Scott goes on to assert that the story was simply
+a consummately clever advertising device. He may have found the germ of
+his hypothesis in a bookseller's tradition, but he states it as an
+assured fact, and doubtless believed it firmly because it seemed so
+beautifully reasonable. His explanation became the basis of later
+statements on the subject, and now obliges everyone who discusses Defoe
+to supply a contradiction; for the truth is that Drelincourt's book was
+so highly popular as to have gone through several editions before the
+ghost of Mrs. Veal mentioned it. Moreover, if Scott's little tale was
+fictitious, Defoe's, on the other hand, was really a reporter's version
+of an experience actually related by the person to whom he assigns it,
+and his skill in achieving verisimilitude was perhaps in this case less
+wonderful than his critics have generally supposed.<span class="fnref"><a
+name="fnref214" id="fnref214" href="#fn214">[214]</a></span></p>
+
+<p>On the subject of realism, Scott was not in general very rigid. In his
+<i>Life of Richardson</i> he says: "It is unfair to tax an author too
+severely upon improbabilities, without conceding which his story could
+have no existence; and we have the less title to do so, because, in the
+history of real life, that which is actually true bears often very
+little resemblance to that which is probable."<span class="fnref"><a
+name="fnref215" id="fnref215" href="#fn215">[215]</a></span> But this is perhaps
+only a plea for one kind<span class="pagenum"><a name="page78"
+id="page78" href="#page78">[78]</a></span> of realism. He also refers to the question of
+historical "keening," and concludes that it is possible to have so much
+accuracy that the public will refuse to be interested, as <i>Lear</i> would
+hardly be popular on the stage if the hero were represented in the
+bearskin and paint which a Briton of his time doubtless wore.<span
+class="fnref"><a name="fnref216" id="fnref216" href="#fn216">[216]</a></span></p>
+
+<p>The motive of the novel is a subject which naturally engages the
+attention of the novelist-critic. Romantic fiction, he thinks may have
+sufficient justification if it acts as an opiate for tired spirits. A
+significant antithesis between his point of view in this matter and the
+more common attitude taken by critics in his time is illustrated by two
+reviews of Mrs. Shelley's <i>Frankenstein</i>, to which we may refer, though
+the book was later than those included in the <i>Novelists' Library</i>.
+Scott wrote in <i>Blackwood's</i>: "We ... congratulate our readers upon a
+novel which excites new reflections and untried sources of
+emotion."<span class="fnref"><a name="fnref217" id="fnref217" href="#fn217">[217]</a></span>
+The <i>Quarterly</i> reviewer took the opposite and more
+conservative attitude and expressed himself thus: "Our taste and our
+judgment alike revolt at this kind of writing, and the greater the
+ability with which it may be executed the worse it is&mdash;it inculcates no
+lesson of conduct, manners, or morality; it cannot mend, and will not
+even amuse its readers, unless their taste has been deplorably
+vitiated&mdash;it fatigues the feelings without interesting the
+understanding; it gratuitously harasses the heart, and wantonly adds to
+the store, already too great, of painful sensations."<span class="fnref"><a
+name="fnref218" id="fnref218" href="#fn218">[218]</a></span> In general
+Scott minimizes the effect of any moral that may be expressed in the
+novel, but occasionally he seems inconsistent, when he is talking of
+sentiments that are peculiarly distasteful to him.<span class="fnref"><a
+name="fnref219" id="fnref219" href="#fn219">[219]</a></span> But his thesis
+is that "the direct and obvious moral to be deduced from a fictitious
+narrative is of much less consequence to the public than the mode in
+which the story is treated in the course of its details."<span
+class="fnref"><a name="fnref220" id="fnref220" href="#fn220">[220]</a></span> In the
+<i>Life of Fielding</i> he says of novels: "The best which can be hoped is
+that they may sometimes instruct<span class="pagenum"><a name="page79"
+id="page79" href="#page79">[79]</a></span> the youthful mind by real pictures of
+life, and sometimes awaken their better feelings and sympathies by
+strains of generous sentiment, and tales of fictitious woe. Beyond this
+point they are a mere elegance, a luxury contrived for the amusement of
+polished life."</p>
+
+<p>He conceived that his prefaces might be useful to warn readers against
+any ill effects that might otherwise result from the reading of the
+accompanying texts; and our comments on the <i>Lives of the Novelists</i> may
+fitly close with a quotation which shows the writer's attitude toward
+the novels and his own criticisms upon them. The passage is taken from
+the <i>Life of Bage</i>. "We did not think it proper to reject the works of
+so eminent an author from this collection, merely on account of
+speculative errors.<span class="fnref"><a name="fnref221" id="fnref221"
+href="#fn221">[221]</a></span> We have done our best to place a mark on these;
+and as we are far from being of opinion that the youngest and most
+thoughtless derive their serious opinions from productions of this
+nature, we leave them for our reader's amusement, trusting that he will
+remember that a good jest is no argument; that the novelist, like the
+master of a puppet-show, has his drama under his absolute authority, and
+shapes the events to favour his own opinions; and that whether the Devil
+flies away with Punch, or Punch strangles the Devil, forms no real
+argument as to the comparative power of either one or other, but only
+indicates the special pleasure of the master of the motion."</p>
+
+<p>Scott was deeply in sympathy with the literature of the century within
+which he was born. To the evidence of his <i>Swift</i> and of the <i>Lives of
+the Novelists</i> it may be added that he contemplated making a complete
+edition of Pope, and that he professed to like <i>London</i> and <i>The Vanity
+of Human Wishes</i> the best of all poems. James Ballantyne said, rather
+ambiguously, "I think I never saw his countenance more indicative of
+high<span class="pagenum"><a name="page80" id="page80" href="#page80">[80]</a></span>
+admiration than while reciting aloud from those productions."<span
+class="fnref"><a name="fnref222" id="fnref222" href="#fn222">[222]</a></span>
+In one of his letters Scott spoke of the "beautiful and feeling verses
+by Dr. Johnson to the memory of his humble friend Levett, ... which with
+me, though a tolerably ardent Scotchman, atone for a thousand of his
+prejudices."<span class="fnref"><a name="fnref223" id="fnref223"
+href="#fn223">[223]</a></span> Not only did he admire the great biography, but he
+called Boswell "such a biographer as no man but [Johnson] ever had, or
+ever deserved to have."<span class="fnref"><a name="fnref224" id="fnref224"
+href="#fn224">[224]</a></span> But he once said that many of the
+<i>Ramblers</i> were "little better than a sort of pageant, where trite and
+obvious maxims are made to swagger in lofty and mystic language, and get
+some credit only because they are not understood."<span class="fnref"><a
+name="fnref225" id="fnref225" href="#fn225">[225]</a></span></p>
+
+<p>Among other eighteenth century writers, Addison is distinguished by high
+praise in a few casual references,<span class="fnref"><a name="fnref226"
+id="fnref226" href="#fn226">[226]</a></span> but Scott once admitted that he
+did not like Addison so much as he felt to be proper.<span class="fnref"><a
+name="fnref227" id="fnref227" href="#fn227">[227]</a></span> A collection
+of Prior's poems Scott calls "an English classic of the first
+order."<span class="fnref"><a name="fnref228" id="fnref228" href="#fn228">[228]</a></span>
+He speaks of Parnell as "an admirable man and elegant
+poet,"<span class="fnref"><a name="fnref229" id="fnref229" href="#fn229">[229]</a></span>
+and mentions "the ponderous, persevering, and laborious
+dullness of Sir Richard Blackmore."<span class="fnref"><a name="fnref230"
+id="fnref230" href="#fn230">[230]</a></span> But these observations are of
+little importance except as they indicate that Scott had read the
+authors of the eighteenth century and acquiesced in the conventional
+judgments upon them. It is seldom in his brief and casual comments that
+Scott is particularly interesting as a critic, except when he is
+speaking of living writers, for he lacked the gift of conciseness. When
+he has a large canvas he is at his best, and this he has in the
+principal works described in this chapter:&mdash;<i>The Minstrelsy of the
+Scottish Border</i>, the <i>Works of Dryden</i>, the <i>Works of Swift</i>, and the
+<i>Lives of the Novelists</i>.</p>
+
+<hr />
+
+<span class="pagenum"><a name="page81" id="page81" href="#page81">[81]</a></span>
+<h2>CHAPTER IV</h2>
+
+<h3>SCOTT'S CRITICISM OF HIS CONTEMPORARIES</h3>
+
+    <p class="chapdesc">Scott's freedom from literary jealousy&mdash;His disapproval of the
+    typical reviewer's attitude&mdash;Jeffrey, Gifford, and Lockhart&mdash;His own
+    practice in regard to reviewing&mdash;His informal critical
+    remarks&mdash;Opportunity for favorable judgments afforded by the number
+    of important writers in his period.</p>
+
+    <p class="chapdesc">Poets&mdash;Burns&mdash;Coleridge&mdash;Relation of <i>Christabel</i> to
+    Scott's work&mdash;Scott's dislike for extreme
+    Romanticism&mdash;Wordsworth&mdash;Southey&mdash;Scott's review of
+    <i>Kehama</i>&mdash;Byron&mdash;Scott's opinion of Byron's
+    character&mdash;Campbell&mdash;Moore&mdash;Allan Cunningham&mdash;Hogg&mdash;Crabbe&mdash;Joanna
+    Baillie&mdash;Matthew Lewis&mdash;Scott's judgment on his early taste for
+    poetry&mdash;Absence of comment on the work of Lamb, Landor, Hunt,
+    Hazlitt, and DeQuincey.</p>
+
+    <p class="chapdesc">Novelists&mdash;Jane Austen&mdash;Maria Edgeworth&mdash;Cooper&mdash;Personal relations
+    between Scott and Cooper&mdash;Scott's verdict on Americans in
+    general&mdash;Washington Irving&mdash;Goethe&mdash;Fouqué&mdash;Scott's interest in men
+    of action.</p>
+
+
+<p>To study Scott's relations with contemporary writers is a very pleasant
+task because nothing shows better the greatness of his heart. His
+admirable freedom from literary jealousy was an innate virtue which he
+deliberately increased by cultivation, taking care, also, never to
+subject himself to the conditions which he thought accounted for the
+faults of Pope, who had "neither the business nor the idleness of life
+to divide his mind from his Parnassian pursuits."<span class="fnref"><a
+name="fnref231" id="fnref231" href="#fn231">[231]</a></span> "Those who have
+not his genius may be so far compensated by avoiding his foibles," Scott
+said; and some years later he wrote,&mdash;"When I first saw that a literary
+profession was to be my fate, I endeavoured by all efforts of stoicism
+to divest myself of that irritable degree of sensibility&mdash;or, to speak
+plainly, of vanity&mdash;which makes the poetical race miserable and
+ridiculous."<span class="fnref"><a name="fnref232" id="fnref232"
+href="#fn232">[232]</a></span> The record of his life clearly shows that his kindness
+towards other men of letters was not limited to words. One who received
+his good offices has written,&mdash;"The sternest words I ever heard him
+<span class="pagenum"><a name="page82" id="page82" href="#page82">[82]</a></span>utter were
+concerning a certain poet: 'That man,' he said, 'has had much
+in his power, but he never befriended rising genius yet.'"<span
+class="fnref"><a name="fnref233" id="fnref233" href="#fn233">[233]</a></span> We may
+safely say that Scott enjoyed liking the work of other men. "I am most
+delighted with praise from those who convince me of their good taste by
+admiring the genius of my contemporaries,"<span class="fnref"><a
+name="fnref234" id="fnref234" href="#fn234">[234]</a></span> he once wrote to
+Southey.</p>
+
+<p>It is commonly supposed that Scott's amiability led him into absurd
+excesses of praise for the works of his fellow-craftsmen, and indeed he
+did say some very surprising things. But when all his references to any
+one man are brought together, they will be found, with a few exceptions,
+pretty fairly to characterize the writer. His <i>obiter dicta</i> must be
+read in the light of one another, and in the light, also, of his known
+principles. Temperamentally modest about his own work, he was also
+habitually optimistic, and the combination gave him an utterly different
+quality from that of the typical <i>Edinburgh</i> or <i>Quarterly</i> critics.</p>
+
+<p>His disapproval of their point of view he expressed more than once.<span
+class="fnref"><a name="fnref235" id="fnref235" href="#fn235">[235]</a></span>
+It seemed to him futile and ungentlemanly for the anonymous reviewer to
+seek primarily for faults, or "to wound any person's feelings ... unless
+where conceit or false doctrine strongly calls for reprobation."<span
+class="fnref"><a name="fnref236" id="fnref236" href="#fn236">[236]</a></span>
+"Where praise can be conscientiously mingled in a larger proportion than
+blame," he said, "there is always some amusement in throwing together
+our ideas upon the works of our fellow-labourers." He thought, indeed,
+that vituperative and satiric criticism was defeating its own end, in
+the case of the <i>Edinburgh Review</i> since it was overworked to the point
+of monotony. Such criticism he considered futile as well on this account
+as because<span class="pagenum"><a name="page83" id="page83" href="#page83">[83]</a></span>
+he thought it likely to have an injurious effect on the work
+of really gifted writers.</p>
+
+<p>An admirer of both Jeffrey and Scott, who once heard a conversation
+between the two men, has recorded a distinction which is exactly what we
+should expect.<span class="fnref"><a name="fnref237" id="fnref237"
+href="#fn237">[237]</a></span> He says: "Jeffrey, for the most part, entertained
+us, when books were under discussion, with the detection of faults,
+blunders, absurdities, or plagiarisms: Scott took up the matter where he
+left it, recalled some compensating beauty or excellence for which no
+credit had been allowed, and by the recitation, perhaps, of one fine
+stanza, set the poor victim on his legs again."</p>
+
+<p>On Jeffrey Scott's verdict was, "There is something in his mode of
+reasoning that leads me greatly to doubt whether, notwithstanding the
+vivacity of his imagination, he really has any <i>feeling</i> of poetical
+genius, or whether he has worn it all off by perpetually sharpening his
+wit on the grindstone of criticism."<span class="fnref"><a name="fnref238"
+id="fnref238" href="#fn238">[238]</a></span> His comment on Gifford's
+reviews was to the effect that people were more moved to dislike the
+critic for his savagery than the guilty victim whom he flagellated.<span
+class="fnref"><a name="fnref239" id="fnref239" href="#fn239">[239]</a></span>
+In the early days of <i>Blackwood's Magazine</i> Scott often tried to repress
+Lockhart's "wicked wit,"<span class="fnref"><a name="fnref240" id="fnref240"
+href="#fn240">[240]</a></span> and when Lockhart became editor of the
+<i>Quarterly</i> his father-in-law did not always approve of his work. "Don't
+like his article on Sheridan's life,"<span class="fnref"><a name="fnref241"
+id="fnref241" href="#fn241">[241]</a></span> says the <i>Journal</i>. "There is
+no breadth in it, no general views, the whole flung away in smart but
+party criticism. Now, no man can take more general and liberal views of
+literature than J.G.L."<span class="fnref"><a name="fnref242" id="fnref242"
+href="#fn242">[242]</a></span></p>
+
+<p><span class="pagenum"><a name="page84" id="page84" href="#page84">[84]</a></span>With
+these opinions, Scott was not likely often to undertake the
+reviewing of books that did not, in one way or another interest him or
+move his admiration; and he would lay as much stress as possible on
+their good points. Gifford told him that "fun and feeling" were his
+forte.<span class="fnref"><a name="fnref243" id="fnref243" href="#fn243">[243]</a></span>
+In his early days he was probably somewhat influenced by
+Jeffrey's method, and his articles on Todd's <i>Spenser</i> and Godwin's
+<i>Life of Chaucer</i> indicate that he could occasionally adopt something of
+the tone of the <i>Edinburgh Review</i>. Years afterwards he refused to write
+an article that Lockhart wanted for the <i>Quarterly</i>, saying, "I cannot
+write anything about the author unless I know it can hurt no one
+alive"<span class="fnref"><a name="fnref244" id="fnref244" href="#fn244">[244]</a></span>
+but for the first volume of the <i>Quarterly</i> he reviewed Sir
+John Carr's <i>Caledonian Sketches</i> in a way that Sharon Turner seriously
+objected to, because it made Sir John seem ridiculous.<span class="fnref"><a
+name="fnref245" id="fnref245" href="#fn245">[245]</a></span> Some of
+Scott's critics would perhaps apply one of the strictures to himself:
+"Although Sir John quotes Horace, he has yet to learn that a wise man
+should not admire too easily; for he frequently falls into a state of
+wonderment at what appears to us neither very new nor very
+extraordinary."<span class="fnref"><a name="fnref246" id="fnref246"
+href="#fn246">[246]</a></span> But if admiration seems to characterize too great a
+proportion of Scott's critical work, it is because he usually preferred
+to ignore such books as demanded the sarcastic treatment which he
+reprehended, but which he felt perfectly capable of applying when he
+wished. Speaking of a fulsome biography he once said, "I can no more
+sympathize with a mere eulogist than I can with a ranting hero upon the
+stage; and it unfortunately happens that some of our disrespect is apt,
+rather unjustly, to be transferred to the subject of the panegyric in
+the one case, and to poor Cato in the other."<span class="fnref"><a
+name="fnref247" id="fnref247" href="#fn247">[247]</a></span></p>
+
+<p>Besides Scott's formal reviews, we find cited as evidence of his extreme
+amiability his letters, his journal, and the remarks he made to friends
+in moments of enthusiasm. These do indeed contain some sweeping
+statements, but in almost every case one can see some reason, other than
+the desire to be obliging, why he made them. He was not double-faced.
+One of the nearest approaches to it seems to have been in the case of
+<span class="pagenum"><a name="page85" id="page85" href="#page85">[85]</a></span>Miss
+Seward's poetry, for which he wrote such an introduction as hardly
+prepares the reader for the remark he made to Miss Baillie, that most of
+it was "absolutely execrable." His comment in the edition of the
+poems&mdash;the publication of which Miss Seward really forced upon him as a
+dying request&mdash;is sedulously kind, and in <i>Waverley</i> he quotes from her
+a couple of lines which he calls "beautiful." But the essay is most
+carefully guarded, and throughout it the editor implies that the woman
+was more admirable than the poetry. Personally, indeed, he seems to have
+liked and admired her.<span class="fnref"><a name="fnref248" id="fnref248"
+href="#fn248">[248]</a></span></p>
+
+<p>The catalogue of Scott's contemporaries is so full of important names
+that his genius for the enjoyment of other men's work had a wide
+opportunity to display itself without becoming absurd. An argument early
+used to prove that Scott was the author of <i>Waverley</i> was the frequency
+of quotation in the novels from all living poets except Scott himself,
+and he felt constrained to throw in a reference or two to his own poetry
+in order to weaken the force of the evidence.<span class="fnref"><a
+name="fnref249" id="fnref249" href="#fn249">[249]</a></span> The reader is
+irresistibly reminded of the following description, given by Lockhart in
+a letter to his wife, of a morning walk taken by Wordsworth and Scott in
+company: "The Unknown was continually quoting Wordsworth's Poetry and
+Wordsworth ditto, but the great Laker never uttered one syllable by
+which it might have been intimated to a stranger that your Papa had ever
+written a line either of verse or prose since he was born."<span
+class="fnref"><a name="fnref250" id="fnref250" href="#fn250">[250]</a></span></p>
+
+<p><span class="pagenum"><a name="page86" id="page86" href="#page86">[86]</a></span>Scott's
+opinions in regard to his fellow craftsmen may best be given
+largely in his own words&mdash;words which cannot fail to be interesting,
+however little evidence they show of any attempt to make them quotable.</p>
+
+<p>In considering Scott's estimation of his contemporaries it is
+chronologically proper to mention Burns first. As a boy of fifteen Scott
+met Burns, an event which filled him with the suitable amount of awe. He
+was most favorably impressed with the poet's appearance and with
+everything in his manner. The boy thought, however, that "Burns'
+acquaintance with English poetry was rather limited, and also, that
+having twenty times the abilities of Allan Ramsay and of Ferguson, he
+talked of them with too much humility as his models."<span class="fnref"><a
+name="fnref251" id="fnref251" href="#fn251">[251]</a></span> Scott's
+admiration of Burns was always expressed in the highest and, if one may
+say so, the most affectionate terms. He refused to let himself be named
+"in the same day" with Burns.<span class="fnref"><a name="fnref252"
+id="fnref252" href="#fn252">[252]</a></span> "Long life to thy fame and peace to
+thy soul, Rob Burns!" he exclaimed, in his <i>Journal</i>; "when I want to
+express a sentiment which I feel strongly, I find the phrase in
+Shakespeare&mdash;or thee."<span class="fnref"><a name="fnref253"
+id="fnref253" href="#fn253">[253]</a></span> On another day he compared Burns with
+Shakspere as excelling all other poets in "the power of exciting the
+most varied and discordant emotions with such rapid transitions."<span
+class="fnref"><a name="fnref254" id="fnref254" href="#fn254">[254]</a></span>
+Again, "The Jolly Beggars, for humorous description and nice
+discrimination of character, is inferior to no poem of the same length
+in the whole range of English poetry."<span class="fnref"><a name="fnref255"
+id="fnref255" href="#fn255">[255]</a></span> Scott wished that Burns
+might have carried out his plan of dramatic composition, and regretted,
+from that point of view, the excessive labor at songs which in the
+nature of things could not all be masterpieces.<span class="fnref"><a
+name="fnref256" id="fnref256" href="#fn256">[256]</a></span></p>
+
+<p>Of writers who were more precisely contemporaries of Scott, the Lake
+Poets and Byron are the most important. The precedence ought to be given
+to Coleridge because of the suggestion Scott caught from a chance
+recitation of <i>Christabel</i> for the<span class="pagenum"><a
+name="page87" id="page87" href="#page87">[87]</a></span> meter he made so popular in the
+<i>Lay</i>.<span class="fnref"><a name="fnref257" id="fnref257"
+href="#fn257">[257]</a></span> Fragments from <i>Christabel</i> are quoted or alluded to so
+often in the novels<span class="fnref"><a name="fnref258" id="fnref258"
+href="#fn258">[258]</a></span> and throughout Scott's work that we should
+conclude it had made a greater impression upon him than any other single
+poem written in his own time, if Lockhart had not spoken of Wordsworth's
+sonnet on Neidpath Castle as one which Scott was perhaps fondest of
+quoting.<span class="fnref"><a name="fnref259" id="fnref259" href="#fn259">[259]</a></span>
+<i>Christabel</i> is not the only one of Coleridge's poems
+which Scott used for allusion or reference, but it was the favorite. "He
+is naturally a grand poet," Scott once wrote to a friend. "His verses on
+Love, I think, are among the most beautiful in the English language. Let
+me know if you have seen them, as I have a copy of them as they stood in
+their original form, which was afterwards altered for the worse."<span
+class="fnref"><a name="fnref260" id="fnref260" href="#fn260">[260]</a></span>
+The <i>Ancient Mariner</i> also made a decided impression on him, if we judge
+from the fact that he quoted<span class="pagenum"><a name="page88"
+id="page88" href="#page88">[88]</a></span> from it several times.<span class="fnref"><a
+name="fnref261" id="fnref261" href="#fn261">[261]</a></span> Scott evidently
+felt that Coleridge was a most tantalizing poet, and once intimated that
+future generations would in regard to him feel something like Milton's
+desire "to call up him who left half told the story of Cambuscan
+bold."<span class="fnref"><a name="fnref262" id="fnref262" href="#fn262">[262]</a></span>
+"No man has all the resources of poetry in such profusion,
+but he cannot manage them so as to bring out anything of his own on a
+large scale at all worthy of his genius.... His fancy and diction would
+have long ago placed him above all his contemporaries, had they been
+under the direction of a sound judgment and a steady will."<span
+class="fnref"><a name="fnref263" id="fnref263" href="#fn263">[263]</a></span> Such,
+in effect, was the opinion that Scott always expressed concerning
+Coleridge, and it is practically that of posterity. In <i>The Monastery</i>
+Coleridge is called "the most imaginative of our modern bards." In
+another connection, after speaking of the "exquisite powers of poetry he
+has suffered to remain uncultivated," Scott adds, "Let us be thankful
+for what we have received, however. The unfashioned ore, drawn from so
+rich a mine, is worth all to which art can add its highest decorations,
+when drawn from less abundant sources."<span class="fnref"><a
+name="fnref264" id="fnref264" href="#fn264">[264]</a></span> These remarks are worth
+quoting, not only because of their wisdom, but also because Scott had
+small personal acquaintance with Coleridge and was rather repelled than
+attracted by what he knew of the character of the author of
+<i>Christabel</i>. His praises cannot in this case be called the tribute of
+friendship, and his own remarkable power of self-control might have made
+him a stern judge of Coleridge's shortcomings.</p>
+
+<p>One of his most interesting comments on Coleridge is contained in a
+discussion of Byron's <i>Darkness</i>, a poem which to his mind recalled "the
+wild, unbridled, and fiery imagination of Coleridge."<span class="fnref"><a
+name="fnref265" id="fnref265" href="#fn265">[265]</a></span> <i>Darkness</i> is
+characterized as a mass of images and ideas, unarranged, and the critic
+goes on to warn the author against indulging in this sort of poetry. He
+says: "The feeling of reverence which we entertain for that which<span
+class="pagenum"><a name="page89" id="page89" href="#page89">[89]</a></span> is
+difficult of comprehension, gives way to weariness whenever we begin to
+suspect that it cannot be distinctly comprehended by anyone.... The
+strength of poetical conception and beauty of diction bestowed upon such
+prolusions [<i>sic</i>], is as much thrown away as the colors of a painter,
+could he take a cloud of mist or a wreath of smoke for his canvas." It
+is disappointing that we have no comment from Scott upon Shelley's
+poetry, but we can imagine what is would have been.<span class="fnref"><a
+name="fnref266" id="fnref266" href="#fn266">[266]</a></span> Scott's
+position as the great popularizer of the Romantic movement in poetry
+makes particularly interesting his very evident though not often
+expressed repugnance to the more extreme development of that movement.</p>
+
+<p>Wordsworth's peculiar theory of poetry seemed to Scott superfluous and
+unnecessary, though he was never, so far as we can judge, especially
+irritated by it.<span class="fnref"><a name="fnref267" id="fnref267"
+href="#fn267">[267]</a></span> Of Wordsworth and Southey he wrote to Miss Seward:
+"Were it not for the unfortunate idea of forming a new school of poetry,
+these men are calculated to give it a new impulse; but I think they
+sometimes lose their energy in trying to find not a better but a
+different path from what has been travelled by their predecessors."<span
+class="fnref"><a name="fnref268" id="fnref268" href="#fn268">[268]</a></span>
+Scott paid tribute in the introduction to <i>The Antiquary</i> to as much of
+Wordsworth's poetical creed as he could acquiesce in when he said, "The
+lower orders are less restrained by the habit of suppressing their
+feelings, and ... I agree with my friend Wordsworth that they seldom
+fail to express them in the strongest and most powerful language." In a
+letter to Southey Scott calls Wordsworth "a great master of the
+passions,"<span class="fnref"><a name="fnref269" id="fnref269" href="#fn269">[269]</a></span>
+<span class="pagenum"><a name="page90" id="page90" href="#page90">[90]</a></span>and in his
+<i>Journal</i> he said: His imagination "is
+naturally exquisite, and highly cultivated by constant exercise."<span
+class="fnref"><a name="fnref270" id="fnref270" href="#fn270">[270]</a></span>
+At another time he compared Wordsworth and Southey as scholars and
+commented on the "freshness, vivacity, and spring" of Wordsworth's
+mind.<span class="fnref"><a name="fnref271" id="fnref271" href="#fn271">[271]</a></span></p>
+
+<p>The personal relations between Scott and Wordsworth were, as Wordsworth's
+tribute in <i>Yarrow Revisited</i> would indicate, those of affectionate
+intimacy. And if Scott took exception to Wordsworth's choice of subjects
+and manner, Wordsworth used the same freedom in disagreeing with Scott's
+poetical ideals. "Thank you," he wrote in 1808, "for <i>Marmion</i>, which I
+have read with lively pleasure. I think your end has been attained. That
+it is not in every respect the end which I should wish you to purpose to
+yourself, you will be well aware, from what you know of my notions of
+composition, both as to matter and manner."<span class="fnref"><a
+name="fnref272" id="fnref272" href="#fn272">[272]</a></span> When, in 1821, Chantrey
+was about to exhibit together his busts of the two poets, Scott wrote:
+"I am happy my effigy is to go with that of Wordsworth, for (differing
+from him in very many points of taste) I do not know a man more to be
+venerated for uprightness of heart and loftiness of genius. Why he will
+sometimes choose to crawl upon all fours, when God has given him so
+noble a countenance to lift to heaven, I am as little able to account
+for as for his quarrelling (as you tell me) with the wrinkles which time
+and meditation have stamped his brow withal."<span class="fnref"><a
+name="fnref273" id="fnref273" href="#fn273">[273]</a></span></p>
+
+<p>These remarks upon Wordsworth and Coleridge touch merely the fringe of
+the subject, and indeed we do not find that Scott exercised any such
+sublimated ingenuity in appreciating these men as has often been
+considered essential. We can see that he admired certain parts of their
+work intensely, but we look in vain for any real analysis of their
+quality. But as he never had occasion to write essays upon their poetry,
+it is perhaps hardly fair to expect anything more than the general
+remarks<span class="pagenum"><a name="page91" id="page91" href="#page91">[91]</a></span>
+that we actually do find, and as far as they go they are
+satisfactory.</p>
+
+<p>Like most of his distinguished contemporaries, Scott held the work of
+Southey in surprisingly high estimation.<span class="fnref"><a
+name="fnref274" id="fnref274" href="#fn274">[274]</a></span> Southey, more than anyone
+else except Wordsworth, and more than Wordsworth in some ways, was the
+"real poet" of the period, devoting his whole heart to literature and
+his whole time to literary pursuits. Scott commented on the fact,
+saying, "Southey's ideas are all poetical," and, "In this respect, as
+well as in many others, he is a most striking and interesting
+character."<span class="fnref"><a name="fnref275" id="fnref275"
+href="#fn275">[275]</a></span> Nevertheless Scott found it easy to criticise Southey's
+poems adversely, as we may see from his correspondence. Writing to Miss
+Seward he pointed out flaws in the story and the characterization of
+<i>Madoc</i>,<span class="fnref"><a name="fnref276" id="fnref276"
+href="#fn276">[276]</a></span> yet after repeated readings he saw enough to convince him
+that <i>Madoc</i> would in the future "assume his real place at the feet of
+Milton."<span class="fnref"><a name="fnref277" id="fnref277" href="#fn277">[277]</a></span>
+<i>Thalaba</i> was one of the poems he liked to have read aloud
+on Sunday evenings.<span class="fnref"><a name="fnref278" id="fnref278"
+href="#fn278">[278]</a></span> A review of <i>The Curse of Kehama</i>, in which he
+seemed to express the opinion that this surpassed the poet's previous
+work, illustrates his professed creed as to criticism. He wrote to Ellis
+concerning his article: "What I could I did, which was to throw as much
+weight as possible upon the beautiful passages, of which there are many,
+and to slur over the absurdities, of which there are not a few.... This
+said <i>Kehama</i> affords cruel openings for the quizzers, and I suppose
+will get it roundly in the <i>Edinburgh Review</i>. I could<span
+class="pagenum"><a name="page92" id="page92" href="#page92">[92]</a></span> have made a very
+different hand of it, indeed, had the order of the day been <i>pour
+déchirer</i>."<span class="fnref"><a name="fnref279" id="fnref279"
+href="#fn279">[279]</a></span> If Scott had to make an effort in writing the review,
+he made it with abundant energy. Some absurdities are indeed mentioned,
+but various particular passages are characterized in the most
+enthusiastic way, with such phrases as "horribly sublime," "impressive
+and affecting," "reminds us of the Satan of Milton, yet stands the
+comparison," "all the gloomy power of Dante." It may be noted that Scott
+used Milton's name rather freely in comparisons, and that for Dante his
+admiration was altogether unimpassioned,<span class="fnref"><a
+name="fnref280" id="fnref280" href="#fn280">[280]</a></span> but the review, after all,
+is on the whole very laudatory.<span class="fnref"><a name="fnref281"
+id="fnref281" href="#fn281">[281]</a></span> In it Scott awards to Southey the
+palm for a surpassing share of imagination, which he elsewhere gave to
+Coleridge. Possibly Scott was the less inclined to be severe over the
+absurdities of <i>Kehama</i> because Southey agreed with his own theory as to
+the evil of fastidious corrections.<span class="fnref"><a name="fnref282"
+id="fnref282" href="#fn282">[282]</a></span> At any rate he seems to have
+been quite sincere in saying to Southey, in connection with the
+poet-laureateship which, according to Scott's suggestion, was offered to
+him in 1813, "I am not such an ass as not to know that you are my better
+in poetry, though I have had, probably but for a time, the tide of
+popularity in my favour."<span class="fnref"><a name="fnref283"
+id="fnref283" href="#fn283">[283]</a></span></p>
+
+<p>Much as Scott admired Southey, Wordsworth, and Coleridge, he considered
+Byron the great poetical genius of the<span class="pagenum"><a
+name="page93" id="page93" href="#page93">[93]</a></span> period. He once spoke of Byron as
+the only poet of transcendent talents that England had had since
+Dryden.<span class="fnref"><a name="fnref284" id="fnref284" href="#fn284">[284]</a></span>
+At another time his comment was: "He wrote from impulse,
+never from effort; and therefore I have always reckoned Burns and Byron
+the most genuine poetical geniuses of my time, and half a century before
+me. We have ... many men of high poetical talent, but none, I think, of
+that ever-gushing and perennial fountain of natural water."<span
+class="fnref"><a name="fnref285" id="fnref285" href="#fn285">[285]</a></span> The
+likenesses between Byron's poetical manner and Scott's own must have
+made it easy for the elder poet to recognize the power of the younger,
+since Scott was innocent of all repining or envy over the fact which he
+so freely acknowledged in later years, that Byron "beat" him out of the
+field.<span class="fnref"><a name="fnref286" id="fnref286" href="#fn286">[286]</a></span>
+From the time of the appearance of the first two cantos of
+<i>Childe Harold</i> he acknowledged the author's "extraordinary power,"<span
+class="fnref"><a name="fnref287" id="fnref287" href="#fn287">[287]</a></span>
+and even before that he had tried to soften Jeffrey's harsh treatment of
+<i>Hours of Idleness</i>.<span class="fnref"><a name="fnref288"
+id="fnref288" href="#fn288">[288]</a></span> In 1814 he was ready to say, "Byron hits the
+mark where I don't even pretend to fledge my arrow."<span class="fnref"><a
+name="fnref289" id="fnref289" href="#fn289">[289]</a></span></p>
+
+<p>It was Byron, rather than Scott, who realized the debt of the new
+popular favorite to the old; and their personal relations were of the
+pleasantest, though they were never intimate as Scott was with Southey
+and Wordsworth. As poets, Scott and Byron seem to have understood each
+other thoroughly.<span class="fnref"><a name="fnref290" id="fnref290"
+href="#fn290">[290]</a></span> None of the other great poets of the period did
+justice to Scott, nor did he succeed so well in defining the power of
+any of the others. His first review of <i>Childe Harold</i> is the most
+important of all his articles on the poetry of his time; and his remarks
+written at the death of Lord Byron, though brief, are not less full of
+good judgment. Originality, spontaneity, and the ability and inclination
+to write rapidly were traits Scott admired most in Byron, and in the
+vigor and beauty of the<span class="pagenum"><a name="page94"
+id="page94" href="#page94">[94]</a></span> poems he found the fine flower of all these
+qualities. "We cannot but repeat our conviction," he says, "that poetry,
+being, in its higher classes, an art which has for its elements
+sublimity and unaffected beauty, is more liable than any other to suffer
+from the labour of polishing.... It must be remembered that we speak of
+the higher tones of composition; there are others of a subordinate
+character where extreme art and labour are not bestowed in vain. But we
+cannot consider over-anxious correction as likely to be employed with
+advantage upon poems like those of Lord Byron, which have for their
+object to rouse the imagination and awaken the passions."<span
+class="fnref"><a name="fnref291" id="fnref291" href="#fn291">[291]</a></span></p>
+
+<p>Byron's temperament was far from being of a sort that Scott could
+admire, though he was very susceptible to his personal charm: "Byron's
+countenance is a thing to dream of," he once said;<span class="fnref"><a
+name="fnref292" id="fnref292" href="#fn292">[292]</a></span> but he felt that
+popular estimation did Byron injustice. His articles on this poet
+contain some of his most characteristic moral reflections. Something of
+Byron's gloominess Scott attributes to the sensitive poetic organization
+which he felt that Byron had in an extreme degree; but more to the
+perverted habit of looking within rather than around upon the realities
+of life, in which Providence intended men to find their happiness. The
+philosophy is not novel or brilliant; it is only very sincere and very
+just; and it supplies to Scott's criticism of Byron that element of
+moral reflection which we feel was necessary to the occasion.<span
+class="fnref"><a name="fnref293" id="fnref293" href="#fn293">[293]</a></span></p>
+
+<p><span class="pagenum"><a name="page95" id="page95" href="#page95">[95]</a></span>But
+though Scott never failed to express disapproval of Byron's attitude
+toward life, he kept his criticism on this point essentially distinct
+from his judgment on the poetry. In a way it was impossible to separate
+the two subjects, and the public demanded some discussion of the man
+when his poetry was reviewed. But Scott's verdict on the importance of
+the poems as such was unaffected by his disapproval of the author's
+point of view. He praised <i>Don Juan</i> no less heartily than <i>Childe
+Harold</i>.</p>
+
+<p>His criticism of <i>Don Juan</i> is, however, to be gathered only from short
+and incidental remarks, as he never reviewed the poem. A satire written
+by R.P. Gillies is commemorated thus in Scott's <i>Journal</i>: "This poem
+goes to the tune of <i>Don Juan</i>, but it is the champagne after it has
+stood two days with the cork drawn."<span class="fnref"><a name="fnref294"
+id="fnref294" href="#fn294">[294]</a></span> He called Byron "as various in
+composition as Shakspeare himself"; and added, "this will be admitted by
+all who are acquainted with his <i>Don Juan</i>.... Neither <i>Childe Harold</i>,
+nor any of the most beautiful of Byron's earlier tales, contain more
+exquisite morsels of poetry than are to be found scattered through the
+cantos of <i>Don Juan</i>."<span class="fnref"><a name="fnref295"
+id="fnref295" href="#fn295">[295]</a></span> The defence of <i>Cain</i> which Scott wrote in
+accepting the dedication of that poem to himself is well known.<span
+class="fnref"><a name="fnref296" id="fnref296" href="#fn296">[296]</a></span> He
+calls it a "very grand and tremendous drama," and continues, "Byron has
+certainly matched Milton on his own ground. Some part of the language is
+bold, and may shock one class of readers, whose tone will be adopted by
+others out of affectation or envy. But then they must condemn the
+<i>Paradise Lost</i>, if they have a mind to be consistent."</p>
+
+<p>Scott's comments on Byron are closely paralleled by those of Goethe, who
+considered that Byron had the greatest talent of any man of his
+century.<span class="fnref"><a name="fnref297" id="fnref297" href="#fn297">[297]</a></span>
+The opinions of continental critics in general were
+similar. Among English critics Matthew Arnold aroused many protests when
+he ranked Byron as one of the two greatest English poets of the
+nineteenth century,<span class="pagenum"><a name="page96" id="page96" href="#page96">[96]</a></span>
+but his views seem perfectly rational now; and
+though he remarked upon the extravagance of Scott's phrases his own
+verdict was not very unlike that we have been considering.</p>
+
+<p>Scott's enthusiasm about the literature of his own time seems natural
+enough when we consider that the list of his notable contemporaries is
+far from exhausted after Burns, the Lake Poets, and Byron have been
+named. Campbell was a poet of whose powers he thought very highly, but
+who, he believed had given only a sample of the great things he might do
+if he would cease to "fear the shadow of his own reputation." Before he
+wrote about Byron Scott had given in his review of <i>Gertrude of Wyoming</i>
+an exposition of his opinion as to the dangers of extreme care in
+revision. "The truth is," he says, "that an author cannot work upon a
+beautiful poem beyond a certain point without doing it real and
+irreparable injury in more respects than one."<span class="fnref"><a
+name="fnref298" id="fnref298" href="#fn298">[298]</a></span> He felt that
+Campbell had worked, in many cases, beyond the "certain point." For the
+"impetuous lyric sally," like the <i>Mariners of England</i> and the <i>Battle
+of the Baltic</i>, Scott rightly thought that Campbell excelled all his
+contemporaries. Moore was another lyrist whose poetry Scott greatly
+admired. In Moore's case, as in Southey's, the contemporary estimate was
+higher than can now be maintained, but Moore is to-day underrated. From
+what Scott says about him we conclude that the man's personality and his
+way of singing added much to the exquisiteness of his songs. "He seems
+almost to think in music," Scott said, "the notes and words are so
+happily suited to each other";<span class="fnref"><a name="fnref299"
+id="fnref299" href="#fn299">[299]</a></span> and, "it would be a delightful
+addition to life if T.M. had a cottage within two miles of one."<span
+class="fnref"><a name="fnref300" id="fnref300" href="#fn300">[300]</a></span>
+Allan Cunningham was a young protege of Scott whose songs, "Its hame and
+it's hame," and "A wet sheet and a flowing sea," seemed to him "among
+the best going."<span class="fnref"><a name="fnref301" id="fnref301"
+href="#fn301">[301]</a></span> Another poet who received Scott's good offices was
+Hogg, whose relations with the greater man are described so vividly and
+at some points so amusingly by Lockhart. Scott called him a "wonderful
+creature for his opportunities."<span class="fnref"><a name="fnref302"
+id="fnref302" href="#fn302">[302]</a></span></p>
+
+<p><span class="pagenum"><a name="page97" id="page97" href="#page97">[97]</a></span>For the
+poet Crabbe, Scott, like Byron and Wordsworth,<span class="fnref"><a
+name="fnref303" id="fnref303" href="#fn303">[303]</a></span> had a steady
+and high admiration. In the Sunday evening readings that Lockhart
+describes as being so pleasant a feature of the life of the family in
+Edinburgh, Crabbe was perhaps the chief standing resource after
+Shakspere.<span class="fnref"><a name="fnref304" id="fnref304" href="#fn304">[304]</a></span>
+His work was particularly recommended to the young
+people of the family,<span class="fnref"><a name="fnref305" id="fnref305"
+href="#fn305">[305]</a></span> and when the venerable poet visited the
+Scotts in 1822, he was received as a man whom they always looked upon as
+nobly gifted. Scott once wrote of him: "I think if he had cultivated the
+sublime and the pathetic instead of the satirical cast of poetry, he
+must have stood very high (as indeed he does at any rate) on the list of
+British poets. His <i>Sir Eustace Grey</i> and <i>The Hall of Justice</i> indicate
+prodigious talent."<span class="fnref"><a name="fnref306" id="fnref306"
+href="#fn306">[306]</a></span> Scott did not like Crabbe's choice of
+subjects,<span class="fnref"><a name="fnref307" id="fnref307" href="#fn307">[307]</a></span>
+but he appreciated the "force and vigour" of a poet whom
+students of our own day are once more beginning to admire, after a
+period during which he was practically ignored.</p>
+
+<p>Scott's very high estimation of Joanna Baillie has already been
+mentioned.<span class="fnref"><a name="fnref308" id="fnref308" href="#fn308">[308]</a></span>
+In this case as in many others he was proud and happy in
+the personal friendship of the writer whose works he admired. He once
+wrote to Miss Edgeworth: "I have always felt the value of having access
+to persons of talent and genius to be the best part of a literary man's
+prerogative."<span class="fnref"><a name="fnref309" id="fnref309"
+href="#fn309">[309]</a></span> Almost the earliest of the writers for whose
+friendship Scott<span class="pagenum"><a name="page98" id="page98" href="#page98">[98]</a></span>
+felt grateful was Matthew Lewis, famed as the author of
+<i>The Monk</i>. Lewis was also something of a poet, and was really helpful
+to Scott in giving him advice on literary subjects. Though Scott
+perceived that Lewis's talents "would not stand much creaming"<span
+class="fnref"><a name="fnref310" id="fnref310" href="#fn310">[310]</a></span> he
+continued to regard him as one who had had high imagination and a "finer
+ear for rhythm than Byron's."</p>
+
+<p>Scott felt that his own taste in respect to poetry became more rigorous
+as he grew older. In 1823 in a letter to Miss Baillie he commented on
+Mrs. Hemans as "somewhat too poetical for my taste&mdash;too many flowers, I
+mean, and too little fruit&mdash;but that may be the cynical criticism of an
+elderly gentleman; for it is certain that when I was young I read verses
+of every kind with infinitely more indulgence, because with more
+pleasure than I can now do&mdash;the more shame for me now to refuse the
+complaisance which I have had so often to solicit."<span class="fnref"><a
+name="fnref311" id="fnref311" href="#fn311">[311]</a></span> Similarly he
+speaks in the preface to <i>Kenilworth</i> of having once been delighted with
+the poems of Mickle and Langhorne: "There is a period in youth when the
+mere power of numbers has a more strong effect on ear and imagination
+than in after-life." With these comments we may put Lockhart's sagacious
+remark: "His propensity to think too well of other men's works sprung,
+of course, mainly from his modesty and good nature; but the brilliancy
+of his imagination greatly sustained the delusion. It unconsciously gave
+precision to the trembling outline, and life and warmth to the vapid
+colours before him."<span class="fnref"><a name="fnref312" id="fnref312"
+href="#fn312">[312]</a></span> This and his kindness would account for the
+latter half of the observation made by his publisher: "I like well
+Scott's ain bairns&mdash;but heaven preserve me from those of his
+fathering."<span class="fnref"><a name="fnref313" id="fnref313"
+href="#fn313">[313]</a></span></p>
+
+<p>I have found no reference to Landor, a poet whom Southey and Wordsworth
+read with eagerness, but Mr. Forster makes this statement in his
+<i>Biography of Landor</i>: "Among Landor's papers I found a list, prepared
+by himself, of resemblances to passages of his own writing to be found
+in Scott's <i>Tales of the Crusaders</i>. There were several from
+<i>Gebir</i>....
+The<span class="pagenum"><a name="page99" id="page99" href="#page99">[99]</a></span> poem
+had made a great impression on Scott, who read it at Southey's
+suggestion."<span class="fnref"><a name="fnref314" id="fnref314"
+href="#fn314">[314]</a></span> Forster also notes the fact that Southey, in a letter
+to Scott written in 1812, spoke very highly of Landor's <i>Count
+Julian</i>.<span class="fnref"><a name="fnref315" id="fnref315"
+href="#fn315">[315]</a></span> I am similarly unable to cite any comment by Scott on the
+writings of Lamb. Was it because Scott's genius clung to Scotland and
+Lamb's to London, that the two seemed so little to notice each other? It
+does seem odd that Scott never refers to the delightful <i>Specimens of
+English Dramatic Poets</i>. At one time Lamb wrote to Sir Walter asking a
+contribution toward a fund that was being raised to help William Godwin
+out of pecuniary troubles, and Scott replied, through the artist Haydon,
+with a cheque for ten pounds and a pleasant message to Mr. Lamb, "whom I
+should be happy to see in Scotland, though I have not forgotten his
+metropolitan preference of houses to rocks, and citizens to wild rustics
+and highland men."<span class="fnref"><a name="fnref316" id="fnref316"
+href="#fn316">[316]</a></span> Hazlitt and Hunt were two other writers whose
+literary work Scott ignored.<span class="fnref"><a name="fnref317"
+id="fnref317" href="#fn317">[317]</a></span> This, as well as his neglect of Lamb's
+and DeQuincey's essays, may be due largely to the fact that he seldom
+read newspapers and magazines, and these writers were journalists and
+contributors to periodicals. Voracious reader as Scott was, he had to
+economize time somewhere, and the hours saved from papers could be given
+to books. We do find one or two references to these men as political
+writers. Scott hoped Lockhart would learn, as editor of the
+<i>Quarterly</i>,
+to despise petty adversaries, for "to take notice of such men as Hazlitt
+and Hunt in the <i>Quarterly</i> would be to introduce them into a world
+which is scarce conscious of their existence."<span class="fnref"><a
+name="fnref318" id="fnref318" href="#fn318">[318]</a></span></p>
+
+<p><span class="pagenum"><a name="page100" id="page100" href="#page100">[100]</a></span>
+Among novelists, those of Scott's contemporaries to whom he gave the
+highest praise were women. This is, however to be expected, and it is
+natural to find Jane Austen receiving the highest praise of all; since
+Scott was emphatically not of the tribe of critics who are able to
+appreciate only one kind of novel or poem. Her novels seemed to grow
+upon him and he read them often. It was in connection with her
+"exquisite touch" that he was moved to reflect, in the words so often
+quoted from his <i>Journal</i>, "The Big Bow-wow strain I can do myself like
+any now going."<span class="fnref"><a name="fnref319" id="fnref319" href="#fn319">[319]</a></span>
+Among the expressions of admiration which occur in
+his review of <i>Emma</i>,<span class="fnref"><a name="fnref320" id="fnref320"
+href="#fn320">[320]</a></span> Scott records a characteristic bit of protest
+in regard to the tendency of Miss Austen and other novelists to make
+prudence the guiding motive of all their favorite young women
+characters, especially in matters of the heart. He did not like this
+pushing out of Cupid to make way for so moderate a virtue as prudence;
+he thought that it is often good for young people to fall in love
+without regard to worldly considerations. Scott rated Miss Edgeworth
+nearly as high as Miss Austen, and hers is the added honor of having
+inspired the author of <i>Waverley</i> with a desire to emulate her
+power.<span class="fnref"><a name="fnref321" id="fnref321" href="#fn321">[321]</a></span>
+With these two novelists he associated Miss Ferrier, as well
+as the somewhat earlier writer, Fanny Burney.<span class="fnref"><a
+name="fnref322" id="fnref322" href="#fn322">[322]</a></span></p>
+
+<p>Aside from these women and Henry Mackenzie, perhaps the highest praise
+that Scott bestowed on any contemporary novelist<span class="pagenum"><a
+name="page101" id="page101" href="#page101">[101]</a></span> was given to Cooper.
+Here, as in the case of Byron, Scott seemed to ignore the other writer's
+indebtedness to himself. He speaks, in the general preface to the
+Waverley Novels, of "that striking field in which Mr. Cooper has
+achieved so many triumphs"; and at another time calls him "the justly
+celebrated American novelist." In his <i>Journal</i> he comments on <i>The Red
+Rover</i><span class="fnref"><a name="fnref323" id="fnref323" href="#fn323">[323]</a></span>
+and <i>The Prairie</i>;<span class="fnref"><a name="fnref324" id="fnref324"
+href="#fn324">[324]</a></span> <i>The Pilot</i> he recommends warmly in
+a letter to Miss Edgeworth.<span class="fnref"><a name="fnref325"
+id="fnref325" href="#fn325">[325]</a></span></p>
+
+<p>The personal relations between "the Scotch and American lions," as Scott
+called himself and Cooper, when they met in Parisian society in
+1826,<span class="fnref"><a name="fnref326" id="fnref326" href="#fn326">[326]</a></span>
+had some interesting consequences. Cooper suggested to Scott
+that he try to secure for himself part of the profits arising from the
+publication of his works in America, by entering them as the property of
+some citizen.<span class="fnref"><a name="fnref327" id="fnref327" href="#fn327">[327]</a></span>
+They finally concluded to substitute for this plan
+one suggested by Scott, which involved the writing by the Author of
+Waverley, of a letter addressed to Cooper, to be transmitted by him to
+some American publisher who would undertake the publication of an
+authorized edition of which half the profits should go to the author.
+Future works were to be sent over to this publisher in advance of their
+appearance in England. The letter was really an appeal to the justice of
+the American people, and contained an allusion to the publication of
+Irving's works in England according to a plan very similar to that
+proposed by Scott. But the scheme failed here in America, and apparently
+the letter was not made public until Cooper, irritated by the appearance
+in Lockhart's <i>Life of Scott</i> of Sir Walter's comments on his personal
+manner,<span class="fnref"><a name="fnref328" id="fnref328" href="#fn328">[328]</a></span>
+explained the affair (except the reason for dropping the
+plan), and published the<span class="pagenum"><a name="page102" id="page102"
+href="#page102">[102]</a></span> correspondence in the <i>Knickerbocker Magazine</i>
+for April, 1838.<span class="fnref"><a name="fnref329" id="fnref329"
+href="#fn329">[329]</a></span> Later in the same year Cooper wrote a severe
+review of the biography of Scott, attacking his character in a way that
+seems absurdly exaggerated.<span class="fnref"><a name="fnref330"
+id="fnref330" href="#fn330">[330]</a></span> Yet Charles Sumner seems to have
+thought that Cooper made his points, and Mr. Lounsbury is inclined to
+agree with him.<span class="fnref"><a name="fnref331" id="fnref331"
+href="#fn331">[331]</a></span></p>
+
+<p><span class="pagenum"><a name="page103" id="page103" href="#page103">[103]</a></span>
+One of the milder strictures in Cooper's review was as follows "As he
+was ambitious of, so was he careful to preserve, his personal
+popularity, of which we have a striking proof in the studied kindnesses
+that for years were laid before this country in deeds and words, as
+compared with his real acts and sentiments toward America and Americans
+which are now revealed in his letters." A passage which doubtless roused
+Cooper's ire may be quoted. Of the Americans Scott said, in a letter to
+Miss Edgeworth, "They are a people possessed of very considerable
+energy, quickened and brought into eager action by an honourable love of
+their country and pride in their institutions; but they are as yet rude
+in their ideas of social intercourse, and totally ignorant, speaking
+generally, of all the art of good breeding, which consists chiefly in a
+postponement of one's own petty wishes or comforts to those of others.
+By rude questions and observations, an absolute disrespect to other
+people's feelings, and a ready indulgence of their own, they make one
+feverish in their company, though perhaps you may be ashamed to confess
+the reason. But this will wear off and is already wearing away. Men,
+when they have once got benches, will soon fall into the use of
+cushions. They are advancing in the lists of our literature, and they
+will not be long deficient in the <i>petite morale</i>, especially as they
+have, like ourselves, the rage for travelling."<span class="fnref"><a
+name="fnref332" id="fnref332" href="#fn332">[332]</a></span></p>
+
+<p>Scott liked George Ticknor,<span class="fnref"><a name="fnref333"
+id="fnref333" href="#fn333">[333]</a></span> and he called Washington Irving "one of
+the best and pleasantest acquaintances I have made this many a
+day."<span class="fnref"><a name="fnref334" id="fnref334" href="#fn334">[334]</a></span>
+In later life he congratulated<span class="pagenum"><a name="page104"
+id="page104" href="#page104">[104]</a></span> himself on having from the
+first foreseen Irving's success.<span class="fnref"><a name="fnref335"
+id="fnref335" href="#fn335">[335]</a></span> When we remember also that Scott
+quotes from Poor Richard,<span class="fnref"><a name="fnref336"
+id="fnref336" href="#fn336">[336]</a></span> refers to Cotton Mather's
+<i>Magnalia</i>,<span class="fnref"><a name="fnref337" id="fnref337"
+href="#fn337">[337]</a></span> and speaks of "the American Brown" as one whose novels
+might be reprinted in England,<span class="fnref"><a name="fnref338"
+id="fnref338" href="#fn338">[338]</a></span> we ought probably to conclude that
+his acquaintance with our literature was as comprehensive as could have
+been expected.</p>
+
+<p>Among continental writers belonging to his period, Goethe was very
+properly the one for whom Scott had the strongest admiration. But we
+find comparatively few references to his reading the great German after
+the early period of translation. Throughout Lockhart's <i>Life of Scott</i>
+it is evident that the biographer had a more thorough acquaintance with
+Goethe than had Scott, and it seems probable that the younger man
+influenced the elder in his judgment on <i>Faust</i> and on Goethe's
+character. In the Introduction to <i>Quentin Durward</i> we find an
+interesting comment on Goethe's success in creating a really wicked
+Mephistopheles, who escapes the noble dignity that Milton and Byron gave
+to their pictures of Satan. Goethe and Scott exchanged letters once in
+1827,<span class="fnref"><a name="fnref339" id="fnref339" href="#fn339">[339]</a></span>
+and it was a personal grief to Sir Walter that the German
+poet's death prevented a visit Scott proposed to make him in 1832. In
+<i>Anne of Geierstein</i> Goethe is called "an author born to arouse the
+slumbering<span class="pagenum"><a name="page105" id="page105"
+href="#page105">[105]</a></span> fame of his country";<span class="fnref"><a
+name="fnref340" id="fnref340" href="#fn340">[340]</a></span> and in the <i>Journal</i> Scott
+characterizes him as "the Ariosto at once and almost the Voltaire of
+Germany."<span class="fnref"><a name="fnref341" id="fnref341" href="#fn341">[341]</a></span>
+The suggestion for the character of Fenella in <i>Peveril
+of the Peak</i> was taken from Goethe, as we learn by Scott's
+acknowledgment in the Introduction. Another German from whom Scott
+borrowed a suggestion&mdash;this time for the unlucky "White Lady of
+Avenel"&mdash;was the Baron de la Motte Fouqué. Scott was evidently
+interested in his work, though he thought Fouqué sometimes used such a
+profusion of historical and antiquarian lore that readers would find it
+difficult to follow the narrative.<span class="fnref"><a name="fnref342"
+id="fnref342" href="#fn342">[342]</a></span> Sir Walter asked his son to tell
+the Baroness de la Motte Fouqué that he had been much interested in her
+writings and those of the Baron, and added, "It will be civil, for folks
+like to know that they are known and respected beyond the limits of
+their own country."<span class="fnref"><a name="fnref343" id="fnref343"
+href="#fn343">[343]</a></span></p>
+
+<p>In the literary circles of Paris Scott more than once experienced the
+pleasure of finding himself "known and respected" by foreigners,<span
+class="fnref"><a name="fnref344" id="fnref344" href="#fn344">[344]</a></span>
+and he had intimate relations with men of letters in London. On one of
+his visits there he saw Byron almost every morning for some time, at the
+house of Murray the publisher. In Edinburgh society Scott was naturally
+a prominent figure, being noted for his fund of anecdote and his
+superior gifts in presiding at dinners. But however much his kindly
+personal feeling is reflected in his comments on the literary work of
+his friends, he was too well-balanced to assume anything of the
+patronizing tone that such success as his might have made natural to
+another sort of man. His fellow-poets thought him a delightful person
+whom they liked so much that they could almost forgive the preposterous
+success of his facile and unimportant poetry.</p>
+
+<p><span class="pagenum"><a name="page106" id="page106" href="#page106">[106]</a></span>
+His full-blooded enjoyment of life and literature tempered without
+obscuring his critical instinct, and though he was "willing to be
+pleased by those who were desirous to give pleasure",<span class="fnref"><a
+name="fnref345" id="fnref345" href="#fn345">[345]</a></span> he noted the
+weak points of men to whose power he gladly paid tribute. Wordsworth,
+Coleridge, Southey, and Byron, whom he classed as the great English
+poets of his time, may, with the exception of Southey, be given the
+places he assigned to them. In regard to Byron, Scott expressed a
+critical estimate that the public is only now getting ready to accept
+after a long period of depreciating Byron's genius. The men whose work
+Scott judged fairly and sympathetically represent widely different
+types. With some of them he was connected by the new impulse that they
+were imparting to English poetry, but he was so close to the transition
+period that he could look backward to his predecessors with no sense of
+strangeness. He was never inclined to quarrel with the "erroneous
+system" of a poem which he really liked. His comments on Byron's
+<i>Darkness</i> suggest that if he had read more than he did of Shelley and
+others among his younger contemporaries he might have found much to
+reprehend, but he held that "we must not limit poetical merit to the
+class of composition which exactly suits one's own particular
+taste."<span class="fnref"><a name="fnref346" id="fnref346" href="#fn346">[346]</a></span>
+Among novelists even less than among poets can we trace a
+"school" to which he paid special allegiance. He read and enjoyed all
+sorts of good stories, growing in this respect more catholic in his
+tastes, though perhaps more severe in his standards, as he grew older.</p>
+
+<p>In speaking of Scott's relations with his contemporaries, we must
+especially remember his ardent interest in those realities of life which
+he considered greater than the greatest books. In one of his reviews he
+laid stress on the merit of writing on contemporary events,<span
+class="fnref"><a name="fnref347" id="fnref347" href="#fn347">[347]</a></span> and he
+seemed to think there was too little<span class="pagenum"><a name="page107"
+id="page107" href="#page107">[107]</a></span> of such celebration. There are many
+evidences of his great admiration for those of his contemporaries who
+were men of action, but it is sufficient to remember that the only man
+in whose presence Scott felt abashed was the Duke of Wellington, for he
+counted that famous commander the greatest man of his time.</p>
+
+<hr />
+
+<span class="pagenum"><a name="page108" id="page108" href="#page108">[108]</a></span>
+<h2>CHAPTER V</h2>
+
+<h3>SCOTT AS A CRITIC OF HIS OWN WORK</h3>
+
+    <p class="chapdesc">Lack of dogmatism about his own work&mdash;Harmony between his talents
+    and his tastes&mdash;His conviction of the value of spontaneity and
+    abundance&mdash;Merits of a rapid meter&mdash;Greater care necessary in verse
+    writing a reason why he turned to prose&mdash;His attitude in regard to
+    revision&mdash;Modesty about his own work&mdash;His opinion of the popular
+    judgment&mdash;Importance of novelty&mdash;Rivalry with Byron&mdash;Scott's
+    attempts to keep ahead of his imitators&mdash;Devices to secure
+    novelty&mdash;His resolution to write history&mdash;Historical motives of his
+    novels&mdash;His comments on the use of historical material&mdash;His verdict
+    in regard to his descriptive abilities and methods&mdash;Lack of emphasis
+    on the ethical aspect of his work&mdash;His judgment on the position of
+    the novel in literature.</p>
+
+
+<p>"Scott is invariably his own best critic," says Mr. Andrew Lang.<span
+class="fnref"><a name="fnref348" id="fnref348" href="#fn348">[348]</a></span> Of
+this Scott was not himself in the least convinced, and when we recall
+how, to please his printer, James Ballantyne, he tacked on a last scene
+to <i>Rokeby</i>, resuscitated the dead Athelstane in <i>Ivanhoe</i>, and
+eliminated the main motive of <i>St. Ronan's Well</i>, we wish he had been
+more uniformly inclined to trust his own critical judgment.</p>
+
+<p>He never scheduled the qualities of his own genius. A man who could
+sincerely say what he did about literary immortality would not be apt to
+develop any dogma in regard to his artistic achievement. "Let me please
+my own generation," he said, "and let those that come after us judge of
+their taste and my performances as they please; the anticipation of
+their neglect or censure will affect me very little."<span class="fnref"><a
+name="fnref349" id="fnref349" href="#fn349">[349]</a></span> His opinions
+about his own work are to be deduced largely from casual remarks
+scattered through his letters and journals. His introductions to his
+novels, in the <i>Opus Magnum</i>, are valuable sources, however, and the
+"Epistle" preceding <i>The Fortunes of Nigel</i> is a mine of material,
+though, unlike the later introductions, it was written "according to the
+trick," when he was<span class="pagenum"><a name="page109" id="page109"
+href="#page109">[109]</a></span> still preserving his anonymity. We have an article
+which he wrote for the <i>Quarterly</i> on two of his own books, the review
+of <i>Tales of My Landlord</i>.<span class="fnref"><a name="fnref350"
+id="fnref350" href="#fn350">[350]</a></span> His criticism of the work of other
+people is also very helpful in this connection, since from it we may
+learn what qualities he wished to find in poetry and in the novel, as
+well as in history, biography, and criticism, the fields in which he did
+much, though less famous work.</p>
+
+<p>The student of his criticism is struck at once by the fact that the
+qualities which Scott particularly admired in literature were those for
+which he was himself preëminent. Yet he cannot be accused, as Poe may
+be, of constructing a theory that those types of art were greatest which
+he found himself most skilful in exemplifying. Scott's nature was of
+that most efficient kind that enables a man to do such things as he
+likes to see done. We cannot argue that he was incapable of attending to
+minute niceties and on this account chose to emphasize the large
+qualities of literature. For notwithstanding that lack of delicacy which
+characterized his physical senses and which we might therefore conclude
+would affect his literary discernment, we have among his small poems
+some that show his power, occasionally at least, to satisfy the most
+fastidious critic of detail. Evidently he could write in more than one
+style, and though the style he used most is undoubtedly that which was
+most natural to him, it was also that which he thought, on other grounds
+than the character of his own talents, best worth while. Yet he had so
+little vanity in regard to his own work that he could hardly understand
+his success, though it depended on those very qualities which, in other
+authors, excited his utmost admiration.</p>
+
+<p>One of his fundamental opinions about literary work was that to write
+much and with abundant spontaneity is better than to polish minutely.
+Over and over again we find this idea expressed, most noticeably in
+connection with the poet<span class="pagenum"><a name="page110" id="page110"
+href="#page110">[110]</a></span> Campbell, whom Scott could scarcely forgive for
+making so little use of his poetical gifts. He applauded the
+much-criticised fertility of Byron, whose genius was in that respect
+akin to his own. "I never knew name or fame burn brighter by over-chary
+keeping of it,"<span class="fnref"><a name="fnref351" id="fnref351"
+href="#fn351">[351]</a></span> Scott said. The greatest writers he observed, have
+been the most voluminous. His position was one that could be fortified
+by inductive reasoning, contrasting in this respect with theories which
+seem plausible only until they are tested by actual facts, as, for
+example, Poe's idea that long poems lose effectiveness by their length.
+But perhaps Scott did not sufficiently take into account the circular
+nature of his argument; for since the world has refused to consider the
+men very great who "never spoke out," the truth is not so much that a
+great man ought to write copiously as that if a man does not write
+copiously he will not be counted great. Scott seemed to think it was
+mere wilfulness that prevented a man of such gifts as Campbell's from
+writing abundantly.</p>
+
+<p>The corresponding disadvantages of rapid composition were of course
+evident to him. From the first appearance of the <i>Lay</i> to the end of his
+career he lamented his inability to plan a story in an orderly manner
+and follow out the scheme; he admitted also that "the misfortune of
+writing fast is that one cannot at the same time write concisely."<span
+class="fnref"><a name="fnref352" id="fnref352" href="#fn352">[352]</a></span>
+Of <i>Marmion</i> he told Southey, "I had not time to write the poem
+shorter."<span class="fnref"><a name="fnref353" id="fnref353" href="#fn353">[353]</a></span></p>
+
+<p>His grief on these points seems qualified, however, by a conviction that
+he could not write with deliberation and method and still produce the
+effect of vivacious spontaneity. He thought Fielding was almost the only
+novelist who had thoroughly succeeded in combining these various
+admirable qualities,<span class="fnref"><a name="fnref354" id="fnref354"
+href="#fn354">[354]</a></span> and he said in this connection, "To demand
+equal correctness and felicity in those who may follow in the track of
+that illustrious novelist, would be to fetter too much the power of
+giving pleasure, by surrounding it with penal rules; since of this sort
+of light literature it may be especially said&mdash;<i>tout</i><span
+class="pagenum"><a name="page111" id="page111" href="#page111">[111]</a></span> <i>genre est permis,
+hors le genre ennuyeux</i>."<span class="fnref"><a name="fnref355"
+id="fnref355" href="#fn355">[355]</a></span> "To confess to you the truth," says the
+"Author" in the Introductory Epistle to <i>Nigel</i>, "the works and passages
+in which I have succeeded, have uniformly been written with the greatest
+rapidity; and when I have seen some of these placed in opposition with
+others, and commended as more highly finished, I could appeal to pen and
+standish, that the parts in which I have come feebly off were by much
+the more laboured." He attempted to write <i>Rokeby</i> with great care, but
+threw the first version into the fire because he concluded that he had
+"corrected the spirit out of it, as a lively pupil is sometimes flogged
+into a dunce by a severe schoolmaster."<span class="fnref"><a
+name="fnref356" id="fnref356" href="#fn356">[356]</a></span> He was better satisfied
+with the result when he resumed his pen in his "old Cossack
+manner."<span class="fnref"><a name="fnref357" id="fnref357" href="#fn357">[357]</a></span>
+Similarly he writes of John Home's tragedy, <i>Douglas</i>,
+that the finest scene was, "we learn with pleasure but without
+surprise," unchanged from the first draft;<span class="fnref"><a
+name="fnref358" id="fnref358" href="#fn358">[358]</a></span> and elsewhere he speaks
+of the greater chance for popularity of the "bold, decisive, but
+light-touched strain of poetry or narrative in literary composition,"
+over the "more highly-wrought performance."<span class="fnref"><a
+name="fnref359" id="fnref359" href="#fn359">[359]</a></span></p>
+
+<p>A good exposition of Scott's real opinion in regard to his own style is
+to be found in his review of <i>Tales of My Landlord</i>. Some parts of the
+article were probably inserted by his friend William Erskine, but the
+section I quote bears unmistakable evidence that it was written by the
+author himself, for it expresses that combined reprobation and approval
+of his style which is amusingly characteristic of him. He says: "Our
+author has told us that it was his object to present a series of scenes
+and characters connected with Scotland in its past and present state,
+and we must own that his stories are so slightly constructed as to
+remind us of the showman's thread with which he draws up his pictures
+and presents them successively to the eye of the spectator.... Against
+this slovenly indifference we have already remonstrated, and we again
+enter our<span class="pagenum"><a name="page112" id="page112"
+href="#page112">[112]</a></span> protest.... We are the more earnest in this matter, because it
+seems that the author errs chiefly from carelessness. There may be
+something of system in it, however, for we have remarked, that with an
+attention which amounts even to affectation, he has avoided the common
+language of narrative and thrown his story, as much as possible, into a
+dramatic shape. In many cases this has added greatly to the effect, by
+keeping both the actors and action continually before the reader and
+placing him, in some measure, in the situation of an audience at a
+theater, who are compelled to gather the meaning of the scene from what
+the dramatis personae say to each other, and not from any explanation
+addressed immediately to themselves. But though the author gain this
+advantage, and thereby compel the reader to think of the personages of
+the novel and not of the writer, yet the practice, especially pushed to
+the extent we have noticed, is a principal cause of the flimsiness and
+incoherent texture of which his greatest admirers are compelled to
+complain."<span class="fnref"><a name="fnref360" id="fnref360" href="#fn360">[360]</a></span></p>
+
+<p>Lockhart points out that the fruit of Scott's study of Dryden may have
+been to fortify his opinion as to what the greatness of literature
+really consists in, and applies to Scott himself some of the phrases
+used in the characterization of the earlier poet. "'Rapidity of
+conception, a readiness of expressing every idea, without losing
+anything by the way'; 'perpetual animation and elasticity of thought';
+and language 'never laboured, never loitering, never (in Dryden's own
+phrase) cursedly confined,'" are set over against "pointed and nicely
+turned lines, sedulous study, and long and repeated correction and
+revision," and are pronounced the superior virtues.<span class="fnref"><a
+name="fnref361" id="fnref361" href="#fn361">[361]</a></span> The concluding
+paragraph of Scott's review of a poem on the Battle of Talavera
+exemplifies his use of this doctrine. "We have shunned, in the present
+instance," he says, "the unpleasant task of pointing out and dwelling
+upon individual inaccuracies. There are several hasty expressions, flat
+lines, and deficient rhymes, which prove to us little more than that the
+composition was a hurried one. These, in a poem of a different
+description, we should have thought it our duty to point<span
+class="pagenum"><a name="page113" id="page113" href="#page113">[113]</a></span> out to the
+notice of the author. But after all it is the spirit of a poet that we
+consider as demanding our chief attention; and upon its ardour or
+rapidity must finally hinge our applause or condemnation."<span
+class="fnref"><a name="fnref362" id="fnref362" href="#fn362">[362]</a></span></p>
+
+<p>Scott's opinions about meters reflect the same taste. He persuaded
+himself, when he was writing <i>The Lady of the Lake</i>, that the
+eight-syllable line is "more congenial to the English language&mdash;more
+favourable to narrative poetry at least&mdash;than that which has been
+commonly termed heroic verse,"<span class="fnref"><a name="fnref363"
+id="fnref363" href="#fn363">[363]</a></span> and he proceeded to show that the
+first half-dozen lines of Pope's <i>Iliad</i> were each "bolstered out" with
+a superfluous adjective. "The case is different in descriptive poetry,"
+he added, "because there epithets, if they are happily selected, are
+rather to be sought after than avoided.... But if in narrative you are
+frequently compelled to tag your substantives with adjectives, it must
+frequently happen that you are forced upon those that are merely
+commonplaces." He mentions other beauties of his favorite verse,&mdash;the
+opportunities for variation by double rhyme and by occasionally dropping
+a syllable, and the correspondence between the length of line and our
+natural intervals between punctuation,&mdash;but gives as his final excuse
+for using it his "better knack at this 'false gallop' of verse." The
+argument is ingenious enough, but his analysis of heroic verse has only
+a limited application, and his last reason probably was, as he was
+candid enough to admit, the most weighty. George Ellis replied to his
+defence thus: "I don't think, after all the eloquence with which you
+plead for your favourite metre, that you really like it from any other
+motive than that <i>sainte paresse</i>&mdash;that delightful indolence&mdash;which
+induces one to delight in those things which we can do with the least
+fatigue."<span class="fnref"><a name="fnref364" id="fnref364" href="#fn364">[364]</a></span>
+This seems hardly a fair return for the poet's appeal to
+Ellis in one of the epistles of <i>Marmion</i>:<span class="fnref"><a
+name="fnref365" id="fnref365" href="#fn365">[365]</a></span></p>
+
+<div class="poem">
+<div class="stanza">
+    <div class="quote">"Come listen! bold in thy applause,</div>
+    <div>The bard shall scorn pedantic laws."</div>
+</div>
+</div>
+
+<p>Another introduction in the same poem is given up to a<span
+class="pagenum"><a name="page114" id="page114" href="#page114">[114]</a></span> justification of
+the author's "unconfined" style, on the score of his love for the wild
+songs of his own country and the freedom of his early training.<span
+class="fnref"><a name="fnref366" id="fnref366" href="#fn366">[366]</a></span></p>
+
+<p>Scott practically never rewrote his prose, and the result gave Hazlitt
+opportunity to say:<span class="fnref"><a name="fnref367" id="fnref367"
+href="#fn367">[367]</a></span> "We should think the writer could not possibly
+read the manuscript after he has once written it, or overlook the
+press."<span class="fnref"><a name="fnref368" id="fnref368" href="#fn368">[368]</a></span>
+His habit of carrying two trains of thought on together was
+also responsible for slips in diction and syntax. An amanuensis working
+for him noticed this peculiarity, and Scott said in his <i>Journal</i>:
+"There must be two currents of ideas going on in my mind at the same
+time.... I always laugh when I hear people say, Do one thing at once. I
+have done a dozen things at once all my life."<span class="fnref"><a
+name="fnref369" id="fnref369" href="#fn369">[369]</a></span></p>
+
+<p>But the making of poetry required more attention. "Verse I write twice,
+and sometimes three times over,"<span class="fnref"><a name="fnref370"
+id="fnref370" href="#fn370">[370]</a></span> he said, and one is moved to
+wonder whether the distaste for writing poetry,<span class="pagenum"><a
+name="page115" id="page115" href="#page115">[115]</a></span> that he professed about
+1822, arose largely from a growing aversion to what he probably
+considered extreme care in composition.<span class="fnref"><a
+name="fnref371" id="fnref371" href="#fn371">[371]</a></span> A series of three comments
+on his own poetry may be given to illustrate his widely varying moods in
+regard to it. They are all taken from letters written not far from the
+time when <i>Marmion</i> was published. "As for poetry, it is very little
+labour to me; indeed 'twere pity of my life should I spend much time on
+the light and loose sort of poetry which alone I can pretend to
+write."<span class="fnref"><a name="fnref372" id="fnref372" href="#fn372">[372]</a></span>
+"I believe no man now alive writes more rapidly than I do
+(no great recommendation), but I never think of making verses till I
+have a sufficient stock of poetical ideas to supply them."<span
+class="fnref"><a name="fnref373" id="fnref373" href="#fn373">[373]</a></span> "If I
+ever write another poem, I am determined to make every single couplet of
+it as perfect as my uttermost care and attention can possibly
+effect."<span class="fnref"><a name="fnref374" id="fnref374" href="#fn374">[374]</a></span>
+In spite of this momentary resolution to take more pains
+with his next poem, he was unable to do so when the time came; or if, as
+in the case of <i>Rokeby</i> he did make the attempt, the results seemed to
+him unsatisfactory. Yet verse required much more careful finishing than
+prose, even when it was written by Scott, and this fact has been too
+little emphasized in discussions of his transition from verse to prose
+romances.</p>
+
+<p>Scott's temperamental aversion to revising what he had once written was
+evidently sanctioned by his literary creed. Near the end of his life he
+recalled how he had submitted one of his earliest poems to the criticism
+of several acquaintances, with the consequence that after he had adopted
+their suggestions, hardly a line remained unaltered, and yet the changes
+failed to satisfy the critics.<span class="fnref"><a name="fnref375"
+id="fnref375" href="#fn375">[375]</a></span> He said: "This unexpected result,
+after about a fortnight's anxiety, led me to adopt a rule from which I
+have seldom departed during more than thirty years of literary life.
+When a friend whose judgment I respect has decided and upon good
+advisement told me that a manuscript was worth nothing, or at least
+possessed no redeeming qualities sufficient to atone for its defects, I
+have generally cast it aside; but I am little in the custom of paying
+attention to minute criticisms<span class="pagenum"><a name="page116"
+id="page116" href="#page116">[116]</a></span> or of offering such to any friend who may
+do me the honour to consult me. I am convinced that, in general, in
+removing even errors of a trivial or venial kind, the character of
+originality is lost, which, upon the whole, may be that which is most
+valuable in the production." This position appears doubly significant
+when we remember that it was assumed by a man who had only the slightest
+possible amount of paternal jealousy in regard to his writings.<span
+class="fnref"><a name="fnref376" id="fnref376" href="#fn376">[376]</a></span></p>
+
+<p>Scott did not always adhere to this resolution, for he did accept
+criticism and make alterations, more in compliance with the wishes of
+James Ballantyne, his friend and printer, than to meet the desires of
+anyone else. He considered that Ballantyne represented the ordinary
+popular taste, and he was ready to make some sacrifice of his own
+judgment in order to satisfy his public. He sent the conclusion of
+<i>Rokeby</i> to Ballantyne with this note: "Dear James,&mdash;I send you this out
+of deference to opinions so strongly expressed, but still retaining my
+own, that it spoils one effect without producing another."</p>
+
+<p>When one of his books was adversely criticised by the public he received
+the judgment with open mind, and often analyzed it with much acuteness.
+The introduction to <i>The Monastery</i> is a good example of frank, though
+not servile, submission to the decree of public opinion. That he was
+deeply impressed with his blunder in managing the White Lady of Avenel
+may be surmised from the fact that in several later discussions of the
+effect of supernatural apparitions in novels, he emphasized the
+necessity of keeping them sufficiently infrequent to preserve an
+atmosphere of mystery. Of <i>The Monastery</i> he said: "I agree with the
+public in thinking the work not very interesting; but it was written
+with as much care as the others&mdash;that<span class="pagenum"><a
+name="page117" id="page117" href="#page117">[117]</a></span> is, with no
+care at all."<span class="fnref"><a name="fnref377" id="fnref377"
+href="#fn377">[377]</a></span> But
+sometimes he felt inclined to rebel against a popular verdict, as when
+Norna, in <i>The Pirate</i>, was said to be a mere copy of Meg
+Merrilies.<span class="fnref"><a name="fnref378" id="fnref378" href="#fn378">[378]</a></span></p>
+
+<p>In his later days he grew more and more unsure of himself, as he felt
+compelled to work at his topmost speed. His <i>Journal</i> for 1829 has the
+following record in regard to a review he was writing: "I began to warm
+in my gear, and am about to awake the whole controversy of Goth and
+Celt. I wish I may not make some careless blunders."<span class="fnref"><a
+name="fnref379" id="fnref379" href="#fn379">[379]</a></span> The criticisms
+of "J.B." became more frequent and more irritating to him as he felt a
+growing inability to achieve precision in details.<span class="fnref"><a
+name="fnref380" id="fnref380" href="#fn380">[380]</a></span> When Lockhart
+pointed out some lapses in his style, he wrote in his <i>Journal</i>, "Well!
+I will try to remember all this, but after all I write grammar as I
+speak, to make my meaning known, and a solecism in point of composition,
+like a Scotch word in speaking, is indifferent to me."<span class="fnref"><a
+name="fnref381" id="fnref381" href="#fn381">[381]</a></span> Until he
+felt his powers failing, he was for the most part at once good-natured
+and independent in his manner of receiving criticism. Whether or not he
+agreed with the opinion expressed, he usually thought that what he had
+once written might best stand, though he might be influenced in later
+work by the advice that had been given.<span class="fnref"><a
+name="fnref382" id="fnref382" href="#fn382">[382]</a></span></p>
+
+<p>"I am sensible that if there be anything good about my poetry or prose
+either," Scott wrote, in a passage that has often been quoted, "it is a
+hurried frankness of composition which pleases soldiers, sailors and
+young people of bold and active disposition."<span class="fnref"><a
+name="fnref383" id="fnref383" href="#fn383">[383]</a></span> I have tried to show
+that this quality was one which he not only enjoyed, in his own work and
+in that of other writers, but that as a critic he very seriously
+approved of it.</p>
+
+<p>Yet in spite of his belief that the greatest literature is not the
+result of slow and painful labor, it was probably the ease with which he
+wrote which led him to undervalue his own work. However we may account
+for it, he found difficulty in<span class="pagenum"><a name="page118"
+id="page118" href="#page118">[118]</a></span> regarding himself as a great
+author.<span class="fnref"><a name="fnref384" id="fnref384" href="#fn384">[384]</a></span>
+When this modesty of his came into conflict with the other opinion that
+he had always been inclined to hold&mdash;that the popularity of books is a
+test of their merit&mdash;the result is amusing. He was impelled at times to
+utter contemptuous words about the foolishness of the public, and of
+course he could not help being moved also in the other direction&mdash;to
+believe there was more in his writings than he had realized. In one mood
+he said, "I thank God I can write ill enough for the present
+taste";<span class="fnref"><a name="fnref385" id="fnref385" href="#fn385">[385]</a></span>
+and "I have very little respect for that dear <i>publicum</i>
+whom I am doomed to amuse, like Goody Trash in <i>Bartholomew Fair</i>, with
+rattles and gingerbread; and I should deal very uncandidly with those
+who may read my confessions were I to say I knew a public worth caring
+for, or capable of distinguishing the nicer beauties of composition.
+They weigh good and evil qualities by the pound. Get a good name and you
+may write trash. Get a bad one and you may write like Homer, without
+pleasing a single reader."<span class="fnref"><a name="fnref386"
+id="fnref386" href="#fn386">[386]</a></span> Looking back from the end of his career
+to the time when <i>The Lady of the Lake</i> was in the height of its
+success, he wrote: "It must not be supposed that I was either so
+ungrateful or so superabundantly candid as to despise or scorn the value
+of those whose voice had elevated me so much<span class="pagenum"><a
+name="page119" id="page119" href="#page119">[119]</a></span> higher than my own opinion
+told me I deserved. I felt, on the contrary, the more grateful to the
+public as receiving that from partiality which I could not have claimed
+from merit; and I endeavoured to deserve the partiality by continuing
+such exertions as I was capable of for their amusement."<span
+class="fnref"><a name="fnref387" id="fnref387" href="#fn387">[387]</a></span> The
+perfect respectability of these remarks tempts the reader to set over
+against them this earlier observation by the same writer in the guise of
+Chrystal Croftangry, "One thing I have learned in life&mdash;never to speak
+sense when nonsense will answer the purpose as well."<span class="fnref"><a
+name="fnref388" id="fnref388" href="#fn388">[388]</a></span></p>
+
+<p>Whatever Scott might think of the worth of public admiration, he frankly
+attempted to write what would be popular. He had none of the feeling
+which has characterized many very interesting men of letters, that the
+desire for self-expression is the one motive of the author; his personal
+literary impulse, on the contrary, was always guided by the thought of
+the audience whom he was addressing. "No one shall find me rowing
+against the stream," says the "Author" in the Introductory Epistle to
+<i>Nigel</i>. "I care not who knows it&mdash;I write for general amusement; and
+though I will never aim at popularity by what I think unworthy means, I
+will not, on the other hand, be pertinacious in the defence of my own
+errors against the voice of the public." Of his last "apoplectic books,"
+he wrote, "I am ashamed, for the first time in my life, of the two
+novels, but since the pensive public have taken them, there is no more
+to be said but to eat my pudding and to hold my tongue."<span
+class="fnref"><a name="fnref389" id="fnref389" href="#fn389">[389]</a></span> Early in
+his career he seems to have felt that he could make a good deal of money
+by writing, if he should wish.<span class="fnref"><a name="fnref390"
+id="fnref390" href="#fn390">[390]</a></span> Towards the end he said, "I know
+that no literary speculation ever succeeded with me but where my own
+works were concerned; and that, on the other hand, these have rarely
+failed."<span class="fnref"><a name="fnref391" id="fnref391" href="#fn391">[391]</a></span></p>
+
+<p>The popularity of his own books was so great that they required a
+special category. He seemed to be incapable of ascribing their success
+to extraordinary excellence, and he settled down to the opinion that it
+was simply their novelty that<span class="pagenum"><a name="page120"
+id="page120" href="#page120">[120]</a></span> the public cared for. The enthusiastic
+welcome given him by the Irish when he visited Dublin caused him to say
+in one of his letters, "Were it not from the chilling recollection that
+novelty is easily substituted for merit, I should think, like the booby
+in Steele's play,<span class="fnref"><a name="fnref392" id="fnref392"
+href="#fn392">[392]</a></span> that I had been kept back, and that there was
+something more about me than I had ever been led to suspect."<span class="fnref"><a
+name="fnref393" id="fnref393" href="#fn393">[393]</a></span></p>
+
+<p>He assumed that he had studied popular taste enough to have some
+knowledge of its shiftings, so that he might "set every sail towards the
+breeze."<span class="fnref"><a name="fnref394" id="fnref394" href="#fn394">[394]</a></span>
+"I may be mistaken," he once wrote, "but I do think the
+tale of Elspat M'Tavish in my bettermost manner, but J.B. roars for
+chivalry. He does not quite understand that everything may be overdone
+in this world, or sufficiently estimate the necessity of novelty. The
+Highlanders have been off the field now for some time."<span
+class="fnref"><a name="fnref395" id="fnref395" href="#fn395">[395]</a></span> His comment
+on <i>Ivanhoe</i> was still more emphatic. "Novelty is what this giddy-paced
+time demands imperiously, and I certainly studies as much as I could to
+get out of the old beaten track, leaving those who like to keep the
+road, which I have rutted pretty well."<span class="fnref"><a
+name="fnref396" id="fnref396" href="#fn396">[396]</a></span></p>
+
+<p>Believing from the beginning of his career that novelty was the chief
+merit of his work, he was prepared to live up to his principles. So it
+was that when he was "beaten" by Byron in metrical romances, he dropped
+with hardly a regret, so far as we can judge, the kind of writing in
+which he had attained such remarkable popularity, and turned to another
+kind. "Since one line has failed, we must just stick to something else,"
+he remarked, calmly.<span class="fnref"><a name="fnref397" id="fnref397"
+href="#fn397">[397]</a></span> This was when the small sales of <i>The Lord of
+the Isles</i> as compared with the earlier poems warned Scott and his
+publisher in a very tangible way that the field had been captured by
+Byron. At this time <i>Waverley</i> was in the market and <i>Guy Mannering</i> was
+in process of composition. Though it was to his poetry that he chose to
+give his<span class="pagenum"><a name="page121" id="page121" href="#page121">[121]</a></span>
+name, Scott had little reason to feel forlorn, as the sale of
+the novels from the very beginning was a pretty effective consolation
+for any possible hurt to his vanity. He could have owned them as his at
+any moment, had he chosen to do so. He did not read criticisms of his
+books, but was satisfied, as one of his friends observed, "to accept the
+intense avidity with which his novels are read, the enormous and
+continued sale of his works, as a sufficient commendation of them."<span
+class="fnref"><a name="fnref398" id="fnref398" href="#fn398">[398]</a></span>
+In the case of Byron, as always when the public approved the works of
+one of his brother authors, he considered the popular judgment right.</p>
+
+<p>Scott did not altogether stop writing poetry, however, as is sometimes
+supposed. <i>The Field of Waterloo</i> and <i>Harold the Dauntless</i> were both
+written after this time; and the mottoes and lyrics in the novels
+compose a delightful body of verse. The fact seems to be that he lost
+zest for writing long poems, partly because of the favor with which
+Byron's poems were received, and his own consequent feeling of
+inferiority in poetic composition; partly because of his discovery of
+the greater ease with which he could write prose, and the greater scope
+it gave him. The more ambitious attempts among the poems which he wrote
+after 1814 are comparative failures. But the poetry in his nature
+prevented him from entirely giving over the composition of verse, and he
+found real delight in the occasional writing of short pieces that
+required no continued effort. They were usually made to be used in the
+novels, for after the publication of <i>Guy Mannering</i> novel-writing
+became specifically Scott's occupation.<span class="fnref"><a
+name="fnref399" id="fnref399" href="#fn399">[399]</a></span></p>
+
+<p><span class="pagenum"><a name="page122" id="page122" href="#page122">[122]</a></span>
+The price of his success in any direction was that he was unable to keep
+his field to himself. Having set a fashion, he was more than once
+annoyed by the crowd who wrote in his style and made him feel the
+necessity of striking out a new line.<span class="fnref"><a name="fnref400"
+id="fnref400" href="#fn400">[400]</a></span> It was comparatively easy for
+the vigorous man who wrote <i>Waverley</i>, but in the end, when through his
+losses he was more than ever obliged to hit the popular taste, to feel
+that he must find a new style seemed a hard fate. Yet he meant to be
+beforehand in the race. This is the record in his <i>Journal</i>: "Hard
+pressed as I am by these imitators, who must put the thing out of
+fashion at last, I consider, like a fox at his last shifts, whether
+there be a way to dodge them&mdash;some new device to throw them off, and
+have a mile or two of free ground while I have legs and wind left to use
+it. There is one way to give novelty: to depend for success on the
+interest of a well-contrived story. But woe's me! that requires thought,
+consideration&mdash;the writing out a regular plan or plot&mdash;above all, the
+adhering to one&mdash;which I never can do, for the ideas rise as I write,
+and bear such a disproportioned extent to that which each occupied at
+the first concoction, that (cocksnowns!) I shall never be able to take
+the trouble; and yet to make the world stare, and gain a new march ahead
+of them all! Well, something we still will do."<span class="fnref"><a
+name="fnref401" id="fnref401" href="#fn401">[401]</a></span></p>
+
+<p>By an easy extension of his principle, he came to believe that novelty
+would always succeed for a time. The opinion is expressed often in his
+reviews, and in his journal and letters is applied to his own work. So
+it was that when any one of his books seemed partially to fail with the
+public, his immediate impulse was to look for something new to be
+done.<span class="fnref"><a name="fnref402" id="fnref402" href="#fn402">[402]</a></span>
+One of his schemes was a work on popular superstitions,
+projected when <i>Quentin Durward</i> seemed to be falling flat; but the
+success of the novel made the immediate execution of the plan
+unnecessary.<span class="fnref"><a name="fnref403" id="fnref403"
+href="#fn403">[403]</a></span></p>
+
+<p><span class="pagenum"><a name="page123" id="page123" href="#page123">[123]</a></span>
+It was largely his desire to secure variety that encouraged him to
+undertake historical writing. He had also a theory about how history
+should be written, and so he felt that the novelty would consist in
+something more than the fact that the Author of Waverley had taken a new
+line. He wished, as Thackeray did later when he proposed to write a
+history of the Age of Queen Anne, to use in an avowedly serious book the
+material with which he had stored his imagination; and he believed he
+could present it with a vivacity that was not characteristic of
+professional historians. The success of the first series of <i>Tales of a
+Grandfather</i> served to confirm the opinion he had expressed about
+them,&mdash;"I care not who knows it, I think well of them. Nay, I will hash
+history with anybody, be he who he will."<span class="fnref"><a
+name="fnref404" id="fnref404" href="#fn404">[404]</a></span></p>
+
+<p>Scott had a very just sense of the value of his great stores of
+information. He did say that he would give one half his knowledge if so
+he might put the other half upon a well-built foundation,<span
+class="fnref"><a name="fnref405" id="fnref405" href="#fn405">[405]</a></span> but as
+years went on he learned to use with ease the accumulations of knowledge
+which in his youth had proved often unwieldy; and more than once he
+congratulated himself that he beat his imitators by possessing
+historical and antiquarian lore which they could only acquire by
+"reading up."<span class="fnref"><a name="fnref406" id="fnref406"
+href="#fn406">[406]</a></span> Though he testified that in the beginning of his
+first novel he described his own education, he could hardly apply to
+himself what is there said of Waverley, that, "While he was thus
+permitted to read only for the gratification of his amusement, he
+foresaw not that he was losing forever the opportunity of acquiring
+habits of firm and assiduous application, of gaining the art of
+controlling, directing, and concentrating the powers of his mind for
+earnest investigation."<span class="fnref"><a name="fnref407" id="fnref407"
+href="#fn407">[407]</a></span> It was otherwise with Scott himself. The
+result of the wide and desultory reading of his youth, acting upon a
+remarkably strong memory, was to put him into the position, as he says,
+of "an ignorant gamester, who kept a good hand until he knew how to play
+it."<span class="fnref"><a name="fnref408" id="fnref408" href="#fn408">[408]</a></span>
+So it was that he said of those who followed his lead in
+writing<span class="pagenum"><a name="page124" id="page124" href="#page124">[124]</a></span>
+historical novels, "They may do their fooling with better grace;
+but I, like Sir Andrew Aguecheek, do it more natural."<span class="fnref"><a
+name="fnref409" id="fnref409" href="#fn409">[409]</a></span> His
+knowledge of history and antiquities was that part of his intellectual
+equipment in which he seemed to take most pride. He had the highest
+opinion of the value of historical study for ripening men's judgment of
+current affairs,<span class="fnref"><a name="fnref410" id="fnref410"
+href="#fn410">[410]</a></span> and indeed there were few relations of life in
+which an acquaintance with history did not seem to him indispensable.</p>
+
+<p>But he felt that historical writing had not been adapted "to the demands
+of the increased circles among which literature does already find its
+way."<span class="fnref"><a name="fnref411" id="fnref411" href="#fn411">[411]</a></span>
+Accordingly he resolved to use in the service of history that
+"knack ... for selecting the striking and interesting points out of dull
+details," which he felt was his endowment.<span class="fnref"><a
+name="fnref412" id="fnref412" href="#fn412">[412]</a></span> The original
+introduction to the <i>Tales of the Crusaders</i> has the following burlesque
+announcement of his intention, in the words of the Eidolon Chairman: "I
+intend to write the most wonderful book which the world ever read&mdash;a
+book in which every incident shall be incredible, yet strictly true&mdash;a
+work recalling recollections with which the ears of this generation once
+tingled, and which shall be read by our children with an admiration
+approaching to incredulity. Such shall be the <i>Life of Napoleon</i>, by the
+<i>Author of Waverley</i>." He wished to controvert "the vulgar opinion that
+the flattest and dullest mode of detailing events must uniformly be that
+which approaches nearest to the truth."<span class="fnref"><a
+name="fnref413" id="fnref413" href="#fn413">[413]</a></span> There is no doubt that his
+histories are readable, yet we feel that Southey was right in his
+comment on the <i>Life of Napoleon</i>,&mdash;"It was not possible that Sir Walter
+could keep up as a historian the character which he had obtained as a
+novelist; and in the first announcement of this 'Life' he had, not very
+wisely, promised something as stimulating as his novels. Alas! he forgot
+that there could be no stimulus of curiosity in it."<span class="fnref"><a
+name="fnref414" id="fnref414" href="#fn414">[414]</a></span> A recent
+critic has said, "Scott lost half his power of vitalizing the past when
+<span class="pagenum"><a name="page125" id="page125" href="#page125">[125]</a></span>
+he sat down formally to record it&mdash;when he turned from his marvellous
+recreation of James I. to give a laboured but very ordinary portrait of
+Napoleon."<span class="fnref"><a name="fnref415" id="fnref415" href="#fn415">[415]</a></span>
+His partial failure in this instance may have been due
+to an unfortunate choice of subject. Only a few years before he wrote
+the book Scott had been thinking of Napoleon as a "tyrannical
+monster,"<span class="fnref"><a name="fnref416" id="fnref416" href="#fn416">[416]</a></span>
+a "singular emanation of the Evil Principle,"<span class="fnref"><a
+name="fnref417" id="fnref417" href="#fn417">[417]</a></span> "the
+arch-enemy of mankind,"<span class="fnref"><a name="fnref418" id="fnref418"
+href="#fn418">[418]</a></span>&mdash;phrases which, in spite of their
+vividness, hardly seem to promise a life-like portrayal of the man.<span
+class="fnref"><a name="fnref419" id="fnref419" href="#fn419">[419]</a></span></p>
+
+<p>In one notable respect, Scott's conception of how history should be
+written was very modern: he would depict the life of the people, not
+simply the actions of kings and statesmen. His historical novels, said
+Carlyle, "taught all men this truth, which looks like a truism, and yet
+was as good as unknown to writers of history and others, till so taught:
+that the bygone ages of the world were actually filled by living men,
+not by protocols, state-papers, controversies, and abstractions of
+men."<span class="fnref"><a name="fnref420" id="fnref420" href="#fn420">[420]</a></span>
+One who has the academic notion that a novel, to be great,
+must be written with no ulterior purpose, is almost startled to observe
+how definitely Scott considered it the function of his novels to portray
+ancient manners. Speaking of old romances as a source which we may use
+for studying about our ancestors, he said: "From the romance, we learn
+what they were; from the history, what they did: and were we to be
+deprived of one of these two kinds of information, it might well be made
+a question, which is most useful or interesting."<span class="fnref"><a
+name="fnref421" id="fnref421" href="#fn421">[421]</a></span> He wished to make
+his own romances serve much the same purpose as those written in the
+midst of the customs which they unconsciously reflected. Of
+<i>Waverley</i>
+he said, "It may really boast to be a tolerably faithful portrait of
+Scottish manners."<span class="fnref"><a name="fnref422" id="fnref422"
+href="#fn422">[422]</a></span> He interrupts the story of <i>The Pirate</i> to
+describe the charm of the<span class="pagenum"><a name="page126"
+id="page126" href="#page126">[126]</a></span> leaden heart, and offers this excuse: "As this
+simple and original remedy is peculiar to the isles of Thule, it were
+unpardonable not to preserve it at length, in a narrative connected with
+Scottish antiquities."<span class="fnref"><a name="fnref423" id="fnref423"
+href="#fn423">[423]</a></span> His comment on <i>Ivanhoe</i> was as follows: "I
+am convinced that however I myself may fail in the ensuing attempt, yet,
+with more labour in collecting, or more skill in using, the materials
+within his reach, illustrated as they have been by the labours of Dr.
+Henry, of the late Mr. Strutt, and above all, of Mr. Sharon Turner, an
+abler hand would have been successful."<span class="fnref"><a
+name="fnref424" id="fnref424" href="#fn424">[424]</a></span></p>
+
+<p>Scott's early reading was only the basis for the research that he
+undertook afterwards.<span class="fnref"><a name="fnref425" id="fnref425"
+href="#fn425">[425]</a></span> Much of this later study was accomplished
+when he was engaged upon such books as <i>Somers' Tracts</i>,
+<i>Dryden's</i> and
+<i>Swift's Works</i>, and the other historical publications that make the
+bibliography of Scott so surprising to the ordinary reader; but some of
+his investigations were undertaken specifically for the novels. The
+<i>Literary Correspondence</i> of his publisher, Archibald Constable,
+contains many evidences of Scott's efforts, assisted often by Constable,
+to get antiquarian and topographical details correct in the novels. In
+1821 Constable suggested that Sir Walter write a story of the time of
+James I. of England, and was told, "If you can suggest anything about
+the period I will be happy to hear from you; you are always happy in
+your hints."<span class="fnref"><a name="fnref426" id="fnref426"
+href="#fn426">[426]</a></span> Some years earlier the author and the publisher had a
+correspondence concerning a series of letters on the history of Scotland
+which the former was planning to write, and which he wished to publish
+anonymously for the following reason: "I have not the least doubt that I
+will make a popular book, for I trust it will be both interesting and
+useful; but I never intended to engage in any proper historical labour,
+for which I have neither time, talent, nor<span class="pagenum"><a
+name="page127" id="page127" href="#page127">[127]</a></span> inclination....
+In truth it
+would take ten years of any man's life to write such a History of
+Scotland as he should put his name to."<span class="fnref"><a
+name="fnref427" id="fnref427" href="#fn427">[427]</a></span> He called his <i>Napoleon</i>
+"the most severe and laborious undertaking which choice or accident ever
+placed on my shoulders."<span class="fnref"><a name="fnref428" id="fnref428"
+href="#fn428">[428]</a></span></p>
+
+<p>More than once Scott expresses the opinion that though novels may be
+useful to arouse curiosity about history, and to impart some knowledge
+to people who will not do any serious thinking, they may, on the other
+hand, work harm by satisfying with their superficial information those
+who would otherwise read history.<span class="fnref"><a name="fnref429"
+id="fnref429" href="#fn429">[429]</a></span> It seems as if he designed the
+<i>Life of Napoleon</i> and the <i>History of Scotland</i> for a new reading class
+that the novels had been creating, and as if he wished to make the step
+of transition not too long. We can almost fancy them as a series of
+graded books arranged to lead the people of Great Britain up to a
+sufficient height of historical information. The <i>Tales of a
+Grandfather</i> were intended for the beginners who had never been infected
+by the common heresy concerning the dulness of history, and who were
+blessed with sufficiently active imagination to make the sugar-coating
+of fiction superfluous.<span class="fnref"><a name="fnref430" id="fnref430"
+href="#fn430">[430]</a></span></p>
+
+<p><span class="pagenum"><a name="page128" id="page128" href="#page128">[128]</a></span>
+But great as was the interest that Scott took in the historical aspect
+of his work, his artistic sense guided his use of materials, and he was
+well aware of the danger of over-working the mine. The principles on
+which he chose periods and events to represent are illustrated in many
+of the introductions. Of <i>The Fortunes of Nigel</i> he said: "The reign of
+James I., in which George Heriot flourished, gave unbounded scope to
+invention in the fable, while at the same time it afforded greater
+variety and discrimination of character than could, with historical
+consistency, have been introduced if the scene had been laid a century
+earlier."<span class="fnref"><a name="fnref431" id="fnref431" href="#fn431">[431]</a></span></p>
+
+<p>His first published attempt at fiction-writing was a conclusion to the
+novel, <i>Queenhoo-Hall</i>,<span class="fnref"><a name="fnref432"
+id="fnref432" href="#fn432">[432]</a></span> of which his opinion was that it would
+never be popular because antiquarian knowledge was displayed in it too
+liberally. "The author," he says, "forgot ... that extensive neutral
+ground, the large proportion, that is, of manners and sentiments which
+are common to us and to our ancestors, having been handed down unaltered
+from them to us, or which, arising out of the principles of our common
+nature, must have existed in either state of society."<span class="fnref"><a
+name="fnref433" id="fnref433" href="#fn433">[433]</a></span> Scott's
+practice in regard to the language of his historical novels was based on
+much the same theory. He intended to admit "no word or turn of
+phraseology betraying an origin directly modern,"<span class="fnref"><a
+name="fnref434" id="fnref434" href="#fn434">[434]</a></span> but to avoid
+obsolete words for the most part; and he never attempted to follow with
+fidelity the style of the exact age of which he was writing. The
+translation of Froissart by Lord Berners seemed to him a sufficiently
+good model to serve for the whole mediaeval period.<span class="fnref"><a
+name="fnref435" id="fnref435" href="#fn435">[435]</a></span> In his review
+of <i>Tales of My Landlord</i> he says of the proem to his book: "It is
+written in the quaint style of that prefixed by Gay to his
+<i>Pastorals</i>,
+being, as Johnson terms it, 'such imitation as he<span class="pagenum"><a
+name="page129" id="page129" href="#page129">[129]</a></span> could obtain of
+obsolete language, and by consequence, in a style that was never written
+or spoken in any age or place.'"</p>
+
+<p>His <i>Journal</i> contains observations on several historical novels which
+were of little consequence, as, for example, on one by a Mr. Bell,&mdash;"He
+goes not the way to write it; he is too general, and not sufficiently
+minute";<span class="fnref"><a name="fnref436" id="fnref436" href="#fn436">[436]</a></span>
+and on <i>The Spae-Wife</i>, by Galt,&mdash;"He has made his story
+difficult to understand, by adopting a region of history little
+known."<span class="fnref"><a name="fnref437" id="fnref437" href="#fn437">[437]</a></span>
+On the other hand he remarked, when someone had suggested a
+number of historical subjects to him,&mdash;"People will not consider that a
+thing may already be so well told in history, that romance ought not in
+prudence to meddle with it";<span class="fnref"><a name="fnref438"
+id="fnref438" href="#fn438">[438]</a></span> and at another time he spoke of "the
+usual habit of antiquarians," to "neglect what is useful for things that
+are merely curious."<span class="fnref"><a name="fnref439" id="fnref439"
+href="#fn439">[439]</a></span></p>
+
+<p>Aside from the familiar knowledge of ancient manners which he thought
+enabled him to give his tales the necessary touch of novelty, and from
+the "hurried frankness," or spontaneity of style which endowed them with
+vitality, Scott believed that his talents included a special knack at
+description. He felt, however, that a sense of the picturesque in action
+was a different thing from a similar perception in regard to scenery,
+and that though the first was natural to him, he was obliged to use
+effort to develop the second.<span class="fnref"><a name="fnref440"
+id="fnref440" href="#fn440">[440]</a></span> Some study of drawing in his youth
+helped him to comprehend the demands of perspective, and he endeavored
+to carry out the principle of describing a scene in the way in which it
+would naturally strike the spectator, neither overloading with confused
+detail nor over-emphasizing what should be subordinate.<span
+class="fnref"><a name="fnref441" id="fnref441" href="#fn441">[441]</a></span> That his
+plan was consciously adopted may be seen from his discussion of Byron's
+skill in description and from his comments on the descriptive passages
+of the mediaeval romances.<span class="fnref"><a name="fnref442"
+id="fnref442" href="#fn442">[442]</a></span></p>
+
+<p><span class="pagenum"><a name="page130" id="page130" href="#page130">[130]</a></span>
+At the same time he understood the advantages of the realistic method.
+On one occasion he stated as his creed, "that in nature herself no two
+scenes were exactly alike, and that whoever copied truly what was before
+his eyes would possess the same variety in his descriptions, and exhibit
+apparently an imagination as boundless as the range of nature in the
+scenes he recorded; whereas, whoever trusted to imagination would soon
+find his own mind circumscribed and contracted to a few favourite
+images, and the repetition of these would sooner or later produce that
+very monotony and barrenness which had always haunted descriptive poetry
+in the hands of any but the patient worshippers of truth."<span
+class="fnref"><a name="fnref443" id="fnref443" href="#fn443">[443]</a></span>
+Wordsworth disapproved of Scott's method in description. He is quoted as
+having said: "Nature does not permit an inventory to be made of her
+charms! He should have left his pencil and note-book at home [and] fixed
+his eye as he walked with a reverent attention on all that surrounded
+him."<span class="fnref"><a name="fnref444" id="fnref444" href="#fn444">[444]</a></span>
+Somewhat like a rejoinder sounds another remark of Scott's,
+in phrases that Wordsworth would have detested. Scott said cheerfully,
+"As to the actual study of nature, if you mean the landscape gardening
+of poetry ... I can get on quite as well from recollection, while
+sitting in the Parliament house, as if wandering through wood and
+wold."<span class="fnref"><a name="fnref445" id="fnref445" href="#fn445">[445]</a></span>
+At another time he said, "If a man will paint from nature,
+he will be likely to amuse those who are daily looking at it."<span
+class="fnref"><a name="fnref446" id="fnref446" href="#fn446">[446]</a></span></p>
+
+<p>Though Scott prided himself somewhat on his descriptive powers he
+realized that he could not do his best work on minute canvases. We have
+already seen how he contrasted himself with Jane Austen. "The exquisite
+touch," he said, "which renders ordinary commonplace things and
+characters interesting from the truth of the description and the
+sentiment, is denied to me."<span class="fnref"><a name="fnref447"
+id="fnref447" href="#fn447">[447]</a></span></p>
+
+<p>Of Scott's opinion in regard to the ethical effect of novels, I<span
+class="pagenum"><a name="page131" id="page131" href="#page131">[131]</a></span> have
+already spoken.<span class="fnref"><a name="fnref448" id="fnref448"
+href="#fn448">[448]</a></span> The fact that he refused to use the conventional
+plea of a desire to improve public morals, and that he understood how
+little a reader is really influenced by the exalted sentiments of heroes
+of fiction, gave Carlyle a fit of righteous indignation;<span
+class="fnref"><a name="fnref449" id="fnref449" href="#fn449">[449]</a></span> but it is
+futile to say that Scott "had no message to deliver to the world." He
+might have retorted, in the words which he once used about
+Homer,&mdash;"Doubtless an admirable moral may be often extracted from his
+poem; because it contains an accurate picture of human nature, which can
+never be truly presented without conveying a lesson of instruction. But
+it may shrewdly be suspected that the moral was as little intended by
+the author as it would have been the object of an historian, whose work
+is equally pregnant with morality, though a detail of facts be only
+intended."<span class="fnref"><a name="fnref450" id="fnref450" href="#fn450">[450]</a></span>
+It was a comfort to Scott at the end of his life to
+reflect that the tendency of all he had written was morally good,<span
+class="fnref"><a name="fnref451" id="fnref451" href="#fn451">[451]</a></span>
+and we can well believe that he was pleased by the enthusiastic tribute
+of his young critic, J.L. Adolphus, who said of his books: "There is not
+an unhandsome action or degrading sentiment recorded of any person who
+is recommended to the full esteem of the reader."<span class="fnref"><a
+name="fnref452" id="fnref452" href="#fn452">[452]</a></span></p>
+
+<p>That Scott considered poetical power very important for a writer of
+novels, he made evident in his <i>Lives of the Novelists</i>. Mr. Herford has
+said, but surely without good reason, that Scott wholly lacked the sense
+of mystery, and that in this respect Mrs. Radcliffe was more modern than
+he.<span class="fnref"><a name="fnref453" id="fnref453" href="#fn453">[453]</a></span>
+Yet it was Scott who censured Mrs. Radcliffe for explaining her
+mysteries. He had a vein of superstition in his nature, too, about which
+he might have said, using the words given to a character in one of his
+stories,&mdash;"It soothes my imagination, without influencing my reason or
+conduct."<span class="fnref"><a name="fnref454" id="fnref454" href="#fn454">[454]</a></span>
+A liking for the wonderful and terrible, which he felt
+from his earliest childhood, was one manifestation of a poetical
+temperament which is so apparent that there is no need of reciting the
+evidence. The poetical qualities<span class="pagenum"><a name="page132"
+id="page132" href="#page132">[132]</a></span> in the Waverley novels gave Adolphus
+one of his favorite arguments in the attempt to prove that Scott was the
+author.</p>
+
+<p>Yet Scott seemed to feel that his position as a writer of popular
+fiction, however much the novel is capable of being the vehicle of
+imagination and poetical power, was not a really high one. James
+Ballantyne persuaded him to omit from one of his introductions a passage
+that seemed to belittle the occupation of his life,<span class="fnref"><a
+name="fnref455" id="fnref455" href="#fn455">[455]</a></span> but in the
+introduction to <i>The Abbot</i> he wrote: "Though it were worse than
+affectation to deny that my vanity was satisfied at my success in the
+department in which chance had in some measure enlisted me, I was
+nevertheless far from thinking that the novelist or romance-writer
+stands high in the ranks of literature." The ideal which he set for
+himself is indicated in the following passage of his article on <i>Tales
+of My Landlord</i>: "If ... the features of an age gone by can be recalled
+in a spirit of delineation at once faithful and striking ... the
+composition is in every point of view dignified and improved; and the
+author, leaving the light and frivolous associates with whom a careless
+observer would be disposed to ally him, takes his seat on the bench of
+the historians of his time and country." He once expressed the opinion
+that the historical romance approaches, in some measure, when it is
+nobly executed, to the epic in poetry.<span class="fnref"><a name="fnref456"
+id="fnref456" href="#fn456">[456]</a></span> When a medal of Scott,
+engraved from the bust by Chantrey, was struck off, he suggested the
+motto which was used:</p>
+
+<div class="poem">
+<div class="stanza">
+    <div>"Bardorum citharas patrio qui reddidit Istro,"</div>
+</div>
+</div>
+
+<p class="noindent">and said, "because I am far more vain of having been able to fix some
+share of public attention upon the ancient poetry and manners of my
+country, than of any original efforts which I have been able to make in
+literature."<span class="fnref"><a name="fnref457" id="fnref457"
+href="#fn457">[457]</a></span> The following commendation, which he wrote for a book
+of portraits accompanied by essays, might be made to apply to his
+novels: "It is impossible for me to conceive a work which ought to be
+more interesting to the present age than that which exhibits before our
+eyes our 'fathers as they lived'"<span class="fnref"><a name="fnref458"
+id="fnref458" href="#fn458">[458]</a></span> He felt strongly the value
+<span class="pagenum"><a name="page133" id="page133" href="#page133">[133]</a></span> and
+importance of past manners, faiths and ideals for the present, and from
+this point of view took satisfaction in the social and ethical teaching
+of his novels.</p>
+
+<p>On the whole, Scott's opinions about his own work fitted well with his
+general literary principles, except that his modesty inclined him to
+discount his own performance while he overestimated that of others. With
+this qualification we may remember that he always spoke sensibly about
+his work, without affectation, and with abundant geniality. We are
+reminded of the comment on Molière quoted by Scott from a French
+writer,&mdash;"He had the good fortune to escape the most dangerous fault of
+an author writing upon his own compositions, and to exhibit wit, where
+some people would only have shown vanity and self-conceit."<span
+class="fnref"><a name="fnref459" id="fnref459" href="#fn459">[459]</a></span></p>
+
+<hr />
+
+<span class="pagenum"><a name="page134" id="page134" href="#page134">[134]</a></span>
+<h2>CHAPTER VI</h2>
+
+<h3>SCOTT'S POSITION AS CRITIC</h3>
+
+    <p class="chapdesc">Comparison of Scott with Jeffrey and with the Romantic critics&mdash;His
+    criticism largely appreciative&mdash;Romantic in special cases and
+    Augustan in attitude&mdash;Comparison with Coleridge&mdash;Scott's respect for
+    the verdict of the public&mdash;His opinion that elucidation is the
+    function of criticism&mdash;Use of historical illustration&mdash;Hesitation
+    about analysing poetry&mdash;Political criticism&mdash;Verdict of his
+    contemporaries on his criticism&mdash;Influence as a critic&mdash;Literary
+    prophecies&mdash;Character of his critical work as a whole&mdash;His attitude
+    towards it&mdash;Lack of system&mdash;Broad fields he covered&mdash;His greatness a
+    reason for the importance of his criticism.</p>
+
+
+<p>Important as Scott's poetry was in the English Romantic revival, as a
+critic he can hardly be counted among the Romanticists. His attitude,
+nevertheless, differed radically from that of the school represented by
+Jeffrey and Gifford. We have already seen that he disliked their manner
+of reviewing, and that he was conscious of complete disagreement with
+Jeffrey in regard to poetic ideals. Of Jeffrey Mr. Gates has said: "[He]
+rarely <i>appreciates</i> a piece of literature.... He is always for or
+against his author; he is always making points."<span class="fnref"><a
+name="fnref460" id="fnref460" href="#fn460">[460]</a></span> That Scott was
+influenced in his early critical work by the tone of the <i>Edinburgh
+Review</i> is undeniable, but temperamentally he was inclined to give any
+writer a fair chance to stir his emotions; and he did not adopt the
+magisterial mood that dictated the famous remark, "This will never do."
+Scott's style lacked the adroitness and pungency which helped Jeffrey
+successfully to take the attitude of the censor, and which made his
+satire triumphant among his contemporaries. Scott declined, moreover, to
+cultivate skill in a method which he considered unfair. Compared with
+Jeffrey's his criticism wanted incisiveness, but it wears better.</p>
+
+<p>The period was transitional, and Jeffrey did not go so far as Scott in
+breaking away from the dictation of his predecessors. But his attitude
+was on the whole more modern than<span class="pagenum"><a name="page135"
+id="page135" href="#page135">[135]</a></span> the reader would infer from the
+following sentence in one of his earliest reviews: "Poetry has this much
+at least in common with religion, that its standards were fixed long ago
+by certain inspired writers, whose authority it is no longer lawful to
+call in question."<span class="fnref"><a name="fnref461" id="fnref461"
+href="#fn461">[461]</a></span> He considered himself rather an interpreter of
+public opinion than a judge defining ancient legislation, but he used
+the opinion of himself and like-minded men as an unimpeachable test of
+what the greater public ought to believe in regard to literature. We may
+remember that the enthusiasm over the Elizabethan dramatists which seems
+a special property of Lamb and Hazlitt, and which Scott shared, was
+characteristic also of Jeffrey himself. It was Jeffrey's dogmatism and
+his repugnance to certain fundamental ideas which were to become
+dominant in the poetry of the nineteenth century that lead us to
+consider him one of the last representatives of the eighteenth century
+critical tradition. Scott praised the Augustan writers as warmly as
+Jeffrey did, but he was more hospitable to the newer literary impulse.
+"Perhaps the most damaging accusation that can be made against Jeffrey
+as a critic," says Mr. Gates, "is inability to read and interpret the
+age in which he lived."<span class="fnref"><a name="fnref462" id="fnref462"
+href="#fn462">[462]</a></span></p>
+
+<p>Scott's criticism was largely appreciative, but appreciative on a
+somewhat different plane from that of the contemporary critics whom we
+are accustomed to place in a more modern school: Hazlitt, Hunt, Lamb,
+and Coleridge. His judgments were less delicate and subtle than the
+judgments of these men were apt to be, and more "reasonable" in the
+eighteenth-century sense; they were marked, however, by a regard for the
+imagination that would have seemed most unreasonable to many men of the
+eighteenth century.</p>
+
+<p>Scott had not a fixed theory of literature which could dominate his mind
+when he approached any work. He was open-minded, and in spite of his
+extreme fondness for the poetry of Dr. Johnson he was apt to be on the
+Romantic side in any specific critical utterance. We have seen also that
+he resembled the Romanticists in his power to disengage his verdicts<span
+class="pagenum"><a name="page136" id="page136" href="#page136">[136]</a></span> on
+literature from ethical considerations. On the other hand he seems
+always to have deferred to the standard authorities of the classical
+criticism of his time when his own knowledge was not sufficient to guide
+him. In discussing Roscommon's Essay on Translated Verse he wrote: "It
+must be remembered that the rules of criticism, now so well known as to
+be even trite and hackneyed, were then almost new to the literary
+world."<span class="fnref"><a name="fnref463" id="fnref463" href="#fn463">[463]</a></span></p>
+
+<p>Perhaps the main reason why one would not class Scott's critical work
+with that of the Romanticists is that he had no desire to proclaim a new
+era in creative literature or in criticism. Like the Romanticists he was
+ready to substitute "for the absolute method of judging by reference to
+an external standard of 'taste,' a method at once imaginative and
+historical";<span class="fnref"><a name="fnref464" id="fnref464"
+href="#fn464">[464]</a></span> yet he talked less about imagination than about good
+sense. The comparison with Boileau suggests itself, for Scott admired
+that critic in the conventional fashion, calling him "a supereminent
+authority,"<span class="fnref"><a name="fnref465" id="fnref465" href="#fn465">[465]</a></span>
+and Boileau also had said much about "reason and good
+sense." But Scott had an appreciation of the <i>furor poeticus</i> that made
+"good sense" quite a different thing to him from what it was to Boileau.
+He did not say, moreover, that the poet should be supremely
+characterized by good sense, but that the critic, recognizing the facts
+about human emotion, should make use of that quality.</p>
+
+<p>The subjective process by which experience is transmuted into literature
+engaged Scott's attention very little: in this respect also he stands
+apart from the newer school of critics. The metaphysical description of
+imagination or fancy interested him less than the piece of literature in
+which these qualities were exhibited. His own mental activities were
+more easily set in motion than analysed, and the introspective or
+philosophical attitude of mind was unnatural to him. Because of his
+adoption of the historical method of studying literature, and the
+similarity of many of his judgments to those which were in general
+characteristic of the Romantic school, we may say that Scott's criticism
+looks forward; but it shows the influence<span class="pagenum"><a
+name="page137" id="page137" href="#page137">[137]</a></span> of the earlier period in its
+acceptance of traditional judgments based on external standards which
+disregarded the nature of the creative process.</p>
+
+<p>From Coleridge Scott is separated in the most definite way. Coleridge
+began at the foundation, building up a set of principles such as the new
+impulse in literature seemed to demand. Scott preferred the concrete,
+and was stimulated by the particular book to express opinions that would
+never have come to his mind as the result of pursuing a train of
+unembodied ideas. Coleridge's judgments, moreover, would be unaffected
+by public estimation, for he sought to found them on the spiritual and
+philosophic consciousness that exists apart from the crowd.<span
+class="fnref"><a name="fnref466" id="fnref466" href="#fn466">[466]</a></span> Scott,
+on the other hand, was ready to use popular judgment as an important
+test of his opinions. Coleridge himself pointed out another interesting
+contrast. He wrote: "Dear Sir Walter Scott and myself were exact, but
+harmonious opposites in this;&mdash;that every old ruin, hill, river, or
+tree, called up in his mind a host of historical or biographical
+associations, ... whereas, for myself, notwithstanding Dr. Johnson, I
+believe I should walk over the plain of Marathon without taking more
+interest in it than in any other plain of similar features."<span
+class="fnref"><a name="fnref467" id="fnref467" href="#fn467">[467]</a></span> We
+might perhaps say that Coleridge's affection was given to ideas,
+Scott's, to objects; hence Coleridge was a critic of literary principles
+and theories, Scott a critic of individual books and writers. It follows
+that Scott was on the whole an impressionistic critic. A study of his
+personality is essential to a consideration of his critical work, for he
+was not so much a systematic student of literature, guided by fixed
+principles, as a man of a certain temperament who read particular things
+and made particular remarks about them as he felt inclined. The
+inconsistencies and contradictions which would naturally result from
+such a procedure are occasionally noticeable, but they are fewer than
+would occur in the work of a less well-balanced man than himself.</p>
+
+<p>His ideas about criticism were influenced by his feeling that the
+judgment of the public would after all take its own course,<span
+class="pagenum"><a name="page138" id="page138" href="#page138">[138]</a></span> and that it
+was in the long run the best criterion. He used his opinion that an
+author, even in his own lifetime, commonly receives fair treatment from
+the public, as an argument against establishing in England any literary
+body having the power of pensioning literary men.<span class="fnref"><a
+name="fnref468" id="fnref468" href="#fn468">[468]</a></span> On this subject
+he said, "There is ... really no occasion for encouraging by a society
+the competition of authors. The land is before them, and if they really
+have merit they seldom fail to conquer their share of public applause
+and private profit.... I cannot, in my knowledge of letters, recollect
+more than two men whose merit is undeniable while, I am afraid, their
+circumstances are narrow. I mean Coleridge and Maturin."</p>
+
+<p>Scott's whole attitude toward criticism shows that he felt its supreme
+function to be elucidation. It should also, he believed, warn the world
+against books that were foolish, or pernicious, intellectually or
+morally; but unless there were good reason for issuing such warnings the
+bad books should be ignored and the good treated sympathetically, not
+without such discrimination as should distinguish between the better and
+the worse in them, but with emphasis on the better. His literary creed,
+though not formulated into a system, was conscious and fairly definite;
+but it consisted of general principles which never resolved themselves
+into intricate subtleties requiring great space for their development.
+Scott could not think in that way, and he felt convinced that such
+thinking was useless and worse than useless. A magazine-writer of his
+own period who said of him,&mdash;"The author of <i>Waverley</i>, we apprehend,
+has neither the patience nor the disposition requisite for writing
+philosophically upon any subject,"<span class="fnref"><a name="fnref469"
+id="fnref469" href="#fn469">[469]</a></span> was mistaken, for much of
+Scott's criticism, without making any pretensions, is really
+philosophical. But any fine-drawn analysis seemed to him to serve the
+vanity of the critic rather than the need of the public; and he despised
+that arrogance in the critic which leads him to assume to direct
+literary taste.</p>
+
+<p>Historical illustration was that kind of editorial work which he found
+most congenial, and which harmonized best with his<span class="pagenum"><a
+name="page139" id="page139" href="#page139">[139]</a></span> critical principles;
+for when he could bring definite facts to the service of elucidation he
+felt that he was doing something worth while. Among all the
+introductions and annotations that we have from his hand, including
+those of the <i>Dryden</i> and the <i>Swift</i>, this kind of explanation greatly
+predominates over the more strictly literary comment; in his reviews,
+also, it is evident that he seized every opportunity for turning from
+literary to historical discussion. He was in the habit of "embroidering
+the subject, whatever it might be, with lively anecdotic
+illustration,"<span class="fnref"><a name="fnref470" id="fnref470"
+href="#fn470">[470]</a></span> as one of his biographers says. We are not to
+conclude that in writing on specifically literary subjects he felt ill
+at ease. He felt, on the contrary, that the objection lay in the too
+great ease with which the critic might become dictatorial. He was fond
+enough of details when they were concrete and vital. The facts of
+literary history were in this category to him, as distinguished from the
+notions of literary theory; and we find that his critical principles are
+apt to appear incidentally among remarks on what seemed to him the more
+tangible and important facts of literary and social history. The books
+he chose to review were chiefly those which gave him a chance to use his
+historical information and imagination. His ideas were concrete, as
+those of a great novelist must inevitably be. Indeed the dividing line
+between creative work and criticism seems often to be obliterated in
+Scott's literary discussions, since he was inclined to amplify and
+illustrate instead of dissecting the book under consideration. As a
+critic he was distinguished by the qualities which appear in his novels,
+and which may be described in Hazlitt's words, as "the most amazing
+retentiveness of memory, and vividness of conception of what would
+happen, be seen, and felt by everybody in given circumstances."<span
+class="fnref"><a name="fnref471" id="fnref471" href="#fn471">[471]</a></span></p>
+
+<p>Scott felt that there was especial danger of futile theorizing in the
+criticism of poetry. In writing about <i>Alexander's Feast</i> he discussed
+for a moment the possibility of detecting points at which the author had
+paused in his work, but almost immediately he stopped himself with the
+characteristic<span class="pagenum"><a name="page140" id="page140"
+href="#page140">[140]</a></span> remark&mdash;"There may be something fanciful ... in this
+reasoning, which I therefore abandon to the reader's mercy; only begging
+him to observe, that we have no mode of estimating the exertions of a
+quality so capricious as a poetic imagination."<span class="fnref"><a
+name="fnref472" id="fnref472" href="#fn472">[472]</a></span> Early in his career
+he gave this rather over-amiable explanation of the fact that he had
+never undertaken to review poetry: "I am sensible there is a greater
+difference of tastes in that department than in any other, and that
+there is much excellent poetry which I am not nowadays able to read
+without falling asleep, and which would nevertheless have given me great
+pleasure at an earlier period of my life. Now I think there is something
+hard in blaming the poor cook for the fault of our own palate or
+deficiency of appetite."<span class="fnref"><a name="fnref473" id="fnref473"
+href="#fn473">[473]</a></span> We have seen that he did review poetry
+afterwards, but that he was inclined to do it with the least possible
+emphasis on the specifically aesthetic elements. On the subject of
+novel-writing he developed a somewhat fuller critical theory, but here
+also his discussions concerned themselves rather with the kind of ideas
+set forth than with the manner of presentation.</p>
+
+<p>It does indeed seem as if Scott's feelings were more easily aroused to
+the point of formulating "laws" in the field of political criticism than
+in that which appears to us his more legitimate sphere. He has his
+fling, to be sure, at Madame de Staël, because she "lived and died in
+the belief that revolutions were to be effected, and countries governed,
+by a proper succession of clever pamphlets."<span class="fnref"><a
+name="fnref474" id="fnref474" href="#fn474">[474]</a></span> But in proposing the
+establishment of the <i>Quarterly Review</i> he made no secret of the fact
+that his motives were political. The literary aspect of the periodical
+was thought of as a subordinate, though a necessary and not unimportant
+phase of the undertaking. The <i>Letters of Malachi Malagrowther</i> contain
+some very definite maxims on the subject of political economy, and just
+as decided are the remarks made in the last of <i>Paul's Letters</i>, as well
+as in the <i>Life of Napoleon</i> and elsewhere, as to how Louis XVIII. ought
+to set about the task of calming his distracted kingdom of<span
+class="pagenum"><a name="page141" id="page141" href="#page141">[141]</a></span> France. But
+however emphatic Scott may be in the comments on government which appear
+throughout his writings, he was as strongly averse in this matter as in
+literary affairs to any separation of philosophy from fact: his maxims
+are always derived from experience. The following statement of opinion
+is typical: "In legislating for an ancient people, the question is not,
+what is the best possible system of law, but what is the best they can
+bear. Their habitudes and prejudices must always be respected; and,
+whenever it is practicable, those prejudices, instead of being
+destroyed, ought to be taken as the basis of the new regulations."<span
+class="fnref"><a name="fnref475" id="fnref475" href="#fn475">[475]</a></span></p>
+
+<p>It was Scott's political creed that roused the ire of such men as
+Hazlitt and Hunt, though they may also have been exasperated at the
+unprecedented success of poetry which seemed so facile and so
+superficial to them as Scott's. Leigh Hunt calls him "a poet of a purely
+conventional order," "a bitter and not very large-minded politician," "a
+critic more agreeable than subtle."<span class="fnref"><a name="fnref476"
+id="fnref476" href="#fn476">[476]</a></span> But Scott's politics may be
+looked at in another way. "In his patriotism," says Mr. Courthope, "his
+passionate love of the past, and his reverence for established
+authority, literary or political, Scott is the best representative among
+English men of letters of Conservatism in its most generous form."<span
+class="fnref"><a name="fnref477" id="fnref477" href="#fn477">[477]</a></span></p>
+
+<p>Though it seems to have been a common opinion among the literary men of
+his own time that Scott's criticism was superficial, his knowledge of
+mediaeval literature was, as we have seen, recognized and respected.
+Favorable comments by his contemporaries on other parts of his critical
+work are not difficult to find. For example, Gifford wrote to Murray in
+<span class="pagenum"><a name="page142" id="page142" href="#page142">[142]</a></span>
+regard to the article on <i>Lady Suffolk's Correspondence</i>: "Scott's paper
+is a clever, sensible thing&mdash;the work of a man who knows what he is
+about."<span class="fnref"><a name="fnref478" id="fnref478" href="#fn478">[478]</a></span>
+Isaac D'Israeli made the following observation on another
+of Scott's papers: "The article on Pepys, after so many have been
+written, is the only one which, in the most charming manner possible,
+shows the real value of these works, which I can assure you many good
+scholars have no idea of."<span class="fnref"><a name="fnref479"
+id="fnref479" href="#fn479">[479]</a></span> A more recent verdict may be set beside
+those just quoted, and it is in perfect agreement with them. "His
+critical faculty," says Professor Saintsbury, "if not extraordinarily
+subtle, was always as sound and shrewd as it was good-natured."<span
+class="fnref"><a name="fnref480" id="fnref480" href="#fn480">[480]</a></span></p>
+
+<p>Scott's influence as a critic was not very great, but his creative work
+exerted a strong influence on criticism as well as on the whole
+intellectual life of his age. His own novels demanded of the critic that
+kind of appreciation of the large qualities and negligence of the small
+which he had insisted on considering the function of criticism; and they
+became a fact in literature which determined to some degree the attitude
+taken toward ephemeral ideas. Newman notes the popularity of Scott's
+novels as one of the influences which prepared the ground for the
+Tractarian movement, for Scott enriched the visions of men by his
+pictures of the past, gave them noble ideas, and created a desire for a
+greater richness of spiritual life.<span class="fnref"><a name="fnref481"
+id="fnref481" href="#fn481">[481]</a></span> Much of his criticism also was
+inspired by the wish to construct an adequate picture of the past; so
+far it worked in the same direction with the novels. Its most important
+offices aside from this were perhaps to present large and kindly views
+of literature and literary characters, especially through biographical
+essays; and to ameliorate somewhat the prevailing asperity of periodical
+criticism.</p>
+
+<p><span class="pagenum"><a name="page143" id="page143" href="#page143">[143]</a></span>
+A man of Scott's temperament was little likely to set himself up for a
+prophet, and probably no literary prophecies of his were in the least
+influential. Though he sometimes boasted that he understood the varying
+currents of popular taste, his experience in the publishing business
+taught him the fallibility of his impressions when the work of writers
+other than himself was concerned. He once wrote,&mdash;"The friends who know
+me best, and to whose judgment I am myself in the constant habit of
+trusting, reckon me a very capricious and uncertain judge of poetry; and
+I have had repeated occasion to observe that I have often failed in
+anticipating the reception of poetry from the public."<span class="fnref"><a
+name="fnref482" id="fnref482" href="#fn482">[482]</a></span> But it is
+beyond the strength of flesh and blood to resist saying things about the
+future sometimes, and Scott occasionally yielded to the temptation,
+helped, no doubt, by his amiability. Southey's <i>Madoc</i>, however, has not
+yet assumed that place at the feet of Milton which, as we have seen, he
+ventured to predict for it. Yet, if we may trust the memory of one of
+his friends, Scott foresaw the literary success of two of his greatest
+contemporaries. R.P. Gillies said in his <i>Recollections</i>: "I remember
+well how correct Scott's impressions were of such beginners in the
+literary world as had not then acquired any fixed character. Of Lord
+Byron he had from the first a favourable impression.... Of Wordsworth he
+always spoke favourably, insisting that he was a true poet, but
+predicting that it would be long ere his works obtained the praise which
+they merited from the public."<span class="fnref"><a name="fnref483"
+id="fnref483" href="#fn483">[483]</a></span> Scott explicitly prided himself on
+two of his prophecies: that Washington Irving would make a name for
+himself, and that Sir Arthur Wellesley would become known as an
+extraordinary man.</p>
+
+<p>Though Scott's critical work is comparatively little known, and though
+it presents no solidly organized front by which the public may be
+impressed, the opinions of so notable a writer have always had a certain
+weight. Mr. Churton Collins thinks Scott's judgment on Dunbar has led
+modern editors to indulge<span class="pagenum"><a name="page144"
+id="page144" href="#page144">[144]</a></span> in very exaggerated statements concerning the
+merit of that poet.<span class="fnref"><a name="fnref484" id="fnref484"
+href="#fn484">[484]</a></span> A heavier charge has been laid at Scott's door
+on the score of his edition of the <i>Memoirs of Captain Carleton</i>. He
+concluded on very insufficient evidence, says Colonel Parnell, that
+these memoirs were genuinely historical, published them as such, and by
+the weight of his opinion falsified "the whole stream of
+nineteenth-century history bearing on the reign of Queen Anne."<span
+class="fnref"><a name="fnref485" id="fnref485" href="#fn485">[485]</a></span>
+Stanhope, Macaulay, and other historians were ready to accept Scott's
+judgment without further investigation, it seems; and if the accusation
+be true we may conclude that his influence as a critic has reached
+farther than might at first sight appear. Yet we may be content to
+follow his lead in general, except in those bits of enthusiasm over his
+friends which bear witness to a generously optimistic nature rather than
+to a rigid critical attitude such as we should hardly demand in any case
+from a man of letters commenting on his contemporaries and friends.
+George Ticknor was greatly impressed by the "right-mindedness" of the
+young Sophia Scott,<span class="fnref"><a name="fnref486" id="fnref486"
+href="#fn486">[486]</a></span> and we may fairly adopt the word to describe
+the father whom she so much resembled. There was in him, as Carlyle
+said, "such a sunny current of true humour and humanity, a free joyful
+sympathy with so many things; what of fire he had all lying so
+beautifully latent, as radical latent heat, as fruitful internal warmth
+of life;&mdash;a most robust, healthy man!"<span class="fnref"><a
+name="fnref487" id="fnref487" href="#fn487">[487]</a></span></p>
+
+<p>Writers upon Scott have made much, perhaps too much, of his feeling that
+his position as a landed gentleman was more enviable than his prominence
+as a writer. The point would be of greater consequence if it performed
+so important a function in explaining his work as has commonly been
+assigned to it. We are told that he wrote much and hastily because he
+wanted money to establish and support an estate; but the truth is that
+if he wrote at all he had to write in this way. He justly believed that
+he could do his best work so. Yet it was a natural result of his
+facility that he should look upon the literature he<span class="pagenum"><a
+name="page145" id="page145" href="#page145">[145]</a></span> produced as of
+comparatively little moment. Some of his remarks about his critical
+work, however, show that he really regarded creative writing as the
+business of his life, and that in contrast with it he considered his
+criticism a relief from more arduous labor. After the publication of
+<i>Marmion</i> he wrote: "I have done with poetry for some time&mdash;it is a
+scourging crop, and ought not to be hastily repeated. Editing,
+therefore, may be considered as a green crop of turnips or peas,
+extremely useful for those whose circumstances do not admit of giving
+their farm a summer fallow."<span class="fnref"><a name="fnref488"
+id="fnref488" href="#fn488">[488]</a></span> After years of novel-writing he said
+of writing a review, "No one that has not laboured as I have done on
+imaginary topics can judge of the comfort afforded by walking on
+all-fours, and being grave and dull."<span class="fnref"><a name="fnref489"
+id="fnref489" href="#fn489">[489]</a></span></p>
+
+<p>From what Scott said about Dryden as a critic we may conclude that the
+unsystematic character of his own scholarly work may have been a matter
+of principle as well as inclination. "Dryden," he wrote, "forebore, from
+prudence, indolence, or a regard for the freedom of Parnassus, to erect
+himself into a legislator."<span class="fnref"><a name="fnref490"
+id="fnref490" href="#fn490">[490]</a></span> The words remind us of comments made
+upon Scott's own work, as for example by Professor Masson, who spoke of
+"the shrewdness and sagacity of some of his critical prefaces to his
+novels, where he discusses principles of literature without seeming to
+call them such."<span class="fnref"><a name="fnref491" id="fnref491"
+href="#fn491">[491]</a></span> Scott was quick to notice "cant and
+slang"<span class="fnref"><a name="fnref492" id="fnref492" href="#fn492">[492]</a></span> in
+the professional language of men in all arts; and he valued most highly
+the remarks of those whose intelligence had not been overlaid by a
+conventional pedantry.</p>
+
+<p>Knowing that criticism was not the main business of his life, we are
+inclined to be surprised at the broad fields which he seemed to have no
+hesitation in entering upon. His remarkable memory doubtless had
+something to do with this, but he lived in a period when generalization
+was more possible and more permissible than it is in this era of special
+monographs.<span class="pagenum"><a name="page146" id="page146"
+href="#page146">[146]</a></span>
+The large tendencies and characteristics that he traced in
+his essay on Romance, for instance, are undoubtedly to be qualified at
+numberless points, but writing when he did, Scott was comparatively
+untroubled by these limitations. Moreover, he had the gift of seeing
+things broadly, so that in essentials his survey remains true. But the
+amount of his work is almost as astonishing as its scope and variety. He
+could accomplish so much only by disregarding details of form; and that
+he did so we know from our study of his principles of composition,
+confirmed by the evidence of the passages from him that have here been
+quoted. It is clear, also, that he was not limited by that "horror of
+the obvious," which, as Mr. Saintsbury says, "bad taste at all times has
+taken for a virtue."<span class="fnref"><a name="fnref493" id="fnref493"
+href="#fn493">[493]</a></span> Beyond this we have to fall back for
+explanation on the unusual qualities of his mind. An observing friend
+said of him that, "With a degree of patience and quietude which are
+seldom combined with much energy, he could get through an incredible
+extent of literary labour."<span class="fnref"><a name="fnref494"
+id="fnref494" href="#fn494">[494]</a></span></p>
+
+<p>Every quality which made Scott a great man contributes to the interest
+and importance of his criticism. Such a body of criticism, formulated by
+a large creative genius, would be of special consequence if it served
+merely as the basis for a study of his other work, a commentary on the
+principles which underlay his whole literary achievement. But it would
+be strange if a man of Scott's intellectual personality could write
+criticism which was not important in itself, and we can only account for
+the general neglect of this part of his work by considering how large a
+place his poems and novels give him in the history of our literature. If
+he deserves a still larger place, we may remember with satisfaction that
+as a man he was great enough to support honorably any distinction won by
+his mind.</p>
+
+</div>
+
+<hr />
+<div id="bibliography">
+
+<span class="pagenum"><a name="page147" id="page147" href="#page147">[147]</a></span>
+<h2>APPENDIX I.</h2>
+
+<h3>BIBLIOGRAPHY</h3>
+
+
+<p>The bibliography of Scott's writings is given in three parts, as
+follows:</p>
+
+<ol>
+<li class="dec">Books which Scott wrote or edited, or to which he was an important
+   contributor. The list is chronological.</li>
+
+<li class="dec">Contributions to periodicals.</li>
+
+<li class="dec">Books which contain letters written by Scott. These titles are
+   arranged approximately in the order of their importance from the
+   point of view of a study of Scott.</li>
+</ol>
+
+<br />
+<p class="noindent">1. <i>Books which Scott wrote or edited, or to which he was an important
+contributor</i>.</p>
+
+<p>(In the following list the first editions of the poems and novels
+are noted without bibliographical details. In the case of other
+works the main facts in regard to publication are given; and an
+attempt is made to indicate the nature of the books named, unless
+they have been discussed in the text.)</p>
+
+<dl>
+<dt>1796</dt>
+  <dd>The Chase and William and Helen. (Translated from Bürger.)</dd>
+
+<dt>1799</dt>
+  <dd>Goetz of Berlichingen. (Translated from Goethe.)</dd>
+
+  <dd class="sec">Apology for Tales of Terror.
+
+      <p class="indd">Twelve copies were privately printed, to exhibit the work of the
+      Ballantyne press at Kelso. The title was occasioned by the delay
+      in the publication of Matthew Lewis's Tales of Terror, and the
+      little book contains poems which Scott had contributed to that
+      work. (The contents are named in the Catalogue of the Centenary
+      Exhibition.)</p></dd>
+
+<dt>1800</dt>
+  <dd>The Eve of St. John, a Border ballad.</dd>
+
+<dt>1802-3</dt>
+  <dd>Minstrelsy of the Scottish Border; consisting of historical and
+  romantic ballads, collected in the southern counties of Scotland; with
+  a few of modern date founded upon local tradition.
+
+      <p class="indd">3 vols. Vols. I and 2, Kelso, 1802; vol. 3, Edinburgh, 1803.
+      Second edition, 1803. The book was republished frequently<span
+      class="pagenum"><a name="page148" id="page148" href="#page148">[148]</a></span> before
+      1830, when it was included in the collected edition of Scott's
+      poems. It has also been reprinted independently since then several
+      times. The latest and most complete edition is that published in
+      1902, edited by T.F. Henderson. Other books in which part of
+      Scott's ballad material was used in such a way as to give his name
+      a place on the title-page are named below:</p>
+
+      <p class="indd">Kinmont Willie: a Border ballad, with an historical introduction,
+      by Sir Walter Scott. (Carlisle Tracts No. 6) Carlisle, 1841.</p>
+
+      <p class="indd">A Ballad Book by C.K. Sharpe. MDCCCXXIII. Reprinted with notes and
+      ballads from the unpublished manuscripts of C.K. Sharpe and Sir
+      Walter Scott ... edited by ... D. Laing. Edinburgh, 1880.</p></dd>
+
+<dt>1804</dt>
+  <dd>Sir Tristrem: a metrical romance of the thirteenth century, by Thomas
+  of Ercildoune, called the Rhymer. Edited from the Auchinleck
+  manuscript by Walter Scott. Edinburgh.
+
+      <p class="indd">Only 12 copies of Sir Tristrem were printed in the form in which
+      Scott had intended to publish it, without the expurgation which
+      his friends insisted upon. (<i>Letters to R. Polwhele</i>, etc., p. 18;
+      <i>Lockhart</i>, I. 361). The following book contains a part of the
+      same material:</p>
+
+      <p class="indd">A Penni worth of Witte, Florice and Blancheflour, and other pieces
+      of ancient English poetry, selected from the Auchinleck
+      manuscript. (With an account of the Auchinleck manuscript by Sir
+      Walter Scott) Edinburgh, 1857. Printed for the Abbotsford Club.</p></dd>
+
+<dt>1805</dt>
+  <dd>The Lay of the Last Minstrel.</dd>
+
+<dt>1806</dt>
+  <dd>Original Memoirs written during the great civil war; being the life of
+  Sir H. Slingsby, and memoirs of Capt. Hodgson. With notes, etc.
+  Edinburgh. [Edited by Scott anonymously.]</dd>
+
+  <dd class="sec">Ballads and Lyrical Pieces. [Poems which had already appeared in
+  various collections.]</dd>
+
+<dt>1808</dt>
+  <dd>Marmion.</dd>
+
+  <dd class="sec">Memoirs of Captain Carleton, ... including anecdotes of the war in
+  Spain under the Earl of Peterborough, ... written by himself.
+  Edinburgh. (8vo, but 25 copies were printed on large paper.) [Edited
+  by Scott anonymously.]
+
+      <p class="indd">Scott was probably mistaken in considering this to be a genuine
+      autobiography. (See Col. Parnell's argument in <i>The English
+      Historical Review</i>, vi:97.) It has been attributed to Defoe, and
+      Col. Parnell attributes it to Swift, but the question of its
+      authorship is<span class="pagenum"><a name="page149"
+      id="page149" href="#page149">[149]</a></span> still unsolved. The book was first published in
+      1728, but Scott used the edition of 1743, which he was so
+      inaccurate as to take for the original edition; and as at that
+      date Defoe had long been dead and Swift had lost his mind, the
+      possibility of attributing it to either of them naturally would
+      not occur to him. Scott wrote scarcely any notes, but his short
+      introduction contains some interesting general reflections which
+      are quoted by Lockhart.</p></dd>
+
+  <dd class="sec">The Works of John Dryden, now first collected; illustrated with notes,
+  historical, critical and explanatory, and a life of the author, by
+  Walter Scott, Esq. 18 vols. London.
+
+      <p class="indd">Second edition, 18 vols., Edinburgh, 1821.</p>
+
+      <p class="indd">Another edition, revised and corrected by George Saintsbury,
+      Edinburgh, 1882-1893.</p></dd>
+
+  <dd class="sec">The Life of John Dryden (4to, only 50 copies printed).
+
+      <p class="indd">Memoirs of John Dryden, Paris, 1826.</p></dd>
+
+  <dd class="sec">Memoirs of Robert Carey, Earl of Monmouth, written by himself, and
+  Fragmenta Regalia, being a history of Queen Elizabeth's favourites, by
+  Sir Robert Naunton. With explanatory annotations. Edinburgh. [Edited
+  by Scott anonymously.]
+
+      <p class="indd">Scott contributed no introductions, but his notes are copious,
+      especially with regard to the history of the Border. This is one
+      of the books of which Scott is reported to have said to his
+      publisher, Mr. Constable, "Did I not do Hodgson, Carey, Carleton,
+      etc., to serve you; and did I ever ask or receive any
+      remuneration?" (<i>Ballantyne's Refutation</i>, etc., p. 76.)</p></dd>
+
+  <dd class="sec">Queenhoo-Hall, a romance; and Ancient Times, a drama. By the late
+  Joseph Strutt, author of Rural Sports and Pastimes of the People of
+  England. [Edited by Scott, who wrote a conclusion for Queenhoo-Hall.
+  This conclusion is given in an appendix to the introduction of
+  Waverley.] Edinburgh.</dd>
+
+<dt>1809</dt>
+  <dd>The State Papers and Letters of Sir Ralph Sadler ... edited by Arthur
+  Clifford ... to which is added a memoir of the life of Sir Ralph
+  Sadler, with historical notes, by Walter Scott, Esq. 2 vols.
+  Edinburgh. (Also the same work in 3 vols., with same date.)
+
+      <p class="indd">The biography is included in all the editions of Scott's Prose
+      Works.</p></dd>
+
+  <dd class="sec"><span class="pagenum"><a name="page150" id="page150" href="#page150">[150]</a></span>
+  The Life of Edward Lord Herbert of Cherbury, written by himself. With
+  a prefatory memoir. Edinburgh; printed by James Ballantyne &amp; Co. for
+  John Ballantyne &amp; Co. and John Murray. (A reprint of Walpole's
+  edition, with the prefatory memoir added.)
+
+      <p class="indd">It is a question whether Scott edited this book, but it has been
+      ascribed to him, and is given under his name without hesitation in
+      the British Museum catalogue. The prefatory memoir is short and
+      largely made up of quotations, but it sounds as if Scott might
+      have written it. The book is one to which he often refers. Mr.
+      Sidney Lee, in his edition of the Autobiography, says merely,
+      "Walpole's edition was reprinted in 1770, 1809, and in 1826."
+      Reprinted in the Universal Library: Biography, vol. I, London,
+      1853.</p></dd>
+
+<dt>1809-15</dt>
+  <dd>A Collection of Scarce and Valuable Tracts on the most interesting and
+  entertaining subjects: but chiefly such as relate to the history and
+  constitution of these kingdoms. Selected from an infinite number in
+  print and manuscript, in the Royal, Cotton, Sion, and other public, as
+  well as private, libraries; particularly that of the late Lord Somers.
+  The second edition, revised, augmented, and arranged by Walter Scott,
+  Esq. 13 vols. London.
+
+      <p class="indd">There are some additions. Scott says in the Advertisement: "The
+      Memoirs of the Wars in the Low Countries by the gallant Williams,
+      and the very singular account of Ireland by Derrick, are the most
+      curious of those now published for the first time.... The
+      introductory remarks and notes have been added by the present
+      Editor, at the expense of some time and labour. It is needless to
+      observe, that both have been expended upon a humble and
+      unambitious, though not, it is hoped, an useless task. The object
+      of the introductions was to present such a short and summary view
+      of the circumstances under which the Historical and Controversial
+      Tracts were respectively written, as to prevent the necessity of
+      referring to other works. Such therefore, as refer to events of
+      universal notoriety are but slightly and generally mentioned; such
+      as concern less remarkable points of history are more fully
+      explained. The Notes are in general illustrative of obscure
+      passages, or brief notices of authorities, whether corroborative
+      or contradictory of the text." The following book contains a part
+      of the same material:</p>
+
+      <p class="indd">The Image of Irelande with a Discoverie of Woodkarne. By John
+      Derricke, 1581. With Notes by Sir Walter Scott. Edited by John
+      Small. Edinburgh, 1883. (See <i>Somers' Tracts</i>, Vol. I.)</p></dd>
+
+<dt><span class="pagenum"><a name="page151" id="page151" href="#page151">[151]</a></span>1810</dt>
+  <dd>English Minstrelsy. Being a selection of fugitive poetry from the best
+  English authors, with some original pieces hitherto unpublished. 2
+  vols. Edinburgh.
+
+      <p class="indd">The Centenary Catalogue says that Scott and his friend William
+      Erskine edited this book together. In the Advertisement the
+      publishers (John Ballantyne &amp; Co.) say: "To one eminent
+      individual, whose name they do not venture to particularize, they
+      are indebted for most valuable assistance in selection,
+      arrangement, and contribution; and to that individual they take
+      this opportunity to present the humble tribute of their thanks,
+      for a series of kindnesses, of which that now acknowledged is
+      among the least." There is no critical apparatus. The book
+      contains original poems by Scott, Southey, Rogers, Joanna Baillie,
+      and others not so well known.</p></dd>
+
+  <dd class="sec">The Lady of the Lake.</dd>
+
+  <dd class="sec">Memoirs of the Duke of Sully. Translated from the French [by Charlotte
+  Lennox] ... a new edition ... corrected, with additional notes, some
+  letters of Henry the Great, and a brief historical introduction
+  embellished with portraits. 5 vols. London.
+
+      <p class="indd">Another edition, 4 vols. London 1858, has these words on the
+      title-page: "A new edition, revised and corrected; with additional
+      notes, and an historical introduction, attributed to Sir Walter
+      Scott." I have found no external evidence that Scott was the
+      editor. The introduction sounds as if Scott wrote it, but that so
+      much work could have been done by him without occasioning any
+      record seems unlikely. There is a historical introduction of 35
+      pp., and copious notes. The book is one with which Scott was
+      familiar. See Memoirs of Robert Carey, pp. 34 and 41.</p></dd>
+
+  <dd class="sec">The Poetical Works of Anna Seward, with extracts from her literary
+  correspondence. Edited by Walter Scott, Esq. 3 vols. Edinburgh.
+
+      <p class="indd">The biographical preface is given in the Miscellaneous Prose
+      Works. The notes are by Miss Seward.</p></dd>
+
+  <dd class="sec">Ancient British Drama, in three volumes. London. (Printed for William
+  Miller, by James Ballantyne &amp; Co., Edinburgh.)
+
+      <p class="indd">I find no evidence that Scott was the editor of this book, but it
+      is sometimes ascribed to him in library catalogues. It contains
+      merely a two-page introduction and brief notes, and a collection
+      of plays. (See above, p. 52, note.)</p></dd>
+
+<dt><span class="pagenum"><a name="page152" id="page152" href="#page152">[152]</a></span>1811</dt>
+  <dd>The Modern British Drama, in five volumes. London. (Printed for
+  William Miller, by James Ballantyne &amp; Co., Edinburgh.)
+
+      <p class="indd">Vols. I and II, Tragedies, with introduction in vol. I.</p>
+
+      <p class="indd">Vols. III and IV, Comedies, with introduction in vol. III.</p>
+
+      <p class="indd">Vol. V, Operas and Farces, with introduction.</p>
+
+      <p class="indd">These volumes apparently belong to the same collection as the
+      Ancient British Drama, noted above, and the external evidence for
+      Scott's authorship is the same. But the introductions are fuller,
+      and they sound very much like Scott. (See above, p. 52, note.)</p></dd>
+
+  <dd class="sec">The Vision of Don Roderick.</dd>
+
+  <dd class="sec">Memoirs of the Court of Charles II, by Count Grammont. With numerous
+  additions and illustrations. London. [Edited by Scott.]
+
+      <p class="indd">Reprinted in 1846, 1853, 1864. This last edition, in the Bohn
+      Library, has about 100 pp. of historical notes.</p></dd>
+
+  <dd class="sec">Secret History of the Court of James the First. With notes and
+  introductory remarks. 2 vols. Edinburgh. [Edited by Scott
+  anonymously.]
+
+      <p class="indd">The book contains 1. Osborne's Traditional Memoirs; 2. Sir Anthony
+      Welldon's Court and Character of King James; 3. Aulicus
+      Coquinariae; 4. Sir Edward Peyton's Divine Catastrophe of the
+      House of Stuarts.</p></dd>
+
+<dt>1813</dt>
+  <dd>Rokeby.</dd>
+
+  <dd class="sec">Memoirs of the Reign of King Charles I., by Sir Philip Warwick.
+  Edinburgh. [Edited by Scott anonymously.]</dd>
+
+  <dd class="sec">The Bridal of Triermain.</dd>
+
+<dt>1814</dt>
+  <dd>Illustrations of Northern Antiquities from the earlier Teutonic and
+  Scandinavian romances, by Robert Jamieson ... with an abstract of the
+  Eyrbyggja-Saga; being the early annals of that district of Iceland
+  lying around the promontory called Sudefells, by Walter Scott.
+  Edinburgh.
+
+      <p class="indd">See also Northern Antiquities by P.H. Mallet, London, 1847; and
+      the edition in Bohn's Library, 1890.</p>
+
+      <p class="indd">Lockhart says: "Any one who examines the share of the work which
+      goes under Weber's name will see that Scott had a considerable
+      hand in that also. The rhymed versions from the <i>Nibelungen
+          Lied</i>
+      came, I can have no doubt, from his pen." (<i>Lockhart</i>, II, 320.)</p></dd>
+
+  <dd class="sec"><span class="pagenum"><a name="page153" id="page153" href="#page153">[153]</a></span>
+  The Works of Jonathan Swift, containing additional letters, tracts,
+  and poems, not hitherto published; with notes and a life of the
+  author, by Walter Scott. 19 vols. Edinburgh.
+
+      <p class="indd">Second edition, revised, Edinburgh, 1824.</p>
+
+      <p class="indd">Memoirs of Jonathan Swift, Paris, 1826.</p></dd>
+
+  <dd class="sec">The Letting of Humour's Blood in the Head Vaine, etc. By Samuel
+  Rowlands. Edinburgh. [Edited by Scott. His name is not given, but the
+  Advertisement is dated at Abbotsford.]
+
+      <p class="indd">This is an exact reproduction of the 1611 edition, except for the
+      addition of a few pages containing the Advertisement and the
+      notes. Another edition was printed in 1815.</p></dd>
+
+  <dd class="sec">Waverley.</dd>
+
+<dt>1814-17</dt>
+  <dd>The Border Antiquities of England and Scotland; comprising specimens
+  of architecture and sculpture, and other vestiges of former ages,
+  accompanied by descriptions. Together with illustrations of remarkable
+  incidents in Border history and tradition, and original poetry. By
+  Walter Scott, Esq. 2 vols. 4to. London.
+
+      <p class="indd">Another edition, in 2 vols. folio, London, 1889.</p>
+
+      <p class="indd">Lockhart says the introduction to this work was written in 1817,
+      but this is a mistake, for it is in the first volume, which was
+      published in 1814.</p></dd>
+
+<dt>1815</dt>
+  <dd>The Lord of the Isles.</dd>
+
+  <dd class="sec">Guy Mannering.</dd>
+
+  <dd class="sec">The Field of Waterloo.</dd>
+
+  <dd class="sec">The Secret Commonwealth of Elves, Fauns, and Fairies, by Robert Kirk.
+
+      <p class="indd">The attribution of this to Scott rests on a letter by George
+      Ticknor, in Allibone's Dictionary (vol. II, p. 1967) in which he
+      says: "Kirk's Secret Commonwealth, a curious tract, of about a
+      hundred quarto pages, on Fairy Superstitions and second sight,
+      originally published in 1691, and of which, in 1815, Mr. Scott had
+      caused a hundred copies to be privately printed by the
+      Ballantynes, with additions, a circumstance, I think, not noted by
+      Lockhart." Mr. Lang thinks the book was never printed until 1815.
+      (See his edition, London, 1893). This 1815 edition of 100 copies
+      was made, he says, from a manuscript copy preserved in the
+      Advocates' Library, for Longman &amp; Co. He quotes one of Scott's
+      references to the book, but does not intimate that Scott was the
+      editor.</p></dd>
+
+  <dd class="sec"><span class="pagenum"><a name="page154" id="page154" href="#page154">[154]</a></span>
+  Memorie of the Somervilles; being a history of the baronial house of
+  Somerville, by James, eleventh Lord Somerville. 2 vols. Edinburgh.
+  [Edited by Scott anonymously.]
+
+      <p class="indd">The additions by the editor consist of a short preface and
+      abundant notes.</p></dd>
+
+<dt>1816</dt>
+  <dd>Paul's Letters to his Kinsfolk. Edinburgh.
+
+      <p class="indd">These letters were anonymous, but Scott was always recognized as
+      the author of them. They are contained in the Miscellaneous Prose
+      Works.</p></dd>
+
+  <dd class="sec">The Antiquary.</dd>
+
+  <dd class="sec">Tales of my Landlord. First series:<br />
+    &nbsp;&nbsp;&nbsp;&nbsp;The Black Dwarf.<br />
+    &nbsp;&nbsp;&nbsp;&nbsp;Old Mortality.</dd>
+
+<dt>1817</dt>
+  <dd>Harold the Dauntless.</dd>
+
+  <dd class="sec">Rob Roy.</dd>
+
+<dt>1818</dt>
+  <dd>Tales of my Landlord. Second series:<br />
+    &nbsp;&nbsp;&nbsp;&nbsp;The Heart of Midlothian.</dd>
+
+  <dd class="sec">Burt's Letters from the North of Scotland ... the fifth edition, with
+  a large appendix, containing various important historical documents,
+  hitherto unpublished; with an introduction and notes, by the editor,
+  R. Jamieson ... and the history of Donald the Hammerer, from an
+  authentic account of the family of Invernahyle (by Scott: see a note
+  accompanying the text). 2 vols. London.
+
+      <p class="indd">Scott's contribution is short. See also Appendix IV, which is
+      taken "from a manuscript in the possession of the Gartmore Family,
+      communicated by Walter Scott Esq." Scott's name had become so
+      valuable that the publishers tried to put it on the title-page of
+      this book, to his great indignation. (See <i>Constable</i>, III, III,
+      119-20.)</p></dd>
+
+<dt>1818-24</dt>
+  <dd>The Encyclopĉdia Britannica: Supplement. [For this work Scott wrote
+  the following essays:] Chivalry, published in 1818; The Drama,
+  published in 1819; Romance, published in 1824. (These are given in the
+  Miscellaneous Prose Works.)</dd>
+
+<dt><span class="pagenum"><a name="page155" id="page155" href="#page155">[155]</a></span>1819</dt>
+  <dd>Tales of my Landlord. Third series:<br />
+    &nbsp;&nbsp;&nbsp;&nbsp;The Bride of Lammermoor.<br />
+    &nbsp;&nbsp;&nbsp;&nbsp;A Legend of Montrose.</dd>
+
+  <dd class="sec">The Visionary, by Somnambulus. (A political satire in three letters,
+  republished from the Edinburgh Weekly Journal.) Edinburgh.</dd>
+
+  <dd class="sec">Description of the Regalia of Scotland. Edinburgh.
+
+      <p class="indd">This has been reprinted many times. It was included also in
+      Provincial Antiquities.</p></dd>
+
+  <dd class="sec">Ivanhoe.</dd>
+
+<dt>1819-26</dt>
+  <dd>The Provincial Antiquities and Picturesque Scenery of Scotland, with
+  descriptive illustrations by Sir Walter Scott, Bart. [First published
+  in ten parts between 1819 and 1826.] 2 vols. London, 1826. 4to.</dd>
+
+<dt>1820</dt>
+  <dd>The Monastery.</dd>
+
+  <dd class="sec">The Abbot.</dd>
+
+  <dd class="sec">Memorials of the Haliburtons. Edinburgh. [Edited by Scott
+  anonymously.]
+
+      <p class="indd">30 copies were printed in 1820, and 30 more in 1824.</p>
+
+      <p class="indd">Reprinted, London, 1877, for the Royal Historical Society, in
+      Genealogical Memoirs of the Family of Sir Walter Scott, Bart., of
+      Abbotsford, by the Rev. Charles Rogers, LL.D.</p></dd>
+
+  <dd class="sec">Trivial Poems and Triolets. Written in obedience to Mrs. Tomkin's
+  commands. By Patrick Carey. London. [Edited by Scott. His name is not
+  given, but the introduction is dated at Abbotsford.]
+
+      <p class="indd">A thin 4to, with a short introduction and a few notes. A part of
+      the material had been used in the Edinburgh Annual Register for
+      1810.</p></dd>
+
+<dt>1821</dt>
+  <dd>Northern Memoirs, calculated for the meridian of Scotland. To which is
+  added the contemplative and practical angler. Writ in the year 1658.
+  By Richard Franck. A new edition, with preface and notes. Edinburgh.
+  [Edited by Scott.]</dd>
+
+  <dd class="sec">Kenilworth.</dd>
+
+  <dd class="sec">The Pirate.</dd>
+
+<dt><span class="pagenum"><a name="page156" id="page156" href="#page156">[156]</a></span>1821-4</dt>
+  <dd>The Novelists' Library. Edited, with prefatory memoirs, by Sir Walter
+  Scott. 10 vols. London.
+
+      <p class="indd">Also Lives of the Novelists, 2 vols., Paris, 1825. A recent
+      edition is that published, with an introduction by Austin Dobson,
+      by the Oxford University Press (No. 94 in The World's Classics).
+      When these Lives were issued among the Miscellaneous Prose Works
+      some of the biographical prefaces were put with them, and also
+      biographical notices, reprinted from the Edinburgh Weekly Journal,
+      of Charles Duke of Buccleuch and Queensberry, John Lord
+      Somerville, King George III, Lord Byron, and The Duke of York. I
+      give below the names of certain books in which Scott's biographies
+      were utilized, but the list is probably far from complete:</p>
+
+      <p class="indd">An Account of the death and funeral procession of Frederick Duke
+      of York, etc. To which is subjoined Sir Walter Scott's Character
+      of His Royal Highness. By John Sykes. Newcastle, 1827.</p>
+
+      <p class="indd">The Life and Opinions of Tristram Shandy, gentleman. By Laurence
+      Sterne, A.M., with a life of the author, by Sir Walter Scott.
+      Paris, 1832. (Baudry's Foreign Library.)</p>
+
+      <p class="indd">Beauties of Sterne, with some account of his writings by Sir
+      Walter Scott. Amsterdam, 1836.</p>
+
+      <p class="indd">Select Works of Smollett. Memoir by Sir W. Scott. Philadelphia,
+      1849.</p>
+
+      <p class="indd">The Novels and Miscellaneous Works of Daniel De Foe. With a
+      biographical memoir of the author, literary prefaces to the
+      various pieces, illustrative notes, etc., including all contained
+      in the edition attributed to the late Sir Walter Scott, with
+      considerable additions. 20 vols., London, 1840.</p>
+
+      <p class="indd">The Novels and Miscellaneous Works of Daniel de Foe. With prefaces
+      and notes, including those attributed to Sir Walter Scott. 6
+      vols., London, 1854-6. (Bonn's British Classics.)</p>
+
+      <p class="indd">The Rambler, by Samuel Johnson LL.D., with a sketch of the
+      author's life by Sir Walter Scott. 2 vols., London, 187?</p></dd>
+
+<dt>1822</dt>
+  <dd>Chronological Notes of Scottish Affairs, from 1680 till 1701; being
+  chiefly taken from the diary of Lord Fountainhall. Edinburgh. [Edited
+  by Scott.]
+
+      <p class="indd">See Historical Notices of Scotish Affairs, selected from the
+      manuscripts of Sir John Lauder of Fountainhall, bart. 2 vols.
+      Edinburgh, 1848, printed for the Bannatyne club. Here Scott's
+      edition is referred to, and his introduction is reprinted. The
+      book was re-edited because Scott did not use the original
+      manuscript, but an interpolated transcript, and he had no means
+      for accurately determining the original text.</p></dd>
+
+  <dd class="sec">Halidon Hill, a dramatic sketch.</dd>
+
+  <dd class="sec">Macduff's Cross (in Joanna Baillie's Poetical Miscellanies).</dd>
+
+  <dd class="sec"><span class="pagenum"><a name="page157" id="page157" href="#page157">[157]</a></span>
+  Military Memoirs of the Great Civil War. Being the military memoirs of
+  John Gwynne; and an account of the Earl of Glencairn's expedition, as
+  general of His Majesty's forces, in the highlands of Scotland, in the
+  years 1653 and 1654, by a person who was eye and ear witness to every
+  transaction.... Edinburgh. [Edited by Scott. His name is not given,
+  but the introduction is dated at Abbotsford.]
+
+      <p class="indd">There are some notes, and a short historical introduction.</p></dd>
+
+  <dd class="sec">Sketch of the Life and Character of the late Lord Kinneder. [Edited by
+  Scott. A postscript says: "This notice was chiefly drawn up by the
+  late Mr. Hay Donaldson."] Edinburgh.
+
+      <p class="indd">Only a few copies were printed, for private distribution.</p></dd>
+
+  <dd class="sec">The Fortunes of Nigel.</dd>
+
+<dt>1823</dt>
+  <dd>Peveril of the Peak.</dd>
+
+  <dd class="sec">Quentin Durward.</dd>
+
+  <dd class="sec">St. Ronan's Well.</dd>
+
+<dt>1824</dt>
+  <dd>Lays of the Lindsays, being poems by the ladies of the House of
+  Balcarras. Edinburgh. [Edited by Scott, and designed as a contribution
+  to the Bannatyne Club, but suppressed after being printed.]</dd>
+
+  <dd class="sec">Redgauntlet.</dd>
+
+<dt>1825</dt>
+  <dd>Auld Robin Gray; a ballad. By the Rt. Honourable Lady Anne Barnard,
+  born Lady Anne Lindsay, of Balcarras. [Edited by Scott for the
+  Bannatyne Club.]</dd>
+
+  <dd class="sec">Tales of the Crusaders:<br />
+    &nbsp;&nbsp;&nbsp;&nbsp;The Betrothed.<br />
+    &nbsp;&nbsp;&nbsp;&nbsp;The Talisman.</dd>
+
+<dt>1826</dt>
+  <dd>Letters of Malachi Malagrowther on the Currency. (To the editor of the
+  Edinburgh Weekly Journal.) 3 parts. Edinburgh.</dd>
+
+  <dd class="sec">Woodstock.</dd>
+
+<dt>1826?</dt>
+  <dd>Shakspeare [edited by Scott and Lockhart?], volumes II, III, and IV,
+  without title page and date. Printed by James Ballantyne &amp; Co.
+
+      <p class="indd"><span class="pagenum"><a name="page158" id="page158" href="#page158">[158]</a></span>
+      Scott and Lockhart began in 1823 or 1824 to prepare an edition of
+      Shakspere. In Jan., 1825, Constable wrote to a London bookseller:
+      "It gives me great pleasure to tell you that the first sheet of
+      Sir Walter Scott's Shakspeare is now in type ... This I expect
+      will be a first-rate property." (<i>Constable's Correspondence</i>, II,
+      344.) At the time of Constable's bankruptcy in 1826 there was a
+      disagreement in regard to the ownership of the property. Scott
+      wrote to Lockhart, May 30, 1826, "What do you about Shakspeare?
+      Constable's creditors seem desirous to carry it on. Certainly
+      their bankruptcy breaks the contract. For me <i>c'est égal</i>: I have
+      nothing to do with the emoluments, and I can with very little
+      difficulty discharge my part of the matter, which is the
+      Prolegomena, and Life and Times." (Lang's <i>Lockhart</i>, I, 409.) In
+      1827 the question of carrying on the work was still undecided, and
+      it was also mentioned in a letter in 1830. (Lang's <i>Lockhart</i> II,
+      13 and 59). The project was ultimately abandoned, and the fate of
+      that part of the work which was actually in print is unknown. In
+      the Barton Collection in the Boston Public Library is preserved
+      what is perhaps a unique copy of three volumes of the set of ten
+      that Scott and Lockhart undertook to prepare. But as the books are
+      bound up without title-pages, and as the commentary contains
+      nothing that would determine its authorship, the attribution is
+      probable rather than certain. These volumes include twelve of the
+      comedies. On the fly-leaf of one of them is a note written by Mr.
+      Rodd, a London bookseller. He says: "I purchased these three
+      volumes from a sale at Edinburgh. They were entered in the
+      catalogue as 'Shakespeare's Works, edited by Sir Walter Scott and
+      Lockhart, vols. ii, in, iv, all published, <i>unique</i>'." It was not
+      positively known that such a work had been planned until the
+      publication of Constable's <i>Correspondence</i> in 1874. At that time
+      Justin Winsor wrote a letter to the <i>Boston Advertiser</i> (March 21,
+      1874) in which he said: "The account of the Barton collection,
+      which was printed fifteen years ago, contained the earliest public
+      mention, I believe, of the supposition that Scott ever engaged in
+      such a work, which this life of Constable now renders certain.
+      These later corroborative statements give a peculiar interest to
+      the volumes which are now in this library and which are perhaps
+      the only ones of the edition now in existence." The introductions
+      to the plays are each only a page or two long, and are mainly,
+      like the notes, compilations. The book corresponds fairly well
+      with the description given in <i>Constable</i>. (See Vol. III, pp. 183,
+      193, 237-8, 241, 242, 244, 246, 305, 321, 442. See also Lang's
+      <i>Lockhart</i>, I, 308-9, 395-6, and Lang's Introduction to <i>Peveril
+      of the Peak</i>.)</p></dd>
+
+<dt>1827</dt>
+  <dd>The Life of Napoleon Buonaparte, Emperor of the French. With a
+  preliminary view of the French Revolution. By the author of Waverley.
+  9 vols. Edinburgh.</dd>
+
+  <dd class="sec"><span class="pagenum"><a name="page159" id="page159"
+  href="#page159">[159]</a></span>Chronicles of the Canongate. First series:<br />
+    &nbsp;&nbsp;&nbsp;&nbsp;The Highland Widow.<br />
+    &nbsp;&nbsp;&nbsp;&nbsp;The Two Drovers.<br />
+    &nbsp;&nbsp;&nbsp;&nbsp;The Surgeon's Daughter</dd>
+
+  <dd class="sec">Memoirs of the Marchioness de la Rochejaquelin. Translated from the
+  French. Edinburgh. (Constable's Miscellany, Vol. V. Introduction and
+  notes by Scott.)</dd>
+
+  <dd class="sec">The Miscellaneous Prose Works of Sir Walter Scott.
+
+      <p class="indd">6 vols. Edinburgh, 1827, and Boston, 1829.</p>
+
+      <p class="indd">9 vols. Paris, 1827-34.</p>
+
+      <p class="indd">30 vols. London, 1834-46. (Containing many of the reviews
+      contributed by Scott to periodicals.)</p>
+
+      <p class="indd">Same, first 28 vols. (Omitting the Letters on Demonology and
+      Witchcraft.) Edinburgh, 1842-6, 1851, and 1861.</p>
+
+      <p class="indd">7 vols. Paris, 1837-8.</p>
+
+      <p class="indd">8 vols. Paris, 1840?</p>
+
+      <p class="indd">3 vols. Edinburgh, 1841-2, 1846, and 1854.</p></dd>
+
+<dt>1827-55</dt>
+  <dd>The Bannatyne Miscellany; containing original papers and tracts
+  relating to the history and literature of Scotland. (Edited by Sir
+  Walter Scott, D. Laing, and T. Thomson.) 3 vols.</dd>
+
+<dt>1828</dt>
+  <dd>Tales of a Grandfather. First series. 3 vols. Edinburgh. Religious
+  Discourses. By a layman. London.
+
+      <p class="indd">Two sermons written by Sir Walter for George Huntly Gordon, then a
+      Probationer. Afterwards published by Gordon, with the author's
+      permission, to raise money.</p></dd>
+
+  <dd class="sec">Chronicles of the Canongate. Second series:<br />
+    &nbsp;&nbsp;&nbsp;&nbsp;The Fair Maid of Perth.</dd>
+
+  <dd class="sec">Proceedings in the Court-martial held upon John, Master of Sinclair,
+  captain-lieutenant in Preston's regiment, for the murder of Ensign
+  Schaw of the same regiment, and Captain Schaw, of the Royals, 17
+  October, 1708; with correspondence respecting that transaction.
+  Edinburgh.
+
+      <p class="indd">Edited by Sir Walter Scott and presented by him to the Roxburghe
+      club. Some of the same material seems to have been used in the
+      book named below:</p>
+
+      <p class="indd">Memoirs of the Insurrection in 1715, by John, Master of Sinclair.
+      With notes by Sir Walter Scott. Edinburgh, 1858, printed for the
+      Abbotsford Club.</p></dd>
+
+<dt><span class="pagenum"><a name="page160" id="page160" href="#page160">[160]</a></span>1829</dt>
+  <dd>Papers relative to the Regalia of Scotland. Edinburgh. Edited by Sir
+  Walter Scott and presented to the members of the Bannatyne Club by
+  William Bell, Esq.</dd>
+
+  <dd class="sec">Memorials of George Bannatyne, 1545-1608. Edited by Sir Walter Scott
+  for the Bannatyne Club. Edinburgh.
+
+      <p class="indd">Scott wrote the memoir of George Bannatyne which occupies the
+      first 25 pages of the book. This memoir is also to be found in the
+      publications of the Hunterian Club, part 8, published in 1886.</p></dd>
+
+  <dd class="sec">Anne of Geierstein.</dd>
+
+  <dd class="sec">Tales of a Grandfather. Second series.</dd>
+
+<dt>1829-32</dt>
+  <dd>Novels, Tales, and Romances, with introductions and notes by the
+  author. (The "Opus Magnum.")
+
+      <p class="indd">The same material is used in the following books:</p>
+
+      <p class="indd">Introductions and notes and illustrations to the novels, tales,
+      and romances of the author of Waverley. 3 vols., Edinburgh, 1833.</p>
+
+      <p class="indd">Autobiography of Sir Walter Scott. Philadelphia, 1831. Anderson,
+      in his bibliography of Scott, gives this as a supposititious work,
+      but with the exception of the title it is genuine, for it is
+      simply the piecing together of Scott's introductions to his
+      novels.</p></dd>
+
+<dt>1830</dt>
+  <dd>Tales of a Grandfather. Third series.</dd>
+
+  <dd class="sec">The Doom of Devorgoil, and Auchindrane or The Ayrshire Tragedy.</dd>
+
+  <dd class="sec">Letters on Demonology and Witchcraft, addressed to J.G. Lockhart,
+  Esq. London. (The Family Library.)
+
+      <p class="indd">Other editions: New York, 1845; London, 1868 and 1876,
+      (illustrated by Cruikshank); London 1884, with an introduction by
+      Henry Morley. Included in the 30 vol. edition of the Miscellaneous
+      Prose works, but not in the 28 vol. edition.</p></dd>
+
+  <dd class="sec">Poems, with prefaces by the author. 11 vols. Introductory Remarks on
+  Popular Poetry (prefixed to Minstrelsy, Vol. I) and Essay on Imitations
+  of the Ancient Ballad (prefixed to Minstrelsy, Vol. III).
+
+      <p class="indd">These essays were printed in 1830 and attached to the edition of
+      the poems then on sale. They were first regularly included in the
+      edition of 1833.</p></dd>
+
+  <dd class="sec">The History of Scotland. (Lardner's Cabinet Cyclopedia.) 2 vols.
+  London. [Not in the Miscellaneous Prose Works.]</dd>
+
+<dt>1831</dt>
+  <dd>Tales of a Grandfather. Fourth series. History of France.</dd>
+
+  <dd class="sec"><span class="pagenum"><a name="page161" id="page161" href="#page161">[161]</a></span>
+  The Life of Samuel Johnson, LL.D., including a Journal of his Tour to
+  the Hebrides, by James Boswell, Esq. New edition with numerous
+  anecdotes and notes by The Right Hon. John Wilson Croker, M.P.... 10
+  vols. London. [Scott wrote and signed the notes for the Tour to the
+  Hebrides.]</dd>
+
+  <dd class="sec">Trial of Duncan Terig, alias Clerk, and Alexander Bane Macdonald, for
+  the murder of Arthur Davis, Sergeant in General Guise's regiment of
+  foot. June, A.D. 1754. Edinburgh.
+
+      <p class="indd">"To the members of the Bannatyne Club, this copy of a trial,
+      involving a curious point of evidence, is presented, by Walter
+      Scott." There is an introduction of 11 pages, giving the story of
+      the crime, and bringing together instances from literature and
+      history of the evidence of ghosts being cited in trials. That is
+      the "curious point of evidence" referred to. The proceedings of
+      the court are then reprinted without annotation.</p></dd>
+
+<dt>1832</dt>
+  <dd>Tales of my Landlord. Fourth series:<br />
+    &nbsp;&nbsp;&nbsp;&nbsp;Count Robert of Paris.<br />
+    &nbsp;&nbsp;&nbsp;&nbsp;Castle Dangerous.</dd>
+
+<dt>1848</dt>
+  <dd>Two Bannatyne Garlands from Abbotsford.
+
+      <p class="indd">This little book was prepared for members of the Bannatyne club by
+      the secretary, D. Laing. It contains two ballads&mdash;of which one is
+      ancient and one a modern imitation written by Robert
+      Surtees&mdash;annotated by Scott.</p></dd>
+
+<dt>1889</dt>
+  <dd>Reliquiae Trottosienses, or Catalogue of the Gabions of the late
+  Jonathan Oldbuck. (Partially published in <i>Harper's Magazine</i> for
+  April, 1889: Vol. lxxviii, pp. 778-788. This fragment describing the
+  main apartments at Abbotsford is the only part of the Reliquiae
+  Trottosienses that has been printed. There is a short introduction by
+  Mary Monica Maxwell Scott.)
+
+      <p class="indd">The same material was included in the following book: Abbotsford,
+      the personal relics and antiquarian treasures of Sir Walter Scott,
+      described by the Hon. Mary Monica Maxwell Scott. London, 1893.</p></dd>
+
+<dt>1890</dt>
+  <dd>The Journal of Sir Walter Scott, from the original manuscript at
+  Abbotsford. (Edited by David Douglas.) 2 vols. Edinburgh.
+
+      <p class="indd">Second edition, 1891. Large extracts from this Journal had
+      previously been published in Lockhart's Life of Scott.</p></dd>
+</dl>
+
+<br />
+<span class="pagenum"><a name="page162" id="page162" href="#page162">[162]</a></span>
+<p class="noindent">2. <i>Contributions to Periodicals</i>.</p>
+
+<h4>(a) Reviews</h4>
+
+<p>(Most of these essays are reprinted in the 28 and 30 volume editions of
+Scott's Miscellaneous Prose Works. Articles not included in that
+collection are marked by a note indicating the evidence on which they
+are attributed to Scott.)</p>
+
+<dl>
+<dt>1803</dt>
+  <dd>Amadis de Gaul, translated by Southey and by Rose. (<i>Edinburgh
+  Review</i>, October. Vol. III.)</dd>
+
+  <dd class="sec">Sibbald's Chronicle of Scottish Poetry. (<i>Edinburgh</i>, October. Vol.
+  III. Not in M.P.W. See Lockhart, Vol. I, p. 335.)</dd>
+
+<dt>1804</dt>
+  <dd>Godwin's Life of Chaucer. (<i>Edinburgh</i>, January. Vol. III.)</dd>
+
+  <dd class="sec">Ellis's Specimens of the Early English Poets. (<i>Edinburgh</i>, April.
+  Vol. IV.)</dd>
+
+  <dd class="sec">The Life and Works of Chatterton. (<i>Edinburgh</i>, April. Vol. IV.)</dd>
+
+<dt>1805</dt>
+  <dd>Johnes's Translation of Froissart. (<i>Edinburgh</i>, January. Vol. V.)</dd>
+
+  <dd class="sec">Colonel Thornton's Sporting Tour. (<i>Edinburgh</i>, January. Vol. V.)</dd>
+
+  <dd class="sec">Fleetwood, a novel by William Godwin. (<i>Edinburgh</i>, April. Vol. VI.)</dd>
+
+  <dd class="sec">The New Practice of Cookery. (<i>Edinburgh</i>, July. Vol. VI.)</dd>
+
+  <dd class="sec">The Ossianic Poems. (<i>Edinburgh</i>, July. Vol. VI. Not in M.P.W. See
+  Lockhart, Vol. I, p. 409.)</dd>
+
+  <dd class="sec">Todd's Edition of Spenser. (<i>Edinburgh</i>, October. Vol. VII.)</dd>
+
+<dt>1806</dt>
+  <dd>Ellis's Specimens of English Romance, and Ritson's Ancient English
+  Metrical Romances. (<i>Edinburgh</i>, January. Vol. VII.)</dd>
+
+  <dd class="sec">The Miseries of Human Life. [By Rev. James Beresford.] (<i>Edinburgh</i>,
+  October. Vol. IX.)</dd>
+
+  <dd class="sec">Miscellaneous Poetry by the Hon. William Herbert. (<i>Edinburgh</i>,
+  October. Vol. IX.)</dd>
+
+<dt><span class="pagenum"><a name="page163" id="page163" href="#page163">[163]</a></span>1809</dt>
+  <dd>Reliques of Burns, collected by R.H. Cromek. (<i>Quarterly Review</i>,
+  February. Vol. I.)</dd>
+
+  <dd class="sec">Southey's Translation of The Cid. (<i>Quarterly</i>, February. Vol. I.)</dd>
+
+  <dd class="sec">Sir John Carr's Caledonian Sketches. (<i>Quarterly</i>, February. Vol. I.)</dd>
+
+  <dd class="sec">Campbell's Gertrude of Wyoming and other poems. (<i>Quarterly</i>, May.
+  Vol. I.)</dd>
+
+  <dd class="sec">John de Lancaster, a novel by Richard Cumberland. (<i>Quarterly</i>, May.
+  Vol. I.)</dd>
+
+  <dd class="sec">The Battles of Talavera, a poem [by John Wilson Croker].
+  (<i>Quarterly</i>,
+  November. Vol. II.)</dd>
+
+<dt>1810</dt>
+  <dd>The Fatal Revenge or The Family of Montorio, a romance [by C.R.
+  Maturin]. (<i>Quarterly</i>, May. Vol. III.)</dd>
+
+  <dd class="sec">Collections of Ballads and Songs by R.H. Evans and John Aiken.
+  (<i>Quarterly</i>, May. Vol. III.)</dd>
+
+<dt>1811</dt>
+  <dd>Southey's Curse of Kehama. (<i>Quarterly</i>, February. Vol. V.)</dd>
+
+<dt>1815</dt>
+  <dd>Emma and other novels by Jane Austen. (<i>Quarterly</i>, October. Vol. XIV.
+  Not in M.P.W. See Lockhart, Vol. IV, p. 3.)</dd>
+
+<dt>1816</dt>
+  <dd>The Culloden Papers. (<i>Quarterly</i>, January. Vol. XIV.)</dd>
+
+  <dd class="sec">Childe Harold, Canto III, and other poems by Lord Byron.
+  (<i>Quarterly</i>,
+  October. Vol. XVI.)</dd>
+
+<dt>1817</dt>
+  <dd>Tales of My Landlord. [Probably written with the help of William
+  Erskine. See Lockhart, Vol. III, p. 81. See also the Introduction to
+  Waverley, written in 1830.] (<i>Quarterly</i>, January. Vol. XVI.)</dd>
+
+<dt>1818</dt>
+  <dd>Douglas on Military Bridges. (<i>Quarterly</i>, May. Vol. XVIII. Not in
+  M.P.W. See Lockhart, Vol. III, p. 173.)</dd>
+
+  <dd class="sec">Kirkton's History of the Church of Scotland, edited by C.K. Sharpe.
+  (<i>Quarterly</i>, May. Vol. XVIII.)</dd>
+
+  <dd class="sec">Letters from Horace Walpole to George Montague. (<i>Quarterly</i>, April.
+  Vol. XIX. Not in M.P.W. See Memoir of John Murray, Vol. II, p. 12.)</dd>
+
+  <dd class="sec">Childe Harold, Canto IV. (<i>Quarterly</i>, April. Vol. XIX.)</dd>
+
+  <dd class="sec"><span class="pagenum"><a name="page164" id="page164" href="#page164">[164]</a></span>
+  Women or Pour et Contre, a tale [by C.R. Maturin]. (<i>Edinburgh</i>, June.
+  Vol. XXX.)</dd>
+
+  <dd class="sec">Frankenstein, a novel [by Mrs. Shelley]. (<i>Blackwood</i>, March. Vol.
+  II.)</dd>
+
+  <dd class="sec">Remarks on General Gourgaud's Narrative. (<i>Blackwood</i>, November. Vol.
+  IV. Not in M.P.W. See Lockhart, Vol. III, p. 238.)</dd>
+
+<dt>1824</dt>
+  <dd>The Correspondence of Lady Suffolk. (<i>Quarterly</i>, January. Vol. XXX.)</dd>
+
+<dt>1826</dt>
+  <dd>Pepys' Diary. (<i>Quarterly</i>, March. Vol. XXXIII.) Boaden's Life of
+  Kemble, and Kelly's Reminiscences. (<i>Quarterly</i>, June. Vol. XXXIV.)</dd>
+
+  <dd class="sec">The Omen [by John Galt]. (<i>Blackwood</i>, July. Vol. XX.)</dd>
+
+<dt>1827</dt>
+  <dd>Mackenzie's Life and Works of John Home. (<i>Quarterly</i>, June. Vol.
+  XXXVI.)</dd>
+
+  <dd class="sec">The Forester's Guide, by Robert Monteath. On Planting Waste Lands.
+  (<i>Quarterly</i>, October. Vol. XXXVI.)</dd>
+
+  <dd class="sec">On the Supernatural in Fictitious Composition, and particularly on the
+  Works of Hoffman. (<i>Foreign Quarterly Review</i>, July. Vol. I.)
+
+      <p class="indd">See also Contes Fantastiques de E.T.A. Hoffmann, traduits de
+      l'Allemand par M. Loève-Veimars, et précédés d'une notice
+      historique sur Hoffmann par Walter Scott. Paris, 1830. 16 vols.</p></dd>
+
+<dt>1828</dt>
+  <dd>The Planter's Guide, by Sir Henry Steuart. On Landscape Gardening.
+  (<i>Quarterly</i>, March. Vol. XXXVII.)</dd>
+
+  <dd class="sec">Sir Humphrey Davy's Salmonia or Days of Fly-fishing. (<i>Quarterly</i>,
+  October. Vol. XXXVIII.)</dd>
+
+  <dd class="sec">Molière. (<i>Foreign Quarterly Review</i>, February. Vol. II.)</dd>
+
+<dt>1829</dt>
+  <dd>Hajji Baba in England; and The Kuzzilbash, a tale of Khorasan.
+  (<i>Quarterly</i>, January. Vol. XXXIX.)</dd>
+
+  <dd class="sec">Ritson's Annals of the Caledonians, Picts, and Scots, etc.
+  (<i>Quarterly</i>, July. Vol. XLI.)</dd>
+
+  <dd class="sec">Tytler's History of Scotland. (<i>Quarterly</i>, November. Vol. XLI.)</dd>
+
+  <dd class="sec">Revolutions of Naples in 1647 and 1648. (<i>Foreign Quarterly Review</i>,
+  August. Vol. IV. Not in M.P.W. See Journal, Vol. I, p. 145, and Vol.
+  II, p. 278.)</dd>
+
+<dt><span class="pagenum"><a name="page165" id="page165" href="#page165">[165]</a></span>1830</dt>
+  <dd>Southey's Life of John Bunyan. (<i>Quarterly</i>, October. Vol. XLIII.)</dd>
+
+<dt>1831</dt>
+  <dd>Pitcairn's Ancient Criminal Trials. (<i>Quarterly</i>, February. Vol.
+  XLIV.)</dd>
+</dl>
+
+<br />
+<h4>(b) Contributions to the Edinburgh Annual Register</h4>
+
+<p>(The dates given are those on the volumes. In most cases the book was
+issued about a year and a half after the nominal date. Most of Scott's
+contributions are unsigned. Those which were afterwards included in the
+collected edition of his poems are in this list marked "Poems"; in other
+cases (unless the article is signed) a note is made of the reason for
+attributing it to Scott).</p>
+
+<dl>
+<dt>1808 Vol. I, part 2.</dt>
+
+  <dd>The Bard's Incantation. Poems.</dd>
+
+  <dd class="sec">To a Lady, with Flowers from a Roman Wall. Poems.</dd>
+
+  <dd class="sec">The Violet. Poems.</dd>
+
+  <dd class="sec">Hunting Song. Poems.</dd>
+
+  <dd class="sec">The Resolve. Poems.</dd>
+
+  <dd class="sec">View of the changes proposed and adopted in the administration of
+  justice in Scotland. (See <i>Lockhart</i>, Vol. II, p. 154.)</dd>
+
+  <dd class="sec">Living Poets of Great Britain. (From internal evidence I think this
+  article may have been written by Scott, and am sure that he dictated
+  many of the opinions it expresses, if he is not responsible for the
+  whole.)</dd>
+
+<dt>1809 Vol. II, part 2.</dt>
+
+  <dd>The Vision of Don Roderick. (Reprinted from the first edition.) Poems.</dd>
+
+  <dd class="sec">Epitaph designed for a Monument to be erected in Lichfield Cathedral
+  to the Rev. Thomas Seward. Poems.</dd>
+
+  <dd class="sec">Cursory remarks upon the French order of battle, particularly in the
+  campaigns of Buonaparte. (See <i>Lockhart</i>, Vol. II, p. 161.)</dd>
+
+  <dd class="sec">Periodical Criticism. (From internal evidence I am sure that this was
+  written by Scott. The style is decidedly more interesting than that of
+  the article on the poets, in the volume for the preceding year.)</dd>
+
+  <dd><span class="pagenum"><a name="page166" id="page166" href="#page166">[166]</a></span>
+  The Inferno of Altisidora. (This immediately follows the article on
+  Periodical Criticism, and is a burlesque sketch on the same subject.
+  It serves to introduce the following imitations, respectively, of
+  Crabbe, Moore, and Scott himself.)
+
+    <p>The Poacher.</p>
+
+    <p>"Oh say not, my love, with that mortified air."</p>
+
+    <p>The Vision of Triermain.</p></dd>
+
+<dt>1810 Vol. III, part 2.</dt>
+
+  <dd>Account of the poems of Patrick Carey, a poet of the seventeenth
+  century. (Afterwards prefixed to the volume of Carey's poems published
+  in 1820. See <i>Lockhart</i>, Vol. II, pp. 245-8.)</dd>
+
+<dt>1811 Vol. IV, part 2.</dt>
+
+  <dd>Biographical memoir of John Leyden, M.D. (In the Miscellaneous Prose
+  Works.)</dd>
+
+<dt>1812 Vol. V, part 2.</dt>
+
+  <dd>Extracts from a journal kept during a coasting voyage through the
+  Scottish Islands. (Published in complete form in <i>Lockhart</i>, Vol. II.)</dd>
+
+<dt>1813 Vol. VI.</dt>
+
+  <dd>The Dance of Death. Poems.</dd>
+
+  <dd class="sec">Romance of Dunois, from the French. Poems.</dd>
+
+  <dd class="sec">Song for the anniversary meeting of the Pitt Club of Scotland. Poems.</dd>
+
+  <dd class="sec">Song on the lifting of the banner of the House of Buccleuch, at a
+  great football match on Carterhaugh. Poems.</dd>
+
+<dt>1814 Vol. VII.</dt>
+
+  <dd>Historical Review of the Year. (See <i>Lockhart</i>, Vol. III, p. 76.)</dd>
+
+<dt>1815 Vol. VIII.</dt>
+
+  <dd>Historical Review of the Year. (See <i>Lockhart</i>, Vol. III, p. 124.)</dd>
+
+  <dd class="sec">The Search after Happiness, or the Quest of Sultaun Solimaun.
+  (Reprinted from the <i>Sale-Room</i>. See <i>Lockhart</i>, Vol. III, pp. 89-90.)</dd>
+
+<dt><span class="pagenum"><a name="page167" id="page167" href="#page167">[167]</a></span>
+1816 Vol. IX.</dt>
+
+  <dd>The Noble Moringer. Translated from the German. Poems. (See also the
+  introduction to <i>The Betrothed</i>.)</dd>
+
+<dt>1817 Vol. X.</dt>
+
+  <dd>Farewell Address, spoken by Mr. Kemble to the Edinburgh Theatre, on
+  the 29th March, 1817. (Reprinted from the <i>Sale-Room</i>. ) Poems.</dd>
+
+<dt>1824 Vol. XVII.</dt>
+
+  <dd>To Mons. Alexandre.</dd>
+</dl>
+
+<br />
+<h4>(c) Contributions to other periodicals</h4>
+
+<p>Scott contributed frequently to <i>The Edinburgh Weekly Journal</i>, edited
+and published by James Ballantyne. Some of the articles are reprinted in
+the Miscellaneous Prose Works. Lockhart reprints in the Life Scott's
+account of the coronation of George IV., and his Reply to General
+Gourgaud.</p>
+
+<p>Scott also contributed to <i>The Sale-Room</i>, a weekly paper edited and
+published by John Ballantyne from January 4 to July 12, 1817 (28
+numbers). (See <i>Lockhart</i>, Vol. III, p. 89.)</p>
+
+<p>To <i>The Keepsake</i>, an annual, Scott contributed in 1828 The Tapestried
+Chamber, My Aunt Margaret's Mirror, and The Laird's Jock, and in 1830
+The House of Aspen.</p>
+
+<p>In <i>Blackwood's Edinburgh Magazine</i>, Vol. I, appeared three articles
+entitled "Notices concerning the Scottish Gypsies," for which Scott
+furnished a large part of the material. (Numbers for April, May, and
+September, 1817.) Lockhart says that Scott dictated to Thomas Pringle "a
+collection of anecdotes concerning Scottish gypsies, which attracted a
+good deal of notice." The first article refers to "Mr. Walter Scott, a
+gentleman to whose distinguished assistance and advice we have been on
+the present occasion very peculiarly indebted, and who has not only
+furnished us with many interesting particulars himself, but has also
+obligingly directed us to other sources of curious information." Scott
+quotes from the first of the three articles in his review of <i>Tales of
+My Landlord</i>, and he afterwards used the same anecdotes in the
+introduction to <i>Guy Mannering</i>.</p>
+
+<br />
+<p><span class="pagenum"><a name="page168" id="page168" href="#page168">[168]</a></span>
+<a name="appendixi3" id="appendixi3">3</a>. <i>Books which contain letters written by Scott</i>.</p>
+
+<p>(As there is no complete collection of Scott's letters it has been
+thought wise to name the various sources, so far as the letters have
+appeared at all in print, from which such a collection might be made.
+The list includes only those books or articles in which letters were
+published for the first time; yet it is probably far from exhaustive.
+Notes are given in regard to the number or kind of the letters from
+Scott to be found in some of the less-known books.)</p>
+
+<p class="noindent">Memoirs of Sir Walter Scott, by J.G. Lockhart.</p>
+
+    <p class="indd">Edinburgh, 7 vols. 1837-8. 10 vols. 1839. Abridged edition 1848. The
+    edition referred to throughout this study is that published by
+    Macmillan and Company in 5 volumes, 1900.</p>
+
+<p class="noindent">Familiar Letters of Sir Walter Scott [edited by D. Douglas].</p>
+
+    <p class="indd">2 vols. Edinburgh, 1894.</p>
+
+<p class="noindent">Letters and Recollections of Sir Walter Scott, by Mrs. Hughes (of
+Uffington), edited by Horace G. Hutchinson.</p>
+
+    <p class="indd">London, 1904. (First published in <i>The Century</i>, xliv: 424 and 566;
+    July and August, 1903.)</p>
+
+<p class="noindent">The Life and Letters of John Gibson Lockhart, by Andrew Lang, from
+Abbotsford and Milton Lockhart mss. and other original sources.</p>
+
+    <p class="indd">2 vols. London, 1897.</p>
+
+    <p class="indd">These volumes contain many letters from Scott to Lockhart.</p>
+
+<p class="noindent">Memoir and Correspondence of the late John Murray, with an account of
+the origin and progress of the House, 1768-1843, by Samuel Smiles.</p>
+
+    <p class="indd">2 vols. London, 1891.</p>
+
+    <p class="indd">This book contains many letters from Scott to Murray, who published
+    some of Scott's works and was the proprietor of the <i>Quarterly
+    Review</i>.</p>
+
+<p class="noindent">Archibald Constable and his Literary Correspondents. A Memorial by his
+son Thomas Constable.</p>
+
+    <p class="indd">3 vols. Edinburgh, 1873.</p>
+
+    <p class="indd">The third volume is wholly taken up with an account of Scott's
+    relations with Constable, his publisher, and many letters are given.
+    See also Vol. II, pages 347 and 474.</p>
+
+<p class="noindent"><span class="pagenum"><a name="page169"
+id="page169" href="#page169">[169]</a></span>[The Ballantyne and Lockhart Pamphlets.]</p>
+
+<ol>
+<li class="rom">Refutation of the Misstatements and Calumnies contained in Mr.
+Lockhart's Life of Sir Walter Scott, bart., respecting the Messrs.
+Ballantyne, by the trustees and son of the late Mr. James Ballantyne.
+(1835.)</li>
+
+<li class="rom">The Ballantyne Humbug Handled by the author of the Life of Sir
+Walter Scott. (1839.)</li>
+
+<li class="rom">Reply to Mr. Lockhart's Pamphlet, entitled "The Ballantyne-Humbug
+Handled," etc. (1839.)</li>
+</ol>
+
+    <p class="indd">The two last pamphlets contain numerous letters of Scott's. For a
+    history of Scott's publishing operations these pamphlets should be
+    studied in connection with the Memoirs of Lockhart, Murray, and
+    Constable.</p>
+
+<p class="noindent">Annals of a Publishing House; William Blackwood and his sons, their
+magazine and friends. By Mrs. Oliphant.</p>
+
+    <p class="indd">3rd edition, 2 vols. Edinburgh, 1897.</p>
+
+    <p class="indd">About half a dozen letters not elsewhere published are given in this
+    book.</p>
+
+<p class="noindent">Letters from and to Charles Kirkpatrick Sharpe, Esq., edited by
+Alexander Allardyce, with a memoir by Rev. W.K.R. Bedford.</p>
+
+    <p class="indd">2 vols. Edinburgh, 1888.</p>
+
+    <p class="indd">Lockhart wrote to Sharpe in 1834: "He had preserved so many letters
+    of yours.... that I must suppose the correspondence was considered
+    by himself as one not of the common sort." (Vol. II, p. 479.) Both
+    men were authors and antiquaries, and their letters as given in this
+    book illustrate their favorite studies.</p>
+
+<p class="noindent">Lady Louisa Stuart. Selections from her manuscripts, edited by Hon.
+James Home.</p>
+
+    <p class="indd">London, 1899. (One section of the book is entitled "Unpublished
+    Letters of Sir Walter Scott and Lady Louisa Stuart.")</p>
+
+<p class="noindent">Abbotsford Notanda, by Robert Carruthers. Subjoined to the Life of Sir
+Walter Scott by Robert Chambers, edited by W. Chambers.</p>
+
+    <p class="indd">London, 1871.</p>
+
+    <p class="indd">Letters from Scott to Hogg and Laidlaw are included.</p>
+
+<p class="noindent">Memorials of Coleorton, being letters from Coleridge, Wordsworth and his
+Sister, Southey, and Sir Walter Scott, <span class="pagenum"><a
+name="page170" id="page170" href="#page170">[170]</a></span>to Sir George and Lady Beaumont
+of Coleorton, Leicestershire, 1803 to 1834. Edited, with introduction
+and notes, by William Knight.</p>
+
+    <p class="indd">2 vols. Boston, 1887.</p>
+
+    <p class="indd">The second volume contains three letters by Scott.</p>
+
+<p class="noindent">The Letters of Sir Walter Scott and Charles Kirkpatrick Sharpe to Robert
+Chambers, 1821-45. With original memoranda of Sir Walter Scott, etc.
+[Edited by C.E.S. Chambers.]</p>
+
+    <p class="indd">Edinburgh, 1904.</p>
+
+<p class="noindent">Reminiscences of Sir Walter Scott, by John Gibson.</p>
+
+    <p class="indd">Edinburgh, 1871.</p>
+
+    <p class="indd">Besides nine letters from Scott this book gives in full a memorial
+    written by him in regard to the claim of Constable's trustee on
+    <i>Woodstock</i> and <i>Napoleon</i>.</p>
+
+<p class="noindent">Traditions and Recollections, Domestic, Clerical, and Literary; in which
+are included letters of Charles II, Cromwell, Fairfax, Edgecumbe,
+Macaulay, Wolcot, Opie, Whitaker, Gibbon, Buller, Courtenay, Moore,
+Downman, Drewe, Seward, Darwin, Cowper, Hayley, Hardinge, Sir Walter
+Scott, and other distinguished characters. By the Rev. R. Polwhele.</p>
+
+    <p class="indd">2 vols. London, 1826.</p>
+
+    <p class="indd">Vol. II. contains five letters from Scott.</p>
+
+<p class="noindent">Letters of Sir Walter Scott, addressed to the Rev. R. Polwhele; D.
+Gilbert, Esq.; Francis Douce, Esq.; etc.</p>
+
+    <p class="indd">London, 1832.</p>
+
+    <p class="indd">Twenty-eight letters from Scott are given, of which at least one had
+    previously been published.</p>
+
+<p class="noindent">A Memoir of the Life and Writings of the late William Taylor of Norwich,
+... containing his correspondence of many years with the late Robert
+Southey, Esq., and original letters from Sir Walter Scott, and other
+eminent literary men. Compiled and edited by J.W. Robberds, F.G.S., of
+Norwich.</p>
+
+    <p class="indd">2 vols. London, 1843.</p>
+
+    <p class="indd">Vol. I. contains two letters from Scott, of which the second has
+    decided critical interest. See pp. 94-100. Vol. II. has one letter
+    from Scott. See p. 533.</p>
+
+<p class="noindent"><span class="pagenum"><a name="page171"
+id="page171" href="#page171">[171]</a></span>Memoirs of Sir William Knighton, Bart. G.C.H. ... including his
+correspondence with many distinguished personages. By Lady Knighton.
+Philadelphia, 1838.</p>
+
+    <p class="indd">Fourteen letters from Scott are given.</p>
+
+<p class="noindent">Letters between James Ellis, Esq., and Walter Scott, Esq.</p>
+
+    <p class="indd">Newcastle-upon-Tyne, 1850.</p>
+
+    <p class="indd">The letters from Scott are two in number.</p>
+
+<p class="noindent">Haydon's Correspondence and Table-talk, with a Memoir by his son,
+Frederick Wordsworth Haydon.</p>
+
+    <p class="indd">2 vols., London, 1876.</p>
+
+    <p class="indd">The first volume contains a few letters by Scott.</p>
+
+<p class="noindent">The Life and Letters of Washington Irving, by his nephew, Pierre M.
+Irving.</p>
+
+    <p class="indd">4 vols., New York, 1865.</p>
+
+    <p class="indd">Vol. I, p. 240, contains a letter to Brevoort; pp. 439-40, 442-4 and
+    450-1 contain three letters to Irving.</p>
+
+<p class="noindent">Memorials of James Hogg, by M.G. Garden.</p>
+
+    <p class="indd">London, 1903.</p>
+
+    <p class="indd">Four letters by Scott are included.</p>
+
+<p class="noindent">Memoirs of a Literary Veteran, including sketches and anecdotes of the
+most distinguished literary characters from 1794 to 1849, by R.P.
+Gillies.</p>
+
+    <p class="indd">3 vols. London, 1851.</p>
+
+    <p class="indd">Vol. II, pp. 77-83, contains three letters from Scott; Vol. III, pp.
+    143-4, contains one.</p>
+
+<p class="noindent">Sir Walter Scott. The story of his life, by R. Shelton Mackenzie.</p>
+
+    <p class="indd">Boston, 1871.</p>
+
+    <p class="indd">See p. 471 for a letter not published elsewhere.</p>
+
+<p class="noindent">Byron's Letters and Journals. Rowland E. Prothero, ed.</p>
+
+    <p class="indd">6 vols., London, 1898-1901.</p>
+
+    <p class="indd">See Vol. VI, p. 55 for a letter of Scott's not published elsewhere.</p>
+
+<p class="noindent">Catalogue of the Exhibition held at Edinburgh in July and August, 1871,
+on occasion of the commemoration of the centenary of the birth of Sir
+Walter Scott.</p>
+
+    <p class="indd">Edinburgh, 1872.</p>
+
+    <p class="indd">This catalogue contains notices of the autograph letters which were
+    exhibited, and prints a few of the letters.</p>
+
+<p class="noindent"><span class="pagenum"><a name="page172"
+id="page172" href="#page172">[172]</a></span>
+A Critical Dictionary of English Literature and British and American
+Authors.... By S. Austin Allibone.</p>
+
+    <p class="indd">3 vols. Philadelphia, 1870.</p>
+
+    <p class="indd">Two letters from Scott to Ticknor are given in the article on Scott.</p>
+
+<p class="noindent">Fragments of Voyages and Travel, by Basil Hall. Third series.</p>
+
+    <p class="indd">Chapter I. contains a letter written by Scott in the original
+    manuscript of <i>The Antiquary</i>, explaining why the author
+    particularly liked that novel.</p>
+
+<p class="noindent">Letters, hitherto unpublished, written by members of Sir Walter Scott's
+family to their old governess. Edited, with an introduction and notes,
+by the Warden of Wadham College, Oxford.</p>
+
+    <p class="indd">London, 1905.</p>
+
+    <p class="indd">See pp. 13-15 for a letter from Scott, and pp. 37-38 for a note of
+    instructions in regard to his daughter Sophia's history lessons.</p>
+
+<p class="noindent">Correspondence between J. Fenimore Cooper and Sir Walter Scott.</p>
+
+    <p class="indd"><i>The Knickerbocker Magazine</i>, xi: 380; April, 1838.</p>
+
+    <p class="indd">The letter from Scott to Cooper quoted above, p. 102, is here given.</p>
+
+<p class="noindent">Fiction, Fair and Foul. By John Ruskin.</p>
+
+    <p class="indd"><i>Nineteenth Century</i>, viii: 195; August, 1880.</p>
+
+    <p class="indd">A footnote on pp. 196-7 contains fragments of five letters from
+    Scott to the builder of Abbotsford.</p>
+
+<p class="noindent">Wordsworth's Poetical Works. Edited by William Knight.</p>
+
+    <p class="indd">II vols. Edinburgh, 1882.</p>
+
+    <p class="indd">See the index. Vol. XI, p. 196 has a letter from Scott which I think
+    had not previously been published. Vol. X, p. 105, gives one which
+    Lockhart quotes "very imperfectly," according to Prof. Knight.</p>
+
+<p class="noindent">Portraits of Illustrious Personages of Great Britain ... with
+biographical and historical memoirs of their lives and actions, by
+Edmund Lodge.</p>
+
+    <p class="indd">London, 1835.</p>
+
+    <p class="indd">Vol. I contains, in the appendix to the preface, a letter from Scott
+    to the publisher, dated 25th March 1828. (See <i>Lockhart</i>, V, 350.)</p>
+
+<p class="noindent"><span class="pagenum"><a name="page173"
+id="page173" href="#page173">[173]</a></span>
+The Life and Letters of Maria Edgeworth, edited by Augustus J.C. Hare.</p>
+
+    <p class="indd">2 vols. Boston, 1895.</p>
+
+    <p class="indd">This contains a few letters of Scott's, but only one which is not
+    published elsewhere.</p>
+
+<p class="noindent">A Short Account of successful exertions in behalf of the fatherless and
+widows after the war in 1814; containing letters from Mr. Wilberforce,
+Sir Walter Scott, Marshal Blücher, etc. By Rudolf Ackermann.</p>
+
+    <p class="indd">Oxford, 1871.</p>
+
+    <p class="indd">There is only one letter by Scott.</p>
+
+<p class="noindent">The Courser's Manual, etc., by T. Goodlake. 1828.</p>
+
+    <p class="indd">This book contains one letter by Scott, dated 16th October, 1828,
+    about an old Scottish poem entitled "The Last Words of Bonny Heck."
+    (See <i>Lockhart</i>, V. 219, for what is doubtless the same letter.)</p>
+
+<p class="noindent">The Chimney-sweeper's Friend and Climbing-boy's Album. Arranged by James
+Montgomery.</p>
+
+    <p class="indd">London, 1824.</p>
+
+    <p class="indd">The Preface contains part of a letter from Scott, in which he
+    describes the construction of the chimneys at Abbotsford. (See
+    <i>Lockhart</i>, IV. 158-9.)</p>
+
+
+<hr />
+<span class="pagenum"><a name="page174" id="page174" href="#page174">[174]</a></span>
+<h2>APPENDIX II.</h2>
+
+<br />
+<p class="noindent">1. <i>Bibliographies of Scott</i></p>
+
+<p>Allibone, S.A. Dictionary of British and American Authors and
+Literature. 3 vols. Phil., 1870.</p>
+
+<p>Anderson, J.P. Bibliography of Scott, in the Life of Scott by C.D. Yonge
+(Great Writers Series). London, 1888.</p>
+
+<p>Lockhart's Life of Scott; the Centenary Catalogue (see above, p. 171);
+the British Museum Catalogue; the Dictionary of National Biography.</p>
+
+<br />
+<p class="noindent">2. <i>A partial list of the books used in the preparation of this Study</i>,
+aside from those given in the bibliography of Scott's works. (See
+particularly the list of books which contain letters written by Scott:
+<a href="#appendixi3">Appendix I. 3</a>.)</p>
+
+<dl>
+<dt>Adolphus, J.L.</dt>
+<dd>  Letters to Richard Heber, Esq., containing critical remarks on the
+  series of novels beginning with "Waverley," and an attempt to
+  ascertain their author. Second edition. London, 1822.</dd>
+
+<dt>Aitken, G.A., ed.</dt>
+<dd>  Romances and Narratives by Daniel Defoe. 16 vols. London, 1895.</dd>
+
+<dt>Arnold, Matthew.</dt>
+<dd>  Byron. In Essays in Criticism. Second series. London, 1889.</dd>
+
+<dt>Carlyle, Thomas.</dt>
+<dd>  Sir Walter Scott. In Critical and Miscellaneous Essays. 4 vols.
+  London, 1857.</dd>
+
+<dt>Chambers, E.K.</dt>
+<dd>  The Mediaeval Stage. 2 vols. Oxford, 1903.</dd>
+
+<dt>Chesterton, G.K.</dt>
+<dd>  Varied Types. New York, 1903.</dd>
+
+<dt>Child, Francis J.</dt>
+<dd>  English and Scottish Popular Ballads. 5 vols. Boston, 1882-96.</dd>
+
+<dd class="sec">  English and Scottish Popular Ballads, edited from the collection of
+  Francis James Child by Helen Child Sargent and George Lyman Kittredge.
+  Boston, 1904.</dd>
+
+<dt>Clemens, S.L. (Mark Twain).</dt>
+<dd>  Life on the Mississippi. Boston, 1883.</dd>
+
+<dt><span class="pagenum"><a name="page175" id="page175"
+href="#page175">[175]</a></span>Cockburn, Henry.</dt>
+<dd>  Memorials of His Time. Edinburgh, 1874.</dd>
+
+<dt>Coleridge, S.T.</dt>
+<dd>  Specimens of the Table Talk of Samuel Taylor Coleridge. 2 vols.
+  London, 1835.</dd>
+
+<dd class="sec">  Letters of Samuel Taylor Coleridge, edited by E.H. Coleridge. 2 vols.
+  Boston, 1895.</dd>
+
+<dt>Collins, J. Churton.</dt>
+<dd>  Ephemera Critica. London, 1901.</dd>
+
+<dt>Courthope, W.J.</dt>
+<dd>  A History of English Poetry. 4 vols. New York, 1895-1903.</dd>
+
+<dd class="sec">  The Liberal Movement in English Literature. London, 1885.</dd>
+
+<dt>Cunningham, Allan.</dt>
+<dd>  Life of Scott. Boston, 1832.</dd>
+
+<dt>Dowden, Edward.</dt>
+<dd>  Life of Percy Bysshe Shelley. 2 vols. London, 1886.</dd>
+
+<dt>Fitzgerald, Percy.</dt>
+<dd>  New History of the English Stage, from the Restoration to the liberty
+  of the theatres, in connection with the patent houses. 2 vols. London,
+  1882.</dd>
+
+<dt>Forster, John.</dt>
+<dd>  Walter Savage Landor, a biography. 2 vols. London, 1869.</dd>
+
+<dt>Freeman, E.A.</dt>
+<dd>  The History of the Norman Conquest of England. 5 vols. New
+  York, 1873.</dd>
+
+<dt>Gates, L.E.</dt>
+<dd>  Three Studies in Literature. New York, 1899.</dd>
+
+<dt>Gillies, R.P.</dt>
+<dd>  Recollections of Sir Walter Scott. (Republished in book form from
+  <i>Fraser's Magazine</i>, Sept., Nov., Dec. 1835, and Jan., 1836.)</dd>
+
+<dt>Hazlitt, William.</dt>
+<dd>  Collected Works, edited by A.R. Waller and Arnold Glover. 12 vols.
+  London, 1902-4. (Spirit of the Age, Vol. IV; Plain Speaker, Vol. VII;
+  Dramatic Essays, Vol. VIII.)</dd>
+
+<dt>Herford, C.H.</dt>
+<dd>  The Age of Wordsworth. (Handbooks of English Literature.) London,
+  1905.</dd>
+
+<dt>Hogg, James, ed.</dt>
+<dd>  Jacobite Relics of Scotland, being the songs, airs, and legends of the
+  adherents of the House of Stuart. 2 vols. Edinburgh, 1819-21.</dd>
+
+<dd class="sec">  Domestic Manners and Private Life of Sir Walter Scott.
+Glasgow, 1834.</dd>
+
+<dt>Hudson, W.H.</dt>
+<dd>  Sir Walter Scott, London, 1901.</dd>
+
+<dt>Hunt, J.H. Leigh.</dt>
+<dd>  Autobiography; with reminiscences of <span class="pagenum"><a
+name="page176" id="page176" href="#page176">[176]</a></span>friends and
+contemporaries. 2 vols. New York, 1850.</dd>
+
+<dd class="sec">  Feast of the Poets. London, 1814.</dd>
+
+<dd class="sec">  Lord Byron and some of his contemporaries. Second edition. 2 vols.
+  London, 1828.</dd>
+
+<dt>Hutton, R.H.</dt>
+<dd>  Sir Walter Scott. (English Men of Letters.) New York, 1878.</dd>
+
+<dt>Irving, Washington.</dt>
+<dd>  Abbotsford and Newstead Abbey. (First volume of the "Crayon
+  Miscellany.") London, 1835.</dd>
+
+<dt>Lang, Andrew.</dt>
+<dd>  Sir Walter Scott (Literary Lives). New York, 1906.</dd>
+
+<dd class="sec">  Border edition of the Waverley Novels, 48 vols. London, 1892-1894.</dd>
+
+<dt>Laing, Malcolm, ed.</dt>
+<dd>  Poems of Ossian, containing the poetical works of James MacPherson in
+  prose and verse. 2 vols. Edinburgh, 1805.</dd>
+
+<dt>Legaré, H.S.</dt>
+<dd>  Writings.... Edited by his sister. Charleston, S.C., 1846.</dd>
+
+<dt>Lounsbury, T.R.</dt>
+<dd>  James Fenimore Cooper. (American Men of Letters.) Boston, 1882.</dd>
+
+<dt>Maigron, Louis.</dt>
+<dd>  Le Roman Historique à l'Époque Romantique: essai sur l'influence de
+  Walter Scott. Paris, 1898.</dd>
+
+<dt>Masson, David.</dt>
+<dd>  British Novelists and Their Styles. Cambridge, Eng., 1859.</dd>
+
+<dt>Matthews, Brander.</dt>
+<dd>  The Historical Novel, etc. New York, 1901.</dd>
+
+<dt>Meteyard, Eliza.</dt>
+<dd>  A Group of Englishmen (1795-1815), being records of the younger
+  Wedgwoods and their friends. London, 1871.</dd>
+
+<dt>Millar, J.H.</dt>
+<dd>  The Mid-Eighteenth Century. (Periods of European Literature.) New
+  York, 1902.</dd>
+
+<dt>Moore, Thomas.</dt>
+<dd>  Letters and Journals of Lord Byron, with notices of his life. 2 vols.
+  London, 1830.</dd>
+
+<dt>Myers, F.W.H.</dt>
+<dd>  Wordsworth. (English Men of Letters.) New York, 1881.</dd>
+
+<dt>Newman, J.H.</dt>
+<dd>  Apologia Pro Vita Sua. London, 1892.</dd>
+
+<dt>Nichol, John.</dt>
+<dd>  Byron. (English Men of Letters.) New York, 1880.</dd>
+
+<dt><span class="pagenum"><a name="page177" id="page177" href="#page177">[177]</a></span>Palgrave, F.T.</dt>
+<dd>  Biographical and Critical Memoir of Sir Walter Scott. (In Poetical
+  Works of Scott. London, 1866, Macmillan and Company.)</dd>
+
+<dt>Paris, Gaston.</dt>
+<dd>  La Littérature Française au Moyen Age. Paris, 1890.</dd>
+
+<dt>Percy, W.</dt>
+<dd>  Reliques of Ancient English Poetry, consisting of old heroic ballads,
+  songs, and other pieces of our earlier poets (chiefly of the lyric
+  kind) together with some few of later date. 3 vols. London, 1765.</dd>
+
+<dt>Pierce, E.L.</dt>
+<dd>  Memoirs and Letters of Charles Sumner. 2 vols. Boston, 1877.</dd>
+
+<dt>Ruskin, John.</dt>
+<dd>  Modern Painters. New edition, 5 vols. London, 1897.</dd>
+
+<dt>Saintsbury, George.</dt>
+<dd>  Life of Scott. (Famous Scots Series.) New York. [1897.]</dd>
+
+<dd class="sec">  A History of Criticism and Literary Taste in Europe.... 3 vols. New
+  York, 1900-1904.</dd>
+
+<dt>Scott, Temple, ed.</dt>
+<dd>  The Prose Works of Jonathan Swift, D.D. (Bohn's Standard Library.)
+  London, 1898-1905.</dd>
+
+<dt>Southey, Robert.</dt>
+<dd>  Selections from the Letters of Robert Southey, edited by John Wood
+  Warter. 4 vols. London, 1856.</dd>
+
+<dt>Stephen, Leslie.</dt>
+<dd>  English Literature and Society in the Eighteenth Century. (Ford
+  Lectures, 1903.) London, 1904.</dd>
+
+<dd class="sec">  Swift. (English Men of Letters.) New York, 1882.</dd>
+
+<dt>Taine, H.A.</dt>
+<dd>  Histoire de la Littérature Anglaise. 4 vols. Paris, 1863-64.</dd>
+
+<dt>Ticknor, George.</dt>
+<dd>  Life, Letters, and Journals of George Ticknor. Sixth edition. 2 vols.
+  Boston, 1877.</dd>
+
+<dt>White, A.D.</dt>
+<dd>  Autobiography. 3 vols. New York, 1905.</dd>
+
+<dt>Wylie, L.J.</dt>
+<dd>  Studies in the Evolution of English Criticism. Boston, 1894.</dd>
+</dl>
+
+<br />
+<p class="noindent">3. <i>Periodicals and articles referred to, aside from the articles
+written by Scott.</i></p>
+
+<dl>
+<dt><i>The Bibliographer</i>:</dt>
+<dd>Notes for a Bibliography of Swift, by Stanley
+Lane-Poole. Vol. VI, pp. 160-71.</dd>
+
+<dt><span class="pagenum"><a name="page178" id="page178"
+href="#page178">[178]</a></span><i>The Edinburgh Review</i>:</dt>
+<dd>Review of The Minstrelsy of the Scottish Border,
+Vol. I, pp. 395-406; Review of Sir Tristrem, Vol. IV, pp. 427-43; Review
+of Scott's edition of Swift, Vol. XXVII, pp. 1-58; Border Ballads, Vol.
+CCIII, pp. 306-26.</dd>
+
+<dt><i>The English Historical Review</i>:</dt>
+<dd> Dean Swift and The Memoirs of Captain
+Carleton, by Col. the Hon. Arthur Parnell, R.E. Vol. VI, pp. 97-151.</dd>
+
+<dt><i>Fraser's Magazine</i>:</dt>
+<dd> Review of Letters on Demonology and Witchcraft,
+Vol. II, pp. 507-519.</dd>
+
+<dt><i>The Knickerbocker Magazine</i>:</dt>
+<dd> Review by J. Fenimore Cooper of Lockhart's
+Life of Scott, Vol. XII, pp. 349 ff.</dd>
+
+<dt><i>Macmillan's Magazine</i>:</dt>
+<dd> The Historical Novel: Scott and Dumas, by Prof.
+Saintsbury, Vol. LXX, pp. 321-330.</dd>
+
+<dt><i>The Nineteenth Century</i>:</dt>
+<dd> Defoe's "Apparition of Mrs. Veal," by G.A.
+Aitken, Vol. XXXVII, pp. 95 ff.</dd>
+
+<dt><i>The Quarterly Review</i>:</dt>
+<dd> Review of Dunlop's History of Fiction, Vol.
+XIII, pp. 384-408; Review of Frankenstein, Vol. XVIII, pp. 37-385;
+Review of The Lives of the Novelists, Vol. XXXIV, pp. 349-378.</dd>
+</dl>
+</div>
+
+<div id="index">
+<hr /><span class="pagenum"><a name="page179" id="page179" href="#page179">[179]</a></span>
+<h2>INDEX.</h2>
+<br />
+<ul>
+<li><i>Abbot, The</i>,
+    <a href="#page88">88</a>, <a href="#page132">132</a>,
+    <a href="#page155">155</a></li>
+<li><i>Abbotsford and Newstead Abbey</i>,
+    <a href="#page15">15</a>, <a href="#page176">176</a></li>
+<li><i>Abbotsford, described by the Hon. Mary Monica Maxwell Scott</i>,
+    <a href="#page161">161</a></li>
+<li><i>Abbotsford Notanda</i>,
+    <a href="#page169">169</a></li>
+<li><i>Absalom and Achitophel</i>,
+    <a href="#page60">60</a>, <a href="#page63">63-4</a>,
+    <a href="#page66">66</a></li>
+<li><i>Account of the Death of Frederick, Duke of York, An</i>,
+    <a href="#page156">156</a></li>
+<li>Addison, Joseph,
+    <a href="#page80">80</a></li>
+<li>Adolphus, J.L.,
+   see <a href="#heber"><i>Letters to Heber</i></a></li>
+<li>Aeschylus,
+    <a href="#page50">50</a></li>
+<li><i><a name="agewordsworth" id="agewordsworth">Age of Wordsworth</a>, The</i>,
+    <a href="#page10">10</a>, <a href="#page20">20</a>,
+    <a href="#page125">125</a>, <a href="#page131">131</a>,
+    <a href="#page136">136</a>, <a href="#page175">175</a></li>
+<li><i>Aiken's Collection of Songs</i>, Scott's review of,
+    <a href="#page26">26</a>, <a href="#page163">163</a></li>
+<li>Aitken, G.A.,
+    <a href="#page77">77</a>, <a href="#page174">174</a>,
+    <a href="#page178">178</a></li>
+<li><i>Alastor</i>,
+    <a href="#page89">89</a></li>
+<li><i>Alexander's Feast</i>,
+    <a href="#page63">63</a>, <a href="#page139">139</a></li>
+<li>Allibone, S.A.,
+    <a href="#page56">56</a>, <a href="#page153">153</a>,
+    <a href="#page172">172</a>, <a href="#page174">174</a></li>
+<li><i>Amadis de Gaul</i>, Scott's review of,
+    <a href="#page4">4</a>, <a href="#page37">37</a>,
+    <a href="#page128">128</a>, <a href="#page129">129</a>,
+    <a href="#page162">162</a></li>
+<li><i>Ancient British Drama</i>,
+    <a href="#page52">52</a>, <a href="#page151">151-2</a></li>
+<li><i>Ancient Criminal Trials</i>, Scott's review of,
+    <a href="#page46">46</a>, <a href="#page143">143</a>,
+    <a href="#page165">165</a></li>
+<li><i>Ancient English Metrical Romances</i>, Scott's review of,
+    <a href="#page125">125</a>, <a href="#page162">162</a></li>
+<li><i>Ancient Mariner, The</i>,
+    <a href="#page87">87-8</a></li>
+<li><i>Ancient Times</i>,
+    <a href="#page149">149</a></li>
+<li>Anderson, J.P.,
+   see <a href="#bibscott"><i>Bibliography of Scott</i></a></li>
+<li><i>Annals of a Publishing House</i>,
+    <a href="#page169">169</a></li>
+<li><i>Annals of the Caledonians</i>, etc., Scott's review of,
+    <a href="#page164">164</a></li>
+<li><i>Anne of Geierstein</i>,
+    <a href="#page51">51</a>, <a href="#page65">65</a>,
+    <a href="#page104">104</a>, <a href="#page127">127</a>,
+    <a href="#page160">160</a></li>
+<li><i>Antiquary, The</i>,
+    <a href="#page3">3</a>, <a href="#page50">50</a>,
+    <a href="#page51">51</a>, <a href="#page89">89</a>,
+    <a href="#page154">154</a>, <a href="#page172">172</a></li>
+<li><i>Apologia</i>, Newman's,
+    <a href="#page142">142</a>, <a href="#page176">176</a></li>
+<li><i>Apology for Tales of Terror</i>,
+    <a href="#page147">147</a></li>
+<li><i>Apparition of Mrs. Veal, The</i>,
+    <a href="#page76">76-7</a>, <a href="#page178">178</a></li>
+<li>Arbuthnot, John,
+    <a href="#page68">68</a></li>
+<li>Ariosto,
+    <a href="#page33">33</a>, <a href="#page105">105</a></li>
+<li>Aristotle,
+    <a href="#page53">53</a>, <a href="#page54">54</a></li>
+<li>Arnold, Matthew,
+    <a href="#page95">95-6</a>, <a href="#page174">174</a></li>
+<li><i>Auchindrane, or The Ayrshire Tragedy</i>,
+    <a href="#page160">160</a></li>
+<li><i>Auchinleck Manuscript, The</i>,
+    <a href="#page34">34</a>, <a href="#page148">148</a></li>
+<li><i>Auld Robin Gray</i>,
+    <a href="#page157">157</a></li>
+<li>Austen, Jane,
+    <a href="#page75">75</a>, <a href="#page100">100</a>,
+    <a href="#page130">130</a></li>
+<li><i>Autobiography of Scott</i>,
+    <a href="#page160">160</a></li>
+</ul>
+
+<ul>
+<li>Bage, Robert,
+    <a href="#page73">73</a>, <a href="#page75">75</a>,
+    <a href="#page79">79</a></li>
+<li>Baillie, Joanna,
+    <a href="#page46">46</a>, <a href="#page85">85</a>,
+    <a href="#page97">97</a>, <a href="#page98">98</a>,
+    <a href="#page114">114</a>, <a href="#page118">118</a>,
+    <a href="#page151">151</a>, <a href="#page156">156</a></li>
+<li><i>Ballad Book, The</i>,
+    <a href="#page28">28</a>, <a href="#page148">148</a></li>
+<li><i>Ballads and Lyrical Pieces</i>,
+    <a href="#page148">148</a></li>
+<li><i>Ballantyne and Lockhart Pamphlets, The</i>,
+    <a href="#page149">149</a>, <a href="#page169">169</a></li>
+<li><i>Bannatyne, Memoir of</i>,
+    <a href="#page44">44</a>, <a href="#page160">160</a></li>
+<li><i>Bannatyne Miscellany, The</i>,
+    <a href="#page159">159</a></li>
+<li>Barnard, Lady Anne,
+    <a href="#page157">157</a></li>
+<li><i>Bartholomew Fair</i>,
+    <a href="#page118">118</a></li>
+<li><i>Battle of Brunanburgh, The</i>,
+    <a href="#page20">20</a>, <a href="#page43">43</a></li>
+<li><i>Battles of Talavera</i>, Scott's review of,
+    <a href="#page106">106</a>, <a href="#page112">112-13</a>,
+    <a href="#page163">163</a></li>
+<li>Beaumont and Fletcher,
+    <a href="#page42">42</a>, <a href="#page50">50</a>,
+    <a href="#page51">51</a>, <a href="#page52">52</a>,
+    <a href="#page56">56</a></li>
+<li><i>Beggar's Bush, The</i>,
+    <a href="#page50">50</a></li>
+<li><i>Beggar's Opera, The</i>,
+    <a href="#page50">50</a></li>
+<li><i>Beowulf</i>,
+    <a href="#page42">42</a></li>
+<li>Berners, John, Lord,
+    <a href="#page128">128</a></li>
+<li><i>Betrothed, The</i>,
+    <a href="#page157">157</a>, <a href="#page167">167</a></li>
+<li><i>Bibliographer, The</i>,
+    <a href="#page67">67</a>, <a href="#page177">177</a></li>
+<li><a name="bibscott" id="bibscott"><i>Bibliography of Scott</i></a>, Anderson's,
+    <a href="#page174">174</a></li>
+<li><i>Bibliothèque Bleue</i>,
+    <a href="#page33">33</a></li>
+<li><i>Bibliothèque de Romans</i>,
+    <a href="#page33">33</a></li>
+<li><i>Black Dwarf, The</i>,
+    <a href="#page3">3</a>, <a href="#page87">87</a>,
+    <a href="#page109">109</a>, <a href="#page154">154</a></li>
+<li>Blackmore, Sir Richard,
+    <a href="#page80">80</a></li>
+<li><i>Blackwood's Edinburgh Magazine</i>,
+    <a href="#page78">78</a>, <a href="#page83">83</a>,
+    <a href="#page100">100</a>, <a href="#page164">164</a>,
+    <a href="#page167">167</a>, <a href="#page169">169</a></li>
+<li><span class="pagenum"><a name="page180" id="page180" href="#page180">[180]</a></span>Blair, Hugh,
+    <a href="#page15">15</a></li>
+<li><i>Boaden's Life of Kemble</i>, Scott's review of,
+    <a href="#page46">46</a>, <a href="#page47">47</a>,
+    <a href="#page58">58</a>, <a href="#page164">164</a></li>
+<li>Boiardo,
+    <a href="#page33">33</a></li>
+<li>Boileau,
+    <a href="#page136">136</a></li>
+<li><i>Border Antiquities</i>,
+    <a href="#page153">153</a></li>
+<li>Boswell, James,
+    <a href="#page80">80</a>, <a href="#page161">161</a></li>
+<li><i>Brennoralt</i>,
+    <a href="#page51">51</a></li>
+<li><i>Bridal of Triermain, The</i>,
+    <a href="#page27">27</a>, <a href="#page152">152</a></li>
+<li><i>Bride of Lammermoor, The</i>,
+    <a href="#page3">3</a>, <a href="#page34">34</a>,
+    <a href="#page155">155</a></li>
+<li><i>British Novelists and Their Styles</i>,
+    <a href="#page3">3</a>, <a href="#page145">145</a>,
+    <a href="#page176">176</a></li>
+<li>Brome, Richard,
+    <a href="#page50">50</a></li>
+<li>Broughton, Hugh,
+    <a href="#page71">71</a></li>
+<li>Brown, Charles Brockden,
+    <a href="#page104">104</a></li>
+<li>Buchan, Peter,
+    <a href="#page27">27</a></li>
+<li>Bunyan, Scott's review of Southey's Life of,
+    <a href="#page111">111</a>, <a href="#page165">165</a></li>
+<li>Bürger, Gottfried,
+    <a href="#page18">18</a>, <a href="#page31">31</a>,
+    <a href="#page147">147</a></li>
+<li>Burney, Fanny,
+    <a href="#page100">100</a></li>
+<li>Burns, Robert,
+    <a href="#page22">22</a>, <a href="#page30">30</a>,
+    <a href="#page86">86</a>, <a href="#page93">93</a>,
+    <a href="#page96">96</a></li>
+<li><i>Burt's Letters from the North of Scotland</i>,
+    <a href="#page154">154</a></li>
+<li>Butler, Samuel,
+    <a href="#page64">64</a></li>
+<li>Byron, George Gordon, Lord,
+    <a href="#page11">11</a>, <a href="#page50">50</a>,
+    <a href="#page86">86</a>, <a href="#page88">88-9</a>,
+    <a href="#page91">91</a>, <a href="#page92">92-6</a>,
+    <a href="#page97">97</a>, <a href="#page98">98</a>,
+    <a href="#page99">99</a>, <a href="#page101">101</a>,
+    <a href="#page104">104</a>, <a href="#page105">105</a>,
+    <a href="#page106">106</a>, <a href="#page110">110</a>,
+    <a href="#page121">121</a>, <a href="#page129">129</a>,
+    <a href="#page143">143</a>, <a href="#page163">163</a>,
+    <a href="#page171">171</a>, <a href="#page176">176</a></li>
+</ul>
+
+<ul>
+<li><i>Cadyow Castle</i>,
+    <a href="#page30">30</a></li>
+<li><i>Cain</i>,
+    <a href="#page95">95</a></li>
+<li><i>Caledonian Sketches</i>, Scott's review of,
+    <a href="#page84">84</a>, <a href="#page163">163</a></li>
+<li>Calprenède,
+    <a href="#page53">53</a>, <a href="#page76">76</a></li>
+<li>Campbell, Thomas,
+    <a href="#page96">96</a>, <a href="#page100">100</a>,
+    <a href="#page118">118</a>, <a href="#page163">163</a></li>
+<li>Carey, Patrick,
+    <a href="#page155">155</a></li>
+<li><i>Carey, Robert, Memoirs of</i>,
+    <a href="#page149">149</a>, <a href="#page151">151</a></li>
+<li><i>Carleton, Captain, Memoirs of</i>,
+    <a href="#page68">68</a>, <a href="#page144">144</a>,
+    <a href="#page148">148</a>, <a href="#page178">178</a></li>
+<li>Carlyle, Thomas,
+    <a href="#page125">125</a>, <a href="#page131">131</a>,
+    <a href="#page144">144</a>, <a href="#page174">174</a></li>
+<li>Carr, Sir John,
+    <a href="#page84">84</a>, <a href="#page163">163</a></li>
+<li>Cartwright, William,
+    <a href="#page50">50</a></li>
+<li><i>Castle Dangerous</i>,
+    <a href="#page18">18</a>, <a href="#page34">34</a>,
+    <a href="#page161">161</a></li>
+<li><i>Castle of Otranto, The</i>,
+    <a href="#page76">76</a></li>
+<li><i>Catalogue of the Centenary Exhibition</i>,
+    <a href="#page147">147</a>, <a href="#page151">151</a>,
+    <a href="#page171">171</a>, <a href="#page174">174</a></li>
+<li>Chambers, E.K.,
+    <a href="#page21">21</a>, <a href="#page174">174</a></li>
+<li>Chambers, Robert,
+    <a href="#page50">50</a>, <a href="#page169">169</a>,
+    <a href="#page170">170</a></li>
+<li><i>Changeling, The</i>,
+    <a href="#page56">56</a></li>
+<li>Chapman, George,
+    <a href="#page50">50</a></li>
+<li><i>Chase, The</i>,
+    <a href="#page31">31</a>, <a href="#page147">147</a></li>
+<li>Chatterton, Scott's review of the Life and Works of,
+    <a href="#page43">43</a>, <a href="#page162">162</a></li>
+<li>Chaucer,
+    <a href="#page43">43</a>, <a href="#page44">44-5</a>,
+    <a href="#page62">62</a>, <a href="#page162">162</a></li>
+<li>Chesterton, G.K.,
+    <a href="#page11">11</a>, <a href="#page174">174</a></li>
+<li><i>Childe Harold</i>,
+    <a href="#page14">14</a>, <a href="#page88">88</a>,
+    <a href="#page93">93</a>, <a href="#page94">94</a>,
+    <a href="#page95">95</a>, <a href="#page129">129</a>,
+    <a href="#page163">163</a></li>
+<li>Child, Francis J.,
+    <a href="#page24">24</a>, <a href="#page28">28</a>,
+    <a href="#page31">31</a>, <a href="#page174">174</a></li>
+<li><i>Chimney-Sweeper's Friend</i>,
+    <a href="#page173">173</a></li>
+<li><i>Chivalry</i>, Essay on,
+    <a href="#page36">36</a>, <a href="#page46">46</a>,
+    <a href="#page154">154</a></li>
+<li><i>Christabel</i>,
+    <a href="#page62">62</a>, <a href="#page86">86-7</a>,
+    <a href="#page88">88</a></li>
+<li>Christie, W.D.,
+    <a href="#page60">60</a></li>
+<li><i>Chronicles of the Canongate</i>,
+    <a href="#page2">2</a>, <a href="#page3">3</a>,
+    <a href="#page80">80</a>, <a href="#page119">119</a>,
+    <a href="#page129">129</a>, <a href="#page159">159</a></li>
+<li><i>Chronological Notes of Scottish Affairs</i>,
+    <a href="#page156">156</a></li>
+<li><i>Chrononhotonthologos</i>,
+    <a href="#page50">50</a></li>
+<li><i>Cid, The</i>, Scott's review of,
+    <a href="#page92">92</a>, <a href="#page163">163</a></li>
+<li><i>Clarissa Harlowe</i>,
+    <a href="#page74">74</a></li>
+<li>Clemens, Samuel L.,
+    <a href="#page142">142</a>, <a href="#page174">174</a></li>
+<li>Clifford, Arthur,
+    <a href="#page149">149</a></li>
+<li><i>Cock and the Fox, The</i>,
+    <a href="#page45">45</a></li>
+<li>Cockburn, Henry,
+    <a href="#page15">15</a>, <a href="#page175">175</a></li>
+<li>Coleridge, Samuel Taylor,
+    <a href="#page11">11</a>, <a href="#page22">22</a>,
+    <a href="#page51">51</a>, <a href="#page86">86-9</a>,
+    <a href="#page90">90-91</a>, <a href="#page92">92</a>,
+    <a href="#page106">106</a>, <a href="#page135">135</a>,
+    <a href="#page137">137</a>, <a href="#page138">138</a>,
+    <a href="#page169">169</a>, <a href="#page175">175</a></li>
+<li>Collins, Churton,
+    <a href="#page68">68</a>, <a href="#page143">143-4</a>,
+    <a href="#page175">175</a></li>
+<li>Colvin, Sidney,
+    <a href="#page100">100</a></li>
+<li>Congreve, William,
+    <a href="#page57">57</a>, <a href="#page60">60</a></li>
+<li><i>Conquest of Granada, The</i>,
+    <a href="#page57">57</a></li>
+<li><i>Constable, Archibald, Literary Correspondence of</i>,
+    <a href="#page12">12</a>, <a href="#page33">33</a>,
+    <a href="#page48">48</a>, <a href="#page52">52</a>,
+    <a href="#page98">98</a>, <a href="#page104">104</a>,
+    <a href="#page121">121</a>, <a href="#page126">126</a>,
+    <a href="#page127">127</a>, <a href="#page154">154</a>,
+    <a href="#page158">158</a>, <a href="#page168">168</a>,
+    <a href="#page169">169</a></li>
+<li>Conybeare, John J.,
+    <a href="#page42">42</a></li>
+<li>Cooper, J. Fenimore,
+    <a href="#page14">14</a>, <a href="#page101">101-3</a>,
+    <a href="#page172">172</a>, <a href="#page178">178</a></li>
+<li><i>Correspondence of Lady Suffolk</i>, Scott's review of,
+    <a href="#page142">142</a>, <a href="#page164">164</a></li>
+<li><i>Count Julian</i>,
+    <a href="#page99">99</a></li>
+<li><i>Count Robert of Paris</i>,
+    <a href="#page161">161</a></li>
+<li><i>Courser's Manual, The</i>,
+    <a href="#page173">173</a></li>
+<li>Courthope, W.J.,
+    <a href="#page21">21</a>, <a href="#page141">141</a>,
+    <a href="#page175">175</a></li>
+<li>Cowley, Abraham,
+    <a href="#page59">59</a>, <a href="#page64">64</a></li>
+<li>Cowper, William,
+    <a href="#page64">64</a></li>
+<li>Crabbe, George,
+    <a href="#page97">97</a>, <a href="#page166">166</a></li>
+<li>Craik, Sir Henry,
+    <a href="#page68">68</a></li>
+<li><i>Critic, The</i>,
+    <a href="#page50">50</a></li>
+<li>Croker, J.W.,
+    <a href="#page161">161</a>, <a href="#page163">163</a></li>
+<li><span class="pagenum"><a name="page181" id="page181" href="#page181">[181]</a></span>
+<i>Cromek's Reliques of Burns</i>, Scott's review of,
+    <a href="#page22">22</a>, <a href="#page86">86</a>,
+    <a href="#page163">163</a></li>
+<li><i>Culloden Papers</i>, Scott's review of,
+    <a href="#page45">45</a>, <a href="#page163">163</a></li>
+<li>Cumberland, Richard,
+    <a href="#page73">73</a>, <a href="#page163">163</a></li>
+<li><a name="cunningham" id="cunningham">Cunningham</a>, Allan,
+    <a href="#page47">47-8</a>, <a href="#page81">81-2</a>,
+    <a href="#page96">96</a>, <a href="#page175">175</a></li>
+<li><i>Curse of Kehama, The</i>, Scott's review of,
+    <a href="#page91">91</a>, <a href="#page92">92</a>,
+    <a href="#page163">163</a></li>
+</ul>
+
+<ul>
+<li>Dante,
+    <a href="#page33">33</a>, <a href="#page92">92</a></li>
+<li><i>Darkness</i>,
+    <a href="#page88">88-9</a></li>
+<li>Davy, Sir Humphrey,
+    see <i><a href="#salmonia">Salmonia</a></i></li>
+<li><i>Dean Swift and the Memoirs of Captain Carleton</i>,
+    <a href="#page68">68</a>, <a href="#page144">144</a>,
+    <a href="#page148">148</a>, <a href="#page178">178</a></li>
+<li>Defoe, Daniel,
+    <a href="#page71">71</a>, <a href="#page73">73</a>,
+    <a href="#page76">76-7</a>, <a href="#page148">148-9</a>,
+    <a href="#page156">156</a>, <a href="#page178">178</a></li>
+<li>Dekker, Thomas,
+    <a href="#page50">50</a>, <a href="#page56">56</a></li>
+<li><i>Demonology and Witchcraft, Letters on</i>,
+    <a href="#page45">45</a>, <a href="#page104">104</a>,
+    <a href="#page138">138</a>, <a href="#page160">160</a>,
+    <a href="#page178">178</a></li>
+<li>DeQuincey, Thomas,
+    <a href="#page99">99</a></li>
+<li>Derrick, John,
+    <a href="#page71">71</a>, <a href="#page150">150</a></li>
+<li><i>Description of the Regalia of Scotland</i>,
+    <a href="#page155">155</a></li>
+<li><i>Diable Boiteux, Le</i>,
+    <a href="#page74">74</a></li>
+<li><i>Dictionary of British and American Authors</i>,
+    <a href="#page56">56</a>, <a href="#page153">153</a>,
+    <a href="#page172">172</a>, <a href="#page174">174</a></li>
+<li>D'Israeli, Isaac,
+    <a href="#page20">20</a>, <a href="#page142">142</a></li>
+<li><i>Domestic Manners and Private Life of Sir Walter Scott</i>,
+    <a href="#page114">114</a>, <a href="#page175">175</a></li>
+<li><i>Don Juan</i>,
+    <a href="#page95">95</a></li>
+<li>Donne, John,
+    <a href="#page62">62</a></li>
+<li><i>Don Quixote</i>,
+    <a href="#page33">33</a></li>
+<li><i>Doom of Devorgoil, The</i>,
+    <a href="#page46">46-7</a>, <a href="#page48">48</a>,
+    <a href="#page160">160</a></li>
+<li>Douce, Francis,
+    <a href="#page20">20</a></li>
+<li><i>Douglas</i>,
+    <a href="#page47">47</a>, <a href="#page51">51</a>,
+    <a href="#page111">111</a></li>
+<li>Douglas, David,
+    <a href="#page161">161</a>, <a href="#page168">168</a></li>
+<li><i>Douglas on Military Bridges</i>, Scott's review of,
+    <a href="#page163">163</a></li>
+<li>Dowden, Prof. Edward,
+    <a href="#page91">91</a>, <a href="#page175">175</a></li>
+<li><i>Drama</i>, Essay on,
+    <a href="#page50">50</a>, <a href="#page52">52-9</a>,
+    <a href="#page136">136</a>, <a href="#page154">154</a></li>
+<li><i>Drapier's Letters, The</i>,
+    <a href="#page69">69</a></li>
+<li>Drayton, Michael,
+    <a href="#page62">62</a></li>
+<li>Drelincourt's <i>Defence</i>, etc.,
+    <a href="#page76">76-7</a></li>
+<li>Dryden, John,
+    <a href="#page44">44</a>, <a href="#page59">59-65</a>,
+    <a href="#page93">93</a>, <a href="#page112">112</a>,
+    <a href="#page145">145</a></li>
+<li><i>Dryden's Works</i>, edited by Scott,
+    <a href="#page2">2</a>, <a href="#page5">5</a>,
+    <a href="#page7">7</a>, <a href="#page36">36</a>,
+    <a href="#page44">44-5</a>, <a href="#page50">50</a>,
+    <a href="#page51">51</a>, <a href="#page52">52-8</a>,
+    <a href="#page59">59-65</a>, <a href="#page66">66</a>,
+    <a href="#page70">70</a>, <a href="#page73">73</a>,
+    <a href="#page80">80</a>, <a href="#page126">126</a>,
+    <a href="#page131">131</a>, <a href="#page136">136</a>,
+    <a href="#page139">139</a>, <a href="#page145">145</a>,
+    <a href="#page149">149</a></li>
+<li>Dunbar, William,
+    <a href="#page44">44</a>, <a href="#page143">143-4</a></li>
+<li>Dunlop, J.C.,
+    <a href="#page73">73</a>, <a href="#page178">178</a></li>
+<li>Dyce, Alexander,
+    <a href="#page55">55</a></li>
+</ul>
+
+<ul>
+<li>Eberty, Felix,
+    <a href="#page2">2</a></li>
+<li>Edgeworth, Maria,
+    <a href="#page75">75</a>, <a href="#page76">76</a>,
+    <a href="#page97">97</a>, <a href="#page100">100</a>,
+    <a href="#page101">101</a>, <a href="#page103">103</a>,
+    <a href="#page173">173</a></li>
+<li><i>Edinburgh Annual Register, The</i>,
+    <a href="#page6">6</a>, <a href="#page26">26</a>,
+    <a href="#page85">85</a>, <a href="#page91">91</a>,
+    <a href="#page118">118</a>, <a href="#page141">141</a>,
+    <a href="#page155">155</a>, <a href="#page165">165-7</a></li>
+<li><i>Edinburgh Review</i>,
+    <a href="#page4">4</a>, <a href="#page5">5</a>,
+    <a href="#page18">18</a>, <a href="#page25">25</a>,
+    <a href="#page26">26</a>, <a href="#page29">29</a>,
+    <a href="#page31">31</a>, <a href="#page35">35</a>,
+    <a href="#page36">36</a>, <a href="#page38">38</a>,
+    <a href="#page40">40</a>, <a href="#page43">43</a>,
+    <a href="#page44">44</a>, <a href="#page46">46</a>,
+    <a href="#page61">61</a>, <a href="#page69">69</a>,
+    <a href="#page82">82</a>, <a href="#page84">84</a>,
+    <a href="#page91">91</a>, <a href="#page125">125</a>,
+    <a href="#page128">128</a>, <a href="#page129">129</a>,
+    <a href="#page134">134</a>, <a href="#page135">135</a>,
+    <a href="#page162">162</a>, <a href="#page164">164</a>,
+    <a href="#page178">178</a></li>
+<li><i>Edinburgh Weekly Journal, The</i>,
+    <a href="#page155">155</a>, <a href="#page156">156</a>,
+    <a href="#page157">157</a>, <a href="#page167">167</a></li>
+<li>Elliott, Hon. Fitzwilliam,
+    <a href="#page25">25</a></li>
+<li>Ellis, George,
+    <a href="#page4">4</a>, <a href="#page20">20</a>,
+    <a href="#page34">34</a>, <a href="#page35">35</a>,
+    <a href="#page43">43</a>, <a href="#page44">44</a>,
+    <a href="#page58">58</a>, <a href="#page60">60</a>,
+    <a href="#page91">91</a>, <a href="#page113">113</a>,
+    <a href="#page162">162</a></li>
+<li>Ellis, James, Letters of Scott to,
+    <a href="#page171">171</a></li>
+<li><i>Emma</i>, Scott's review of,
+    <a href="#page100">100</a>, <a href="#page163">163</a></li>
+<li><i>Encyclopĉdia Britannica</i>,
+    <a href="#page37">37</a>, <a href="#page46">46</a>,
+    <a href="#page52">52</a>, <a href="#page154">154</a></li>
+<li><i>English and Scottish Popular Ballads</i>,
+    <a href="#page24">24</a>, <a href="#page28">28</a>,
+    <a href="#page31">31</a>, <a href="#page174">174</a></li>
+<li><i>English Historical Review, The</i>,
+    <a href="#page68">68</a>, <a href="#page144">144</a>,
+    <a href="#page148">148</a>, <a href="#page178">178</a></li>
+<li><i>English Literature and Society in the Eighteenth Century</i>,
+    <a href="#page97">97</a>, <a href="#page177">177</a></li>
+<li><i>English Minstrelsy</i>,
+    <a href="#page151">151</a></li>
+<li><i>Ephemera Critica</i>,
+    <a href="#page143">143-4</a>, <a href="#page175">175</a></li>
+<li><i>Evans's Old Ballads</i>, Scott's review of,
+    <a href="#page26">26</a>, <a href="#page163">163</a></li>
+<li><i>Eve of St. John, The</i>,
+    <a href="#page30">30</a>, <a href="#page147">147</a></li>
+<li><i>Evergreen, The</i>,
+    <a href="#page28">28</a></li>
+<li><i>Eyrbyggja Saga, The</i>,
+    <a href="#page42">42</a>, <a href="#page152">152</a></li>
+</ul>
+
+<ul>
+<li><i>Fables</i>, Dryden's,
+    <a href="#page44">44-5</a>, <a href="#page64">64</a></li>
+<li><i>Fair Maid of Perth, The</i>,
+    <a href="#page159">159</a></li>
+<li><i>Fair Maid of the Inn, The</i>,
+    <a href="#page50">50</a></li>
+<li><i>Family Legend, The</i>,
+    <a href="#page46">46</a></li>
+<li><i><a name="familiarletters" id="familiarletters">Familiar Letters</a> of Sir Walter Scott</i>,
+    <a href="#page5">5</a>, <a href="#page13">13</a>,
+    <a href="#page14">14</a>, <a href="#page33">33</a>,
+    <a href="#page37">37</a>, <a href="#page40">40</a>,
+    <a href="#page47">47</a>, <a href="#page50">50</a>,
+    <a href="#page62">62</a>, <a href="#page80">80</a>,
+    <a href="#page84">84</a>, <a href="#page85">85</a>,
+    <a href="#page87">87</a>, <a href="#page89">89</a>,
+    <a href="#page96">96</a>, <a href="#page97">97</a>,
+    <a href="#page103">103</a>, <a href="#page104">104</a>,
+    <a href="#page108">108</a>, <a href="#page110">110</a>,
+    <a href="#page114">114</a>, <a href="#page115">115</a>,
+    <a href="#page116">116</a>, <a href="#page118">118</a>,
+    <a href="#page120">120</a>, <a href="#page138">138</a>,
+    <a href="#page143">143</a>, <a href="#page168">168</a></li>
+<li><i>Fatal Revenge, The</i>, Scott's review of,
+    <a href="#page163">163</a></li>
+<li><i>Faust</i>,
+    <a href="#page104">104</a></li>
+<li><i>Faustus</i>,
+    <a href="#page55">55</a></li>
+<li><i>Ferdinand, Count Fathom</i>,
+    <a href="#page74">74</a></li>
+<li><span class="pagenum"><a name="page182" id="page182"
+    href="#page182">[182]</a></span>Fergusson, Robert,
+    <a href="#page86">86</a></li>
+<li><i>Ferrex and Porrex</i>,
+    <a href="#page54">54</a></li>
+<li>Ferrier, Susan,
+    <a href="#page100">100</a></li>
+<li>Fielding, Henry,
+    <a href="#page73">73</a>, <a href="#page74">74</a>,
+    <a href="#page75">75-6</a>, <a href="#page78">78-9</a>,
+    <a href="#page110">110</a></li>
+<li><i>Field of Waterloo, The</i>,
+    <a href="#page121">121</a>, <a href="#page153">153</a></li>
+<li>Fitzgerald, Percy,
+    <a href="#page49">49</a>, <a href="#page175">175</a></li>
+<li><i>Fleetwood</i>, Scott's review of,
+    <a href="#page162">162</a></li>
+<li>Fletcher, John,
+    <a href="#page42">42</a>, <a href="#page50">50</a>,
+    <a href="#page51">51</a>, <a href="#page52">52</a>,
+    <a href="#page56">56</a></li>
+<li>Fletcher, Phineas,
+    <a href="#page64">64</a></li>
+<li>Ford, John,
+    <a href="#page50">50</a>, <a href="#page56">56</a></li>
+<li><i>Foreign Quarterly Review</i>,
+    <a href="#page57">57</a>, <a href="#page58">58</a>,
+    <a href="#page105">105</a>, <a href="#page132">132</a>,
+    <a href="#page133">133</a>, <a href="#page164">164</a></li>
+<li><i>Forester's Guide, The</i>, Scott's review of,
+    <a href="#page164">164</a></li>
+<li>Forster, John,
+    <a href="#page85">85</a>, <a href="#page91">91</a>,
+    <a href="#page98">98-9</a>, <a href="#page175">175</a></li>
+<li><i>Fortunes of Nigel, The</i>,
+    <a href="#page27">27</a>, <a href="#page47">47</a>,
+    <a href="#page48">48</a>, <a href="#page49">49</a>,
+    <a href="#page51">51</a>, <a href="#page77">77</a>,
+    <a href="#page108">108</a>, <a href="#page110">110</a>,
+    <a href="#page111">111</a>, <a href="#page118">118</a>,
+    <a href="#page119">119</a>, <a href="#page128">128</a>,
+    <a href="#page131">131</a>, <a href="#page157">157</a></li>
+<li>Fouqué, Baron de la Motte,
+    <a href="#page105">105</a></li>
+<li><i>Fragmenta Regalia</i>,
+    <a href="#page55">55</a>, <a href="#page149">149</a></li>
+<li><i>Fragments of Voyages and Travel</i>,
+    <a href="#page172">172</a></li>
+<li>France, Anatole,
+    <a href="#page127">127</a></li>
+<li>Franck, Richard,
+    <a href="#page155">155</a></li>
+<li><i>Frankenstein</i>,
+    <a href="#page78">78</a>, <a href="#page89">89</a>,
+    <a href="#page164">164</a>, <a href="#page178">178</a></li>
+<li><i>Fraser's Magazine</i>,
+    <a href="#page85">85</a>, <a href="#page106">106</a>,
+    <a href="#page130">130</a>, <a href="#page138">138</a>,
+    <a href="#page143">143</a>, <a href="#page146">146</a>,
+    <a href="#page175">175</a>, <a href="#page178">178</a></li>
+<li>Freeman, Edward,
+    <a href="#page126">126</a>, <a href="#page127">127</a>,
+    <a href="#page175">175</a></li>
+<li>Frere, John Hookham,
+    <a href="#page20">20</a>, <a href="#page35">35</a></li>
+<li>Froissart,
+    <a href="#page36">36</a>, <a href="#page128">128</a>,
+    <a href="#page162">162</a></li>
+</ul>
+
+<ul>
+<li>Galt, John,
+    <a href="#page129">129</a>, <a href="#page164">164</a></li>
+<li><i>Gammer Gurton's Needle</i>,
+    <a href="#page54">54</a></li>
+<li>Gates, Prof. L.E.,
+    <a href="#page134">134</a>, <a href="#page135">135</a>,
+    <a href="#page175">175</a></li>
+<li>Gay, John,
+    <a href="#page128">128</a></li>
+<li><i>Gebir</i>,
+    <a href="#page98">98</a></li>
+<li><i>Gertrude of Wyoming</i>, Scott's review of,
+    <a href="#page82">82</a>, <a href="#page96">96</a>,
+    <a href="#page163">163</a></li>
+<li>Gibson, John,
+    <a href="#page170">170</a></li>
+<li>Gifford, William,
+    <a href="#page50">50</a>, <a href="#page52">52</a>,
+    <a href="#page83">83</a>, <a href="#page84">84</a>,
+    <a href="#page134">134</a>, <a href="#page141">141</a></li>
+<li><a name="gilfillan" id="gilfillan">Gilfillan</a>, George,
+    <a href="#page1">1</a></li>
+<li>Gillies, R.P.,
+    <a href="#page14">14</a>, <a href="#page85">85</a>,
+    <a href="#page95">95</a>, <a href="#page106">106</a>,
+    <a href="#page130">130</a>, <a href="#page143">143</a>,
+    <a href="#page146">146</a>, <a href="#page171">171</a>,
+    <a href="#page175">175</a></li>
+<li><i>Glenfinlas</i>,
+    <a href="#page30">30</a></li>
+<li>Godwin, William,
+    <a href="#page9">9</a>, <a href="#page44">44</a>,
+    <a href="#page99">99</a></li>
+<li><i>Godwin's Life of Chaucer</i>, Scott's review of,
+    <a href="#page9">9</a>, <a href="#page44">44</a>,
+    <a href="#page84">84</a>, <a href="#page124">124</a>,
+    <a href="#page162">162</a></li>
+<li>Goethe,
+    <a href="#page54">54</a>, <a href="#page95">95</a>,
+    <a href="#page104">104-5</a>, <a href="#page125">125</a>,
+    <a href="#page147">147</a></li>
+<li><i>Goetz von Berlichingen</i>,
+    <a href="#page54">54</a>, <a href="#page147">147</a></li>
+<li>Goldsmith, Oliver,
+    <a href="#page73">73</a>, <a href="#page75">75</a></li>
+<li>Gosson, Stephen,
+    <a href="#page71">71</a></li>
+<li><i>Gourgaud's Narrative, Remarks on</i>,
+    <a href="#page164">164</a></li>
+<li>Grammont, Count,
+    <a href="#page5">5</a>, <a href="#page152">152</a></li>
+<li><i>Gray Brother, The</i>,
+    <a href="#page30">30</a></li>
+<li>Greene, Robert,
+    <a href="#page55">55</a>, <a href="#page71">71</a></li>
+<li>Grimm, Jacob,
+    <a href="#page21">21</a></li>
+<li><i>Groat's-worth of Wit</i>,
+    <a href="#page71">71</a></li>
+<li><i>Group of Englishmen, A</i>,
+    <a href="#page87">87</a>, <a href="#page176">176</a></li>
+<li><i>Gulliver's Travels</i>,
+    <a href="#page70">70</a></li>
+<li><i>Guy Mannering</i>,
+    <a href="#page3">3</a>, <a href="#page6">6</a>,
+    <a href="#page46">46</a>, <a href="#page50">50</a>,
+    <a href="#page76">76</a>, <a href="#page117">117</a>,
+    <a href="#page120">120</a>, <a href="#page121">121</a>,
+    <a href="#page153">153</a>, <a href="#page167">167</a></li>
+<li><i>Gwynne, John, Military Memoirs of</i>,
+    <a href="#page157">157</a></li>
+</ul>
+
+<ul>
+<li><i>Hajji Baba in England</i>, Scott's review of,
+    <a href="#page164">164</a></li>
+<li><i>Halidon Hill</i>,
+    <a href="#page48">48</a>, <a href="#page156">156</a></li>
+<li><i>Hall of Justice, The</i>,
+    <a href="#page97">97</a></li>
+<li><i>Harold the Dauntless</i>,
+    <a href="#page121">121</a>, <a href="#page154">154</a></li>
+<li><i>Harper's Magazine</i>,
+    <a href="#page161">161</a></li>
+<li>Hawkesworth, John,
+    <a href="#page65">65</a></li>
+<li>Haydon, B.R.,
+    <a href="#page99">99</a>, <a href="#page171">171</a></li>
+<li>Hazlitt, William,
+    <a href="#page49">49</a>, <a href="#page51">51</a>,
+    <a href="#page85">85</a>, <a href="#page99">99</a>,
+    <a href="#page114">114</a>, <a href="#page135">135</a>,
+    <a href="#page139">139</a>, <a href="#page141">141</a>,
+    <a href="#page175">175</a></li>
+<li><i>Heart of Midlothian, The</i>,
+    <a href="#page3">3</a>, <a href="#page46">46</a>,
+    <a href="#page154">154</a></li>
+<li><i><a name="heber" id="heber">Heber, Richard, Letters to</a></i>,
+    <a href="#page10">10</a>, <a href="#page15">15-16</a>,
+    <a href="#page49">49</a>, <a href="#page65">65</a>,
+    <a href="#page85">85</a>, <a href="#page88">88</a>,
+    <a href="#page97">97</a>, <a href="#page114">114</a>,
+    <a href="#page129">129</a>, <a href="#page131">131</a>,
+    <a href="#page132">132</a>, <a href="#page174">174</a></li>
+<li>Hemans, Mrs. Felicia,
+    <a href="#page98">98</a></li>
+<li>Henderson's edition of <i>The Minstrelsy of the Scottish Border</i>,
+    <a href="#page22">22</a>, <a href="#page23">23</a>,
+    <a href="#page24">24-5</a>, <a href="#page26">26</a>,
+    <a href="#page28">28</a>, <a href="#page29">29</a>,
+    <a href="#page148">148</a></li>
+<li>Henry, Robert,
+    <a href="#page126">126</a></li>
+<li>Herbert, Lord, of Cherbury,
+    <a href="#page150">150</a></li>
+<li>Herbert, William, Scott's review of the Poems of,
+    <a href="#page18">18</a>, <a href="#page31">31</a>,
+    <a href="#page41">41</a>, <a href="#page162">162</a></li>
+<li>Herford, C.H.,
+    see <i><a href="#agewordsworth">Age of Wordsworth</a></i></li>
+<li><i>Highland Widow, The</i>,
+    <a href="#page120">120</a>, <a href="#page159">159</a></li>
+<li><i>Hind and the Panther, The</i>,
+    <a href="#page60">60</a></li>
+<li><i>History of Criticism</i>, Saintsbury's,
+    <a href="#page146">146</a>, <a href="#page177">177</a></li>
+<li><i>History of English Poetry</i>, Courthope's,
+    <a href="#page21">21</a>, <a href="#page175">175</a></li>
+<li><i>History of English Poetry</i>, Warton's,
+    <a href="#page19">19</a>, <a href="#page21">21</a>,
+    <a href="#page34">34</a>, <a href="#page35">35</a></li>
+<li><span class="pagenum"><a name="page183" id="page183"
+    href="#page183">[183]</a></span><i>History of John Bull</i>,
+    <a href="#page68">68</a></li>
+<li><i>History of Prose Fiction</i>, Dunlop's,
+    <a href="#page73">73</a>, <a href="#page178">178</a></li>
+<li><i>History of Queen Elizabeth's Favourites</i>,
+    <a href="#page5">5</a>, <a href="#page149">149</a></li>
+<li><i>History of Scotland</i>, Scott's,
+    <a href="#page127">127</a>, <a href="#page160">160</a></li>
+<li><i>History of Scotland</i>, Tytler's, Scott's review of,
+    <a href="#page45">45</a>, <a href="#page124">124</a>,
+    <a href="#page164">164</a></li>
+<li><i>History of the Church of Scotland</i>, Defoe's,
+    <a href="#page77">77</a></li>
+<li><i>History of the Church of Scotland</i>, Sharpe's Kirkton's, Scott's review of,
+    <a href="#page163">163</a></li>
+<li><i>History of the Norman Conquest of England</i>,
+    <a href="#page126">126</a>, <a href="#page127">127</a>,
+    <a href="#page175">175</a></li>
+<li><i>History of the Years 1814 and 1815</i>,
+    <a href="#page6">6</a>, <a href="#page166">166</a></li>
+<li><i>Hodgson, Captain, Memoirs of</i>,
+    <a href="#page148">148</a>, <a href="#page149">149</a></li>
+<li>Hoffman, Scott's review of the Works of,
+    <a href="#page89">89</a>, <a href="#page105">105</a>,
+    <a href="#page132">132</a>, <a href="#page164">164</a></li>
+<li>Hogg, James,
+    <a href="#page26">26</a>, <a href="#page96">96</a>,
+    <a href="#page114">114</a>, <a href="#page169">169</a>,
+    <a href="#page171">171</a>, <a href="#page175">175</a></li>
+<li><a name="homejohn" id="homejohn">Home</a>, Scott's review of the Life of,
+    <a href="#page15">15</a>, <a href="#page80">80</a>,
+    <a href="#page82">82</a>, <a href="#page106">106</a>,
+    <a href="#page164">164</a></li>
+<li>Homer,
+    <a href="#page63">63</a>, <a href="#page71">71</a>,
+    <a href="#page118">118</a>, <a href="#page131">131</a></li>
+<li>Horace,
+    <a href="#page54">54</a>, <a href="#page84">84</a></li>
+<li><i>Hours of Idleness</i>,
+    <a href="#page93">93</a></li>
+<li><i>House of Aspen, The</i>,
+    <a href="#page167">167</a></li>
+<li><i>Hudibras</i>,
+    <a href="#page64">64</a></li>
+<li><a name="hudson" id="hudson">Hudson</a>, W.H.,
+    <a href="#page2">2</a>, <a href="#page175">175</a></li>
+<li>Hughes, Mrs.,
+    <a href="#page54">54</a>, <a href="#page168">168</a></li>
+<li>Hume, David,
+    <a href="#page15">15</a></li>
+<li>Hunt, Leigh,
+    <a href="#page99">99</a>, <a href="#page100">100</a>,
+    <a href="#page135">135</a>, <a href="#page141">141</a>,
+    <a href="#page176">176</a></li>
+<li><a name="hutton" id="hutton">Hutton</a>, R.H.,
+    <a href="#page1">1</a>, <a href="#page176">176</a></li>
+<li><a name="hutchinson" id="hutchinson">Hutchinson</a>, H.G.,
+    <a href="#page54">54</a>, <a href="#page168">168</a></li>
+</ul>
+
+<ul>
+<li><i>Iliad, The</i>,
+    <a href="#page63">63</a>, <a href="#page131">131</a></li>
+<li><i>Illustrations of Northern Antiquities</i>,
+    <a href="#page152">152</a></li>
+<li><i>Image of Ireland, The</i>,
+    <a href="#page71">71</a>, <a href="#page150">150</a></li>
+<li><i>Imitations of the Ancient Ballad</i>, Essay on,
+    <a href="#page19">19</a>, <a href="#page30">30</a>,
+    <a href="#page41">41</a>, <a href="#page42">42</a>,
+    <a href="#page88">88</a>, <a href="#page115">115</a>,
+    <a href="#page160">160</a></li>
+<li><i>Indian Emperor, The</i>,
+    <a href="#page53">53</a></li>
+<li><i>Introductions, etc., to the Novels, Tales, and Romances, of the Author
+    of Waverley</i>,
+    <a href="#page160">160</a></li>
+<li>Irving, Washington,
+    <a href="#page15">15</a>, <a href="#page97">97</a>,
+    <a href="#page101">101</a>, <a href="#page103">103-4</a>,
+    <a href="#page117">117</a>, <a href="#page143">143</a>,
+    <a href="#page171">171</a>, <a href="#page176">176</a></li>
+<li><i>Ivanhoe</i>,
+    <a href="#page6">6</a>, <a href="#page87">87</a>,
+    <a href="#page108">108</a>, <a href="#page120">120</a>,
+    <a href="#page126">126</a>, <a href="#page127">127</a>,
+    <a href="#page128">128</a>, <a href="#page142">142</a>,
+    <a href="#page155">155</a></li>
+</ul>
+
+<ul>
+<li><i>Jacobite Relics</i>,
+    <a href="#page26">26</a>, <a href="#page175">175</a></li>
+<li>Jamieson, Robert,
+    <a href="#page42">42</a>, <a href="#page152">152</a>,
+    <a href="#page154">154</a></li>
+<li>Jeffrey, Francis,
+    <a href="#page4">4</a>, <a href="#page69">69</a>,
+    <a href="#page83">83</a>, <a href="#page84">84</a>,
+    <a href="#page93">93</a>, <a href="#page134">134-5</a></li>
+<li><i>Jests of George Peele</i>,
+    <a href="#page71">71</a></li>
+<li><i>Jonathan Wild</i>,
+    <a href="#page74">74</a></li>
+<li><i>John de Lancaster</i>, Scott's review of,
+    <a href="#page163">163</a></li>
+<li><i>Johnes's Froissart</i>, Scott's review of,
+    <a href="#page36">36</a>, <a href="#page162">162</a></li>
+<li>Johnson, Samuel,
+    <a href="#page60">60</a>, <a href="#page61">61</a>,
+    <a href="#page64">64</a>, <a href="#page68">68</a>,
+    <a href="#page73">73</a>, <a href="#page74">74</a>,
+    <a href="#page79">79-80</a>, <a href="#page102">102</a>,
+    <a href="#page128">128</a>, <a href="#page135">135</a>,
+    <a href="#page137">137</a>, <a href="#page161">161</a></li>
+<li>Johnstone, Charles,
+    <a href="#page73">73</a></li>
+<li><i>Jolly Beggars, The</i>,
+    <a href="#page86">86</a></li>
+<li>Jonson, Ben,
+    <a href="#page50">50</a>, <a href="#page51">51</a>,
+    <a href="#page56">56</a>, <a href="#page118">118</a></li>
+<li><i>Journal of a Tour to the Hebrides</i>,
+    <a href="#page161">161</a></li>
+<li><i>Journal, Scott's</i>,
+    <a href="#page12">12</a>, <a href="#page38">38</a>,
+    <a href="#page51">51</a>, <a href="#page56">56</a>,
+    <a href="#page84">84</a>, <a href="#page100">100</a>,
+    <a href="#page117">117</a>, <a href="#page122">122</a>,
+    <a href="#page129">129</a>, <a href="#page161">161</a>,
+    <a href="#page164">164</a> (see the <a href="#footnotes">footnotes</a>
+    for the many references not here indexed)</li>
+<li><i>Judicial Reform</i>, Essay on,
+    <a href="#page141">141</a>, <a href="#page165">165</a></li>
+</ul>
+
+<ul>
+<li>Keats, John,
+    <a href="#page11">11</a>, <a href="#page100">100</a></li>
+<li><i>Keepsake, The</i>,
+    <a href="#page167">167</a></li>
+<li><i>Kelly's Reminiscences</i>, Scott's review of,
+    <a href="#page46">46</a>, <a href="#page47">47</a>,
+    <a href="#page58">58</a>, <a href="#page164">164</a></li>
+<li>Kemble, Scott's review of the Life of,
+    <a href="#page46">46</a>, <a href="#page47">47</a>,
+    <a href="#page58">58</a>, <a href="#page164">164</a></li>
+<li>Kemble, J.M.,
+    <a href="#page43">43</a></li>
+<li><i>Kenilworth</i>,
+    <a href="#page10">10</a>, <a href="#page51">51</a>,
+    <a href="#page98">98</a>, <a href="#page155">155</a></li>
+<li><i>Kinmont Willie</i>,
+    <a href="#page24">24</a>, <a href="#page26">26</a>,
+    <a href="#page31">31</a>, <a href="#page148">148</a></li>
+<li>Kirk, Robert,
+    <a href="#page45">45</a>, <a href="#page153">153</a></li>
+<li><i>Kirkton's History, etc.</i>, Scott's review of,
+    <a href="#page163">163</a></li>
+<li><i>Knickerbocker's History of New York</i>,
+    <a href="#page103">103</a></li>
+<li><i>Knickerbocker Magazine, The</i>,
+    <a href="#page102">102</a>, <a href="#page172">172</a>,
+    <a href="#page178">178</a></li>
+<li>Knight, Prof. William,
+    see <i><a href="#memorialcoleorton">Memorials of Coleorton</a></i>,
+    and <i><a href="#wordsworth">Wordsworth</a></i></li>
+<li><i>Knight's Tale, The</i>,
+    <a href="#page44">44</a></li>
+<li><i>Knighton, Sir William, Memoirs of</i>,
+    <a href="#page12">12</a>, <a href="#page171">171</a></li>
+<li>Kölbing, E.,
+    <a href="#page35">35</a>, <a href="#page36">36</a></li>
+<li><span class="pagenum"><a name="page184" id="page184" href="#page184">[184]</a></span>
+    <i>Kuzzilbash, The</i>, Scott's review of,
+    <a href="#page164">164</a></li>
+</ul>
+
+<ul>
+<li><i>Lady of the Lake, The</i>,
+    <a href="#page46">46</a>, <a href="#page97">97</a>,
+    <a href="#page113">113</a>, <a href="#page118">118</a>,
+    <a href="#page119">119</a>, <a href="#page151">151</a></li>
+<li><i>Lady Suffolk's Correspondence</i>, Scott's review of,
+    <a href="#page142">142</a>, <a href="#page164">164</a></li>
+<li><i>Laird's Jock, The</i>,
+    <a href="#page167">167</a></li>
+<li>Laing, Malcolm,
+    <a href="#page40">40</a>, <a href="#page176">176</a></li>
+<li>Lamb, Charles,
+    <a href="#page20">20</a>, <a href="#page51">51</a>,
+    <a href="#page99">99</a>, <a href="#page100">100</a>,
+    <a href="#page135">135</a></li>
+<li><i>Landor</i>, Forster's <i>Life of</i>,
+    <a href="#page85">85</a>, <a href="#page91">91</a>,
+    <a href="#page98">98-9</a>, <a href="#page175">175</a></li>
+<li><i>Landscape Gardening</i>,
+    see <i><a href="#plantersguide">Planter's Guide</a></i></li>
+<li>Lane-Poole, Stanley,
+    <a href="#page67">67</a>, <a href="#page177">177</a></li>
+<li><a name="lang" id="lang">Lang</a>, Andrew,
+    <ul class="sub">
+    <li><i>Border Edition of the Waverley Novels</i>,
+        <a href="#page51">51</a>, <a href="#page89">89</a>,
+        <a href="#page108">108</a>, <a href="#page158">158</a>,
+        <a href="#page176">176</a></li>
+    <li><i>Life of Lockhart</i>,
+        <a href="#page52">52</a>, <a href="#page84">84</a>,
+        <a href="#page99">99</a>, <a href="#page100">100</a>,
+        <a href="#page158">158</a>, <a href="#page168">168</a></li>
+    <li><i>Life of Scott</i>,
+        <a href="#page87">87</a>, <a href="#page100">100</a>,
+        <a href="#page126">126</a>, <a href="#page127">127</a>,
+        <a href="#page176">176</a></li>
+    <li><i>Secret Commonwealth of Elves, Fauns, and Fairies</i>,
+        <a href="#page153">153</a></li></ul></li>
+<li>Langhorne, John,
+    <a href="#page98">98</a></li>
+<li><i>Lay of the Last Minstrel, The</i>,
+    <a href="#page4">4</a>, <a href="#page18">18</a>,
+    <a href="#page31">31</a>, <a href="#page87">87</a>,
+    <a href="#page110">110</a>, <a href="#page148">148</a></li>
+<li><i>Lays of the Lindsays</i>,
+    <a href="#page157">157</a></li>
+<li>Lee, Sidney,
+    <a href="#page150">150</a></li>
+<li>Lee, William,
+    <a href="#page77">77</a></li>
+<li>Legaré, H.S.,
+    <a href="#page94">94</a>, <a href="#page176">176</a></li>
+<li><i>Legend of Montrose, A</i>,
+    <a href="#page51">51</a>, <a href="#page155">155</a></li>
+<li>Lennox, Charlotte,
+    <a href="#page151">151</a></li>
+<li><i>Lenore</i>,
+    <a href="#page31">31</a>, <a href="#page147">147</a></li>
+<li>Le Sage,
+    <a href="#page73">73</a>, <a href="#page74">74</a></li>
+<li><i>Letter from Dr. Tripe to Nestor Ironside</i>,
+    <a href="#page67">67</a></li>
+<li><i>Letters of Malachi Malagrowther on the Currency</i>,
+    <a href="#page59">59</a>, <a href="#page69">69</a>,
+    <a href="#page116">116</a>, <a href="#page140">140</a>,
+    <a href="#page157">157</a></li>
+<li><i>Letters of Sir Walter Scott</i>,
+    <a href="#page168">168-173</a>,
+    see also <i><a href="#familiarletters">Familiar Letters</a></i>,
+    <a href="#hutchinson">Hutchinson</a>, <a href="#polwhele">Polwhele</a>,
+    and <a href="#stuart">Stuart, Lady Louisa</a></li>
+<li><i>Letters on Demonology and Witchcraft</i>,
+    <a href="#page45">45</a>, <a href="#page104">104</a>,
+    <a href="#page160">160</a>, <a href="#page178">178</a></li>
+<li><i>Letters to Richard Heber, etc.</i>,
+    <a href="#page10">10</a>, <a href="#page15">15-16</a>,
+    <a href="#page49">49</a>, <a href="#page65">65</a>,
+    <a href="#page85">85</a>, <a href="#page88">88</a>,
+    <a href="#page97">97</a>, <a href="#page114">114</a>,
+    <a href="#page129">129</a>, <a href="#page131">131</a>,
+    <a href="#page132">132</a>, <a href="#page174">174</a></li>
+<li><i>Letting of Humour's Blood in the Head Vaine, The</i>,
+    <a href="#page153">153</a></li>
+<li><i>Levett, Robert, Verses on the Death of</i>,
+    <a href="#page80">80</a></li>
+<li>Lewis, Matthew,
+    <a href="#page30">30</a>, <a href="#page97">97-8</a>,
+    <a href="#page147">147</a></li>
+<li>Leyden, John,
+    <a href="#page25">25</a>, <a href="#page30">30</a>,
+    <a href="#page166">166</a></li>
+<li><i>Liberal Movement in English Literature, The</i>,
+    <a href="#page141">141</a>, <a href="#page175">175</a></li>
+<li><i>Life of Napoleon Buonaparte, The</i>,
+    <a href="#page7">7</a>, <a href="#page12">12</a>,
+    <a href="#page78">78</a>, <a href="#page102">102</a>,
+    <a href="#page124">124-5</a>, <a href="#page127">127</a>,
+    <a href="#page140">140</a>, <a href="#page158">158</a>,
+    <a href="#page170">170</a></li>
+<li><i>Life on the Mississippi</i>,
+    <a href="#page142">142</a>, <a href="#page174">174</a></li>
+<li><i>Life of Sir Walter Scott, The</i>,
+    see <a href="#cunningham">Cunningham</a>,
+    <a href="#gilfillan">Gilfillan</a>, <a href="#hudson">Hudson</a>,
+    <a href="#hutton">Hutton</a>, <a href="#lang">Lang</a>,
+    <a href="#lockhart">Lockhart</a>, <a href="#mackenzie">Mackenzie</a>,
+    and <a href="#saintsbury">Saintsbury</a></li>
+<li><i>Littérature Française au Moyen Age, La</i>,
+    <a href="#page38">38</a>, <a href="#page177">177</a></li>
+<li><i>Little French Lawyer, The</i>,
+    <a href="#page50">50</a></li>
+<li><i>Lives of the Novelists</i>,
+    <a href="#page6">6</a>, <a href="#page7">7</a>,
+    <a href="#page15">15</a>, <a href="#page72">72-9</a>,
+    <a href="#page128">128</a>, <a href="#page131">131</a>,
+    <a href="#page156">156</a>, <a href="#page178">178</a></li>
+<li><i>Lives of the Poets</i>,
+    <a href="#page74">74</a></li>
+<li><i>Living Poets of Great Britain</i>, Article on,
+    <a href="#page118">118</a>, <a href="#page165">165</a></li>
+<li><i>Livre de Mon Ami, Le</i>,
+    <a href="#page127">127</a>, <a href="#page175">175</a></li>
+<li><a name="lockhart" id="lockhart">Lockhart</a>, John Gibson,
+    <a href="#page6">6</a>, <a href="#page22">22</a>,
+    <a href="#page25">25</a>, <a href="#page27">27</a>,
+    <a href="#page29">29</a>, <a href="#page52">52</a>,
+    <a href="#page83">83</a>, <a href="#page84">84</a>,
+    <a href="#page85">85</a>, <a href="#page98">98</a>,
+    <a href="#page99">99</a>, <a href="#page112">112</a>,
+    <a href="#page117">117</a>, <a href="#page158">158</a>,
+    <a href="#page160">160</a>, <a href="#page168">168</a>,
+    <a href="#page169">169</a></li>
+<li><i>Lockhart's Life of Scott</i>,
+    <a href="#page1">1</a>, <a href="#page11">11</a>,
+    <a href="#page12">12</a>, <a href="#page13">13</a>,
+    <a href="#page96">96</a>, <a href="#page98">98</a>,
+    <a href="#page101">101</a>, <a href="#page102">102-3</a>,
+    <a href="#page112">112</a>, <a href="#page148">148</a>,
+    <a href="#page149">149</a>, <a href="#page152">152</a>,
+    <a href="#page153">153</a>, <a href="#page161">161</a>,
+    <a href="#page162">162</a>, <a href="#page163">163</a>,
+    <a href="#page164">164</a>, <a href="#page165">165</a>,
+    <a href="#page166">166</a>, <a href="#page167">167</a>,
+    <a href="#page168">168</a>, <a href="#page169">169</a>,
+    <a href="#page172">172</a>, <a href="#page173">173</a>,
+    <a href="#page174">174</a>, <a href="#page178">178</a>
+    (see the <a href="#footnotes">footnotes</a> for the many references not here indexed)</li>
+<li>Lodge, Edmund,
+    <a href="#page132">132</a>, <a href="#page172">172</a></li>
+<li><i>London</i>,
+    <a href="#page79">79</a></li>
+<li><i>Lord Byron and Some of his Contemporaries</i>,
+    <a href="#page99">99-100</a>, <a href="#page176">176</a></li>
+<li><i>Lord of the Isles, The</i>,
+    <a href="#page120">120</a>, <a href="#page153">153</a></li>
+<li>Lounsbury, Prof. T.R.,
+    <a href="#page14">14</a>, <a href="#page102">102</a>,
+    <a href="#page176">176</a></li>
+<li><i>Love</i>,
+    <a href="#page87">87</a></li>
+<li>Lyly, John,
+    <a href="#page61">61</a></li>
+</ul>
+
+<ul>
+<li>Macaulay, T.B.,
+    <a href="#page144">144</a></li>
+<li><i>Macduff's Cross</i>,
+    <a href="#page156">156</a></li>
+<li><a name="mackenzie" id="mackenzie">Mackenzie</a>, Colin,
+    <a href="#page30">30</a></li>
+<li>Mackenzie, Henry,
+    <a href="#page17">17</a>, <a href="#page73">73</a>,
+    <a href="#page75">75</a>, <a href="#page100">100</a>,
+    see also <a href="#homejohn">Home, John</a></li>
+<li>Mackenzie, R. Shelton,
+    <a href="#page1">1</a>, <a href="#page52">52</a>,
+    <a href="#page123">123</a>, <a href="#page139">139</a>,
+    <a href="#page171">171</a></li>
+<li><i>Macmillan's Magazine</i>,
+    <a href="#page51">51</a>, <a href="#page142">142</a>,
+    <a href="#page178">178</a></li>
+<li><span class="pagenum"><a name="page185" id="page185" href="#page185">[185]</a></span>McNeill, G.P.,
+    <a href="#page35">35</a></li>
+<li>Macpherson, James,
+    <a href="#page40">40</a>, <a href="#page41">41</a>,
+    <a href="#page176">176</a></li>
+<li><i>Madoc</i>,
+    <a href="#page91">91</a></li>
+<li><i>Magnalia</i>,
+    <a href="#page104">104</a></li>
+<li>Maigron, Louis,
+    <a href="#page105">105</a>, <a href="#page176">176</a></li>
+<li><i>Malachi Malagrowther, Letters of</i>,
+    <a href="#page59">59</a>, <a href="#page69">69</a>,
+    <a href="#page116">116</a>, <a href="#page140">140</a>,
+    <a href="#page157">157</a></li>
+<li>Malone, Edmund,
+    <a href="#page60">60</a>, <a href="#page61">61</a></li>
+<li>Malory,
+    <a href="#page37">37</a></li>
+<li><i>Manfred</i>,
+    <a href="#page50">50</a>, <a href="#page51">51</a></li>
+<li>Mark Twain,
+    <a href="#page142">142</a>, <a href="#page174">174</a></li>
+<li>Marlowe, Christopher,
+    <a href="#page55">55</a></li>
+<li><i>Marmion</i>,
+    <a href="#page5">5</a>, <a href="#page6">6</a>,
+    <a href="#page31">31</a>, <a href="#page90">90</a>,
+    <a href="#page93">93</a>, <a href="#page97">97</a>,
+    <a href="#page110">110</a>, <a href="#page113">113</a>,
+    <a href="#page115">115</a>, <a href="#page145">145</a>,
+    <a href="#page148">148</a></li>
+<li>Marston, John,
+    <a href="#page50">50</a></li>
+<li><i>Masque of Owls, The</i>,
+    <a href="#page51">51</a></li>
+<li>Massinger, Philip,
+    <a href="#page56">56</a></li>
+<li>Masson, David,
+    <a href="#page3">3</a>, <a href="#page145">145</a>,
+    <a href="#page176">176</a></li>
+<li>Mather, Cotton,
+    <a href="#page104">104</a></li>
+<li>Matthews, Prof. Brander,
+    <a href="#page76">76</a>, <a href="#page176">176</a></li>
+<li>Maturin, C.R.,
+    <a href="#page138">138</a>, <a href="#page163">163</a>,
+    <a href="#page164">164</a></li>
+<li><i>Mediaeval Stage, The</i>,
+    <a href="#page21">21</a>, <a href="#page174">174</a></li>
+<li><i>Memoirs of a Literary Veteran</i>,
+    <a href="#page14">14</a>, <a href="#page171">171</a></li>
+<li><i>Memoirs of Captain Carleton</i>,
+    <a href="#page68">68</a>, <a href="#page144">144</a>,
+    <a href="#page148">148-9</a>, <a href="#page178">178</a></li>
+<li><i>Memoirs of Captain Hodgson</i>,
+    <a href="#page148">148</a>, <a href="#page149">149</a></li>
+<li><i>Memoirs of Robert Carey</i>,
+    <a href="#page149">149</a>, <a href="#page151">151</a></li>
+<li><i>Memoirs of the Court of Charles II.</i>,
+    <a href="#page5">5</a>, <a href="#page152">152</a></li>
+<li><i>Memoirs of the Insurrection in 1715</i>,
+    <a href="#page159">159</a></li>
+<li><i>Memoirs of the Duke of Sully</i>,
+    <a href="#page151">151</a></li>
+<li><i>Memoirs of the Marchioness de la Rochejaquelin</i>,
+    <a href="#page159">159</a></li>
+<li><i>Memoirs of the Reign of King Charles I.</i>,
+    <a href="#page5">5</a>, <a href="#page152">152</a></li>
+<li><i><a name="memorialcoleorton" id="memorialcoleorton">Memorials of Coleorton</a></i>,
+    <a href="#page169">169</a></li>
+<li><i>Memorials of George Bannatyne</i>,
+    <a href="#page44">44</a>, <a href="#page160">160</a></li>
+<li><i>Memorials of His Time</i>, Cockburn's,
+    <a href="#page15">15</a>, <a href="#page175">175</a></li>
+<li><i>Memorials of James Hogg</i>,
+    <a href="#page171">171</a></li>
+<li><i>Memorials of the Haliburtons</i>,
+    <a href="#page155">155</a></li>
+<li><i>Memorie of the Somervilles</i>,
+    <a href="#page154">154</a></li>
+<li><i>Merry Devil of Edmonton, The</i>,
+    <a href="#page50">50</a></li>
+<li>Meteyard, Eliza,
+    <a href="#page87">87</a>, <a href="#page176">176</a></li>
+<li><i>Mezeray's History of France</i>,
+    <a href="#page80">80</a></li>
+<li>Mickle, W.J.,
+    <a href="#page98">98</a></li>
+<li>Middleton, Thomas,
+    <a href="#page50">50</a>, <a href="#page56">56</a></li>
+<li><i>Mid-Eighteenth Century, The</i>,
+    <a href="#page74">74</a>, <a href="#page176">176</a></li>
+<li>Millar, J.H.,
+    <a href="#page74">74</a>, <a href="#page176">176</a></li>
+<li><i>Military Bridges</i>, Scott's review of,
+    <a href="#page163">163</a></li>
+<li><i>Military Memoirs of the Great Civil War</i>,
+    <a href="#page5">5</a>, <a href="#page157">157</a></li>
+<li>Milton,
+    <a href="#page40">40</a>, <a href="#page62">62</a>,
+    <a href="#page65">65</a>, <a href="#page88">88</a>,
+    <a href="#page91">91</a>, <a href="#page92">92</a>,
+    <a href="#page95">95</a>, <a href="#page104">104</a>,
+    <a href="#page143">143</a></li>
+<li>Minot, Laurence,
+    <a href="#page43">43</a></li>
+<li><i>Minstrelsy of the Scottish Border</i>,
+    <a href="#page3">3</a>, <a href="#page4">4</a>,
+    <a href="#page7">7</a>, <a href="#page17">17-32</a>,
+    <a href="#page33">33</a>, <a href="#page36">36</a>,
+    <a href="#page45">45</a>, <a href="#page80">80</a>,
+    <a href="#page147">147-8</a>, <a href="#page160">160</a>,
+    <a href="#page178">178</a></li>
+<li><i>Mirror for Magistrates, The</i>,
+    <a href="#page55">55</a></li>
+<li><i>Miscellaneous Prose Works</i>, Scott's,
+    <a href="#page7">7</a>, <a href="#page26">26</a>,
+    <a href="#page73">73</a>, <a href="#page149">149</a>,
+    <a href="#page151">151</a>, <a href="#page154">154</a>,
+    <a href="#page156">156</a>, <a href="#page159">159</a>,
+    <a href="#page160">160</a>, <a href="#page162">162</a>,
+    <a href="#page163">163</a>, <a href="#page164">164</a>,
+    <a href="#page166">166</a>, <a href="#page167">167</a></li>
+<li><i>Miseries of Human Life</i>, Scott's review of,
+    <a href="#page162">162</a></li>
+<li><i>Modern British Drama, The</i>,
+    <a href="#page52">52</a>, <a href="#page152">152</a></li>
+<li><i>Modern Painters</i>,
+    <a href="#page10">10</a>, <a href="#page129">129</a>,
+    <a href="#page177">177</a></li>
+<li>Molière,
+    <a href="#page53">53</a>, <a href="#page57">57</a>,
+    <a href="#page58">58</a>, <a href="#page133">133</a>,
+    <a href="#page164">164</a></li>
+<li><i>Monastery, The</i>,
+    <a href="#page88">88</a>, <a href="#page105">105</a>,
+    <a href="#page116">116</a>, <a href="#page155">155</a></li>
+<li><i>Monk, The</i>,
+    <a href="#page98">98</a></li>
+<li>Moore, Thomas,
+    <a href="#page96">96</a>, <a href="#page97">97</a>,
+    <a href="#page166">166</a>, <a href="#page176">176</a></li>
+<li><i>Murray, John, Memoir and Correspondence of</i>,
+    <a href="#page83">83</a>, <a href="#page84">84</a>,
+    <a href="#page93">93</a>, <a href="#page105">105</a>,
+    <a href="#page141">141</a>, <a href="#page142">142</a>,
+    <a href="#page163">163</a>, <a href="#page168">168</a>,
+    <a href="#page169">169</a></li>
+<li><i>My Aunt Margaret's Mirror</i>,
+    <a href="#page131">131</a>, <a href="#page167">167</a></li>
+<li>Myers, F.W.H.,
+    <a href="#page130">130</a>, <a href="#page176">176</a></li>
+<li><i>Mysterious Mother, The</i>,
+    <a href="#page50">50</a></li>
+</ul>
+
+<ul>
+<li><i>Napoleon</i>, Scott's <i>Life of</i>,
+    <a href="#page7">7</a>, <a href="#page12">12</a>,
+    <a href="#page78">78</a>, <a href="#page102">102</a>,
+    <a href="#page124">124-5</a>, <a href="#page127">127</a>,
+    <a href="#page140">140</a>, <a href="#page158">158</a>,
+    <a href="#page170">170</a></li>
+<li>Nash, Thomas,
+    <a href="#page59">59</a></li>
+<li>Naunton, Sir Robert,
+    <a href="#page149">149</a></li>
+<li><i>Neidpath Castle</i>, Wordsworth's sonnet on,
+    <a href="#page87">87</a></li>
+<li><i>New History of the English Stage</i>,
+    <a href="#page49">49</a>, <a href="#page175">175</a></li>
+<li>Newman, J.H.,
+    <a href="#page142">142</a>, <a href="#page176">176</a></li>
+<li><i>New Practice of Cookery, The</i>, Scott's review of,
+    <a href="#page162">162</a></li>
+<li><i>New Test of the Church of England's Loyalty, A</i>,
+    <a href="#page71">71</a></li>
+<li>Nichol, John,
+    <a href="#page95">95</a>, <a href="#page176">176</a></li>
+<li>Nichols, John,
+    <a href="#page65">65</a></li>
+<li><span class="pagenum"><a name="page186" id="page186" href="#page186">[186]</a></span>
+    <i>Nineteenth Century, The</i>,
+    <a href="#page77">77</a>, <a href="#page172">172</a>,
+    <a href="#page178">178</a></li>
+<li><i>Norman Conquest of England, The</i>,
+    <a href="#page126">126</a>, <a href="#page127">127</a>,
+    <a href="#page175">175</a></li>
+<li><i>Northern Antiquities</i>,
+    <a href="#page42">42</a>, <a href="#page152">152</a></li>
+<li><i>Northern Memoirs</i>,
+    <a href="#page155">155</a></li>
+<li><i>Notices concerning the Scottish Gypsies</i>,
+    <a href="#page167">167</a></li>
+<li><i>Novelists' Library, The</i>,
+    <a href="#page6">6</a>, <a href="#page7">7</a>,
+    <a href="#page72">72-79</a>, <a href="#page156">156</a></li>
+</ul>
+
+<ul>
+<li><i>Ode on Scottish Music</i>,
+    <a href="#page30">30</a></li>
+<li><i>Oedipe</i>,
+    <a href="#page53">53</a></li>
+<li><i>Old Mortality</i>,
+    <a href="#page36">36</a>, <a href="#page62">62</a>,
+    <a href="#page77">77</a>, <a href="#page89">89</a>,
+    <a href="#page109">109</a>, <a href="#page128">128</a>,
+    <a href="#page154">154</a></li>
+<li>Oliphant, Mrs.,
+    <a href="#page169">169</a></li>
+<li><i>Omen, The</i>, Scott's review of,
+    <a href="#page164">164</a></li>
+<li><i>Opus Magnum, The</i>,
+    <a href="#page7">7</a>, <a href="#page108">108</a>,
+    <a href="#page160">160</a></li>
+<li><i>Original Memoirs Written during the Great Civil War</i>,
+    <a href="#page4">4</a>, <a href="#page148">148</a></li>
+<li>Ossian,
+    <a href="#page40">40-41</a>, <a href="#page162">162</a>,
+    <a href="#page176">176</a></li>
+<li>Otway, Thomas,
+    <a href="#page50">50</a>, <a href="#page57">57</a>,
+    <a href="#page58">58</a></li>
+</ul>
+
+<ul>
+<li><i>Paradise Lost</i>,
+    <a href="#page95">95</a></li>
+<li><i>Palamon and Arcite</i>,
+    <a href="#page64">64</a></li>
+<li>Palgrave, Francis,
+    <a href="#page13">13</a>, <a href="#page40">40</a>,
+    <a href="#page177">177</a></li>
+<li><i>Papers relative to the Regalia of Scotland</i>,
+    <a href="#page160">160</a></li>
+<li>Paris, Gaston,
+    <a href="#page38">38</a>, <a href="#page177">177</a></li>
+<li>Parnell, Col., the Hon. Arthur,
+    <a href="#page68">68</a>, <a href="#page144">144</a>,
+    <a href="#page148">148</a>, <a href="#page178">178</a></li>
+<li>Parnell, Thomas,
+    <a href="#page80">80</a></li>
+<li><i>Paul's Letters to his Kinsfolk</i>,
+    <a href="#page6">6</a>, <a href="#page88">88</a>,
+    <a href="#page125">125</a>, <a href="#page140">140</a>,
+    <a href="#page154">154</a></li>
+<li>Peele, George,
+    <a href="#page55">55</a></li>
+<li><i>Penni Worth of Wit, A</i>,
+    <a href="#page148">148</a></li>
+<li>Pepys, Samuel,
+    <a href="#page65">65</a>, <a href="#page142">142</a>,
+    <a href="#page164">164</a></li>
+<li>Percy, Thomas,
+    <a href="#page19">19</a>, <a href="#page20">20</a>,
+    <a href="#page21">21</a>, <a href="#page22">22</a>,
+    <a href="#page23">23</a>, <a href="#page26">26</a>,
+    <a href="#page28">28</a>, <a href="#page32">32</a>,
+    <a href="#page34">34</a>, <a href="#page37">37</a>,
+    <a href="#page38">38</a>, <a href="#page177">177</a></li>
+<li><i>Periodical Criticism</i>, Article on,
+    <a href="#page165">165</a></li>
+<li>Petrarch,
+    <a href="#page33">33</a></li>
+<li><i>Peveril of the Peak</i>,
+    <a href="#page44">44</a>, <a href="#page105">105</a>,
+    <a href="#page157">157</a></li>
+<li>Pierce, E.L.,
+    <a href="#page177">177</a></li>
+<li><i>Pilot, The</i>,
+    <a href="#page101">101</a></li>
+<li><i>Pioneers, The</i>,
+    <a href="#page14">14</a></li>
+<li><i>Pinner of Wakefield, The</i>,
+    <a href="#page59">59</a></li>
+<li><i>Pirate, The</i>,
+    <a href="#page3">3</a>, <a href="#page117">117</a>,
+    <a href="#page125">125-6</a>, <a href="#page155">155</a></li>
+<li><i>Pitcairn's Ancient Criminal Trials</i>, Scott's review of,
+    <a href="#page46">46</a>, <a href="#page143">143</a>,
+    <a href="#page165">165</a></li>
+<li><i><a name="plantersguide" id="plantersguide">Planter's Guide</a>, The</i>, Scott's review of,
+    <a href="#page164">164</a></li>
+<li><i>Planting Waste Lands</i>, Scott's review of,
+    <a href="#page164">164</a></li>
+<li><i>Plays on the Passions</i>,
+    <a href="#page50">50</a></li>
+<li>Poe, Edgar Allan,
+    <a href="#page109">109</a>, <a href="#page110">110</a></li>
+<li><i>Poems, with Prefaces by the Author</i>,
+    <a href="#page160">160</a></li>
+<li><a name="polwhele" id="polwhele">Polwhele</a>, R., Letters of Scott to,
+    <a href="#page132">132</a>, <a href="#page148">148</a>,
+    <a href="#page170">170</a></li>
+<li><i>Poor Richard's Almanac</i>,
+    <a href="#page104">104</a></li>
+<li>Pope, Alexander,
+    <a href="#page79">79</a>, <a href="#page81">81</a>,
+    <a href="#page93">93</a>, <a href="#page97">97</a>,
+    <a href="#page106">106</a>, <a href="#page113">113</a></li>
+<li><i>Popular Poetry, Remarks on</i>,
+    <a href="#page19">19</a>, <a href="#page22">22</a>,
+    <a href="#page30">30</a>, <a href="#page34">34</a>,
+    <a href="#page160">160</a></li>
+<li><i>Portraits of Illustrious Personages</i>,
+    <a href="#page132">132</a>, <a href="#page172">172</a></li>
+<li><i>Prairie, The</i>,
+    <a href="#page101">101</a></li>
+<li>Prior, Matthew,
+    <a href="#page80">80</a></li>
+<li><i>Proceedings in the Court-martial, etc.</i>,
+    <a href="#page159">159</a></li>
+<li><i>Provincial Antiquities</i>,
+    <a href="#page6">6</a>, <a href="#page56">56</a>,
+    <a href="#page59">59</a>, <a href="#page155">155</a></li>
+<li>Pulci,
+    <a href="#page33">33</a></li>
+</ul>
+
+<ul>
+<li><i>Quarterly Review</i>,
+    <a href="#page2">2</a>, <a href="#page5">5-6</a>,
+    <a href="#page20">20</a>, <a href="#page22">22</a>,
+    <a href="#page26">26</a>, <a href="#page45">45</a>,
+    <a href="#page46">46</a>, <a href="#page55">55</a>,
+    <a href="#page73">73</a>, <a href="#page77">77</a>,
+    <a href="#page78">78</a>, <a href="#page82">82</a>,
+    <a href="#page83">83</a>, <a href="#page84">84</a>,
+    <a href="#page94">94</a>, <a href="#page96">96</a>,
+    <a href="#page99">99</a>, <a href="#page100">100</a>,
+    <a href="#page109">109</a>, <a href="#page112">112</a>,
+    <a href="#page113">113</a>, <a href="#page114">114</a>,
+    <a href="#page124">124</a>, <a href="#page129">129</a>,
+    <a href="#page140">140</a>, <a href="#page143">143</a>,
+    <a href="#page163">163</a>, <a href="#page164">164</a>,
+    <a href="#page165">165</a>, <a href="#page168">168</a>,
+    <a href="#page178">178</a></li>
+<li><i>Queenhoo Hall</i>,
+    <a href="#page5">5</a>, <a href="#page128">128</a>,
+    <a href="#page149">149</a></li>
+<li><i>Quentin Durward</i>,
+    <a href="#page88">88</a>, <a href="#page104">104</a>,
+    <a href="#page122">122</a>, <a href="#page127">127</a>,
+    <a href="#page157">157</a></li>
+</ul>
+
+<ul>
+<li>Radcliffe, Mrs. Anne,
+    <a href="#page73">73</a>, <a href="#page75">75</a>,
+    <a href="#page76">76</a>, <a href="#page131">131</a></li>
+<li><i>Rambler, The</i>,
+    <a href="#page80">80</a>, <a href="#page156">156</a></li>
+<li>Ramsay, Allan, <a href="#page28">28</a>, <a href="#page86">86</a></li>
+<li><i>Recollections of Sir Walter Scott</i>, R.P. Gillies',
+    <a href="#page106">106</a>, <a href="#page130">130</a>,
+    <a href="#page143">143</a>, <a href="#page146">146</a>,
+    <a href="#page175">175</a></li>
+<li><i>Redgauntlet</i>,
+    <a href="#page3">3</a>, <a href="#page89">89</a>,
+    <a href="#page157">157</a></li>
+<li><i>Red Rover, The</i>,
+    <a href="#page101">101</a></li>
+<li>Reeve, Clara,
+    <a href="#page73">73</a>, <a href="#page76">76</a>,
+    <a href="#page78">78</a></li>
+<li><i>Religio Laici</i>,
+    <a href="#page64">64</a></li>
+<li><i>Religious Discourses by a Layman</i>,
+    <a href="#page159">159</a></li>
+<li><i>Reliquiae Trottosienses</i>,
+    <a href="#page161">161</a></li>
+<li><i>Reliques of Burns</i>, Scott's review of,
+    <a href="#page22">22</a>, <a href="#page86">86</a>,
+    <a href="#page163">163</a></li>
+<li><i>Remarks on Gen. Gourgaud's Narrative</i>,
+    <a href="#page164">164</a></li>
+<li><span class="pagenum"><a name="page187" id="page187"
+href="#page187">[187]</a></span><i>Remarks on Popular Poetry</i>,
+    <a href="#page19">19</a>, <a href="#page22">22</a>,
+    <a href="#page30">30</a>, <a href="#page34">34</a>,
+    <a href="#page160">160</a></li>
+<li><i>Remarks on the Death of Lord Byron</i>,
+    <a href="#page93">93</a>, <a href="#page95">95</a></li>
+<li><i>Reminiscences of Sir Walter Scott</i>, John Gibson's,
+    <a href="#page170">170</a></li>
+<li><i>Revolutions of Naples</i>, Article on,
+    <a href="#page164">164</a></li>
+<li>Richardson, Samuel,
+    <a href="#page73">73</a>, <a href="#page74">74-5</a>,
+    <a href="#page77">77</a>, <a href="#page78">78</a></li>
+<li>Ritson, Joseph,
+    <a href="#page19">19</a>, <a href="#page20">20</a>,
+    <a href="#page21">21</a>, <a href="#page23">23</a>,
+    <a href="#page32">32</a>, <a href="#page34">34</a>,
+    <a href="#page37">37</a>, <a href="#page38">38</a>,
+    <a href="#page39">39</a>, <a href="#page45">45</a>,
+    <a href="#page162">162</a>, <a href="#page164">164</a></li>
+<li>Robert of Brunne,
+    <a href="#page34">34</a></li>
+<li>Robertson, William,
+    <a href="#page15">15</a></li>
+<li>Robinson, Crabbe,
+    <a href="#page87">87</a></li>
+<li><i>Rob Roy</i>,
+    <a href="#page3">3</a>, <a href="#page76">76</a>,
+    <a href="#page154">154</a></li>
+<li>Rogers, Samuel,
+    <a href="#page151">151</a></li>
+<li><i>Rokeby</i>,
+    <a href="#page108">108</a>, <a href="#page111">111</a>,
+    <a href="#page115">115</a>, <a href="#page116">116</a>,
+    <a href="#page152">152</a></li>
+<li><i>Romance</i>, Essay on,
+    <a href="#page34">34</a>, <a href="#page37">37</a>,
+    <a href="#page38">38-9</a>, <a href="#page42">42</a>,
+    <a href="#page46">46</a>, <a href="#page146">146</a>,
+    <a href="#page154">154</a></li>
+<li><i>Roman Historique à l'Époque Romantique, Le</i>,
+    <a href="#page105">105</a>, <a href="#page176">176</a></li>
+<li>Roscommon, Earl of,
+    <a href="#page136">136</a></li>
+<li>Rose, W.S.,
+    <a href="#page37">37</a>, <a href="#page92">92</a>,
+    <a href="#page162">162</a></li>
+<li>Rowlands, Samuel,
+    <a href="#page153">153</a></li>
+<li>Rowley,
+    <a href="#page43">43</a>, <a href="#page50">50</a></li>
+<li>Ruskin, John,
+    <a href="#page10">10</a>, <a href="#page129">129</a>,
+    <a href="#page172">172</a>, <a href="#page177">177</a></li>
+</ul>
+
+<ul>
+<li>Sackville, Thomas,
+    <a href="#page54">54-5</a></li>
+<li><i>Sadler, Sir Ralph, State Papers and Letters of</i>,
+    <a href="#page149">149</a></li>
+<li><i>Saint Ronan's Well</i>,
+    <a href="#page51">51</a>, <a href="#page64">64</a>,
+    <a href="#page88">88</a>, <a href="#page100">100</a>,
+    <a href="#page108">108</a>, <a href="#page157">157</a></li>
+<li><a name="saintsbury" id="saintsbury">Saintsbury</a>, Prof. George,
+    <a href="#page2">2</a>, <a href="#page51">51</a>,
+    <a href="#page53">53</a>, <a href="#page57">57</a>,
+    <a href="#page60">60</a>, <a href="#page61">61</a>,
+    <a href="#page63">63</a>, <a href="#page142">142</a>,
+    <a href="#page146">146</a>, <a href="#page177">177</a>,
+    <a href="#page178">178</a></li>
+<li><i>Sale-Room, The</i>,
+    <a href="#page166">166</a>, <a href="#page167">167</a></li>
+<li><i><a name="salmonia" id="salmonia">Salmonia</a></i>, Scott's review of,
+    <a href="#page164">164</a></li>
+<li>Schlegel,
+    <a href="#page53">53</a></li>
+<li><i>School of Abuse, The</i>,
+    <a href="#page71">71</a></li>
+<li>Scott, Temple,
+    <a href="#page67">67</a>, <a href="#page177">177</a></li>
+<li>Scudéri,
+    <a href="#page53">53</a>, <a href="#page76">76</a></li>
+<li><i>Secret Commonwealth, The</i>,
+    <a href="#page45">45</a>, <a href="#page153">153</a></li>
+<li><i>Secret History of One Year, The</i>,
+				<a href="#page71">71</a></li>
+<li><i>Secret History of the Court of James I.</i>,
+    <a href="#page5">5</a>, <a href="#page55">55</a>,
+    <a href="#page152">152</a></li>
+<li>Severn, Joseph,
+    <a href="#page100">100</a></li>
+<li>Seward, Anne,
+    <a href="#page30">30</a>, <a href="#page85">85</a>,
+    <a href="#page89">89</a>, <a href="#page91">91</a>,
+    <a href="#page151">151</a></li>
+<li>Shadwell, Thomas,
+    <a href="#page51">51</a>, <a href="#page57">57</a></li>
+<li>Shakspere,
+    <a href="#page49">49</a>, <a href="#page50">50</a>,
+    <a href="#page51">51</a>, <a href="#page52">52</a>,
+    <a href="#page55">55-6</a>, <a href="#page57">57</a>,
+    <a href="#page58">58</a>, <a href="#page59">59</a>,
+    <a href="#page62">62</a>, <a href="#page65">65</a>,
+    <a href="#page86">86</a>, <a href="#page95">95</a>,
+    <a href="#page97">97</a>, <a href="#page157">157-8</a></li>
+<li>Sharpe, C.K.,
+    <a href="#page27">27</a>, <a href="#page28">28</a>,
+    <a href="#page30">30</a>, <a href="#page31">31</a>,
+    <a href="#page66">66</a>, <a href="#page81">81</a>,
+    <a href="#page97">97</a>, <a href="#page114">114</a>,
+    <a href="#page118">118</a>, <a href="#page148">148</a>,
+    <a href="#page163">163</a>, <a href="#page169">169</a></li>
+<li>Shelley, Mrs. Mary,
+    <a href="#page78">78</a>, <a href="#page163">163</a></li>
+<li>Shelley, P.B.,
+    <a href="#page11">11</a>, <a href="#page89">89</a>,
+    <a href="#page91">91</a>, <a href="#page106">106</a>,
+    <a href="#page175">175</a></li>
+<li>Sheridan, Thomas,
+    <a href="#page65">65</a></li>
+<li>Shirley, James,
+    <a href="#page50">50</a>, <a href="#page56">56</a></li>
+<li><i>Short Account of Successful Exertions, etc.</i>,
+    <a href="#page173">173</a></li>
+<li><i>Sibbald's Chronicle</i>, Scott's review of,
+    <a href="#page46">46</a>, <a href="#page162">162</a></li>
+<li><i>Sir Eustace Grey</i>,
+    <a href="#page97">97</a></li>
+<li><i>Sir John Oldcastle</i>,
+    <a href="#page59">59</a></li>
+<li><i>Sir Tristrem</i>,
+    <a href="#page4">4</a>, <a href="#page34">34-6</a>,
+    <a href="#page39">39</a>, <a href="#page42">42</a>,
+    <a href="#page43">43</a>, <a href="#page56">56</a>,
+    <a href="#page148">148</a>, <a href="#page178">178</a></li>
+<li><i>Sketch Book, The</i>,
+    <a href="#page104">104</a></li>
+<li><i>Sketch of Lord Kinneder</i>,
+    <a href="#page157">157</a></li>
+<li><i>Slingsby, Sir H., Life of</i>,
+    <a href="#page148">148</a></li>
+<li>Smith, Adam,
+    <a href="#page15">15</a></li>
+<li>Smith, Charlotte,
+    <a href="#page73">73</a></li>
+<li>Smollett, Tobias,
+    <a href="#page73">73</a>, <a href="#page74">74</a>,
+    <a href="#page156">156</a></li>
+<li><i>Somers Tracts, The</i>,
+    <a href="#page4">4</a>, <a href="#page6">6</a>,
+    <a href="#page60">60</a>, <a href="#page63">63</a>,
+    <a href="#page70">70-72</a>, <a href="#page126">126</a>,
+    <a href="#page150">150</a></li>
+<li>Somerville, Lord,
+    <a href="#page154">154</a></li>
+<li>Southerne, Thomas,
+    <a href="#page50">50</a></li>
+<li>Southey, Robert,
+    <a href="#page4">4</a>, <a href="#page20">20</a>,
+    <a href="#page37">37</a>, <a href="#page46">46</a>,
+    <a href="#page49">49</a>, <a href="#page82">82</a>,
+    <a href="#page87">87</a>, <a href="#page89">89</a>,
+    <a href="#page90">90</a>, <a href="#page91">91-2</a>,
+    <a href="#page93">93</a>, <a href="#page96">96</a>,
+    <a href="#page98">98</a>, <a href="#page99">99</a>,
+    <a href="#page106">106</a>, <a href="#page110">110</a>,
+    <a href="#page111">111</a>, <a href="#page118">118</a>,
+    <a href="#page124">124</a>, <a href="#page143">143</a>,
+    <a href="#page151">151</a>, <a href="#page162">162</a>,
+    <a href="#page163">163</a>, <a href="#page165">165</a>,
+    <a href="#page169">169</a>, <a href="#page170">170</a>,
+    <a href="#page177">177</a></li>
+<li><i>Spae-Wife, The</i>,
+    <a href="#page129">129</a></li>
+<li><i>Specimens of Early English Romances</i>, Scott's review of,
+    <a href="#page125">125</a>, <a href="#page162">162</a></li>
+<li><i>Specimens of English Dramatic Poets</i>,
+    <a href="#page20">20</a>, <a href="#page51">51</a>,
+    <a href="#page99">99</a></li>
+<li><i>Specimens of the Early English Poets</i>, Scott's review of,
+    <a href="#page43">43</a>, <a href="#page44">44</a>,
+    <a href="#page162">162</a></li>
+<li>Spenser,
+    <a href="#page33">33</a>, <a href="#page62">62</a>,
+    <a href="#page64">64</a></li>
+<li>Staël, Mme. de,
+    <a href="#page140">140</a></li>
+<li>Stanhope, Philip, Earl,
+    <a href="#page144">144</a></li>
+<li>Steele, Sir Richard,
+    <a href="#page67">67</a>, <a href="#page120">120</a></li>
+<li>Stephen, Sir Leslie,
+    <a href="#page65">65</a>, <a href="#page68">68</a>,
+    <a href="#page97">97</a>, <a href="#page177">177</a></li>
+<li>Sterne, Laurence,
+    <a href="#page73">73</a>, <a href="#page75">75</a>,
+    <a href="#page103">103</a>, <a href="#page156">156</a></li>
+<li><i>Story of Rimini, The</i>,
+    <a href="#page99">99</a></li>
+<li>Strutt, Joseph,
+    <a href="#page5">5</a>, <a href="#page126">126</a>,
+    <a href="#page149">149</a></li>
+<li><i><a name="stuart" id="stuart">Stuart</a>, Lady Louisa, Letters of</i>,
+    <a href="#page10">10</a>, <a href="#page83">83</a>,
+    <a href="#page127">127</a>, <a href="#page128">128</a>,
+    <a href="#page169">169</a></li>
+<li><i>Studies in the Evolution of English Criticism</i>,
+    <a href="#page137">137</a>, <a href="#page177">177</a></li>
+<li>Suckling, Sir John,
+    <a href="#page51">51</a>, <a href="#page59">59</a></li>
+<li><span class="pagenum"><a name="page188" id="page188" href="#page188">[188]</a></span>
+   <i>Sumner, Charles, Memoirs and Letters of</i>,
+   <a href="#page102">102</a>, <a href="#page177">177</a></li>
+<li><i>Supernatural in Fictitious Composition, The</i>,
+    <a href="#page164">164</a></li>
+<li><i>Surgeon's Daughter, The</i>,
+    <a href="#page159">159</a></li>
+<li>Surtees, Robert,
+    <a href="#page20">20</a>, <a href="#page27">27</a>,
+    <a href="#page30">30</a>, <a href="#page161">161</a></li>
+<li>Swift, Deane,
+    <a href="#page65">65</a></li>
+<li>Swift, Jonathan,
+    <a href="#page65">65-70</a>, <a href="#page103">103</a>,
+    <a href="#page148">148-9</a>, <a href="#page177">177</a></li>
+<li><i>Swift's Works</i>, edited by Scott,
+    <a href="#page6">6</a>, <a href="#page7">7</a>,
+    <a href="#page65">65-70</a>, <a href="#page73">73</a>,
+    <a href="#page79">79</a>, <a href="#page126">126</a>,
+    <a href="#page139">139</a>, <a href="#page153">153</a>,
+    <a href="#page178">178</a></li>
+</ul>
+
+<ul>
+<li>Taine, H.A.,
+    <a href="#page125">125</a>, <a href="#page177">177</a></li>
+<li><i>Tales of a Grandfather</i>,
+    <a href="#page7">7</a>, <a href="#page123">123</a>,
+    <a href="#page127">127</a>, <a href="#page141">141</a>,
+    <a href="#page159">159</a>, <a href="#page160">160</a></li>
+<li><i>Tales of My Landlord</i>,
+    <a href="#page77">77</a>, <a href="#page109">109</a>,
+    <a href="#page111">111-12</a>, <a href="#page128">128</a>,
+    <a href="#page132">132</a>, <a href="#page154">154</a>,
+    <a href="#page155">155</a>, <a href="#page161">161</a>,
+    <a href="#page163">163</a>, <a href="#page167">167</a></li>
+<li><i>Tales of the Crusaders</i>,
+    <a href="#page98">98</a>, <a href="#page124">124</a>,
+    <a href="#page157">157</a></li>
+<li><i>Talisman, The</i>,
+    <a href="#page157">157</a></li>
+<li><i>Tapestried Chamber, The</i>,
+    <a href="#page85">85</a>, <a href="#page167">167</a></li>
+<li>Taylor, William,
+    <a href="#page31">31</a>, <a href="#page170">170</a></li>
+<li><i>Tender Husband, The</i>,
+    <a href="#page120">120</a></li>
+<li>Terry, Daniel,
+    <a href="#page46">46</a>, <a href="#page49">49</a></li>
+<li>Thackeray, W.M.,
+    <a href="#page80">80</a>, <a href="#page123">123</a></li>
+<li><i>Thalaba</i>,
+    <a href="#page91">91</a>, <a href="#page135">135</a></li>
+<li>Thomas the Rhymer,
+    <a href="#page29">29</a>, <a href="#page30">30</a>,
+    <a href="#page34">34-6</a>, <a href="#page148">148</a></li>
+<li>Thorkelin,
+    <a href="#page42">42</a></li>
+<li><i>Thornton's Sporting Tour</i>, Scott's review of,
+    <a href="#page162">162</a></li>
+<li><i>Three Studies in Literature</i>,
+    <a href="#page134">134</a>, <a href="#page135">135</a>,
+    <a href="#page175">175</a></li>
+<li>Ticknor, George,
+    <a href="#page15">15</a>, <a href="#page56">56</a>,
+    <a href="#page103">103</a>, <a href="#page144">144</a>,
+    <a href="#page153">153</a>, <a href="#page177">177</a></li>
+<li>Tieck,
+    <a href="#page10">10</a></li>
+<li>Tierry,
+    <a href="#page127">127</a></li>
+<li><i>Todd's Spenser</i>, Scott's review of,
+    <a href="#page61">61</a>, <a href="#page62">62</a>,
+    <a href="#page84">84</a></li>
+<li><i>Tom Jones</i>,
+    <a href="#page75">75</a></li>
+<li><i>Traditions and Recollections, etc.</i>,
+    <a href="#page170">170</a></li>
+<li>Tressan,
+    <a href="#page33">33</a>, <a href="#page34">34</a></li>
+<li><i>Trial of Duncan Terig, The</i>,
+    <a href="#page161">161</a>,</li>
+<li><i>Tristram Shandy</i>,
+    <a href="#page75">75</a>, <a href="#page156">156</a></li>
+<li><i>Trivial Poems and Triolets</i>,
+    <a href="#page155">155</a></li>
+<li><i>Troilus and Criseyde</i>,
+    <a href="#page45">45</a></li>
+<li><i>True-born Englishman, The</i>,
+    <a href="#page71">71</a></li>
+<li><i>Trustworthiness of Border Ballads, The</i>,
+    <a href="#page25">25</a>, <a href="#page178">178</a></li>
+<li>Turner, Sharon,
+    <a href="#page42">42</a>, <a href="#page126">126</a></li>
+<li><i>Two Bannatyne Garlands</i>,
+    <a href="#page161">161</a></li>
+<li><i>Two Drovers, The</i>,
+    <a href="#page159">159</a></li>
+<li><i>Tytler's History of Scotland</i>, Scott's review of,
+    <a href="#page45">45</a>, <a href="#page124">124</a>,
+    <a href="#page164">164</a></li>
+</ul>
+
+<ul>
+<li><i>Varied Types</i>,
+    <a href="#page11">11</a>, <a href="#page174">174</a></li>
+<li><i>Vanity of Human Wishes, The</i>,
+    <a href="#page79">79</a></li>
+<li><i>Venis and Adonis</i>,
+    <a href="#page58">58</a></li>
+<li><i>Vicar of Wakefield, The</i>,
+    <a href="#page75">75</a></li>
+<li><i>Virgin Queen, The</i>,
+    <a href="#page51">51</a></li>
+<li><i>Visionary, The</i>,
+    <a href="#page155">155</a></li>
+<li><i>Vision of Don Roderick, The</i>,
+    <a href="#page152">152</a>, <a href="#page165">165</a></li>
+<li>Voltaire,
+    <a href="#page78">78</a>, <a href="#page105">105</a></li>
+</ul>
+
+<ul>
+<li>Waldron, Francis,
+    <a href="#page51">51</a></li>
+<li><i>Wallenstein</i>,
+    <a href="#page51">51</a>, <a href="#page88">88</a></li>
+<li>Waller, Edmund,
+    <a href="#page64">64</a></li>
+<li>Walpole, Horace,
+    <a href="#page71">71</a>, <a href="#page72">72</a>,
+    <a href="#page73">73</a>, <a href="#page76">76</a>,
+    <a href="#page150">150</a>, <a href="#page163">163</a></li>
+<li>Walpole, Robert,
+    <a href="#page71">71</a></li>
+<li>Walton, Isaac,
+    <a href="#page64">64-5</a></li>
+<li><i>War Song of the Royal Edinburgh Light Dragoons</i>,
+    <a href="#page30">30</a></li>
+<li>Warton, Joseph,
+    <a href="#page60">60</a></li>
+<li>Warton, Thomas,
+    <a href="#page19">19</a>, <a href="#page21">21</a>,
+    <a href="#page34">34</a>, <a href="#page35">35</a></li>
+<li>Warter, J.W.,
+    <a href="#page124">124</a>, <a href="#page177">177</a></li>
+<li>Warwick, Sir Philip,
+    <a href="#page152">152</a></li>
+<li><i>Waverley</i>,
+    <a href="#page3">3</a>, <a href="#page6">6</a>,
+    <a href="#page36">36</a>, <a href="#page85">85</a>,
+    <a href="#page100">100</a>, <a href="#page120">120</a>,
+    <a href="#page122">122</a>, <a href="#page123">123</a>,
+    <a href="#page125">125</a>, <a href="#page149">149</a>,
+    <a href="#page153">153</a>, <a href="#page163">163</a></li>
+<li>Weber, Henry,
+    <a href="#page42">42</a>, <a href="#page52">52</a>,
+    <a href="#page152">152</a></li>
+<li>Webster, John,
+    <a href="#page50">50</a>, <a href="#page55">55</a>,
+    <a href="#page56">56</a></li>
+<li>White, Hon. Andrew, D.,
+    <a href="#page127">127</a>, <a href="#page177">177</a></li>
+<li><i>William and Helen</i>,
+    <a href="#page147">147</a></li>
+<li>Wilson, John,
+    <a href="#page50">50</a>, <a href="#page83">83</a></li>
+<li><i>Women</i>, Scott's review of,
+    <a href="#page164">164</a></li>
+<li><i>Women Pleased</i>,
+    <a href="#page50">50</a></li>
+<li><i>Woodstock</i>,
+    <a href="#page44">44</a>, <a href="#page51">51</a>,
+    <a href="#page141">141</a>, <a href="#page157">157</a>,
+    <a href="#page170">170</a></li>
+<li><a name="wordsworth" id="wordsworth">Wordsworth</a>, William,
+    <a href="#page85">85</a>, <a href="#page87">87</a>,
+    <a href="#page89">89-91</a>, <a href="#page92">92</a>,
+    <a href="#page93">93</a>, <a href="#page97">97</a>,
+    <a href="#page98">98</a>, <a href="#page106">106</a>,
+    <a href="#page130">130</a>, <a href="#page143">143</a>,
+    <a href="#page169">169</a>, <a href="#page172">172</a>,
+    <a href="#page176">176</a></li>
+<li>Wylie, L.J.,
+    <a href="#page137">137</a>, <a href="#page177">177</a></li>
+</ul>
+
+<ul>
+<li><i>Yarrow Revisited</i>,
+    <a href="#page90">90</a></li>
+</ul>
+
+</div>
+
+<div id="footnotes">
+
+<hr />
+
+<h2>FOOTNOTES</h2>
+
+<div class="fn">
+<p><span class="fnnum"><a name="fn1" id="fn1" href="#fnref1">[1]</a></span>
+  Mr. Hutton's <i>Life of Scott</i>, in the English Men of
+  Letters series, contains no chapter nor any extended passage on
+  Scott's critical and scholarly work, though there is a chapter on
+  "Scott's Morality and Religion," and one on "Scott as a Politician."
+  This, like the other short biographies of Scott, is professedly a
+  compilation, so far as its facts are concerned, from Lockhart's book.
+  The Lives of Scott by Gilfillan and by Mackenzie, published about the
+  time of the Scott centenary in 1871, are longer than Hutton's, but
+  contain no more extended references to the critical writings.
+  Mackenzie's book out of nearly five hundred pages gives only one to a
+  discussion of the edition of Dryden, and half a page to an account of
+  the establishment of the <i>Quarterly Review</i>. Gilfillan characterizes
+  the critical work in almost as short a space, but with a good deal of
+  judgment. The German biography of Scott contemporary with these, by
+  Dr. Felix Eberty, is concerned with the man rather than his works. Of
+  later Lives of Scott, Prof. Saintsbury's gives, in proportion to its
+  length, more space than any other to Scott's critical work, but the
+  book has only a hundred and fifty-five pages in all. Another recent
+  biographer, Mr. W.H. Hudson, says of Scott's editorial and critical
+  work, "these exertions, though they call for passing record, occupy a
+  minor place in his story"; and he gives them only "passing record."
+  Mr. Andrew Lang's still more recent and briefer <i>Sir Walter Scott</i>
+  devotes only a few lines here and there to comment on Scott as a
+  critic, and contains hardly even a reference to the little-known
+  volumes that he edited.</p>
+
+<p><span class="fnnum"><a name="fn2" id="fn2" href="#fnref2">[2]</a></span>
+  Ten of Scott's twenty-seven novels (counting the first
+  series of <i>Chronicles of the Canongate</i> as one) have scenes laid in
+  the eighteenth century. They are as follows, arranged approximately in
+  the order of their periods: <i>The Bride of Lammermoor</i>, <i>The
+      Pirate</i>,
+  <i>The Black Dwarf</i>, <i>Rob Roy</i>, <i>The Heart of
+      Midlothian</i>, <i>Waverley</i>,
+  <i>Guy Mannering</i>, <i>Redgauntlet</i>, <i>Chronicles of the Canongate (First
+  series)</i>, <i>The Antiquary</i>. The long poems all found their setting in
+  earlier periods.</p>
+
+<p><span class="fnnum"><a name="fn3" id="fn3" href="#fnref3">[3]</a></span>
+  <i>British Novelists and their Styles</i>, pp. 167-8.</p>
+
+<p><span class="fnnum"><a name="fn4" id="fn4" href="#fnref4">[4]</a></span>
+  <i>Familiar Letters</i>, Vol. II, p. 9.</p>
+
+<p><span class="fnnum"><a name="fn5" id="fn5" href="#fnref5">[5]</a></span>
+  <i>Ibid.</i>, Vol. I, p. 194.</p>
+
+<p><span class="fnnum"><a name="fn6" id="fn6" href="#fnref6">[6]</a></span>
+  See particularly <i>Paul's Letters; Provincial
+  Antiquities</i>; and the Histories of the years 1814 and 1815, each a
+  respectable volume, written for the <i>Edinburgh Annual Register</i>.</p>
+
+<p><span class="fnnum"><a name="fn7" id="fn7" href="#fnref7">[7]</a></span>
+  Ruskin's remark that "The excellence of Scott's work is
+  precisely in proportion to the degree in which it is sketched from
+  present nature," should not necessarily lead on to the condemnation
+  which follows: "He does not see how anything is to be got out of the
+  past but confusion, old iron on drawing-room chairs, and serious
+  inconvenience to Dr. Heavysterne." (<i>Modern Painters</i>, Part IV, ch.
+  16, § 32.)</p>
+
+<p><span class="fnnum"><a name="fn8" id="fn8" href="#fnref8">[8]</a></span>
+  <i>Letters to Richard Heber</i>, etc. (by J.L. Adolphus), pp.
+  136-137.</p>
+
+<p><span class="fnnum"><a name="fn9" id="fn9" href="#fnref9">[9]</a></span>
+  Mr. Herford distinguishes two lines of romantic
+  sentiment&mdash;"the one pursuing the image of the past as a refuge from
+  reality, the other as a portion of it: the mediaevalism of Tieck and
+  the mediaevalism of Scott." <i>The Age of Wordsworth</i>, Introduction, p.
+  xxiv, note.</p>
+
+<p><span class="fnnum"><a name="fn10" id="fn10" href="#fnref10">[10]</a></span>
+  <i>Letters of Lady Louisa Stuart</i>, p. 249.</p>
+
+<p><span class="fnnum"><a name="fn11" id="fn11" href="#fnref11">[11]</a></span>
+  <i>Journal</i>, Vol. I, p. 333; <i>Lockhart</i>, Vol. V, p. 81.
+  The edition of Lockhart's <i>Life of Scott</i> to which reference is made
+  throughout this study is that in five volumes, published by Macmillan
+  &amp; Co. in the "Library of English Classics."</p>
+
+<p><span class="fnnum"><a name="fn12" id="fn12" href="#fnref12">[12]</a></span>
+  Chesterton, <i>Varied Types</i>, pp. 161-2.</p>
+
+<p><span class="fnnum"><a name="fn13" id="fn13" href="#fnref13">[13]</a></span>
+  The fact that Scott was a Clerk of the Court of Sessions
+  is remembered less frequently than the fact that he had business
+  complications. But this employment of his, which could be undertaken
+  only by a lawyer, occupied a large proportion of his time during
+  twenty-four years. He once wrote, "I cannot work well after I have had
+  four or five hours of the court, for though the business is trifling,
+  yet it requires constant attention, which is at length exhausting."
+  (<i>Constable's Correspondence</i>, Vol. III, p. 195.) Again he wrote, "I
+  saw it reported that Joseph Hume said I composed novels at the clerk's
+  table; but Joseph Hume said what neither was nor could be correct, as
+  any one who either knew what belonged to composing novels, or acting
+  as clerk to a court of justice, would easily have discovered."
+  (<i>Memoirs of Sir William Knighton</i>, p. 252.)</p>
+
+<p><span class="fnnum"><a name="fn14" id="fn14" href="#fnref14">[14]</a></span>
+  <i>Journal</i>, Vol. I, p. 60; <i>Lockhart</i>, Vol. IV, p. 390.</p>
+
+<p><span class="fnnum"><a name="fn15" id="fn15" href="#fnref15">[15]</a></span>
+  See the Memoir prefixed to the Globe Edition of Scott's
+  poems.</p>
+
+<p><span class="fnnum"><a name="fn16" id="fn16" href="#fnref16">[16]</a></span>
+  <i>Familiar Letters</i>, Vol. I, p. 217.</p>
+
+<p><span class="fnnum"><a name="fn17" id="fn17" href="#fnref17">[17]</a></span>
+  <i>Lockhart</i>, Vol. III, p. 447.</p>
+
+<p><span class="fnnum"><a name="fn18" id="fn18" href="#fnref18">[18]</a></span>
+  <i>Ibid.</i>, Vol. I, p. 122.</p>
+
+<p><span class="fnnum"><a name="fn19" id="fn19" href="#fnref19">[19]</a></span>
+  Cooper measured his own success by the same test. At the
+  conclusion of the Letter to the Publisher with which <i>The Pioneers</i>
+  originally opened he said he should look to his publisher for "the
+  only true account of the reception of his book." (Lounsbury's <i>Life of
+  Cooper</i>, pp. 43-4.)</p>
+
+<p><span class="fnnum"><a name="fn20" id="fn20" href="#fnref20">[20]</a></span>
+  <i>Napoleon</i>, Vol. I, ch. 2.</p>
+
+<p><span class="fnnum"><a name="fn21" id="fn21" href="#fnref21">[21]</a></span>
+  "He fixed his attention on his employments without the
+  slightest consideration for his own feelings of whatever kind, either
+  in regard to state of health or domestic sorrows." (<i>Memoirs of a
+  Literary Veteran</i>, by R.P. Gillies, Vol. III, p. 141.)</p>
+
+<p><span class="fnnum"><a name="fn22" id="fn22" href="#fnref22">[22]</a></span>
+  <i>Familiar Letters</i>, Vol. II, p. 365.</p>
+
+<p><span class="fnnum"><a name="fn23" id="fn23" href="#fnref23">[23]</a></span>
+  <i>Familiar Letters</i>, Vol. I, p. 112.</p>
+
+<p><span class="fnnum"><a name="fn24" id="fn24" href="#fnref24">[24]</a></span>
+  <i>Journal</i>, Vol. 1, p. 303; <i>Lockhart</i>, Vol. V, p. 68.</p>
+
+<p><span class="fnnum"><a name="fn25" id="fn25" href="#fnref25">[25]</a></span>
+  <i>Letters to Heber</i>, p. 69.</p>
+
+<p><span class="fnnum"><a name="fn26" id="fn26" href="#fnref26">[26]</a></span>
+  Irving's <i>Abbotsford</i>.</p>
+
+<p><span class="fnnum"><a name="fn27" id="fn27" href="#fnref27">[27]</a></span>
+  <i>Life, Letters, and Journals of George Ticknor</i>, Vol. I,
+  p. 282. See also Scott's review of the <i>Life of Home</i>; and
+  <i>Lockhart</i>, Vol. III, p. 304.</p>
+
+<p><span class="fnnum"><a name="fn28" id="fn28" href="#fnref28">[28]</a></span>
+  <i>Cockburn's Memorials</i>, p. 181.</p>
+
+<p><span class="fnnum"><a name="fn29" id="fn29" href="#fnref29">[29]</a></span>
+  <i>Ticknor</i>, Vol. I, p. 280.</p>
+
+<p><span class="fnnum"><a name="fn30" id="fn30" href="#fnref30">[30]</a></span>
+  <i>Letters to Heber</i>, p. 63; <i>Lockhart</i>, Vol. III, p.
+  496.</p>
+
+<p><span class="fnnum"><a name="fn31" id="fn31" href="#fnref31">[31]</a></span>
+  <i>Lockhart</i>, Vol. I, p. 177.</p>
+
+<p><span class="fnnum"><a name="fn32" id="fn32" href="#fnref32">[32]</a></span>
+  Review of <i>Poems of William Herbert</i>, <i>Edinburgh
+  Review</i>, October, 1806.</p>
+
+<p><span class="fnnum"><a name="fn33" id="fn33" href="#fnref33">[33]</a></span>
+  <i>Lockhart</i>, Vol. I, pp. 275-6.</p>
+
+<p><span class="fnnum"><a name="fn34" id="fn34" href="#fnref34">[34]</a></span>
+  <i>Lockhart</i>, Vol. I, p. 333.</p>
+
+<p><span class="fnnum"><a name="fn35" id="fn35" href="#fnref35">[35]</a></span>
+  In 1830.</p>
+
+<p><span class="fnnum"><a name="fn36" id="fn36" href="#fnref36">[36]</a></span>
+  Ritson's principal works were as follows: <i>Select
+  Collection of English Songs</i> (1783); <i>Pieces of Ancient Popular Poetry
+  from Authentic Manuscripts and Old Printed Copies</i> (1791); <i>Ancient
+  Songs from the Time of Henry III. to the Revolution</i> (1792); <i>Scottish
+  Songs with the Genuine Music</i> (1794); <i>Poems by Laurence Minot</i>
+  (1795); <i>Robin Hood Poems</i> (1795); <i>Ancient English Metrical
+  Romances</i> (1802).</p>
+
+<p><span class="fnnum"><a name="fn37" id="fn37" href="#fnref37">[37]</a></span>
+  Ellis published his <i>Specimens of the Early English
+  Poets</i> in 1790, and it was reissued with the addition of the
+  Introduction in 1801 and 1803. He edited also Way's translations of
+  the Fabliaux (1796), and <i>Specimens of Early English Romances in
+  Metre</i> (1805).</p>
+
+<p><span class="fnnum"><a name="fn38" id="fn38" href="#fnref38">[38]</a></span>
+  Review of Dunlop's <i>History of Fiction</i>, July, 1815.</p>
+
+<p><span class="fnnum"><a name="fn39" id="fn39" href="#fnref39">[39]</a></span>
+  The <i>Magnum Opus</i> of Robert Surtees was his <i>History of
+  Durham</i>, published 1816-1840.</p>
+
+<p><span class="fnnum"><a name="fn40" id="fn40" href="#fnref40">[40]</a></span>
+  Douce published <i>Illustrations of Shakespeare</i> in 1807.
+  Later he edited <i>Arnold's Chronicle; Judicium, a Pageant</i>; and a
+  metrical <i>Life of St. Robert</i>. The two latter, which appeared in 1822
+  and 1824, were done for the Roxburghe Club. In 1824 he also wrote some
+  notes for Warton's <i>History of English Poetry</i>.</p>
+
+<p><span class="fnnum"><a name="fn41" id="fn41" href="#fnref41">[41]</a></span>
+  <i>Age of Wordsworth</i>, p. 39.</p>
+
+<p><span class="fnnum"><a name="fn42" id="fn42" href="#fnref42">[42]</a></span>
+  A number of volumes containing old ballads together with
+  modern imitations had been published both before and after the
+  appearance of Percy's <i>Reliques</i>, but Ritson's collections were the
+  first, except Percy's, to treat the material in a scholarly way.</p>
+
+<p><span class="fnnum"><a name="fn43" id="fn43" href="#fnref43">[43]</a></span>
+  The discussion centered upon the social and literary
+  position of minstrels. The first edition of the <i>Reliques of Ancient
+  English Poetry</i>, published in 1765, contained an essay on the History
+  of Minstrelsy, and one on the Origin of the Metrical Romances, which,
+  taken together, says Mr. Courthope, "may be said to furnish the first
+  generalized theory of the nature of mediaeval poetry." (<i>History of
+  English Poetry</i>, Vol. I, p. 426.) Percy considered the minstrels as
+  the authors of the compositions which they sang to the harp, and as
+  holding a dignified social position similar to that of the Anglo-Saxon
+  scôp or the old Norse scald. This theory was vigorously attacked by
+  Joseph Ritson in the preface of his <i>Select Collection of English
+  Songs</i> in 1783, and again in his <i>Ancient English Metrical
+  Romances</i>
+  in 1802, and in his essay On the Ancient English Minstrels in Ancient
+  Songs and Ballads (1792). Ritson contended that minstrels were musical
+  performers of a low class, or even acrobats, and that they were not
+  literary composers. Scott used his knowledge of ballads and romances
+  and the customs depicted in them to reinforce his own decision that
+  the truth lay somewhere between the two extremes. He pointed out that
+  the word may have covered a wide variety of professional entertainers.
+  A modern comment (by E.K. Chambers, in <i>The Mediaeval Stage</i>, Vol. I,
+  p. 66) seems like an echo of Scott: "This general antithesis between
+  the higher and lower minstrelsy may now, perhaps, be regarded as
+  established. It was the neglect of it, surely, that led to that
+  curious and barren logomachy between Percy and Ritson, in which
+  neither of the disputants can be said to have had hold of more than a
+  bare half of the truth."</p>
+
+<p><span class="fnnum"><a name="fn44" id="fn44" href="#fnref44">[44]</a></span>
+  Scott's theory as to the authorship of ballads is even
+  now held by Mr. Courthope. At the end of his chapter on Minstrelsy, in
+  <i>The History of English Poetry</i>, he thus sums up the matter: "All the
+  evidence cited in this chapter shows that, so far from the ballad
+  being a spontaneous product of popular imagination, it was a type of
+  poem adapted by the professors of the declining art of minstrelsy,
+  from the romances once in favour with the educated classes. Everything
+  in the ballad&mdash;matter, form, composition&mdash;is the work of the minstrel;
+  all that the people do is to remember and repeat what the minstrel has
+  put together." This statement represents a position which is actively
+  assailed by the adherents of the communal origin theory. Another
+  critical idea which originated in Germany, and in which Scott had no
+  interest, though he knew something about it, was the Wolffian
+  hypothesis in regard to the Homeric poems. He once heard Coleridge
+  expound the subject, but failed to join in the discussion.
+  (<i>Journal</i>,
+  Vol. II, p. 164; <i>Lockhart</i>, Vol. V, p. 193.) He said the theory could
+  never be held by any <i>poet</i>. See a note by Lockhart on the essay on
+  <i>Popular Poetry</i>. Henderson's edition of <i>Minstrelsy</i>, Vol. I, p. 3.</p>
+
+<p><span class="fnnum"><a name="fn45" id="fn45" href="#fnref45">[45]</a></span>
+  Review of Cromek's <i>Reliques of Burns</i>. <i>Quarterly
+  Review</i>, February, 1809.</p>
+
+<p><span class="fnnum"><a name="fn46" id="fn46" href="#fnref46">[46]</a></span>
+  "No one but Burns ever succeeded in patching up old
+  Scottish songs with any good effect," Scott wrote in his <i>Journal</i>
+  (Vol. II, p. 25). And in his review of Cromek's <i>Reliques of Burns</i> he
+  said on the same subject of Scottish songs: "Few, whether serious or
+  humorous, past through his hands without receiving some of those magic
+  touches which, without greatly altering the song, restored its
+  original spirit, or gave it more than it had ever possessed."
+  (<i>Quarterly</i>, February, 1809.)</p>
+
+<p><span class="fnnum"><a name="fn47" id="fn47" href="#fnref47">[47]</a></span>
+  <i>Remarks on Popular Poetry</i>, Henderson's edition of
+  <i>Minstrelsy</i>, Vol. I, p. 46.</p>
+
+<p><span class="fnnum"><a name="fn48" id="fn48" href="#fnref48">[48]</a></span>
+  Henderson's edition of <i>Minstrelsy</i>, Vol. I, p. xix.</p>
+
+<p><span class="fnnum"><a name="fn49" id="fn49" href="#fnref49">[49]</a></span>
+  Henderson's edition of <i>Minstrelsy</i>, Vol. I, pp. 167-8.</p>
+
+<p><span class="fnnum"><a name="fn50" id="fn50" href="#fnref50">[50]</a></span>
+  The matter may be traced in Child's collection of
+  ballads, or more easily in the latest edition of the <i>Minstrelsy</i>,
+  edited by T.F. Henderson and published in four volumes in 1902. Mr.
+  Henderson's views of ballad origins are quite in accord with Scott's
+  own, but he notes the points at which Scott failed to follow any
+  originals. There seems to be some reason to believe, however, though
+  Mr. Henderson does not say so, that Scott wrote <i>Kinmont Willie</i>
+  without any originals at all, except the very similar situations in
+  three or four other ballads. See the introduction by Professor
+  Kittredge to the abridged edition of Child's ballads, edited by
+  himself and Helen Child Sargent.</p>
+
+<p>  It is unnecessary to give here any detailed account of Scott's
+  procedure, as the matter has been thoroughly worked out by students of
+  ballads. A few examples may be given as illustrations, however. In
+  <i>The Dowie Dens of Yarrow</i> (Henderson's edition, Vol. III, p. 173) 28
+  lines out of the 68 are noted by Mr. Henderson as either changed or
+  added by Scott. Scott writes (beginning of fifth stanza), "As he gaed
+  up the Tennies bank" for "As he gaed up yon high, high hill," and we
+  find from a note of Lockhart's that <i>The Tennies</i> is the name of a
+  farm belonging to the Duke of Buccleuch. In the sixth stanza Scott
+  changes the lines,</p>
+
+<div class="poem">
+<div class="stanza">
+    <div class="quote">"O ir ye come to drink the wine</div>
+    <div>As we hae done before, O?" to</div>
+    <div class="quote">"O come ye here to part your land,</div>
+    <div>The bonnie forest thorough?"</div>
+</div>
+</div>
+
+<p>  In the seventeenth stanza he changes,</p>
+
+<div class="poem">
+<div class="stanza">
+    <div class="quote">"A better rose will never spring</div>
+    <div>Than him I've lost on Yarrow?" to</div>
+    <div class="quote">"A fairer rose did never bloom</div>
+    <div>Than now lies cropp'd on Yarrow."</div>
+</div>
+</div>
+
+<p>  In <i>Jellon Grame</i> (Vol. III, p. 203), Mr. Henderson notes changes in
+  15 different lines, and points out 2 whole stanzas, out of the 21,
+  that are interpolated. In the <i>Gay Goss-hawk</i> (Vol. III, p. 187) 6
+  stanzas out of 39 are noted as probably wholly or mainly by Scott, and
+  30 stanzas were changed by him. Sometimes his alterations occurred in
+  every line of a stanza. It is probable that Scott changed <i>Jamie
+  Telfer</i> enough to make the Scotts take the place of prominence that
+  had been held by the Elliotts in the original form of the story. See
+  <i>The Trustworthiness of Border Ballads as Exemplified by 'Jamie Telfer
+  i' the Fair Dodhead' and other Ballads</i>; by Lieut.-Col. the Hon.
+  Fitzwilliam Elliott. Reviewed in <i>Edinburgh Review</i>, No. 418, p. 306
+  (October, 1906).</p>
+
+<p><span class="fnnum"><a name="fn51" id="fn51" href="#fnref51">[51]</a></span>
+  See the examples given in the preceding note. Most of
+  the changes there spoken of were made without annotation.</p>
+
+<p><span class="fnnum"><a name="fn52" id="fn52" href="#fnref52">[52]</a></span>
+  This extraordinary young man was poet and scholar on his
+  own account by 1800, though he was four years younger than Scott. His
+  erudition in many fields was remarkable, and he was as enthusiastic as
+  Scott himself about Scotch poetry, and was the chief assistant in
+  gathering ballads for the <i>Minstrelsy</i>. He also collected the material
+  for the essay on Fairies in the second volume, which was especially
+  praised by the reviewer in the <i>Edinburgh Review</i> (January, 1803).
+  Leyden's chief fame was derived from his wonderfully varied activities
+  in India, from 1803 to his early death in 1811. Any reader of
+  Lockhart's <i>Life of Scott</i> or of Scott's delightful little memoir,
+  published first in the <i>Edinburgh Annual Register</i> for 1811, and
+  included in the <i>Miscellaneous Prose Works</i>, must feel that the
+  uncouth young genius is a familiar acquaintance.</p>
+
+<p><span class="fnnum"><a name="fn53" id="fn53" href="#fnref53">[53]</a></span>
+  The Ettrick Shepherd, who, after reading the first two
+  volumes of the <i>Minstrelsy</i>, sought an acquaintance with Scott, and
+  offered assistance which was gladly made use of in the preparation of
+  the third volume. Scott in his turn provided much of the material for
+  Hogg's <i>Jacobite Relics</i>, published in 1819. The following note on one
+  of the songs in that work adds to the reader's doubts concerning the
+  accuracy of Scott's texts: "I have not altered a word from the
+  manuscript, which is in the handwriting of an amanuensis of Mr.
+  Scott's, the most incorrect transcriber, perhaps, that ever tried the
+  business." (<i>Jacobite Relics</i>, Vol. I, p. 282. Note on song lxiii.)</p>
+
+<p><span class="fnnum"><a name="fn54" id="fn54" href="#fnref54">[54]</a></span>
+  Henderson's edition of the <i>Minstrelsy</i>, Vol. I, p. 284.</p>
+
+<p><span class="fnnum"><a name="fn55" id="fn55" href="#fnref55">[55]</a></span>
+  <i>Quarterly</i>, May, 1810.</p>
+
+<p><span class="fnnum"><a name="fn56" id="fn56" href="#fnref56">[56]</a></span>
+  <i>Lockhart</i>, Vol. III, p. 514.</p>
+
+<p><span class="fnnum"><a name="fn57" id="fn57" href="#fnref57">[57]</a></span>
+  Still more striking evidence that Scott lacked an
+  infallible sense of the difference between genuine and spurious ballad
+  material is afforded by his comments on Peter Buchan's collection,
+  which is now considered particularly untrustworthy. He thought that
+  with two or three exceptions the pieces in the book were genuine, and
+  said: "I scarce know anything so easily discovered as the piecing and
+  patching of an old ballad; the darns in a silk stocking are not more
+  manifest." (<i>Correspondence of C.K. Sharpe</i>, Vol. II, p. 424.)</p>
+
+<p><span class="fnnum"><a name="fn58" id="fn58" href="#fnref58">[58]</a></span>
+  Scott's manuscript collections of ballads dropped
+  partially out of sight after his death, and it was only about 1890
+  that their magnitude and importance became known. Professor Child and
+  later editors have found them of very great service. (On Child's use
+  of the Abbotsford materials, see the Advertisement to Part VIII of his
+  collection, contained in Volume IV.) In 1880 appeared a reprint of the
+  <i>Ballad Book</i> of C.K. Sharpe, "with notes and ballads from the
+  unpublished manuscripts of C.K. Sharpe and Sir Walter Scott," but the
+  contributions from Scott's papers did not amount to much. Scott's
+  materials were at the service of his friend for use in the original
+  edition of the <i>Ballad Book</i>, published in 1823. See <i>Sharpe's
+  Correspondence</i>, Vol. II, pp. 264, 271 and 325, for letters from Scott
+  on this subject.</p>
+
+<p><span class="fnnum"><a name="fn59" id="fn59" href="#fnref59">[59]</a></span>
+  Note on <i>The Raid of the Reidswire</i>, in the
+  <i>Minstrelsy</i>.</p>
+
+<p><span class="fnnum"><a name="fn60" id="fn60" href="#fnref60">[60]</a></span>
+  Henderson's edition of the <i>Minstrelsy</i>, Vol. III, p. 232.</p>
+
+<p><span class="fnnum"><a name="fn61" id="fn61" href="#fnref61">[61]</a></span>
+  Henderson's edition of the <i>Minstrelsy</i>, Vol. II, p. 57.</p>
+
+<p><span class="fnnum"><a name="fn62" id="fn62" href="#fnref62">[62]</a></span>
+  <i>Lockhart</i>, Vol. I, p. 360.</p>
+
+<p><span class="fnnum"><a name="fn63" id="fn63" href="#fnref63">[63]</a></span>
+  <i>Ibid.</i>, Vol. I, p. 332.</p>
+
+<p><span class="fnnum"><a name="fn64" id="fn64" href="#fnref64">[64]</a></span>
+  First edition of the <i>Minstrelsy</i>, Vol. II, pp. 156-7.</p>
+
+<p><span class="fnnum"><a name="fn65" id="fn65" href="#fnref65">[65]</a></span>
+  <i>Edinburgh Review</i>, January, 1803.</p>
+
+<p><span class="fnnum"><a name="fn66" id="fn66" href="#fnref66">[66]</a></span>
+  The <i>Minstrelsy</i> is arranged in three parts: I.,
+  Historical Ballads; II., Romantic Ballads; III., Imitations of the
+  Ballad. The first part is preceded by the Introductory Remarks on
+  Popular Poetry, and by the historical introduction. The second part is
+  preceded by the essay on The Fairies of Popular Superstition; and the
+  third by the essay on Imitations of the Ancient Ballad. The poems by
+  Scott given in this third part are as follows: <i>Thomas the Rhymer</i>
+  (parts 2 and 3), <i>Glenfinlas</i>, <i>The Eve of St. John</i>,
+  <i>Cadyow Castle</i>,
+  <i>The Gray Brother</i>, <i>War Song of the Royal Edinburgh Light
+  Dragoons</i>.
+  Besides these there are three poems by John Leyden (and he has also an
+  <i>Ode on Scottish Music</i> preceding the Romantic ballads), two by C.K.
+  Sharpe, three by John Marriott, who was tutor to the children of the
+  Duke of Buccleuch, and one each by Matthew Lewis, Anna Seward, Dr.
+  Jamieson, Colin Mackenzie, J.B.S. Morritt, and an unnamed author. In
+  the other parts of the book there are a few imitations, notably the
+  three by Surtees&mdash;<i>Lord Ewine</i>, the <i>Death of
+  Featherstonhaugh</i>, and
+  <i>Barthram's Dirge</i>, which Scott supposed were old; and one or two like
+  the <i>Flowers of the Forest</i>, which he noted as largely modern, or
+  which he had found, after arranging his material, to be wholly modern.
+  Nearly forty old ballads were published in the <i>Minstrelsy</i> for the
+  first time.</p>
+
+<p><span class="fnnum"><a name="fn67" id="fn67" href="#fnref67">[67]</a></span>
+  <i>Remarks on Popular Poetry</i>, conclusion.</p>
+
+<p><span class="fnnum"><a name="fn68" id="fn68" href="#fnref68">[68]</a></span>
+  Review of the Poems of William Herbert. <i>Edinburgh
+  Review</i>, October, 1806.</p>
+
+<p><span class="fnnum"><a name="fn69" id="fn69" href="#fnref69">[69]</a></span>
+  Stanzas 10-12, and 31, are noted by Child as
+  particularly suspicious. "Basnet," which occurs in stanza 10, is not a
+  very common word in ballads. It is used in <i>The Lay</i>, Canto I., stanza
+  25, and in <i>Marmion</i>, Canto VI, st. 21.</p>
+
+<p><span class="fnnum"><a name="fn70" id="fn70" href="#fnref70">[70]</a></span>
+  <i>Lockhart</i>, Vol. I, p. 221.</p>
+
+<p><span class="fnnum"><a name="fn71" id="fn71" href="#fnref71">[71]</a></span>
+  <i>Memoir of William Taylor</i>, Vol. I, pp. 98-99, and see
+  <i>Sharpe's Correspondence</i>, Vol. I, pp. 146-7, for a letter to Sharpe
+  on a similar point.</p>
+
+<p><span class="fnnum"><a name="fn72" id="fn72" href="#fnref72">[72]</a></span>
+  <i>Minstrelsy</i>, Introduction to <i>Lord Thomas and Fair
+  Annie</i>.</p>
+
+<p><span class="fnnum"><a name="fn73" id="fn73" href="#fnref73">[73]</a></span>
+  <i>Lockhart</i>, Vol. I, p. 101.</p>
+
+<p><span class="fnnum"><a name="fn74" id="fn74" href="#fnref74">[74]</a></span>
+  <i>Ibid.</i>, Vol. I, pp. 35-6.</p>
+
+<p><span class="fnnum"><a name="fn75" id="fn75" href="#fnref75">[75]</a></span>
+  <i>Familiar Letters</i>, Vol. I, p. 244. See also <i>Lockhart</i>,
+  Vol. V, p. 408.</p>
+
+<p><span class="fnnum"><a name="fn76" id="fn76" href="#fnref76">[76]</a></span>
+  Sometime before 1821 (probably a good while before, but
+  the date cannot be fixed), Scott began a translation of <i>Don Quixote</i>,
+  and afterwards gave the work over to Lockhart, who completed it. See
+  <i>Constable's Correspondence</i>, Vol. III, p. 161.</p>
+
+<p><span class="fnnum"><a name="fn77" id="fn77" href="#fnref77">[77]</a></span>
+  Louis-Elizabeth de la Vergne, Comte de Tressan, was born
+  in 1705 and died in 1783. In early life he was sent to Rome on
+  diplomatic business, and it is said that in the Vatican library he
+  acquired his taste for the literature of chivalry. His chief works
+  were <i>Amadis de Gaules</i> (1779); <i>Roland furieux</i> (translated from the
+  Italian, 1780); <i>Corps d'extraits romans de chevalerie</i> (1782). His
+  translations were partly adaptations, and were far from being rendered
+  with precision.</p>
+
+<p><span class="fnnum"><a name="fn78" id="fn78" href="#fnref78">[78]</a></span>
+  See particularly his article on Ellis's and Ritson's
+  <i>Metrical Romances</i> (<i>Edinburgh Review</i>, January, 1806), the essay on
+  <i>Romance</i>, and <i>Remarks on Popular Poetry</i> in the
+  <i>Minstrelsy</i>.</p>
+
+<p><span class="fnnum"><a name="fn79" id="fn79" href="#fnref79">[79]</a></span>
+  <i>Edinburgh Review</i>, July, 1804. Ellis and Scott had had
+  much correspondence on <i>Sir Tristrem</i>, and it was Ellis's queries that
+  first led Scott into the detailed investigation which resulted in the
+  separate publication of the work. He had intended to print it in the
+  <i>Minstrelsy</i> (<i>Lockhart</i>, Vol. I. p. 289). The letters are given in
+  <i>Lockhart</i>, Vol. I.</p>
+
+<p><span class="fnnum"><a name="fn80" id="fn80" href="#fnref80">[80]</a></span>
+  <i>Lockhart</i>, Vol. I, p. 381.</p>
+
+<p><span class="fnnum"><a name="fn81" id="fn81" href="#fnref81">[81]</a></span>
+  <i>Die nordische und die englische Version der
+  Tristan-sage</i>&mdash;II. <i>Sir Tristrem</i>. Heilbronn, 1882. Mr. George P.
+  McNeill's edition of <i>Sir Tristrem</i> was printed for the Scottish Text
+  Society, Edinburgh, 1886.</p>
+
+<p><span class="fnnum"><a name="fn82" id="fn82" href="#fnref82">[82]</a></span>
+  Kölbing thinks Scott probably hired a transcriber who
+  knew nothing of Middle English&mdash;a usual method of procedure in the
+  beginning of the nineteenth century. In later editions more errors
+  were introduced by the carelessness of printers, until, after 1830,
+  when the book was included in the complete editions of Scott's poems,
+  the text was collated with the manuscript. But it was still far from
+  correct. Kölbing enumerates about a hundred and thirty mistakes (see
+  his Introduction, p. xvii). Of these I took twenty-one at random, and
+  found that eight of them did not occur in the 1806 edition&mdash;in other
+  words, the person who collated the text nearly thirty years after
+  Scott or his hired transcriber had done it was far from infallible. A
+  few illustrations may be given of mistakes that occur in both the 1806
+  and the 1833 editions: l. 117, <i>send</i> is given for <i>sent</i>; l. 846,
+  <i>telle</i> for <i>tel</i>; l. 863, <i>How</i> for <i>Hou</i>; l.
+  912, <i>mak</i> for <i>make</i>; l. 1212, <i>leuedi</i> for <i>leuedy</i>;
+  l. 1580, <i>wende sche weren</i> for
+  <i>whende sche were</i>; l. 1334. <i>have</i> for <i>han</i>; l. 1514,
+  <i>as</i> for <i>als</i>.</p>
+
+<p><span class="fnnum"><a name="fn83" id="fn83" href="#fnref83">[83]</a></span>
+  Review of Johnes's Translation of Froissart, <i>Edinburgh
+  Review</i>, January, 1805.</p>
+
+<p><span class="fnnum"><a name="fn84" id="fn84" href="#fnref84">[84]</a></span>
+  Waverley, and Claverhouse in <i>Old Mortality</i>.</p>
+
+<p><span class="fnnum"><a name="fn85" id="fn85" href="#fnref85">[85]</a></span>
+  <i>Lockhart</i>, Vol. I, pp. 480 and 482. <i>Familiar Letters</i>,
+  Vol. I, p. 147.</p>
+
+<p><span class="fnnum"><a name="fn86" id="fn86" href="#fnref86">[86]</a></span>
+  <i>Essay on Romance</i>.</p>
+
+<p><span class="fnnum"><a name="fn87" id="fn87" href="#fnref87">[87]</a></span>
+  See Gaston Paris, <i>La Littérature Française au Moyen
+  Age</i>, 1<sup>ère</sup> partie, ch. IV.</p>
+
+<p><span class="fnnum"><a name="fn88" id="fn88" href="#fnref88">[88]</a></span>
+  Review of <i>Metrical Romances</i>, <i>Edinburgh Review</i>,
+  January, 1806.</p>
+
+<p><span class="fnnum"><a name="fn89" id="fn89" href="#fnref89">[89]</a></span>
+  <i>Journal</i>, Vol. II, pp. 258-259.</p>
+
+<p><span class="fnnum"><a name="fn90" id="fn90" href="#fnref90">[90]</a></span>
+  <i>Essay on Romance</i>.</p>
+
+<p><span class="fnnum"><a name="fn91" id="fn91" href="#fnref91">[91]</a></span>
+  <i>Familiar Letters</i>, Vol. I, p. 46.</p>
+
+<p><span class="fnnum"><a name="fn92" id="fn92" href="#fnref92">[92]</a></span>
+  Memoir in the Globe edition of Scott's poems.</p>
+
+<p><span class="fnnum"><a name="fn93" id="fn93" href="#fnref93">[93]</a></span>
+  Scott adopted the conclusions of Malcolm Laing, who
+  edited Macpherson's poems and adduced parallel passages from "a mass
+  of poetry, enough to serve any six gentle readers for their lifetime,"
+  as the reviewer says. The most of these parallels were found in
+  "Homer, Virgil, and their two translators; Milton, Thomson, Young,
+  Gray, Mason, Home, and the English Bible." Although he was convinced
+  by the argument, Scott saw that the editor was in some cases misled by
+  his own ingenuity.</p>
+
+<p><span class="fnnum"><a name="fn94" id="fn94" href="#fnref94">[94]</a></span>
+  Later, however (in the essay on Imitations of the
+  Ancient Ballad, 1830), he said: "In their spirit and diction they
+  nearly resemble fragments of poetry extant in Gaelic." By this time he
+  was probably reverting to the earlier opinion which had made the more
+  vivid impression.</p>
+
+<p><span class="fnnum"><a name="fn95" id="fn95" href="#fnref95">[95]</a></span>
+  For the <i>Northern Antiquities</i>, edited by Robert
+  Jamieson and published in 1814, Scott wrote an abstract of the
+  <i>Eyrbyggja Saga</i>, using, as one would conclude from his introductory
+  words, the Latin version made by Thorkelin, who published the saga in
+  1787. The purpose of the publication required the historical and
+  antiquarian rather than the literary point of view, and accordingly we
+  find Scott's notes occupied with historical comment.</p>
+
+<p><span class="fnnum"><a name="fn96" id="fn96" href="#fnref96">[96]</a></span>
+  In 1804 Weber came to Edinburgh in a deplorable
+  condition of poverty, and was employed and assisted in literary work
+  by Scott during the following nine years. In 1813 he was seized with
+  insanity, and challenged Scott, across the study table, to an
+  immediate duel with pistols. Scott supported Weber during the
+  remaining five years of his life in an insane hospital. He was much
+  liked by the Scott family. Scott rated his learning very highly, and
+  gave him valuable assistance in various literary projects. Weber's
+  chief publications were: <i>Metrical Romances of the Thirteenth,
+  Fourteenth, and Sixteenth Centuries</i>, with Introduction, Notes and
+  Glossary (1810); <i>Dramatic Works of John Ford</i>, with Introduction and
+  Explanatory Notes (1811); <i>Works of Beaumont and Fletcher</i>, with
+  Introduction and Explanatory Notes (1812): to this Scott's notes were
+  the most valuable contribution; <i>Illustrations of Northern
+  Antiquities</i> (1814), with Jamieson and Scott.</p>
+
+<p><span class="fnnum"><a name="fn97" id="fn97" href="#fnref97">[97]</a></span>
+  See his essay on <i>Imitations of the Ancient Ballad</i>.</p>
+
+<p><span class="fnnum"><a name="fn98" id="fn98" href="#fnref98">[98]</a></span>
+  <i>Illustrations of Anglo-Saxon Poetry, translated by the
+  Vicar of Batheaston</i>. Conybeare had died two years before the
+  publication of the book.</p>
+
+<p><span class="fnnum"><a name="fn99" id="fn99" href="#fnref99">[99]</a></span>
+  Review of Ellis's <i>Specimens</i>, <i>Edinburgh Review</i>,
+  April, 1804.</p>
+
+<p><span class="fnnum"><a name="fn100" id="fn100" href="#fnref100">[100]</a></span>
+  Bletson and Richard Ganlesse.</p>
+
+<p><span class="fnnum"><a name="fn101" id="fn101" href="#fnref101">[101]</a></span>
+  But see the dictum quoted by Scott in a somewhat
+  over-emphatic way from Ellis's <i>Specimens of the Early English Poets</i>,
+  to the effect that Chaucer's "peculiar ornaments of style, consisting
+  in an affectation of splendour, and especially of latinity," were
+  perhaps his special contribution to the improvement of English poetry.
+  (<i>Edinburgh Review</i>, April, 1804.) Scott said of Dunbar, "This darling
+  of the Scottish muses has been justly raised to a level with Chaucer
+  by every judge of poetry to whom his obsolete language has not
+  rendered him unintelligible." (<i>Memoir of Bannatyne</i>, p. 14.) After
+  naming the various qualities in which Dunbar was Chaucer's rival, he
+  pronounces the Scottish poet inferior in the use of pathos. The
+  relative position here assigned to the two poets seems to be rather an
+  exaltation of Dunbar than a degradation of Chaucer.</p>
+
+<p><span class="fnnum"><a name="fn102" id="fn102" href="#fnref102">[102]</a></span>
+  <i>Lockhart</i>, Vol. I, p. 408.</p>
+
+<p><span class="fnnum"><a name="fn103" id="fn103" href="#fnref103">[103]</a></span>
+  <i>Dryden</i>, Vol. XI, p. 245.</p>
+
+<p><span class="fnnum"><a name="fn104" id="fn104" href="#fnref104">[104]</a></span>
+  <i>Dryden</i>, Vol. XI, p. 396.</p>
+
+<p><span class="fnnum"><a name="fn105" id="fn105" href="#fnref105">[105]</a></span>
+  <i>Ibid.</i>, Vol. VI, p. 243.</p>
+
+<p><span class="fnnum"><a name="fn106" id="fn106" href="#fnref106">[106]</a></span>
+  <i>Ibid.</i>, Vol. XI, p. 338.</p>
+
+<p><span class="fnnum"><a name="fn107" id="fn107" href="#fnref107">[107]</a></span>
+  The discussion of popular superstitions given in the
+  introduction to the <i>Minstrelsy</i> and in the Essay on Fairies, which is
+  prefixed to the ballad of <i>Young Tamlane</i>, suggests comparison with
+  the <i>Letters on Demonology and Witchcraft</i> which Scott wrote in the
+  year before he died. He collected a remarkable library in regard to
+  superstition, and thought at various times of making a book on the
+  subject, but the project was pushed aside for other matters until
+  1831. The <i>Letters</i> which he wrote then are full of pleasant anecdote
+  and judicious comment, and though they lack the vigor of his earlier
+  work they have remained fairly popular. An edition of Kirk's <i>Secret
+  Commonwealth of Elves and Fairies</i>, published in 1815, has been
+  attributed to Scott. (See below, the Bibliography of books edited by
+  Scott.) Reviews of his which have not been mentioned in this chapter,
+  but which naturally connect themselves with the subjects here
+  discussed, are the following: <i>The Culloden Papers</i>&mdash;an account of the
+  Highland clans, largely narrative (<i>Quarterly</i>, January, 1816);
+  Ritson's <i>Annals of the Caledonians, Picts and Scots</i>&mdash;an article of
+  more than forty pages, discussing the early history of Scotland and
+  the historians who have written upon it (<i>Quarterly</i>, July, 1829);
+  Tytler's <i>History of Scotland</i>&mdash;an article similar to that on Ritson's
+  book (<i>Quarterly</i>, November, 1829); Pitcairn's <i>Ancient Criminal
+  Trials</i>&mdash;a long article, which begins with an extended digression on
+  booksellers and collectors and on the Roxburghe and Bannatyne clubs
+  (<i>Quarterly</i>, February, 1831); Sibbald's <i>Chronicle of Scottish
+  Poetry</i>&mdash;merely a series of notes on special points (<i>Edinburgh
+  Review</i>, October, 1803); Southey's <i>Chronicle of the Cid</i>
+  (<i>Quarterly</i>, February, 1809). For the <i>Encyclopĉdia
+  Britannica</i> Scott
+  wrote an essay on Chivalry, as well as the one on Romance to which
+  reference has been made.</p>
+
+<p><span class="fnnum"><a name="fn108" id="fn108" href="#fnref108">[108]</a></span>
+  Review of <i>Kelly's Reminiscences and the Life of
+  Kemble</i>, <i>Quarterly Review</i>, June, 1826.</p>
+
+<p><span class="fnnum"><a name="fn109" id="fn109" href="#fnref109">[109]</a></span>
+  <i>Lockhart</i>, Vol. II, p. 97.</p>
+
+<p><span class="fnnum"><a name="fn110" id="fn110" href="#fnref110">[110]</a></span>
+  Terry had been educated as an architect, and his
+  knowledge and taste were of assistance to Scott in connection with the
+  building and furnishing of Abbotsford. After 1812 he played chiefly in
+  London. In 1816 his version of <i>Guy Mannering</i>, the first of his
+  adaptations from Scott, was presented. Before this he had taken the
+  part of Roderick Dhu in two dramatic versions of <i>The Lady of the
+  Lake</i>. In 1819 he was the first David Deans in his adaptation of <i>The
+  Heart of Midlothian</i>. Six years later he became manager of the Adelphi
+  theater, in association with F.H. Yates. At this time Scott became
+  Terry's security for £1280, a sum which he was afterward obliged to
+  pay with the addition of £500 for which the credit of James Ballantyne
+  was pledged. When financial embarrassment caused Terry to retire from
+  the management his mental and physical powers gave way, and he died of
+  paralysis in 1829. Terry admired Scott so much that he learned to
+  imitate his facial expression, his speech and his handwriting.</p>
+
+<p><span class="fnnum"><a name="fn111" id="fn111" href="#fnref111">[111]</a></span>
+  <i>Lockhart</i>, Vol. I, p. 94.</p>
+
+<p><span class="fnnum"><a name="fn112" id="fn112" href="#fnref112">[112]</a></span>
+  The phrase, which was a favorite one of Scott's, is
+  spoken not by Tony Lumpkin, but by one of his tavern companions.
+  Scott's use of it is an indication of the way in which he was familiar
+  with the drama. Very likely he never reread the play after his youth,
+  but his strong memory doubtless retained a pretty definite impression
+  of it.</p>
+
+<p><span class="fnnum"><a name="fn113" id="fn113" href="#fnref113">[113]</a></span>
+  <i>Review of the Life and Works of John Home</i>,
+  <i>Quarterly</i>, June, 1827.</p>
+
+<p><span class="fnnum"><a name="fn114" id="fn114" href="#fnref114">[114]</a></span>
+  <i>Familiar Letters</i>, Vol. II, p. 143.</p>
+
+<p><span class="fnnum"><a name="fn115" id="fn115" href="#fnref115">[115]</a></span>
+  <i>Lockhart</i>, Vol. III, p. 427. It may be noted that this
+  criticism does not show much dramatic insight.</p>
+
+<p><span class="fnnum"><a name="fn116" id="fn116" href="#fnref116">[116]</a></span>
+  <i>Lockhart</i>, Vol. III, pp. 445-6.</p>
+
+<p><span class="fnnum"><a name="fn117" id="fn117" href="#fnref117">[117]</a></span>
+  <i>Journal</i>, Vol. I, p. 117; <i>Lockhart</i>, Vol. IV, p.
+  447.</p>
+
+<p><span class="fnnum"><a name="fn118" id="fn118" href="#fnref118">[118]</a></span>
+  <i>Journal</i>, Vol. I, p. 94; <i>Lockhart</i>, Vol. IV, p. 419.</p>
+
+<p><span class="fnnum"><a name="fn119" id="fn119" href="#fnref119">[119]</a></span>
+  Advertisement to <i>Halidon Hill</i>. When the publisher
+  Cadell closed a bargain with Scott in five minutes for <i>Halidon Hill</i>,
+  giving him £1000, he wrote as follows to his partner: "My views were
+  these: here is a commencement of a series of dramatic writings&mdash;let us
+  begin by buying them out." (<i>Constable's Correspondence</i>, Vol. III, p.
+  217.)</p>
+
+<p><span class="fnnum"><a name="fn120" id="fn120" href="#fnref120">[120]</a></span>
+  "That well-written, but very didactic 'Old Play'," as
+  Adolphus calls it. (<i>Letters to Heber</i>, p. 55.)</p>
+
+<p><span class="fnnum"><a name="fn121" id="fn121" href="#fnref121">[121]</a></span>
+  Introductory epistle to <i>Nigel</i>.</p>
+
+<p><span class="fnnum"><a name="fn122" id="fn122" href="#fnref122">[122]</a></span>
+  <i>Lockhart</i>, Vol. V, p. 414.</p>
+
+<p><span class="fnnum"><a name="fn123" id="fn123" href="#fnref123">[123]</a></span>
+  Fitzgerald's <i>New History of the English Stage</i>, Vol.
+  II, p. 404.</p>
+
+<p><span class="fnnum"><a name="fn124" id="fn124" href="#fnref124">[124]</a></span>
+<i>Dramatic Essays</i>, Hazlitt's <i>Works</i>, Vol. VIII, p. 422.</p>
+
+<p><span class="fnnum"><a name="fn125" id="fn125" href="#fnref125">[125]</a></span>
+<i>Lockhart</i>, Vol. III. p. 176.</p>
+
+<p><span class="fnnum"><a name="fn126" id="fn126" href="#fnref126">[126]</a></span>
+<i>Ibid.</i>, Vol. III. p. 265.</p>
+
+<p><span class="fnnum"><a name="fn127" id="fn127" href="#fnref127">[127]</a></span>
+<i>Ibid.</i>, Vol. III. p. 332.</p>
+
+<p><span class="fnnum"><a name="fn128" id="fn128" href="#fnref128">[128]</a></span>
+<i>Essay on the Drama</i>.</p>
+
+<p><span class="fnnum"><a name="fn129" id="fn129" href="#fnref129">[129]</a></span>
+In 1808 he wrote to a friend: "We have Miss Baillie
+  here at present, who is certainly the best dramatic writer whom
+  Britain has produced since the days of Shakspeare and Massinger."
+  (<i>Fam. Let.</i>, Vol. I. p. 99.) But Wilson also put Joanna Baillie next
+  to Shakspere, and quite seriously. The article in the <i>Dictionary of
+  National Biography</i>, on Joanna Baillie says that when the first volume
+  of <i>Plays on the Passions</i> was published anonymously in 1798, Walter
+  Scott was at first suspected of being the author. But as Scott had
+  done nothing to give him a literary reputation in 1798, the assertion
+  is incredible. It seems to be based on the following very inexact
+  statement in <i>Chambers's Biographical Dictionary of Eminent
+  Scotsmen.</i> (Vol. V, Art. <i>Joanna Baillie</i>.) "Rich though the period
+  was in poetry, this work made a great impression, and a new edition of
+  it was soon required. The writer was sought for among the most gifted
+  personages of the day, and the illustrious Scott, with others then
+  equally appreciated, was suspected as the author."</p>
+
+<p><span class="fnnum"><a name="fn130" id="fn130" href="#fnref130">[130]</a></span>
+<i>Lockhart</i>, Vol. I, p. 380.</p>
+
+<p><span class="fnnum"><a name="fn131" id="fn131" href="#fnref131">[131]</a></span>
+<i>Life of Dryden</i>, ch. I. In <i>Guy Mannering</i> and <i>The
+  Antiquary</i>, the first two novels in which Scott habitually used
+  mottoes to head his chapters, most of the selections are from plays.
+  Eighteen plays of Shakspere are represented by twenty-nine quotations.
+  Other mottoes are from <i>The Merry Devil of Edmonton</i>, from Jonson,
+  from Fletcher (<i>The Little French Lawyer</i>, <i>Women Pleased</i>, <i>The Fair
+  Maid of the Inn</i>, <i>The Beggar's Bush</i>), from Brome, Dekker, Middleton
+  and Rowley, Cartwright, Otway, Southerne, <i>The Beggar's Opera</i>,
+  Walpole's <i>Mysterious Mother</i>, <i>The Critic</i>,
+  <i>Chrononhotonthologos</i>,
+  Joanna Baillie. For the latter part of <i>The Antiquary</i> many of the
+  mottoes were composed by Scott himself. <i>Kenilworth</i> presents a
+  similar list, with some variations: Jonson's <i>Masque of Owls</i> was
+  used, more than one play by Beaumont and Fletcher, Waldron's <i>Virgin
+  Queen</i>, <i>Wallenstein</i>, and <i>Douglas</i>. In <i>St. Ronan's
+  Well</i> there is a
+  larger proportion of non-dramatic mottoes, as in most of the later
+  novels, but we find represented nine of Shakspere's plays and one of
+  Beaumont and Fletcher's. <i>The Legend of Montrose</i> (chapter XIV) has a
+  motto from Suckling's <i>Brennoralt</i>. In <i>Anne of Geierstein</i> ten of
+  Shakspere's plays were drawn upon, and <i>Manfred</i> was twice used. Scott
+  made his chapters much longer in these later novels, and used fewer
+  mottoes, but the evidence of the selections would seem to indicate
+  that he had lost something of his early familiarity with dramatic
+  literature.</p>
+
+<p><span class="fnnum"><a name="fn132" id="fn132" href="#fnref132">[132]</a></span>
+Hazlitt's <i>Characters of Shakespeare's Plays</i> appeared
+  in 1817; his <i>Lectures on the Dramatic Literature of the Age of Queen
+  Elizabeth</i> in 1821.</p>
+
+<p><span class="fnnum"><a name="fn133" id="fn133" href="#fnref133">[133]</a></span>
+Scott first began to fabricate occasional mottoes for
+  his chapters during the composition of <i>The Antiquary</i> in 1816.</p>
+
+<p><span class="fnnum"><a name="fn134" id="fn134" href="#fnref134">[134]</a></span>
+Saintsbury in <i>Macmillan's Magazine</i>, lxx: 323. Scott's
+  style in many sages is strongly colored by the influence of
+  Shakspere.</p>
+
+<p><span class="fnnum"><a name="fn135" id="fn135" href="#fnref135">[135]</a></span>
+Introduction by Lang to <i>The Fortunes of Nigel</i>.</p>
+
+<p><span class="fnnum"><a name="fn136" id="fn136" href="#fnref136">[136]</a></span>
+It is possible that among the various jobs of editing
+  undertaken by Scott with a view to keeping the Ballantyne types busy,
+  were certain collections of dramas. <i>Ancient British Drama</i>, in three
+  volumes, and <i>Modern British Drama</i>, in five volumes, published in
+  1810 and 1811, are sometimes attributed to Scott in library
+  catalogues, but on what authority it seems impossible to discover.
+  There is almost no commentary in the <i>Ancient British Drama</i>, but the
+  <i>Modern British Drama</i> contains three brief introductions which I
+  believe were written by Scott. They show a striking likeness to some
+  parts of the <i>Essay on the Drama</i> written several years later, and it
+  is not probable that Scott took his criticism ready-made from another
+  author. In the preface to the <i>Ancient British Drama</i> we find this
+  statement: "The present publication is intended to form, with <i>The
+  British Drama</i> and <i>Shakspeare</i>, a complete and uniform collection in
+  ten volumes of the best English plays." The Shakspeare here referred
+  to is doubtless that of which Constable the publisher afterwards spoke
+  in his correspondence with Scott as "Ballantyne's Shakespeare," and
+  Scott had no hand in the editorship. (<i>Constable's Correspondence</i>,
+  Vol. III, p. 244.)</p>
+
+<p>  It is true, however, as R.S. Mackenzie says in his <i>Life of Scott</i>,
+  that Scott "had not only meditated, but partly executed an edition of
+  Shakespeare." The work was suggested by Constable in 1822, was begun
+  in 1823 or 1824, and three volumes of the proposed ten were printed by
+  the time of Constable's financial crash in the beginning of 1826. The
+  project was sometime afterwards abandoned, and the printed sheets,
+  which apparently were not bound up, disappeared from view. The first
+  volume was to be a life of Shakspere by Scott, and this was probably
+  not begun at all. Of the commentary in the other volumes, Scott was to
+  have the oversight but Lockhart was to do most of the work. It was not
+  designed that the critical apparatus should to any great degree
+  represent original ideas furnished by Lockhart or Scott, but the book
+  was to be "a sensible Shakespeare, in which the useful and readable
+  notes should be condensed and separated from the trash." (See the
+  discussion of the matter in letters between Scott and his publisher
+  given in the third volume of <i>Constables Correspondence</i>. See also
+  Lang's <i>Life of Lockhart</i>, Vol. I, p. 409, and Vol. II, p. 13, and
+  Mackenzie's <i>Life of Scott</i>, pp. 475-6.) The Boston Public Library
+  contains three volumes which are thought to be a unique copy of so
+  much of the Scott-Lockhart Shakspere as was printed. (See below, the
+  Bibliography of books edited by Scott.)</p>
+
+<p>  Scott's notes on Beaumont and Fletcher, which he had wished in 1804 to
+  offer to Gifford, were actually used by Weber in his <i>Beaumont and
+  Fletcher</i>, published about 1810, an edition which was characterized by
+  Scott as "too carelessly done to be reputable." (<i>Lockhart</i>, Vol. IV,
+  p. 472.)</p>
+
+<p><span class="fnnum"><a name="fn137" id="fn137" href="#fnref137">[137]</a></span>
+He seems to have connected heroic plays too closely
+  with "the romances of Calprenède and Scudéri." See his introduction to
+  <i>The Indian Emperor</i>, Dryden, Vol. II, pp. 317-20; also Vol. I, p. 56,
+  and Vol. VI, p. 125. On his opinion in regard to the relation between
+  novels and plays see below, pp. 75-6.</p>
+
+<p><span class="fnnum"><a name="fn138" id="fn138" href="#fnref138">[138]</a></span>
+See his comment on Corneille's <i>Oedipe</i>, <i>Dryden</i>, Vol.
+  VI, p. 125 and Mr. Saintsbury's note.</p>
+
+<p><span class="fnnum"><a name="fn139" id="fn139" href="#fnref139">[139]</a></span>
+<i>Lockhart</i>, Vol. III, p. 446.</p>
+
+<p><span class="fnnum"><a name="fn140" id="fn140" href="#fnref140">[140]</a></span>
+Hutchinson's <i>Letters of Scott</i>, p. 224.</p>
+
+<p><span class="fnnum"><a name="fn141" id="fn141" href="#fnref141">[141]</a></span>
+That Scott admired Sackville greatly is evident from
+  more than one comment. Of <i>Ferrex and Porrex</i> he says, "In Sackville's
+  part of the play, which comprehends the two last acts, there is some
+  poetry worthy of the author of the sublime Induction to the Mirror of
+  Magistrates." (<i>Dryden</i>, Vol. II, p. 135.) Elsewhere Scott calls
+  Sackville "a beautiful poet." (<i>Fragmenta Regalia</i>, p. 277. <i>Secret
+  History of the Court of James I.</i>, Vol. I, p. 278, note.)</p>
+
+<p><span class="fnnum"><a name="fn142" id="fn142" href="#fnref142">[142]</a></span>
+<i>Dryden</i>, Vol. II, p. 136.</p>
+
+<p><span class="fnnum"><a name="fn143" id="fn143" href="#fnref143">[143]</a></span>
+<i>Lockhart</i>, Vol. I, p. 229. See also Vol. III, p. 223.</p>
+
+<p><span class="fnnum"><a name="fn144" id="fn144" href="#fnref144">[144]</a></span>
+<i>Ibid.</i>, Vol. V, p. 322.</p>
+
+<p><span class="fnnum"><a name="fn145" id="fn145" href="#fnref145">[145]</a></span>
+See, for example, <i>Hawthornden</i>, in <i>Provincial Antiquities</i>.</p>
+
+<p><span class="fnnum"><a name="fn146" id="fn146" href="#fnref146">[146]</a></span>
+<i>Dryden</i>, Vol. XV, p. 337.</p>
+
+<p><span class="fnnum"><a name="fn147" id="fn147" href="#fnref147">[147]</a></span>
+<i>Ibid.</i>, Vol. I, p. 10.</p>
+
+<p><span class="fnnum"><a name="fn148" id="fn148" href="#fnref148">[148]</a></span>
+Note on <i>Sir Tristrem</i>, Fytte II., stanza 56.</p>
+
+<p><span class="fnnum"><a name="fn149" id="fn149" href="#fnref149">[149]</a></span>
+See Middleton's Plays in the Mermaid edition:
+  Introduction, Vol. I, pp. viii-ix.</p>
+
+<p><span class="fnnum"><a name="fn150" id="fn150" href="#fnref150">[150]</a></span>
+Ticknor, in Allibone's <i>Dictionary</i>, Vol. II, p. 1968.</p>
+
+<p><span class="fnnum"><a name="fn151" id="fn151" href="#fnref151">[151]</a></span>
+<i>Journal</i>, Vol. I, p. 234; <i>Lockhart</i>, Vol. V, p. 23.</p>
+
+<p><span class="fnnum"><a name="fn152" id="fn152" href="#fnref152">[152]</a></span>
+See Scott's article on Molière, <i>Foreign Quarterly
+  Review</i>, February, 1828.</p>
+
+<p><span class="fnnum"><a name="fn153" id="fn153" href="#fnref153">[153]</a></span>
+<i>Essay on Drama</i>; <i>Dryden</i>, Vol. I, p. 101 ff., Vol.
+  II, pp. 317-20, Vol. IV, p. 4.</p>
+
+<p><span class="fnnum"><a name="fn154" id="fn154" href="#fnref154">[154]</a></span>
+<i>Dryden</i>, Vol. IV, p. 4.</p>
+
+<p><span class="fnnum"><a name="fn155" id="fn155" href="#fnref155">[155]</a></span>
+Article on Molière, <i>Foreign Quarterly Review</i>,
+  February, 1828.</p>
+
+<p><span class="fnnum"><a name="fn156" id="fn156" href="#fnref156">[156]</a></span>
+<i>Lockhart</i>, Vol. I, p. 431.</p>
+
+<p><span class="fnnum"><a name="fn157" id="fn157" href="#fnref157">[157]</a></span>
+Review of <i>Kelly's Reminiscences and the Life of
+  Kemble</i>, <i>Quarterly Review</i>, June, 1826.</p>
+
+<p><span class="fnnum"><a name="fn158" id="fn158" href="#fnref158">[158]</a></span>
+<i>Ibid.</i></p>
+
+<p><span class="fnnum"><a name="fn159" id="fn159" href="#fnref159">[159]</a></span>
+<i>Dryden</i>, Vol. VI, p. 128.</p>
+
+<p><span class="fnnum"><a name="fn160" id="fn160" href="#fnref160">[160]</a></span>
+<i>In Provincial Antiquities</i> (Borthwick Castle). Scott
+  cites parallels from <i>Sir John Oldcastle, The Pinner of Wakefield</i>,
+  and one of Nash's pamphlets, for a curious incident in Scottish
+  history.</p>
+
+<p><span class="fnnum"><a name="fn161" id="fn161" href="#fnref161">[161]</a></span>
+<i>Lockhart</i>, Vol. I, p. 431. This search among
+  seventeenth century pamphlets may have suggested to Scott the need of
+  a new edition of <i>Somers' Tracts</i>. Apparently he arranged with the
+  publishers in 1807 to undertake this task, but the first volume did
+  not appear till 1809. (<i>Lockhart</i>, Vol. II, p. 10, and see below, pp.
+  89-90, for an account of Scott's edition of the <i>Tracts</i>.) Some of his
+  materials for the <i>Dryden</i> were taken from this collection, but more
+  from the Luttrell collection, to which he refers in the
+  Advertisement.</p>
+
+<p><span class="fnnum"><a name="fn162" id="fn162" href="#fnref162">[162]</a></span>
+<i>Lockhart</i>, Vol. I, p. 433. Scott's <i>Dryden</i> appeared
+  in 1808, and with some slight changes in 1821; as reëdited by Mr.
+  Saintsbury it was published in 1882-1893. It was the first complete
+  and uniform edition of Dryden's works, and it remains the only one.
+  The dramatic works had appeared in folio in 1701. They were edited by
+  Congreve in 1717, and Scott used Congreve's text. The non-dramatic
+  poems were also published in 1701 in folio. They appeared in more
+  convenient forms in 1741, 1743, and 1760, but of these editions only
+  the last was reasonably complete. In 1800 the Critical and
+  Miscellaneous Prose Works were edited by Malone, who added a Life of
+  Dryden which has furnished a large part of the material used by
+  biographers since his time. This biography was badly written, but with
+  Johnson's brilliant essay it was the only Life of Dryden before
+  Scott's that was worth considering. An edition of Dryden's poems, with
+  notes by Joseph Warton and others, appeared in 1811, but seems to have
+  been prepared before Scott's edition was published. The text of this
+  is very incorrect. Since then the non-dramatic poems have been
+  published several times. Mr. Christie said in his preface to the Globe
+  edition: "Sir Walter Scott's is the last important edition of Dryden,
+  as it is indeed still the only general collection of his works; and it
+  is to be regretted that that distinguished man did not give as much
+  pains to the purification of Dryden's text as he did to his excellent
+  biography and to the notes which enrich the edition."</p>
+
+<p><span class="fnnum"><a name="fn163" id="fn163" href="#fnref163">[163]</a></span>
+Editor's Preface.</p>
+
+<p><span class="fnnum"><a name="fn164" id="fn164" href="#fnref164">[164]</a></span>
+<i>Dryden</i>, Vol. IX, p. 226.</p>
+
+<p><span class="fnnum"><a name="fn165" id="fn165" href="#fnref165">[165]</a></span>
+<i>Ibid.</i>, Vol. IX, p. 2.</p>
+
+<p><span class="fnnum"><a name="fn166" id="fn166" href="#fnref166">[166]</a></span>
+In this connection Scott's review of Todd's edition of
+  Spenser is interesting. He takes exception to the lack of an
+  appearance of continuity in the biography, caused by the long
+  quotations included in the body of the narrative; and censures the
+  editor for not having used the history of Italian poetry in
+  elucidating Spenser's work. (<i>Edinburgh Review</i>, October, 1805.)</p>
+
+<p><span class="fnnum"><a name="fn167" id="fn167" href="#fnref167">[167]</a></span>
+Review of Todd's <i>Spenser</i>.</p>
+
+<p><span class="fnnum"><a name="fn168" id="fn168" href="#fnref168">[168]</a></span>
+<i>Dryden</i>, Vol. I, p. 6.</p>
+
+<p><span class="fnnum"><a name="fn169" id="fn169" href="#fnref169">[169]</a></span>
+<i>Familiar Letters</i>, Vol. I, p. 229; and
+  <i>Dryden</i>, Vol. I, p. 6.</p>
+
+<p><span class="fnnum"><a name="fn170" id="fn170" href="#fnref170">[170]</a></span>
+<i>Dryden</i>, Vol. I, pp. 402-3.</p>
+
+<p><span class="fnnum"><a name="fn171" id="fn171" href="#fnref171">[171]</a></span>
+<i>Dryden</i>, Vol. I, p. 403.</p>
+
+<p><span class="fnnum"><a name="fn172" id="fn172" href="#fnref172">[172]</a></span>
+<i>Ibid.</i>, p. 404. Mr. Saintsbury thinks that Scott's
+  prefatory introductions to the plays are often "both meagre and
+  depreciatory"; also that Scott's judgment on Dryden's letters is
+  rather harsh, for him, and that after he had begun to write novels he
+  would not have been so impatient of remarks on "turkeys,
+  marrow-puddings, and bacon."</p>
+
+<p><span class="fnnum"><a name="fn173" id="fn173" href="#fnref173">[173]</a></span>
+<i>Ibid.</i>, Vol. I, p. 405.</p>
+
+<p><span class="fnnum"><a name="fn174" id="fn174" href="#fnref174">[174]</a></span>
+<i>Ibid.</i>, Vol. X, p. 307 ff.</p>
+
+<p><span class="fnnum"><a name="fn175" id="fn175" href="#fnref175">[175]</a></span>
+<i>Ibid.</i>, Vol. XIV, pp. 136 and 146.</p>
+
+<p><span class="fnnum"><a name="fn176" id="fn176" href="#fnref176">[176]</a></span>
+<i>Ibid.</i>, Vol. I, p. 405.</p>
+
+<p><span class="fnnum"><a name="fn177" id="fn177" href="#fnref177">[177]</a></span>
+In order to give a more specific view of Scott's
+  methods, two or three of the introductions to well-known poems may be
+  briefly analysed. The introduction to <i>Absalom and Achitophel</i>
+  occupies 111/2 pages, of which about 21/2 are given to quotation from a
+  tract which Scott thought furnished the argument to Dryden, and which
+  was unnoticed by any former commentator. Scott's remarks follow this
+  outline: Position of the poem in literature, and history of its
+  composition; origin of the particular allegory as applied to modern
+  politics; a parallel use of the allegory (with a quotation from
+  <i>Somers' Tracts</i> in illustrations); aptness of the allegory; merits of
+  the satire&mdash;treatment of Monmouth and other main characters; changes
+  in the second edition to mitigate the satire; characterization of the
+  poem as having few flights of imagination but much correctness of
+  taste as well as fire and spirit; other objections by Johnson refuted;
+  success of the poem; history of the first publication and of the
+  replies and congratulatory poems; editions, and Latin versions. The
+  notes on this poem are historical and very full, but the introduction
+  contains as much literary as historical comment. <i>Religio Laici</i> is
+  prefaced by 8 pages of introduction, in which are discussed the motive
+  of the writing, the argument, the title, the purpose of the poem, and
+  its reputation. Dryden's style in didactic poetry is compared with
+  Cowper's, to the disadvantage of the later poet. The introduction to
+  <i>The Hind and the Panther</i> is 20 pages long, and discusses the history
+  of the period as well as the argument of the poem, its style, the
+  subject of fables in general, and the effects the poem produced. The
+  notes on this poem are copious. As he discussed the <i>Fables</i> in the
+  <i>Life of Dryden</i>, Scott gave them no general introduction, and for
+  each poem he wrote only a slight preface, telling something of the
+  source and pointing out special beauties. His notes vary greatly in
+  abundance. Those on <i>Palamon and Arcite</i>, <i>e.g.</i>, are brief,
+  explaining terms of chivalry and heraldry, but not giving literary or
+  linguistic comment.</p>
+
+<p><span class="fnnum"><a name="fn178" id="fn178" href="#fnref178">[178]</a></span>
+<i>Dryden</i>, Vol. XIII, p. 324.</p>
+
+<p><span class="fnnum"><a name="fn179" id="fn179" href="#fnref179">[179]</a></span>
+<i>Ibid.</i>, Vol. XII, p. 20.</p>
+
+<p><span class="fnnum"><a name="fn180" id="fn180" href="#fnref180">[180]</a></span>
+<i>Ibid.</i>, Vol. X, p. 213.</p>
+
+<p><span class="fnnum"><a name="fn181" id="fn181" href="#fnref181">[181]</a></span>
+<i>Ibid.</i>, Vol. I, p. 411.</p>
+
+<p><span class="fnnum"><a name="fn182" id="fn182" href="#fnref182">[182]</a></span>
+<i>Ibid.</i>, Vol. I, p. 98. See also <i>St. Ronan's Well</i>,
+  Vol. I, p. 105, and various mottoes in the novels. The edition of the
+  novels used for reference is that published in Edinburgh (1867) in 48
+  volumes.</p>
+
+<p><span class="fnnum"><a name="fn183" id="fn183" href="#fnref183">[183]</a></span>
+<i>Dryden</i>, Vol. X, p. 26.</p>
+
+<p><span class="fnnum"><a name="fn184" id="fn184" href="#fnref184">[184]</a></span>
+For example see <i>Anne of Geierstein</i>, Vol. II, p. 307.</p>
+
+<p><span class="fnnum"><a name="fn185" id="fn185" href="#fnref185">[185]</a></span>
+<i>Letters to Heber</i>, p. 292.</p>
+
+<p><span class="fnnum"><a name="fn186" id="fn186" href="#fnref186">[186]</a></span>
+The price offered for the <i>Swift</i> was £1500. This must
+  have been a rather rash speculation on the publisher's part, as there
+  had been several editions of Swift's works published. The first
+  appeared in twelve volumes in 1755, edited by Hawkesworth. Deane
+  Swift, Hawkesworth, and others, added thirteen more volumes in the
+  course of the next twenty-five years, and when the whole was completed
+  it was reissued in three different sizes. In 1785 an edition in
+  seventeen volumes was published, edited by Thomas Sheridan. In 1801
+  the edition by Nichols was published, and it reappeared in 1804 and in
+  1808. Hawkesworth and Thomas Sheridan supplied biographies which
+  Leslie Stephen characterized by saying that Hawkesworth's gave no new
+  material and that Sheridan's was "pompous and dull." (Preface to
+  Leslie Stephen's <i>Life of Swift</i>.)</p>
+
+<p><span class="fnnum"><a name="fn187" id="fn187" href="#fnref187">[187]</a></span>
+<i>Correspondence of C.K. Sharpe</i>, Vol. II, p. 178.</p>
+
+<p><span class="fnnum"><a name="fn188" id="fn188" href="#fnref188">[188]</a></span>
+This correspondence consisted of 28 letters from Swift,
+  and 16 "Vanessa."</p>
+
+<p><span class="fnnum"><a name="fn189" id="fn189" href="#fnref189">[189]</a></span>
+A comparison of the index with the bibliography in the
+  <i>Dictionary of National Biography</i> and with Mr. Stanley Lane-Poole's
+  <i>Notes for a Bibliography of Swift</i> (<i>Bibliographer</i>, vi: 160-71)
+  shows that Scott was usually right in his judgment on the main
+  articles. But since Mr. Lane-Poole ends his list thus: "And numerous
+  short poems, trifles, characters and short pieces," it is evident that
+  one cannot carry the investigation far without undertaking to make a
+  complete bibliography of Swift. Mr. Temple Scott says, in the
+  Advertisement of his edition of Swift's Prose Works, begun in 1897,
+  that since Sir Walter's edition of 1824 "there has been no serious
+  attempt to grapple with the difficulties which then prevented and
+  which still beset the attainment of a trustworthy and substantially
+  complete text."</p>
+
+<p><span class="fnnum"><a name="fn190" id="fn190" href="#fnref190">[190]</a></span>
+<i>Swift</i>, Vol. IV, p. 280. Two more of Scott's comments
+  may be given, further to illustrate his method. "This piece [William
+  Crowe's Address to her Majesty, <i>Swift</i>, Vol. XII, p. 265] and those
+  which follow, were first extracted by the learned Dr. Barrett, of
+  Trinity College, Dublin, from the Lanesborough and other manuscripts.
+  I have retained them from internal evidence, as I have discarded some
+  articles upon the same score." "The following poems [poems given as
+  "ascribed to Swift," Vol. X, p. 434] are extracted from the manuscript
+  of Lord Lanesborough, called the Whimsical Medley. They are here
+  inserted in deference to the opinion of a most obliging correspondent,
+  who thinks they are juvenile attempts of Swift. I own I cannot
+  discover much internal evidence in support of the supposition."</p>
+
+<p><span class="fnnum"><a name="fn191" id="fn191" href="#fnref191">[191]</a></span>
+Colonel Parnell, writing in the <i>English Historical
+  Review</i> on "Dean Swift and the Memoirs of Captain Carleton," has
+  spoken of the biography as "this most partial, verbose, and inaccurate
+  account of the dean's life and writings." He says also that in editing
+  <i>Carleton's Memoirs</i> Scott adopted, without investigation and in the
+  face of evidence, Johnson's opinion that the memoirs were genuine;
+  that Scott was mistaken about the date of the first edition and
+  misquoted the title page; and that his "glowing account" of Lord
+  Peterborough, in the introduction, was amplified (without
+  acknowledgment) from a panegyric by Dr. Birch in "Houbraken's Heads."
+  (<i>English Historical Review</i>, January, 1891; vi: 97. For a further
+  reference to the article see below, p. 144.)</p>
+
+<p><span class="fnnum"><a name="fn192" id="fn192" href="#fnref192">[192]</a></span>
+<i>Lockhart</i>, Vol. II, p. 20.</p>
+
+<p><span class="fnnum"><a name="fn193" id="fn193" href="#fnref193">[193]</a></span>
+September, 1816.</p>
+
+<p><span class="fnnum"><a name="fn194" id="fn194" href="#fnref194">[194]</a></span>
+<i>Swift</i> Vol. XVII, p. 4, note.</p>
+
+<p><span class="fnnum"><a name="fn195" id="fn195" href="#fnref195">[195]</a></span>
+<i>Life of Swift</i>, conclusion.</p>
+
+<p><span class="fnnum"><a name="fn196" id="fn196" href="#fnref196">[196]</a></span>
+<i>Swift</i>, Vol. XI, p. 12.</p>
+
+<p><span class="fnnum"><a name="fn197" id="fn197" href="#fnref197">[197]</a></span>
+Vol. IX, p. 569. The tract had already been correctly
+  assigned. A similar note on another tract indicates more careful
+  research on the part of the editor. The paper is <i>A Secret History of
+  One Year</i>, which had commonly been attributed to Robert Walpole. Scott
+  says: "This tract in not to found in Mr. Coxe's list of Sir Robert
+  Walpole's publications, nor in that given by his son, the Earl of
+  Oxford, in the Royal and Noble Authors.... It does not seem at all
+  probable that Walpole should at this crisis have thought it proper to
+  advocate these principles." (Vol. XIII, p. 873.) The piece is now
+  attributed to Defoe.</p>
+
+<p><span class="fnnum"><a name="fn198" id="fn198" href="#fnref198">[198]</a></span>
+See above, p. 4.</p>
+
+<p><span class="fnnum"><a name="fn199" id="fn199" href="#fnref199">[199]</a></span>
+<i>Horace Walpole</i>, in <i>Lives of the Novelists</i>.</p>
+
+<p><span class="fnnum"><a name="fn200" id="fn200" href="#fnref200">[200]</a></span>
+<i>Lockhart</i>, Vol. III, p. 512.</p>
+
+<p><span class="fnnum"><a name="fn201" id="fn201" href="#fnref201">[201]</a></span>
+<i>Quarterly</i>, September, 1826.</p>
+
+<p><span class="fnnum"><a name="fn202" id="fn202" href="#fnref202">[202]</a></span>
+See his explanation, in the articles themselves.</p>
+
+<p><span class="fnnum"><a name="fn203" id="fn203" href="#fnref203">[203]</a></span>
+<i>The Mid-Eighteenth Century</i>, by J.H. Millar, p. 143, note.</p>
+
+<p><span class="fnnum"><a name="fn204" id="fn204" href="#fnref204">[204]</a></span>
+<i>Ibid.</i>, p. 159. Scott compares Fielding and Smollett
+  at some length in the <i>Life of Smollett</i>.</p>
+
+<p><span class="fnnum"><a name="fn205" id="fn205" href="#fnref205">[205]</a></span>
+<i>Life of Le Sage</i>.</p>
+
+<p><span class="fnnum"><a name="fn206" id="fn206" href="#fnref206">[206]</a></span>
+<i>Life of Richardson</i>.</p>
+
+<p><span class="fnnum"><a name="fn207" id="fn207" href="#fnref207">[207]</a></span>
+<i>Life of Fielding</i>.</p>
+
+<p><span class="fnnum"><a name="fn208" id="fn208" href="#fnref208">[208]</a></span>
+<i>Life of Goldsmith</i>. As we might expect, Scott speaks
+  rather too favorably of Goldsmith's hack work in history and science.</p>
+
+<p><span class="fnnum"><a name="fn209" id="fn209" href="#fnref209">[209]</a></span>
+<i>Life of Sterne</i>.</p>
+
+<p><span class="fnnum"><a name="fn210" id="fn210" href="#fnref210">[210]</a></span>
+<i>Lockhart</i>, Vol. I, p. 35.</p>
+
+<p><span class="fnnum"><a name="fn211" id="fn211" href="#fnref211">[211]</a></span>
+See above, p. 53, note.</p>
+
+<p><span class="fnnum"><a name="fn212" id="fn212" href="#fnref212">[212]</a></span>
+See also the Introductory epistle to <i>Ivanhoe</i>; and the
+  Review of <i>Walpole's Letters</i>. "In attaining his contemporary
+  triumph," says Mr. Brander Matthews, "Scott owed more to Horace
+  Walpole than to Maria Edgeworth." <i>The Historical Novel</i>, p. 10.</p>
+
+<p><span class="fnnum"><a name="fn213" id="fn213" href="#fnref213">[213]</a></span>
+Scott uses the word.</p>
+
+<p><span class="fnnum"><a name="fn214" id="fn214" href="#fnref214">[214]</a></span>
+Mr. G.A. Aitken has given convincing evidence that the
+  story was not invented by Defoe. Mr. Aitken also shows the falsity of
+  Scott's statement that Drelincourt's book was in need of advertising,
+  as William Lee, in his <i>Life of Defoe</i>, had previously done. (See <i>The
+  Nineteenth Century</i>, xxxvii: 95. January, 1895; and also Aitken's
+  edition of Defoe's <i>Romances and Narratives</i>, Vol. XV, Introduction.)
+  A passage from Defoe's <i>History of the Church of Scotland</i> is quoted
+  in the review of <i>Tales of My Landlord</i>, by Scott, who says that it
+  probably suggested one of the scenes in <i>Old Mortality</i>. Scott there
+  speaks of Defoe's "liveliness of imagination," and says he "excelled
+  all others in dramatizing a story, and presenting it as if in actual
+  speech and action before the reader." (<i>Quarterly Review</i>, January,
+  1817.)</p>
+
+<p><span class="fnnum"><a name="fn215" id="fn215" href="#fnref215">[215]</a></span>
+See also <i>The Fortunes of Nigel</i>, Vol. II, pp. 88-9.</p>
+
+<p><span class="fnnum"><a name="fn216" id="fn216" href="#fnref216">[216]</a></span>
+<i>Life of Clara Reeve</i>.</p>
+
+<p><span class="fnnum"><a name="fn217" id="fn217" href="#fnref217">[217]</a></span>
+Blackwood, March, 1818.</p>
+
+<p><span class="fnnum"><a name="fn218" id="fn218" href="#fnref218">[218]</a></span>
+<i>Quarterly</i>, May, 1818.</p>
+
+<p><span class="fnnum"><a name="fn219" id="fn219" href="#fnref219">[219]</a></span>
+See a reference to Voltaire and other French authors;
+  <i>Napoleon</i>, Vol. I, ch. 2.</p>
+
+<p><span class="fnnum"><a name="fn220" id="fn220" href="#fnref220">[220]</a></span>
+<i>Life of Richardson</i>.</p>
+
+<p><span class="fnnum"><a name="fn221" id="fn221" href="#fnref221">[221]</a></span>
+We gather from Scott's article that he considered the
+  following to be the chief "speculative errors" of Bage: he was an
+  infidel; he misrepresented different classes of society, thinking the
+  high tyrannical and the low virtuous and generous; his system of
+  ethics was founded on philosophy instead of religion; he was inclined
+  to minimize the importance of purity in women; he considered
+  tax-gatherers extortioners, and soldiers, licensed murderers.</p>
+
+<p><span class="fnnum"><a name="fn222" id="fn222" href="#fnref222">[222]</a></span>
+<i>Lockhart</i>, Vol. II, p. 132.</p>
+
+<p><span class="fnnum"><a name="fn223" id="fn223" href="#fnref223">[223]</a></span>
+Familiar Letters, Vol. I, p. 192. In his <i>George the
+  Third</i>, Thackeray said: "Do you remember the verses&mdash;the sacred
+  verses&mdash;which Johnson wrote on the death of his humble friend Levett?"
+  (Biographical edition of Thackeray, Vol. VII, p. 671.)</p>
+
+<p><span class="fnnum"><a name="fn224" id="fn224" href="#fnref224">[224]</a></span>
+<i>Life of Johnson</i>.</p>
+
+<p><span class="fnnum"><a name="fn225" id="fn225" href="#fnref225">[225]</a></span>
+Introduction to <i>Chronicles of the Canongate</i>.</p>
+
+<p><span class="fnnum"><a name="fn226" id="fn226" href="#fnref226">[226]</a></span>
+<i>Dryden</i>, Vol. XI, p. 81, note; Review of the <i>Life and
+  Works of John Home</i>, <i>Quarterly</i>, June, 1827.</p>
+
+<p><span class="fnnum"><a name="fn227" id="fn227" href="#fnref227">[227]</a></span>
+<i>Familiar Letters</i>, Vol. II, p. 44.</p>
+
+<p><span class="fnnum"><a name="fn228" id="fn228" href="#fnref228">[228]</a></span>
+<i>Swift</i>, Vol. XVI, p. 275, note. On one of the last sad
+  days before Sir Walter left Scotland for his Italian journey he quoted
+  in full Prior's poem on Mezeray's History of France. (<i>Lockhart</i>, Vol.
+  V, pp. 339-40.)</p>
+
+<p><span class="fnnum"><a name="fn229" id="fn229" href="#fnref229">[229]</a></span>
+<i>Swift</i>, Vol. III, p. 36.</p>
+
+<p><span class="fnnum"><a name="fn230" id="fn230" href="#fnref230">[230]</a></span>
+<i>Ibid.</i>, Vol. XIII, p. 24.</p>
+
+<p><span class="fnnum"><a name="fn231" id="fn231" href="#fnref231">[231]</a></span>
+<i>Correspondence of C.K. Sharpe</i>, Vol. II, p. 194.</p>
+
+<p><span class="fnnum"><a name="fn232" id="fn232" href="#fnref232">[232]</a></span>
+<i>Journal</i>, Vol. I, p. 67; <i>Lockhart</i>, Vol. IV, p. 401.</p>
+
+<p><span class="fnnum"><a name="fn233" id="fn233" href="#fnref233">[233]</a></span>
+Allan Cunningham's <i>Life of Scott</i>, p. 96.</p>
+
+<p><span class="fnnum"><a name="fn234" id="fn234" href="#fnref234">[234]</a></span>
+<i>Lockhart</i>, Vol. I, p. 483.</p>
+
+<p><span class="fnnum"><a name="fn235" id="fn235" href="#fnref235">[235]</a></span>
+See the satirical paragraph in his review of <i>Gertrude
+  of Wyoming</i>, on the habits of reviewers in general. "We are perfectly
+  aware," he says, "that, according to the modern canons of criticism,
+  the Reviewer is expected to show his immense superiority to the author
+  reviewed, and at the same time to relieve the tediousness of
+  narration, by turning the epic, dramatic, moral story before him into
+  quaint and lively burlesque." (<i>Quarterly</i>, May, 1809.) In his review
+  of the <i>Life and Works of John Home</i> he speaks of "the hackneyed rules
+  of criticism, which, having crushed a hundred poets, will never, it
+  may be prophesied, create, or assist in creating, a single one."
+  (<i>Quarterly</i>, June, 1827.)</p>
+
+<p><span class="fnnum"><a name="fn236" id="fn236" href="#fnref236">[236]</a></span>
+<i>Lockhart</i>, Vol. I, p. 363.</p>
+
+<p><span class="fnnum"><a name="fn237" id="fn237" href="#fnref237">[237]</a></span>
+<i>Lockhart</i>, Vol. I, p. 501. For a further comparison of
+  Scott and Jeffrey as critics see below, pp. 134-5.</p>
+
+<p><span class="fnnum"><a name="fn238" id="fn238" href="#fnref238">[238]</a></span>
+<i>Lockhart</i>, Vol. II, p. 204.</p>
+
+<p><span class="fnnum"><a name="fn239" id="fn239" href="#fnref239">[239]</a></span>
+<i>Ibid.</i>, Vol. V, p. 97.</p>
+
+<p><span class="fnnum"><a name="fn240" id="fn240" href="#fnref240">[240]</a></span>
+<i>Journal</i>, Vol. II, p. 262</p>
+
+<p><span class="fnnum"><a name="fn241" id="fn241" href="#fnref241">[241]</a></span>
+<i>Ibid.</i>, Vol. I, p. 173</p>
+
+<p><span class="fnnum"><a name="fn242" id="fn242" href="#fnref242">[242]</a></span>
+In general Scott admired Lockhart. "I have known the
+  most able men of my time," he once wrote, "and I never met any one who
+  had such ready command of his own mind, and possessed in a greater
+  degree the power of making his talents available upon the shortest
+  notice, and upon any subject." (<i>Life of Murray</i>, Vol. II, p. 222.)
+  But in Lockhart's earlier days Scott said, "I am sometimes angry with
+  him for an exuberant love of fun in his light writings, which he has
+  caught, I think, from Wilson, a man of greater genius than himself
+  perhaps, but who disputes with low adversaries, which I think a
+  terrible error, and indulges in a sort of humour which exceeds the
+  bounds of playing at ladies and gentlemen, a game to which I have been
+  partial all my life." (<i>Letters of Lady Louisa Stuart</i>, p. 225.)</p>
+
+<p><span class="fnnum"><a name="fn243" id="fn243" href="#fnref243">[243]</a></span>
+<i>Familiar Letters</i>, Vol. II, p. 400.</p>
+
+<p><span class="fnnum"><a name="fn244" id="fn244" href="#fnref244">[244]</a></span>
+Lang's <i>Lockhart</i>, Vol. I, p. 406.</p>
+
+<p><span class="fnnum"><a name="fn245" id="fn245" href="#fnref245">[245]</a></span>
+<i>Life of Murray</i>, Vol. I, pp. 146-7.</p>
+
+<p><span class="fnnum"><a name="fn246" id="fn246" href="#fnref246">[246]</a></span>
+<i>Quarterly</i>, February, 1809.</p>
+
+<p><span class="fnnum"><a name="fn247" id="fn247" href="#fnref247">[247]</a></span>
+<i>Lockhart</i>, Vol. I, p. 327.</p>
+
+<p><span class="fnnum"><a name="fn248" id="fn248" href="#fnref248">[248]</a></span>
+Scott wrote a poetical epitaph for the burial place of
+  Miss Seward and her father. See <i>Edinburgh Annual Register</i>, Vol. II,
+  pt. 2. In the introduction to <i>The Tapestried Chamber</i>, Scott said,
+  "It was told to me many years ago by the late Miss Anna Seward, who,
+  among other accomplishments that rendered her an amusing inmate in a
+  country house, had that of recounting narratives of this sort with
+  very considerable effect; much greater, indeed, than anyone would be
+  apt to guess from the style of her written performances." It must be
+  remembered that Miss Seward was one of the first persons of any
+  literary note, outside of Edinburgh, to show an interest in Scott's
+  work, and he committed himself to admiration of her poetry when he was
+  still in a rather uncritical stage. In regard to his later feeling
+  about her see <i>Recollections</i>, by R.P. Gillies, <i>Fraser's</i>, xiii: 692,
+  January, 1836.</p>
+
+<p><span class="fnnum"><a name="fn249" id="fn249" href="#fnref249">[249]</a></span>
+J.L. Adolphus, in an interesting passage in his
+  <i>Letters to Heber on the Authorship of Waverley</i>, noted many of the
+  references to contemporary poets. See pp. 53-4. See also Hazlitt's
+  <i>Spirit of the Age</i>, art. <i>Sir Walter Scott</i></p>
+
+<p><span class="fnnum"><a name="fn250" id="fn250" href="#fnref250">[250]</a></span>
+<i>Familiar Letters</i>, Vol. II, p. 341. See also a similar
+  anecdote in Forster's <i>Life of Landor</i>, Vol. II, p. 244.</p>
+
+<p><span class="fnnum"><a name="fn251" id="fn251" href="#fnref251">[251]</a></span>
+<i>Lockhart</i>, Vol. I, pp. 116-17.</p>
+
+<p><span class="fnnum"><a name="fn252" id="fn252" href="#fnref252">[252]</a></span>
+<i>Ibid.</i>, Vol. II, p. 132.</p>
+
+<p><span class="fnnum"><a name="fn253" id="fn253" href="#fnref253">[253]</a></span>
+<i>Journal</i>, Vol. I, p. 321.</p>
+
+<p><span class="fnnum"><a name="fn254" id="fn254" href="#fnref254">[254]</a></span>
+Review of <i>Cromek's Reliques of Burns</i>, <i>Quarterly</i>,
+  February, 1809.</p>
+
+<p><span class="fnnum"><a name="fn255" id="fn255" href="#fnref255">[255]</a></span>
+<i>Ibid.</i></p>
+
+<p><span class="fnnum"><a name="fn256" id="fn256" href="#fnref256">[256]</a></span>
+<i>Ibid.</i></p>
+
+<p><span class="fnnum"><a name="fn257" id="fn257" href="#fnref257">[257]</a></span>
+Crabbe Robinson, in his diary (quoted by Knight in his
+  edition of Wordsworth, Vol. X, p. 189), says that Coleridge and his
+  friends "consider Scott as having stolen the verse" of <i>Christabel</i>.
+  On this point see also a letter by Coleridge, given in Meteyard's
+  <i>Group of Englishmen</i>, pp. 327-8. In 1807 Coleridge wrote to Southey:
+  "I did not over-hugely admire the 'Lay of the Last Minstrel,' but saw
+  no likeness whatever to the 'Christabel,' much less any improper
+  resemblance." (<i>Letters of Coleridge</i>, ed. by E.H. Coleridge, Vol. II,
+  p. 523.) Yet Mr. Lang seems to think that in this matter Scott "showed
+  something of the deficient sense of <i>meum</i> and <i>tuum</i> which marked his
+  freebooting ancestors." (<i>Sir Walter Scott</i>, p. 36.) Apparently Scott
+  never dreamed that the matter could be looked at in this way. In
+  Lockhart's <i>Scott</i> (Vol. II, pp. 77-8) we find described an occasion
+  on which the two men once met in London, when they were asked, with
+  other poets who were present, to recite from their unpublished
+  writings. Coleridge complied with the request, but Scott said he had
+  nothing of his own and would repeat some stanzas he had seen in a
+  newspaper. The poem was criticised adversely in spite of Scott's
+  protests, till Coleridge lost patience and exclaimed, "Let Mr. Scott
+  alone; I wrote the poem." Coleridge's lines:</p>
+
+<div class="poem">
+<div class="stanza">
+    <div class="quote">"The Knight's bones are dust</div>
+    <div>And his good sword rust,</div>
+    <div>His soul is with the saints, I trust,"</div>
+</div>
+</div>
+
+<p>  are probably much better known as they appear in <i>Ivanhoe</i>,
+  incorrectly quoted, than in their proper form. Scott also added a note
+  on Coleridge in this connection. (<i>Ivanhoe</i>, Chapter VIII.)</p>
+
+<p><span class="fnnum"><a name="fn258" id="fn258" href="#fnref258">[258]</a></span>
+But apparently not in any earlier than <i>The Black
+  Dwarf</i>, which was written in 1816, the year in which the poem was
+  published. It was about 1803 that Scott heard <i>Christabel</i> recited.
+  See <i>Familiar Letters</i>, Vol. II, p. 221.</p>
+
+<p><span class="fnnum"><a name="fn259" id="fn259" href="#fnref259">[259]</a></span>
+<i>Lockhart</i>, Vol. I, p. 356.</p>
+
+<p><span class="fnnum"><a name="fn260" id="fn260" href="#fnref260">[260]</a></span>
+<i>Familiar Letters</i>, Vol. I, p. 315.</p>
+
+<p><span class="fnnum"><a name="fn261" id="fn261" href="#fnref261">[261]</a></span>
+See <i>Letters to Heber</i>, p. 293; <i>On Imitations of the
+  Ancient Ballad</i>; <i>Lockhart</i>, Vol. III, pp. 56 and 264; <i>Quentin
+  Durward</i>, Vol. II, p. 394.</p>
+
+<p><span class="fnnum"><a name="fn262" id="fn262" href="#fnref262">[262]</a></span>
+Note in <i>The Abbot</i>.</p>
+
+<p><span class="fnnum"><a name="fn263" id="fn263" href="#fnref263">[263]</a></span>
+<i>Lockhart</i>, Vol. III, p. 223.</p>
+
+<p><span class="fnnum"><a name="fn264" id="fn264" href="#fnref264">[264]</a></span>
+Note in <i>St. Ronan's Well</i>. See also the comment on
+  <i>Wallenstein</i> in <i>Paul's Letters</i>, Letter XV.</p>
+
+<p><span class="fnnum"><a name="fn265" id="fn265" href="#fnref265">[265]</a></span>
+Review of <i>Childe Harold</i>, <i>Canto III</i>, <i>Quarterly</i>,
+  October, 1816.</p>
+
+<p><span class="fnnum"><a name="fn266" id="fn266" href="#fnref266">[266]</a></span>
+In 1818 Scott wrote a review of <i>Frankenstein</i> in which
+  it appears that he thought Shelley was the author. Shelley had sent
+  the book with a note in which he said that it was the work of a friend
+  and he had merely seen it through the press; and Scott took this for
+  the conventional evasion so often resorted to by authors. (See Mr.
+  Lang's note in his Introduction to the Waverley Novels, p. lxxxvi.)
+  Scott praises the substance and style of the book, and advises the
+  author to cultivate his poetical powers, in words which make it
+  evident that he did not know Shelley as a poet, though <i>Alastor</i> had
+  appeared in 1816. Scott also praises <i>Frankenstein</i> in his article on
+  Hoffmann. In reading Scott's novels I have noted two reminiscences of
+  the line, "One word is too often profaned." They are to be found in
+  <i>Old Mortality</i>, Vol. II, p. 93, and in <i>Redgauntlet</i>, Vol. I, p.
+  224.</p>
+
+<p><span class="fnnum"><a name="fn267" id="fn267" href="#fnref267">[267]</a></span>
+<i>Journal</i>, Vol. II, p. 179.</p>
+
+<p><span class="fnnum"><a name="fn268" id="fn268" href="#fnref268">[268]</a></span>
+<i>Familiar Letters</i>, Vol. I, p. 40.</p>
+
+<p><span class="fnnum"><a name="fn269" id="fn269" href="#fnref269">[269]</a></span>
+<i>Familiar Letters</i>, Vol. I, p. 97.</p>
+
+<p><span class="fnnum"><a name="fn270" id="fn270" href="#fnref270">[270]</a></span>
+<i>Journal</i>, Vol. I, p. 333</p>
+
+<p><span class="fnnum"><a name="fn271" id="fn271" href="#fnref271">[271]</a></span>
+<i>Ibid.</i>, Vol. II, p. 190.</p>
+
+<p><span class="fnnum"><a name="fn272" id="fn272" href="#fnref272">[272]</a></span>
+I quote from the letter as given in Knight's
+  <i>Wordsworth</i>, Vol. II, p. 105. Prof. Knight says that Lockhart quotes
+  the letter less exactly (Vol. I, p. 489.)</p>
+
+<p><span class="fnnum"><a name="fn273" id="fn273" href="#fnref273">[273]</a></span>
+<i>Lockhart</i>, Vol. III, p. 428.</p>
+
+<p><span class="fnnum"><a name="fn274" id="fn274" href="#fnref274">[274]</a></span>
+Even Byron admired Southey. He once wrote, "His prose
+  is perfect. Of his poetry there are various opinions: there is,
+  perhaps, too much of it for the present generation; posterity will
+  probably select. He has <i>passages</i> equal to anything." (Byron's
+  <i>Letters and Journals</i>, ed. Prothero, Vol. II, p. 331.) Shelley also
+  had a high opinion of Southey's work. (Dowden's <i>Life of Shelley</i>,
+  Vol. I, p. 158, and pp. 471-2.) Landor liked <i>Madoc</i> and
+  <i>Thalaba</i> so
+  much that, when he found Southey hesitating to write more poems of a
+  similar kind because they did not pay, he offered to bear the expense
+  of the publication. Southey refused the assistance, but was stimulated
+  by the kindness and considered Landor's encouragement responsible for
+  his later work in poetry. (Forster's <i>Life of Landor</i>, Vol. I, pp.
+  209-214.)</p>
+
+<p><span class="fnnum"><a name="fn275" id="fn275" href="#fnref275">[275]</a></span>
+<i>Lockhart</i>, Vol. II, p. 307.</p>
+
+<p><span class="fnnum"><a name="fn276" id="fn276" href="#fnref276">[276]</a></span>
+<i>Ibid.</i>, Vol. I, p. 415.</p>
+
+<p><span class="fnnum"><a name="fn277" id="fn277" href="#fnref277">[277]</a></span>
+<i>Ibid.</i>, Vol. I, p. 477; see also <i>Edinburgh Annual
+  Register</i> for 1809, part 2, p. 588.</p>
+
+<p><span class="fnnum"><a name="fn278" id="fn278" href="#fnref278">[278]</a></span>
+<i>Lockhart</i>, Vol. III, p. 197.</p>
+
+<p><span class="fnnum"><a name="fn279" id="fn279" href="#fnref279">[279]</a></span>
+<i>Lockhart</i>, Vol. II, p. 127.</p>
+
+<p><span class="fnnum"><a name="fn280" id="fn280" href="#fnref280">[280]</a></span>
+In his youth Scott read Dante with other Italian
+  authors, but he did not become well acquainted with him, and later
+  even expressed dislike for his work. (See <i>Lockhart</i>, Vol. V, p. 408.)
+  In 1825 he wrote to W.S. Rose, "I will subscribe for Dante with all
+  pleasure, on condition you do not insist on my reading him." (<i>Fam.
+  Let.</i>, Vol. II, p. 356.)</p>
+
+<p><span class="fnnum"><a name="fn281" id="fn281" href="#fnref281">[281]</a></span>
+It may be interesting to have Southey's comment on the
+  same article. (See <i>Southey's Letters</i>, Vol. II, p. 307.) He says,
+  "Bedford has seen the review which Scott has written of it, and which,
+  from his account, though a very friendly one, is, like that of the
+  'Cid,' very superficial. He sees nothing but the naked story; the
+  moral feeling which pervades it has escaped him. I do not know whether
+  Bedford will be able to get a paragraph interpolated touching upon
+  this, and showing that there is some difference between a work of high
+  imagination and a story of mere amusement." Either Bedford was
+  mistaken in saying that Scott had ignored the moral aspect of the
+  poem, or else he succeeded in getting a passage interpolated, for the
+  review is sufficiently definite on that point.</p>
+
+<p><span class="fnnum"><a name="fn282" id="fn282" href="#fnref282">[282]</a></span>
+<i>Lockhart</i>, Vol. I, p. 481.</p>
+
+<p><span class="fnnum"><a name="fn283" id="fn283" href="#fnref283">[283]</a></span>
+<i>Ibid.</i>, Vol. II, p. 296.</p>
+
+<p><span class="fnnum"><a name="fn284" id="fn284" href="#fnref284">[284]</a></span>
+<i>Lockhart</i>, Vol. V, p. 413.</p>
+
+<p><span class="fnnum"><a name="fn285" id="fn285" href="#fnref285">[285]</a></span>
+<i>Journal</i>, Vol. I, p. 112; <i>Lockhart</i>, Vol. IV, p. 429.</p>
+
+<p><span class="fnnum"><a name="fn286" id="fn286" href="#fnref286">[286]</a></span>
+<i>Lockhart</i>, Vol. V, p. 391.</p>
+
+<p><span class="fnnum"><a name="fn287" id="fn287" href="#fnref287">[287]</a></span>
+<i>Ibid.</i>, Vol. II, p. 211.</p>
+
+<p><span class="fnnum"><a name="fn288" id="fn288" href="#fnref288">[288]</a></span>
+Introduction to <i>Marmion</i>; <i>Lockhart</i>, Vol. II, p. 82.</p>
+
+<p><span class="fnnum"><a name="fn289" id="fn289" href="#fnref289">[289]</a></span>
+<i>Lockhart</i>, Vol. II, p. 508.</p>
+
+<p><span class="fnnum"><a name="fn290" id="fn290" href="#fnref290">[290]</a></span>
+Byron did not altogether approve of Scott's poetry, but
+  he felt its effectiveness. In his "Reply to Blackwood's Edinburgh
+  Magazine," Byron wrote: "What have we got instead [of following Pope]?
+  A deluge of flimsy and unintelligible romances, imitated from Scott
+  and myself, who have both made the best of our bad materials and
+  erroneous system."</p>
+
+<p><span class="fnnum"><a name="fn291" id="fn291" href="#fnref291">[291]</a></span>
+Review of <i>Childe Harold</i>, <i>Canto III</i>, <i>Quarterly</i>,
+  October, 1816.</p>
+
+<p><span class="fnnum"><a name="fn292" id="fn292" href="#fnref292">[292]</a></span>
+<i>Lockhart</i>, Vol. III, p. 182.</p>
+
+<p><span class="fnnum"><a name="fn293" id="fn293" href="#fnref293">[293]</a></span>
+It should be remembered also that Scott's first review
+  of <i>Childe Harold</i> appeared at a time when all England was condemning
+  Byron for his treatment of Lady Byron, and that the article was
+  thought by many to be altogether too lenient. Byron wrote to Murray
+  expressing his pleasure in the review before he knew who was
+  responsible for it, and some years later he wrote to Scott as follows:
+  "To have been recorded by you in such a manner would have been a proud
+  memorial at any time, but at such a time ... was something still
+  higher to my self-esteem.... Had it been a common criticism, however
+  eloquent or panegyrical, I should have felt pleased, undoubtedly, and
+  grateful, but not to the extent which the extraordinary
+  good-heartedness of the whole proceeding must induce in any mind
+  capable of such sensations." (<i>Byron's Letters and Journals</i>, Vol. VI,
+  p. 2.) See <i>Lockhart</i>, Vol. II, p. 510, for quotations from Byron
+  showing his admiration for Scott. An interesting contrast between the
+  characters of the two poets is drawn by H.S. Legaré. (See his
+  <i>Collected Writings</i>, Vol. II, p. 258.)</p>
+
+<p><span class="fnnum"><a name="fn294" id="fn294" href="#fnref294">[294]</a></span>
+<i>Journal</i>, Vol. I, p. 221</p>
+
+<p><span class="fnnum"><a name="fn295" id="fn295" href="#fnref295">[295]</a></span>
+<i>Remarks on the Death of Lord Byron</i>.</p>
+
+<p><span class="fnnum"><a name="fn296" id="fn296" href="#fnref296">[296]</a></span>
+<i>Lockhart</i>, Vol. III, p. 525</p>
+
+<p><span class="fnnum"><a name="fn297" id="fn297" href="#fnref297">[297]</a></span>
+See Nichol's <i>Byron</i> (English Men of Letters), p. 205;
+  and Arnold's essay on Byron.</p>
+
+<p><span class="fnnum"><a name="fn298" id="fn298" href="#fnref298">[298]</a></span>
+<i>Quarterly Review</i>, May, 1809.</p>
+
+<p><span class="fnnum"><a name="fn299" id="fn299" href="#fnref299">[299]</a></span>
+<i>Familiar Letters</i>, Vol. I, p. 341.</p>
+
+<p><span class="fnnum"><a name="fn300" id="fn300" href="#fnref300">[300]</a></span>
+<i>Journal</i>, Vol. I, p. 9.</p>
+
+<p><span class="fnnum"><a name="fn301" id="fn301" href="#fnref301">[301]</a></span>
+<i>Lockhart</i>, Vol. V, p. 70.</p>
+
+<p><span class="fnnum"><a name="fn302" id="fn302" href="#fnref302">[302]</a></span>
+<i>Ibid.</i>, Vol. II, p. 306.</p>
+
+<p><span class="fnnum"><a name="fn303" id="fn303" href="#fnref303">[303]</a></span>
+Byron said, "Crabbe's the man, but he has got a coarse
+  and impracticable subject." (Moore's <i>Life and Letters of Byron</i>, Vol.
+  IV, pp. 63-4.) Leslie Stephen remarks that Crabbe "was admired by
+  Byron in his rather wayward mood of Pope-worship, as the last
+  representative of the legitimate school." (<i>English Literature and
+  Society in the 18th Century</i>, p. 207.)</p>
+
+<p><span class="fnnum"><a name="fn304" id="fn304" href="#fnref304">[304]</a></span>
+<i>Lockhart</i>, Vol. III, p. 197.</p>
+
+<p><span class="fnnum"><a name="fn305" id="fn305" href="#fnref305">[305]</a></span>
+The reader will at once recall the ingenuous remark of
+  Sophia Scott when she was asked, shortly after its appearance, how she
+  liked <i>The Lady of the Lake</i>. She said, "Oh, I have not read it; Papa
+  says there's nothing so bad for young people as reading bad poetry."
+  (<i>Lockhart</i>, Vol. II, p. 130. See also the <i>Life of Irving</i>, Vol. I,
+  p. 444.)</p>
+
+<p><span class="fnnum"><a name="fn306" id="fn306" href="#fnref306">[306]</a></span>
+<i>Familiar Letters</i>, Vol. II, p. 94.</p>
+
+<p><span class="fnnum"><a name="fn307" id="fn307" href="#fnref307">[307]</a></span>
+<i>Correspondence of C.K. Sharpe</i>, Vol. I, p. 353.</p>
+
+<p><span class="fnnum"><a name="fn308" id="fn308" href="#fnref308">[308]</a></span>
+See <i>Marmion</i>, introduction to Canto III, and other
+  passages noted by Adolphus in the <i>Letters to Heber</i>, p. 295. See also
+  <i>Familiar Letters</i>, Vol. I, p. 198, and the passage in
+  <i>Lockhart</i>
+  (Vol. II, p. 132), in which James Ballantyne reports Scott as saying
+  to him, "If you wish to speak of a real poet, Joanna Baillie is now
+  the highest genius of our country."</p>
+
+<p><span class="fnnum"><a name="fn309" id="fn309" href="#fnref309">[309]</a></span>
+<i>Lockhart</i>, Vol. III, p. 306.</p>
+
+<p><span class="fnnum"><a name="fn310" id="fn310" href="#fnref310">[310]</a></span>
+<i>Lockhart</i>, Vol. V, p. 359; also Vol. I, p. 255; and
+  <i>Constable's Correspondence</i>, Vol. III, p. 300.</p>
+
+<p><span class="fnnum"><a name="fn311" id="fn311" href="#fnref311">[311]</a></span>
+<i>Lockhart</i>, Vol. IV, p. 117.</p>
+
+<p><span class="fnnum"><a name="fn312" id="fn312" href="#fnref312">[312]</a></span>
+<i>Ibid.</i>, Vol. V, p. 448.</p>
+
+<p><span class="fnnum"><a name="fn313" id="fn313" href="#fnref313">[313]</a></span>
+<i>Ibid.</i>, Vol. II, p. 14.</p>
+
+<p><span class="fnnum"><a name="fn314" id="fn314" href="#fnref314">[314]</a></span>
+<i>Forster</i>, Vol. I, p. 84, note.</p>
+
+<p><span class="fnnum"><a name="fn315" id="fn315" href="#fnref315">[315]</a></span>
+<i>Ibid.</i>, Vol. I, p. 95.</p>
+
+<p><span class="fnnum"><a name="fn316" id="fn316" href="#fnref316">[316]</a></span>
+<i>Haydon's Correspondence</i>, Vol. I, p. 356.</p>
+
+<p><span class="fnnum"><a name="fn317" id="fn317" href="#fnref317">[317]</a></span>
+Hunt says Scott was interested in reading <i>The Story of
+  Rimini</i>. See Hunt's <i>Autobiography</i>, Vol. I, p. 260.</p>
+
+<p><span class="fnnum"><a name="fn318" id="fn318" href="#fnref318">[318]</a></span>
+<i>Journal</i>, Vol. I, p. 22. Scott wrote as follows to
+  Lockhart after the appearance of <i>Lord Byron and Some of his
+  Contemporaries</i>: "Hunt has behaved like a hyena to Byron, whom he has
+  dug up to girn and howl over him in the same breath." Mr. Lang makes
+  this comment: "Leigh Hunt ... had gone out of his way to insult Sir
+  Walter and to make the most baseless insinuations against him. Scott
+  probably never mentioned Leigh Hunt's name publicly in his life, and
+  he refers to the insults neither in his correspondence nor in his
+  <i>Journal</i>." (Lang's <i>Life of Lockhart</i>, Vol. II, pp. 22 and 24.) Hunt
+  evidently thought that Scott was partly responsible for the articles
+  in <i>Blackwood</i> on the Cockney School. He says, "Unfortunately some of
+  the knaves were not destitute of talent: the younger were tools of
+  older ones who kept out of sight." (Hunt's <i>Lord Byron</i>, etc., Vol. I,
+  p. 423.) In his <i>Autobiography</i>, Hunt says, "Sir Walter Scott
+  confessed to Mr. Severn at Rome that the truth respecting Keats had
+  prevailed." (Vol. II, p. 44.) Mr. Lang points out that though Colvin
+  said of Scott (in his <i>Life of Keats</i>) "that he was in some measure
+  privy to the Cockney School outrages seems certain," he afterwards
+  recanted the statement. (In his edition of <i>Keats's Letters</i>, p. 60,
+  note. See Lang's <i>Lockhart</i>, Vol. I, pp. 196-8.) Scott invited Lamb to
+  Abbotsford when Lamb was looked upon as a leader of the Cockney
+  School. (Lang's <i>Scott</i>, p. 52.)</p>
+
+<p><span class="fnnum"><a name="fn319" id="fn319" href="#fnref319">[319]</a></span>
+<i>Journal</i>, Vol. I, p. 155; <i>Lockhart</i>, Vol. IV, p. 476,
+  and Vol. V, p. 380.</p>
+
+<p><span class="fnnum"><a name="fn320" id="fn320" href="#fnref320">[320]</a></span>
+<i>Quarterly</i>, October, 1815.</p>
+
+<p><span class="fnnum"><a name="fn321" id="fn321" href="#fnref321">[321]</a></span>
+Postscript to <i>Waverley</i>, and General Introduction.</p>
+
+<p><span class="fnnum"><a name="fn322" id="fn322" href="#fnref322">[322]</a></span>
+For references to the group of women novelists who were
+  so successful in depicting manners, see the <i>Life of Charlotte Smith</i>;
+  the Postscript to <i>Waverley</i>; the Introduction to <i>St. Ronan's Well</i>;
+  <i>Journal</i>, Vol. I, p. 164.</p>
+
+<p><span class="fnnum"><a name="fn323" id="fn323" href="#fnref323">[323]</a></span>
+<i>Journal</i>, Vol. II, p. III.</p>
+
+<p><span class="fnnum"><a name="fn324" id="fn324" href="#fnref324">[324]</a></span>
+<i>Ibid.</i>, Vol. II, p. 116.</p>
+
+<p><span class="fnnum"><a name="fn325" id="fn325" href="#fnref325">[325]</a></span>
+<i>Lockhart</i>, Vol. IV, 164.</p>
+
+<p><span class="fnnum"><a name="fn326" id="fn326" href="#fnref326">[326]</a></span>
+<i>Journal</i>, Vol. I, p. 299; <i>Lockhart</i>, Vol. V, p. 65.</p>
+
+<p><span class="fnnum"><a name="fn327" id="fn327" href="#fnref327">[327]</a></span>
+<i>Journal</i>, Vol. I, p. 295; <i>Lockhart</i>, Vol. V, p. 62.</p>
+
+<p><span class="fnnum"><a name="fn328" id="fn328" href="#fnref328">[328]</a></span>
+The reference as given by Lockhart is as follows: "This
+  man, who has shown so much genius, has a good deal of the manners, or
+  want of manners, peculiar to his countrymen." (<i>Lockhart</i>, Vol. V, p.
+  62.) Cooper observes in regard to this point: "The manners of most
+  Europeans strike us as exaggerated, while we appear cold to them. Sir
+  Walter Scott was certainly so obliging as to say many flattering
+  things to me, which I, as certainly, did not repay in kind. As Johnson
+  said of his interview with George the Third, it was not for me to
+  bandy compliments with my sovereign. At that time the diary was a
+  sealed book to the world, and I did not know the importance he
+  attached to such civilities." It is a pity that the transcriber of the
+  passage in the <i>Journal</i> changed "manner," which was the word Scott
+  wrote, to the more objectionable "manners." (<i>Journal</i>, Vol. I, p.
+  295.)</p>
+
+<p><span class="fnnum"><a name="fn329" id="fn329" href="#fnref329">[329]</a></span>
+Scott's letter was substantially as follows: "I have
+  considered in all its bearings the matter which your kindness has
+  suggested. Upon many former occasions I have been urged by my friends
+  in America to turn to some advantage the sale of my writings in your
+  country, and render that of pecuniary avail as an individual which I
+  feel as the highest compliment as an author. I declined all these
+  proposals, because the sale of this country produced me as much profit
+  as I desired, and more&mdash;far more&mdash;than I deserved. But my late heavy
+  losses have made my situation somewhat different, and have rendered it
+  a point of necessity and even duty to neglect no means of making the
+  sale of my works effectual to the extrication of my affairs, which can
+  be honorably and honestly resorted to. If therefore Mr. Carey, or any
+  other publishing gentleman of credit and character, should think it
+  worth while to accept such an offer, I am willing to convey to him the
+  exclusive right of publishing the <i>Life of Napoleon</i>, and my future
+  works in America, making it always a condition, which indeed will be
+  dictated by the publisher's own interest, that this monopoly shall not
+  be used for the purpose of raising the price of the work to my
+  American readers, but only for that of supplying the public at the
+  usual terms....</p>
+
+<p>  "At any rate, if what I propose should not be found of force to
+  prevent piracy, I cannot but think from the generosity and justice of
+  American feeling, that a considerable preference would be given in the
+  market to the editions emanating directly from the publisher selected
+  by the author, and in the sale of which the author had some interest.</p>
+
+<p>  "If the scheme shall altogether fail, it at least infers no loss, and
+  therefore is, I think, worth the experiment. It is a fair and open
+  appeal to the liberality, perhaps in some sort to the justice, of a
+  great people; and I think I ought not in the circumstances to decline
+  venturing upon it. I have done so manfully and openly, though not
+  perhaps without some painful feelings, which however are more than
+  compensated by the interest you have taken in this unimportant matter,
+  of which I will not soon lose the recollection." (<i>Knickerbocker
+  Magazine</i>, Vol. XI, p. 380 ff., April, 1838.)</p>
+
+<p><span class="fnnum"><a name="fn330" id="fn330" href="#fnref330">[330]</a></span>
+<i>Knickerbocker</i>, Vol. XII, p. 349 ff., October, 1838.</p>
+
+<p><span class="fnnum"><a name="fn331" id="fn331" href="#fnref331">[331]</a></span>
+In a letter written in January, 1839, Sumner said,
+  speaking of Cooper's article, "I think a proper castigation is applied
+  to the vulgar minds of Scott and Lockhart." (See <i>Memoir and Letters
+  of Charles Sumner</i>, by Edward L. Pierce, Vol. II, p. 38; and
+  Lounsbury's <i>Cooper</i>, p. 160.)</p>
+
+<p><span class="fnnum"><a name="fn332" id="fn332" href="#fnref332">[332]</a></span>
+<i>Lockhart</i>, Vol. IV, pp. 163-4.</p>
+
+<p><span class="fnnum"><a name="fn333" id="fn333" href="#fnref333">[333]</a></span>
+<i>Ibid.</i>, Vol. III, p. 262.</p>
+
+<p><span class="fnnum"><a name="fn334" id="fn334" href="#fnref334">[334]</a></span>
+<i>Ibid.</i>, Vol. III, p. 131, note; <i>Fam. Let.</i>, Vol. I,
+  p. 440. "Walter Scott was the first transatlantic author to bear
+  witness to the merit of Knickerbocker," wrote P.M. Irving in his <i>Life
+  of Washington Irving</i>. Henry Brevoort presented Scott with a copy of
+  the second edition in 1813, and received this reply: "I beg you to
+  accept my best thanks for the uncommon degree of entertainment which I
+  have received from the most excellently jocose history of New York. I
+  am sensible that as a stranger to American parties and politics I must
+  lose much of the concealed satire of the piece, but I must own that
+  looking at the simple and obvious meaning only, I have never read
+  anything so closely resembling the style of Dean Swift, as the annals
+  of Diedrich Knickerbocker.... I think too there are passages which
+  indicate that the author possesses powers of a different kind, and has
+  some touches which remind me much of Sterne." (<i>Life of Irving</i>, Vol.
+  I, p. 240.) When, in 1819, Irving needed money, he wrote to Scott for
+  advice about publishing the <i>Sketch Book</i> in England. "Scott was the
+  only literary man," he says, "to whom I felt that I could talk about
+  myself and my petty concerns with the confidence and freedom that I
+  would to an old friend&mdash;nor was I deceived. From the first moment that
+  I mentioned my work to him in a letter, he took a decided and
+  effective interest in it, and has been to me an invaluable friend."
+  (Vol. I, p. 456.) At this time Scott asked Irving to accept the
+  editorship of a political newspaper in Edinburgh, an offer which
+  Irving of course refused. (<i>Fam. Let.</i>, Vol. II, p. 60; <i>Life of
+  Irving</i>, Vol. I, pp. 441-2, and Vol. III, pp. 272-3.) Scott called the
+  <i>Sketch Book</i> "positively beautiful." He was by some people supposed
+  to be the author. In this connection it was said of him that his "very
+  numerous disguises," and his "well-known fondness for literary
+  masquerading, seem to have gained him the advantage of being suspected
+  as the author of every distinguished work that is published." (Letter
+  by Lady Lyttleton, in <i>Life of Irving</i>, Vol. II, p. 21.)</p>
+
+<p><span class="fnnum"><a name="fn335" id="fn335" href="#fnref335">[335]</a></span>
+<i>Lockhart</i>, Vol. III, p. 131; <i>Life of Irving</i>, Vol. I,
+  p. 240.</p>
+
+<p><span class="fnnum"><a name="fn336" id="fn336" href="#fnref336">[336]</a></span>
+<i>Lockhart</i>, Vol. IV, p. 161.</p>
+
+<p><span class="fnnum"><a name="fn337" id="fn337" href="#fnref337">[337]</a></span>
+<i>Letters on Demonology and Witchcraft</i>, Letter II.</p>
+
+<p><span class="fnnum"><a name="fn338" id="fn338" href="#fnref338">[338]</a></span>
+<i>Constable's Correspondence</i>, Vol. III, p. 199.</p>
+
+<p><span class="fnnum"><a name="fn339" id="fn339" href="#fnref339">[339]</a></span>
+<i>Lockhart</i>, Vol. V, pp. 100-104.</p>
+
+<p><span class="fnnum"><a name="fn340" id="fn340" href="#fnref340">[340]</a></span>
+Vol. I, p. 371.</p>
+
+<p><span class="fnnum"><a name="fn341" id="fn341" href="#fnref341">[341]</a></span>
+<i>Journal</i>, Vol. I, p. 359; <i>Lockhart</i>, Vol. V, p. 100.
+  See also <i>Journal</i>, Vol. II, pp. 483-4.</p>
+
+<p><span class="fnnum"><a name="fn342" id="fn342" href="#fnref342">[342]</a></span>
+Review of Hoffmann's novels, <i>Foreign Quarterly
+  Review</i>, July, 1827.</p>
+
+<p><span class="fnnum"><a name="fn343" id="fn343" href="#fnref343">[343]</a></span>
+<i>Lockhart</i>, Vol. IV, p. 19.</p>
+
+<p><span class="fnnum"><a name="fn344" id="fn344" href="#fnref344">[344]</a></span>
+M. Maigron says, speaking of the vogue of Scott in
+  France: "On peut affirmer mème que, de 1820 à 1830, aucun nom français
+  ne fut en France aussi connu et aussi glorieux." (<i>Le Roman Historique
+  à l'Époque Romantique</i>, p. 99. See also pp. 100-133.)</p>
+
+<p><span class="fnnum"><a name="fn345" id="fn345" href="#fnref345">[345]</a></span>
+The phrase is quoted from Scott's article on the <i>Life
+  and Works of John Home</i>, in which it is applied to Home's critical
+  work. The same idea occurs frequently in Scott's books, as indicating
+  one of the finest graces of life. It was one which Sir Walter was
+  foremost in practicing in all his social relations.</p>
+
+<p><span class="fnnum"><a name="fn346" id="fn346" href="#fnref346">[346]</a></span>
+He was talking about Pope. See the <i>Recollections</i>, by
+  R.P. Gillies, <i>Fraser's</i>, xii: 253 (Sept., 1835).</p>
+
+<p><span class="fnnum"><a name="fn347" id="fn347" href="#fnref347">[347]</a></span>
+Review of <i>The Battles of Talavera</i>, <i>Quarterly</i>,
+  November, 1809.</p>
+
+<p><span class="fnnum"><a name="fn348" id="fn348" href="#fnref348">[348]</a></span>
+Editor's Introduction to <i>Montrose</i>, Border edition of
+  the Waverley Novels.</p>
+
+<p><span class="fnnum"><a name="fn349" id="fn349" href="#fnref349">[349]</a></span>
+<i>Familiar Letters</i>, Vol. I, p. 125.</p>
+
+<p><span class="fnnum"><a name="fn350" id="fn350" href="#fnref350">[350]</a></span>
+<i>Quarterly</i>, January, 1817. Scott evidently wrote this
+  article chiefly for the purpose of defending the historical accuracy
+  of <i>Old Mortality</i>. He also wished to show that <i>The Black Dwarf</i> was
+  founded on fact; and he devoted some space, as will appear in the
+  passage quoted below (pp. 111-112), to a discussion of the artistic
+  aspects of these and the earlier Waverly novels.</p>
+
+<p><span class="fnnum"><a name="fn351" id="fn351" href="#fnref351">[351]</a></span>
+<i>Journal</i>, Vol. II, p. 269.</p>
+
+<p><span class="fnnum"><a name="fn352" id="fn352" href="#fnref352">[352]</a></span>
+<i>Ibid.</i>, Vol. II, p. 276.</p>
+
+<p><span class="fnnum"><a name="fn353" id="fn353" href="#fnref353">[353]</a></span>
+<i>Familiar Letters</i>, Vol. I, p. 96.</p>
+
+<p><span class="fnnum"><a name="fn354" id="fn354" href="#fnref354">[354]</a></span>
+Introductory epistle to <i>Nigel</i>; <i>Fam. Let.</i>, Vol. I,
+  p. 28.</p>
+
+<p><span class="fnnum"><a name="fn355" id="fn355" href="#fnref355">[355]</a></span>
+Introduction to the <i>Monastery</i>.</p>
+
+<p><span class="fnnum"><a name="fn356" id="fn356" href="#fnref356">[356]</a></span>
+<i>Familiar Letters</i>, Vol. I, p. 258.</p>
+
+<p><span class="fnnum"><a name="fn357" id="fn357" href="#fnref357">[357]</a></span>
+<i>Rokeby</i>, Canto VI, stanza 26; <i>Waverley</i>, Vol. II, pp.
+  399-400; <i>Journal</i>, Vol. 1, p. 117; <i>Lockhart</i>, Vol. IV, pp. 447-8.</p>
+
+<p><span class="fnnum"><a name="fn358" id="fn358" href="#fnref358">[358]</a></span>
+Review of the <i>Life and Works of John Home</i>,
+  <i>Quarterly</i>, June, 1827.</p>
+
+<p><span class="fnnum"><a name="fn359" id="fn359" href="#fnref359">[359]</a></span>
+Review of Southery's <i>Life of Bunyan</i>, <i>Quarterly</i>,
+  October, 1830.</p>
+
+<p><span class="fnnum"><a name="fn360" id="fn360" href="#fnref360">[360]</a></span>
+<i>Quarterly</i>, January, 1817.</p>
+
+<p><span class="fnnum"><a name="fn361" id="fn361" href="#fnref361">[361]</a></span>
+<i>Lockhart</i>, Vol. II, pp. 7-8.</p>
+
+<p><span class="fnnum"><a name="fn362" id="fn362" href="#fnref362">[362]</a></span>
+<i>Quarterly</i>, November, 1809.</p>
+
+<p><span class="fnnum"><a name="fn363" id="fn363" href="#fnref363">[363]</a></span>
+<i>Lockhart</i>, Vol. II, p. 128.</p>
+
+<p><span class="fnnum"><a name="fn364" id="fn364" href="#fnref364">[364]</a></span>
+<i>Ibid.</i>, Vol. II, p. 129.</p>
+
+<p><span class="fnnum"><a name="fn365" id="fn365" href="#fnref365">[365]</a></span>
+Epistle prefixed to Canto V.</p>
+
+<p><span class="fnnum"><a name="fn366" id="fn366" href="#fnref366">[366]</a></span>
+Epistle prefixed to Canto III.</p>
+
+<p><span class="fnnum"><a name="fn367" id="fn367" href="#fnref367">[367]</a></span>
+Hazlitt's <i>Spirit of the Age</i>, art. <i>Sir Walter Scott</i>;
+  see <i>Letters to Heber</i>, p. 75 ff.</p>
+
+<p><span class="fnnum"><a name="fn368" id="fn368" href="#fnref368">[368]</a></span>
+It is hard to say just how much he accomplished by the
+  proof-reading, which, to judge by his Journal, he habitually
+  performed. He wrote to Kirkpatrick Sharpe in 1809, after seeing a new
+  number of the <i>Quarterly</i>: "I am a little disconcerted with the
+  appearance of one or two of my own articles, which I have had no
+  opportunity to revise in proof." (<i>Sharpe's Correspondence</i>, Vol. I,
+  p. 370.) Lockhart gives an interesting sample of a sheet of Scott's
+  poetry tentatively revised by Ballantyne and reworked by the author.
+  (<i>Lockhart</i>, Vol. III, pp. 32-5.) It is certain that Ballantyne made
+  many suggestions, some of which Scott accepted and some of which he
+  summarily rejected. In Hogg's <i>Domestic Manners of Scott</i> we find the
+  following account of what the printer said when Hogg reported that Sir
+  Walter was to correct some proofs for him: "He correct them for you!
+  Lord help you and him both! I assure you if he had nobody to correct
+  after him, there would be a bonny song through the country. He is the
+  most careless and incorrect writer that ever was born, for a
+  voluminous and popular writer, and as for sending a proof sheet to
+  him, we may as well keep it in the office. He never heeds it.... He
+  will never look at either your proofs or his own, unless it be for a
+  few minutes amusement" (pp. 242-3). When he wrote to Miss Baillie that
+  he had read the proofs of a play of hers which was being published in
+  Edinburgh, he added, "but this will not ensure their being altogether
+  correct, for in despite of great practice, Ballantyne insists I have a
+  bad eye." (<i>Familiar Letters</i>, Vol. I, p. 173.)</p>
+
+<p><span class="fnnum"><a name="fn369" id="fn369" href="#fnref369">[369]</a></span>
+<i>Journal</i>, Vol. II, p. 79; also 234 and 239;
+  <i>Lockhart</i>, Vol. V, pp. 116 and 240.</p>
+
+<p><span class="fnnum"><a name="fn370" id="fn370" href="#fnref370">[370]</a></span>
+<i>Journal</i>, Vol. I, p. 117; <i>Lockhart</i>, Vol. IV, p. 448.</p>
+
+<p><span class="fnnum"><a name="fn371" id="fn371" href="#fnref371">[371]</a></span>
+<i>Lockhart</i>, Vol. IV, pp. 2 and 391.</p>
+
+<p><span class="fnnum"><a name="fn372" id="fn372" href="#fnref372">[372]</a></span>
+<i>Familiar Letters</i>, Vol. I, p. 72.</p>
+
+<p><span class="fnnum"><a name="fn373" id="fn373" href="#fnref373">[373]</a></span>
+<i>Ibid.</i>, Vol. I, p. 101.</p>
+
+<p><span class="fnnum"><a name="fn374" id="fn374" href="#fnref374">[374]</a></span>
+<i>Ibid.</i>, Vol. I, p. 113.</p>
+
+<p><span class="fnnum"><a name="fn375" id="fn375" href="#fnref375">[375]</a></span>
+Essay on <i>Imitations of the Ancient Ballad</i>.</p>
+
+<p><span class="fnnum"><a name="fn376" id="fn376" href="#fnref376">[376]</a></span>
+A friend of Scott's once wrote to him, "You are the
+  only author I ever yet knew to whom one might speak plain about the
+  faults found with his works." (<i>Familiar Letters</i>, Vol. I, p. 282.) He
+  took great pains, contrary to his usual custom, in revising and
+  correcting the <i>Malachi Malagrowther</i> papers, but these were
+  argumentative and in an altogether different class from his poems and
+  novels; and besides he felt a special responsibility in writing upon a
+  public matter "far more important than anything referring to [his]
+  fame or fortune alone." (<i>Lockhart</i>, Vol. IV, p. 460.)</p>
+
+<p><span class="fnnum"><a name="fn377" id="fn377" href="#fnref377">[377]</a></span>
+<i>Lockhart</i>, Vol. III, p. 379.</p>
+
+<p><span class="fnnum"><a name="fn378" id="fn378" href="#fnref378">[378]</a></span>
+Introduction to the <i>Pirate</i>.</p>
+
+<p><span class="fnnum"><a name="fn379" id="fn379" href="#fnref379">[379]</a></span>
+<i>Journal</i>, Vol. II, p. 250.</p>
+
+<p><span class="fnnum"><a name="fn380" id="fn380" href="#fnref380">[380]</a></span>
+This was, of course, an effect of overwork and disease.
+  Irving quotes Scott as saying: "It is all nonsense to tell a man that
+  his mind is not affected, when his body is in this state." (<i>Irving's
+  Life</i>, Vol. II, p. 459.)</p>
+
+<p><span class="fnnum"><a name="fn381" id="fn381" href="#fnref381">[381]</a></span>
+<i>Journal</i>, Vol. I, p. 181.</p>
+
+<p><span class="fnnum"><a name="fn382" id="fn382" href="#fnref382">[382]</a></span>
+See <i>Lockhart</i>, Vol. II, pp. 265-6.</p>
+
+<p><span class="fnnum"><a name="fn383" id="fn383" href="#fnref383">[383]</a></span>
+<i>Journal</i>, Vol. I, pp. 212-13; <i>Lockhart</i>, Vol. V, p. 13.</p>
+
+<p><span class="fnnum"><a name="fn384" id="fn384" href="#fnref384">[384]</a></span>
+See <i>Familiar Letters</i>, Vol. II, p. 309; <i>Lockhart</i>,
+  Vol. I, p. 216; Vol. IV, pp. 128 and 498; Vol. V, pp. 128, 412, 448.</p>
+
+<p><span class="fnnum"><a name="fn385" id="fn385" href="#fnref385">[385]</a></span>
+<i>Correspondence of C.K. Sharpe</i>, Vol. I, p. 352.</p>
+
+<p><span class="fnnum"><a name="fn386" id="fn386" href="#fnref386">[386]</a></span>
+<i>Journal</i>, Vol. II, p. 276. In the <i>Edinburgh Annual
+  Register</i> for 1808 (published 1810) is an article on the <i>Living Poets
+  of Great Britain</i>, which if not written by Scott was evidently
+  influenced by him. Speaking of Southey, Campbell and Scott, the writer
+  says: "Were we set to classify their respective admirers we should be
+  apt to say that those who feel poetry most enthusiastically prefer
+  Southey; those who try it by the most severe rules admire Campbell;
+  while the general mass of readers prefer to either the Border Poet. In
+  this arrangement we should do Mr. Scott no injustice, because we
+  assign to him in the number of suffrages what we deny him in their
+  value." He once wrote to Miss Baillie, "No one can both eat his cake
+  and have his cake, and I have enjoyed too extensive popularity in this
+  generation to be entitled to draw long-dated bills upon the applause
+  of the next." (<i>Familiar Letters</i>, Vol. I, p. 173.) But in the
+  Introductory Epistle to <i>Nigel</i> he said, "It has often happened that
+  those who have been best received in their own time have also
+  continued to be acceptable to posterity. I do not think so ill of the
+  present generation as to suppose that its present favour necessarily
+  infers future condemnation."</p>
+
+<p><span class="fnnum"><a name="fn387" id="fn387" href="#fnref387">[387]</a></span>
+Introduction to the <i>Lady of the Lake</i>; <i>Lockhart</i>,
+  Vol. II, p. 130.</p>
+
+<p><span class="fnnum"><a name="fn388" id="fn388" href="#fnref388">[388]</a></span>
+Introduction to <i>Chronicles of the Canongate</i>.</p>
+
+<p><span class="fnnum"><a name="fn389" id="fn389" href="#fnref389">[389]</a></span>
+<i>Journal</i>, Vol. II, p 473.</p>
+
+<p><span class="fnnum"><a name="fn390" id="fn390" href="#fnref390">[390]</a></span>
+<i>Lockhart</i>, Vol. II, p. 355.</p>
+
+<p><span class="fnnum"><a name="fn391" id="fn391" href="#fnref391">[391]</a></span>
+<i>Ibid.</i>, Vol. V, p. 164.</p>
+
+<p><span class="fnnum"><a name="fn392" id="fn392" href="#fnref392">[392]</a></span>
+See speech of Humphry Gubbin, in <i>The Tender Husband</i>,
+  Act I, Sc. 2.</p>
+
+<p><span class="fnnum"><a name="fn393" id="fn393" href="#fnref393">[393]</a></span>
+<i>Lockhart</i>, Vol. IV, p 297; see also <i>Familiar
+  Letters</i>, Vol. I, p. 55.</p>
+
+<p><span class="fnnum"><a name="fn394" id="fn394" href="#fnref394">[394]</a></span>
+<i>Lockhart</i>, Vol. II, pp. 104 and 124.</p>
+
+<p><span class="fnnum"><a name="fn395" id="fn395" href="#fnref395">[395]</a></span>
+<i>Journal</i>, Vol. I, p. 222; <i>Lockhart</i>, Vol. V, p. 18.</p>
+
+<p><span class="fnnum"><a name="fn396" id="fn396" href="#fnref396">[396]</a></span>
+<i>Lockhart</i>, Vol. III, p. 350.</p>
+
+<p><span class="fnnum"><a name="fn397" id="fn397" href="#fnref397">[397]</a></span>
+<i>Ibid.</i>, Vol. II, p. 508.</p>
+
+<p><span class="fnnum"><a name="fn398" id="fn398" href="#fnref398">[398]</a></span>
+<i>Lockhart</i>, Vol. IV, p. 229.</p>
+
+<p><span class="fnnum"><a name="fn399" id="fn399" href="#fnref399">[399]</a></span>
+When Constable was proposing to publish the poetry of
+  the novels separately, Scott wrote to him that it was beyond his own
+  power to distinguish what was original from what was borrowed, and
+  suggested the following Advertisement for the book:</p>
+
+<p>  "We believe by far the greater part of the poetry interspersed through
+  these novels to be original compositions by the author. At the same
+  time the reader will find passages which are quoted from other
+  authors, and may probably debit more of these than our more limited
+  reading has enabled us to ascertain. Indeed, it is our opinion that
+  some of the following poetry is neither entirely original nor
+  altogether borrowed, but consists in some instances of passages from
+  other authors, which the author has not hesitated to alter
+  considerably, either to supply defects of his own memory, or to adapt
+  the quotation more explicitly and aptly to the matter in hand."
+  (<i>Constable's Correspondence</i>, Vol. III, pp. 222-3.)</p>
+
+<p><span class="fnnum"><a name="fn400" id="fn400" href="#fnref400">[400]</a></span>
+"I have taught nearly a hundred gentlemen to fence very
+  nearly, if not altogether, as well as myself," he said. (<i>Journal</i>,
+  Vol. I, p. 167. See also pp. 273-5.)</p>
+
+<p><span class="fnnum"><a name="fn401" id="fn401" href="#fnref401">[401]</a></span>
+<i>Journal</i>, Vol. I, pp. 275-6; <i>Lockhart</i>, Vol. V, p. 45.</p>
+
+<p><span class="fnnum"><a name="fn402" id="fn402" href="#fnref402">[402]</a></span>
+<i>Lockhart</i>, Vol. IV, pp. 322 and 492; Vol. V, p. 186.</p>
+
+<p><span class="fnnum"><a name="fn403" id="fn403" href="#fnref403">[403]</a></span>
+<i>Ibid.</i>, Vol. IV, p. 110.</p>
+
+<p><span class="fnnum"><a name="fn404" id="fn404" href="#fnref404">[404]</a></span>
+<i>Journal</i>, Vol. II, p. 106, and <i>Lockhart</i>, Vol. V, p. 162.</p>
+
+<p><span class="fnnum"><a name="fn405" id="fn405" href="#fnref405">[405]</a></span>
+<i>Lockhart</i>, Vol. I, pp. 33-4.</p>
+
+<p><span class="fnnum"><a name="fn406" id="fn406" href="#fnref406">[406]</a></span>
+<i>Ibid.</i>, Vol. III, p. 259.</p>
+
+<p><span class="fnnum"><a name="fn407" id="fn407" href="#fnref407">[407]</a></span>
+<i>Waverley</i>, Vol. I, pp. 112-3. See also Mackenzie's
+  <i>Life of Scott</i>, p. 364.</p>
+
+<p><span class="fnnum"><a name="fn408" id="fn408" href="#fnref408">[408]</a></span>
+<i>Lockhart</i>, Vol. I, p. 29.</p>
+
+<p><span class="fnnum"><a name="fn409" id="fn409" href="#fnref409">[409]</a></span>
+<i>Journal</i>, Vol. I, pp. 274-5; <i>Lockhart</i>, Vol. V, p.
+  44. See also his review of Godwin's <i>Life of Chaucer</i>.</p>
+
+<p><span class="fnnum"><a name="fn410" id="fn410" href="#fnref410">[410]</a></span>
+<i>Lockhart</i>, Vol. IV, p. 103.</p>
+
+<p><span class="fnnum"><a name="fn411" id="fn411" href="#fnref411">[411]</a></span>
+<i>Ibid.</i>, Vol. IV, p. 260.</p>
+
+<p><span class="fnnum"><a name="fn412" id="fn412" href="#fnref412">[412]</a></span>
+<i>Journal</i>, Vol. II, p. 96.</p>
+
+<p><span class="fnnum"><a name="fn413" id="fn413" href="#fnref413">[413]</a></span>
+Review of Tytler's <i>History of Scotland</i>, <i>Quarterly</i>,
+  November, 1829.</p>
+
+<p><span class="fnnum"><a name="fn414" id="fn414" href="#fnref414">[414]</a></span>
+<i>Southey's Letters</i>, Vol. IV, p. 62.</p>
+
+<p><span class="fnnum"><a name="fn415" id="fn415" href="#fnref415">[415]</a></span>
+Herford's <i>Age of Wordsworth</i>, pp. 39-40.</p>
+
+<p><span class="fnnum"><a name="fn416" id="fn416" href="#fnref416">[416]</a></span>
+<i>Lockhart</i>, Vol. II, p. 60.</p>
+
+<p><span class="fnnum"><a name="fn417" id="fn417" href="#fnref417">[417]</a></span>
+<i>Paul's Letters</i>, Letter XVI.</p>
+
+<p><span class="fnnum"><a name="fn418" id="fn418" href="#fnref418">[418]</a></span>
+<i>Lockhart</i>, Vol. II, p. 320.</p>
+
+<p><span class="fnnum"><a name="fn419" id="fn419" href="#fnref419">[419]</a></span>
+On Goethe's favorable opinion of the <i>Napoleon</i>, see a
+  letter given in the appendix to Scott's <i>Journal</i> (Vol. II, pp. 485-6
+  and note).</p>
+
+<p><span class="fnnum"><a name="fn420" id="fn420" href="#fnref420">[420]</a></span>
+Carlyle's <i>Essay on Scott</i>. See also Taine's <i>History
+  of English Literature</i>, Introduction, I.</p>
+
+<p><span class="fnnum"><a name="fn421" id="fn421" href="#fnref421">[421]</a></span>
+Review of <i>Metrical Romances</i>, <i>Edinburgh Review</i>,
+  January, 1806.</p>
+
+<p><span class="fnnum"><a name="fn422" id="fn422" href="#fnref422">[422]</a></span>
+<i>Lockhart</i>, Vol. II, p. 333.</p>
+
+<p><span class="fnnum"><a name="fn423" id="fn423" href="#fnref423">[423]</a></span>
+<i>The Pirate</i>, Vol. II, p. 138.</p>
+
+<p><span class="fnnum"><a name="fn424" id="fn424" href="#fnref424">[424]</a></span>
+Introductory Epistle to <i>Ivanhoe</i>. Freeman, in his
+  <i>Norman Conquest</i>, vigorously attacks <i>Ivanhoe</i> for its unwarranted
+  picture of the relations between Saxons and Normans in the thirteenth
+  century. (Vol. V, pp. 551-561.)</p>
+
+<p><span class="fnnum"><a name="fn425" id="fn425" href="#fnref425">[425]</a></span>
+Mr. Lang points out that he made many written notes of
+  his reading, as we should hardly expect a man of his unrivalled memory
+  to do. (<i>Life of Scott</i>, p. 27.)</p>
+
+<p><span class="fnnum"><a name="fn426" id="fn426" href="#fnref426">[426]</a></span>
+<i>Constable's Correspondence</i>, Vol. III, p. 161.</p>
+
+<p><span class="fnnum"><a name="fn427" id="fn427" href="#fnref427">[427]</a></span>
+<i>Constable's Correspondence</i>, Vol. III, pp. 93-4.</p>
+
+<p><span class="fnnum"><a name="fn428" id="fn428" href="#fnref428">[428]</a></span>
+<i>Letters of Lady Louisa Stuart</i>, p. 247.</p>
+
+<p><span class="fnnum"><a name="fn429" id="fn429" href="#fnref429">[429]</a></span>
+Mr. Lang's theory that Scott was responsible for a
+  decline in serious reading cannot be either proved or refuted
+  completely, but more than one man has given personal testimony
+  concerning the stimulating effect of the Waverley novels. Thierry's
+  <i>Norman Conquest</i> was directly inspired by <i>Ivanhoe</i>, and with
+  <i>Ivanhoe</i> is condemned by Freeman for its mistaken views. Mr. Andrew
+  D. White says in his <i>Autobiography</i> that <i>Quentin Durward</i> and <i>Anne
+  of Geierstein</i> led him to see the first that he had ever clearly
+  discerned of the great principles that "lie hidden beneath the surface
+  of events"&mdash;"the secret of the centralization of power in Europe, and
+  of the triumph of monarchy over feudalism." (Vol. I, pp. 15-16.)</p>
+
+<p><span class="fnnum"><a name="fn430" id="fn430" href="#fnref430">[430]</a></span>
+Scott had theories as to what children's books ought to
+  be. They should stir the imagination, he said, instead of simply
+  imparting knowledge as certain scientific books attempted to do.
+  (<i>Lockhart</i>, Vol. II, p. 27.) But he seriously objected to any attempt
+  to write down to the understanding of children. Of the <i>Tales of a
+  Grandfather</i> he said: "I will make, if possible, a book that a child
+  shall understand, yet a man will feel some temptation to peruse,
+  should he chance to take it up." (<i>Lockhart</i>, Vol. V, p. 112. See also
+  <i>ib.</i>, Vol. I, p. 19.) Anatole France has expressed ideas about
+  children's books which are practically the same as those of Scott.
+  (See <i>Le Livre de Mon Ami</i>, 3<sup>me</sup> partie: "A Madame D * * *.")</p>
+
+<p><span class="fnnum"><a name="fn431" id="fn431" href="#fnref431">[431]</a></span>
+Introduction to <i>The Fortunes of Nigel</i>.</p>
+
+<p><span class="fnnum"><a name="fn432" id="fn432" href="#fnref432">[432]</a></span>
+See the Introduction to <i>Waverley</i>.</p>
+
+<p><span class="fnnum"><a name="fn433" id="fn433" href="#fnref433">[433]</a></span>
+Introductory Epistle to <i>Ivanhoe</i>.</p>
+
+<p><span class="fnnum"><a name="fn434" id="fn434" href="#fnref434">[434]</a></span>
+<i>Ibid.</i> In <i>Old Mortality</i>, Claverhouse was made to use
+  the phrase "sentimental speeches," but when Lady Louisa Stuart pointed
+  out to Scott that the word "sentimental" was modern, he struck it out
+  of the second edition.</p>
+
+<p><span class="fnnum"><a name="fn435" id="fn435" href="#fnref435">[435]</a></span>
+Introductory Epistle to <i>Ivanhoe</i>. For other references
+  to the use of a moderately antique diction see the essays on Walpole
+  and Clara Reeve in <i>Lives of the Novelists</i>, and the review of
+  Southey's <i>Amadis de Gaul</i>, <i>Edinburgh Review</i>, October, 1803.</p>
+
+<p><span class="fnnum"><a name="fn436" id="fn436" href="#fnref436">[436]</a></span>
+<i>Journal</i>, Vol. II, p. 226.</p>
+
+<p><span class="fnnum"><a name="fn437" id="fn437" href="#fnref437">[437]</a></span>
+<i>Ibid.</i>, Vol. II, p. 319.</p>
+
+<p><span class="fnnum"><a name="fn438" id="fn438" href="#fnref438">[438]</a></span>
+<i>Ibid.</i>, Vol. II, p. 216.</p>
+
+<p><span class="fnnum"><a name="fn439" id="fn439" href="#fnref439">[439]</a></span>
+<i>Ibid.</i>, Vol. I, p. 323.</p>
+
+<p><span class="fnnum"><a name="fn440" id="fn440" href="#fnref440">[440]</a></span>
+<i>Lockhart</i>, Vol. I, p. 40.</p>
+
+<p><span class="fnnum"><a name="fn441" id="fn441" href="#fnref441">[441]</a></span>
+Introduction to <i>Chronicles of the Canongate</i>. See also
+  <i>Letters to Heber</i>, pp. 128-32, and 154; and Ruskin's analysis of
+  Scott's descriptions: <i>Modern Painters</i>, Part IV, ch. 16, § 23 ff.</p>
+
+<p><span class="fnnum"><a name="fn442" id="fn442" href="#fnref442">[442]</a></span>
+See particularly his reviews of <i>Childe Harold</i>, <i>Canto
+  III</i>, <i>Quarterly</i>, October, 1816; and of Southey's translation of the
+  <i>Amadis de Gaul</i>, <i>Edinburgh Review</i>, October, 1803.</p>
+
+<p><span class="fnnum"><a name="fn443" id="fn443" href="#fnref443">[443]</a></span>
+<i>Lockhart</i>, Vol. II, pp. 232-3.</p>
+
+<p><span class="fnnum"><a name="fn444" id="fn444" href="#fnref444">[444]</a></span>
+Quoted in <i>Wordsworth</i> (English Men of Letters) by
+  F.W.H. Myers, p. 143.</p>
+
+<p><span class="fnnum"><a name="fn445" id="fn445" href="#fnref445">[445]</a></span>
+<i>Recollections of Scott</i>, by R.P. Gillies. <i>Fraser's</i>,
+  xii: 254.</p>
+
+<p><span class="fnnum"><a name="fn446" id="fn446" href="#fnref446">[446]</a></span>
+<i>Lockhart</i>, Vol. III, p. 62.</p>
+
+<p><span class="fnnum"><a name="fn447" id="fn447" href="#fnref447">[447]</a></span>
+<i>Journal</i>, Vol. I, p. 155, and Vol. II, p. 37;
+  <i>Lockhart</i>, Vol. IV, p. 476, and Vol. V, p. 380.</p>
+
+<p><span class="fnnum"><a name="fn448" id="fn448" href="#fnref448">[448]</a></span>
+In the discussion of <i>Lives of the Novelists</i>.</p>
+
+<p><span class="fnnum"><a name="fn449" id="fn449" href="#fnref449">[449]</a></span>
+See his <i>Essay on Scott</i>.</p>
+
+<p><span class="fnnum"><a name="fn450" id="fn450" href="#fnref450">[450]</a></span>
+<i>Dryden</i>, Vol. XIV, p. 136.</p>
+
+<p><span class="fnnum"><a name="fn451" id="fn451" href="#fnref451">[451]</a></span>
+<i>Lockhart</i>, Vol. V, p. 415, and Introductory Epistle to
+  <i>Nigel</i>.</p>
+
+<p><span class="fnnum"><a name="fn452" id="fn452" href="#fnref452">[452]</a></span>
+<i>Letters to Heber</i>, p. 44.</p>
+
+<p><span class="fnnum"><a name="fn453" id="fn453" href="#fnref453">[453]</a></span>
+<i>Op. cit.</i>, p. 120.</p>
+
+<p><span class="fnnum"><a name="fn454" id="fn454" href="#fnref454">[454]</a></span>
+<i>My Aunt Margaret's Mirror</i>.</p>
+
+<p><span class="fnnum"><a name="fn455" id="fn455" href="#fnref455">[455]</a></span>
+<i>Journal</i>, Vol. II, p. 8.</p>
+
+<p><span class="fnnum"><a name="fn456" id="fn456" href="#fnref456">[456]</a></span>
+Review of Hoffmann's Novels, <i>Foreign Quarterly
+ Review</i>, July, 1827.</p>
+
+<p><span class="fnnum"><a name="fn457" id="fn457" href="#fnref457">[457]</a></span>
+<i>Letters to R. Polwhele</i>, etc., p. 102.</p>
+
+<p><span class="fnnum"><a name="fn458" id="fn458" href="#fnref458">[458]</a></span>
+Lodge's <i>Illustrious Personages</i>, Preface.</p>
+
+<p><span class="fnnum"><a name="fn459" id="fn459" href="#fnref459">[459]</a></span>
+Article on Molière, <i>Foreign Quarterly Review</i>, February, 1828.</p>
+
+<p><span class="fnnum"><a name="fn460" id="fn460" href="#fnref460">[460]</a></span>
+<i>Three Studies in Literature</i>, p. 12.</p>
+
+<p><span class="fnnum"><a name="fn461" id="fn461" href="#fnref461">[461]</a></span>
+<i>Edinburgh Review</i>, No. 1, October, 1802: review of <i>Thalaba</i>.</p>
+
+<p><span class="fnnum"><a name="fn462" id="fn462" href="#fnref462">[462]</a></span>
+<i>Three Studies in Literature</i>, p. 38.</p>
+
+<p><span class="fnnum"><a name="fn463" id="fn463" href="#fnref463">[463]</a></span>
+<i>Dryden</i>, Vol. XI, p. 26.</p>
+
+<p><span class="fnnum"><a name="fn464" id="fn464" href="#fnref464">[464]</a></span>
+Herford, <i>op. cit.</i>, pp. 51-2.</p>
+
+<p><span class="fnnum"><a name="fn465" id="fn465" href="#fnref465">[465]</a></span>
+<i>Essay on the Drama</i>.</p>
+
+<p><span class="fnnum"><a name="fn466" id="fn466" href="#fnref466">[466]</a></span>
+Wylie, <i>Studies in Criticism</i>, pp. 107-8.</p>
+
+<p><span class="fnnum"><a name="fn467" id="fn467" href="#fnref467">[467]</a></span>
+<i>Table Talk</i>, August 4, 1833. <i>Works</i>, Vol. VI, p. 472.</p>
+
+<p><span class="fnnum"><a name="fn468" id="fn468" href="#fnref468">[468]</a></span>
+<i>Familiar Letters</i>, Vol. II, p. 402.</p>
+
+<p><span class="fnnum"><a name="fn469" id="fn469" href="#fnref469">[469]</a></span>
+Article on Scott's <i>Demonology and Witchcraft</i>,
+  <i>Fraser's</i>, December, 1830.</p>
+
+<p><span class="fnnum"><a name="fn470" id="fn470" href="#fnref470">[470]</a></span>
+Mackenzie's <i>Life of Scott</i>, p. 118.</p>
+
+<p><span class="fnnum"><a name="fn471" id="fn471" href="#fnref471">[471]</a></span>
+<i>The Plain Speaker</i>, Hazlitt's <i>Works</i>, Vol. VII, p. 345.</p>
+
+<p><span class="fnnum"><a name="fn472" id="fn472" href="#fnref472">[472]</a></span>
+<i>Dryden</i>, Vol. I, p. 342. See above, pp. 136-7.</p>
+
+<p><span class="fnnum"><a name="fn473" id="fn473" href="#fnref473">[473]</a></span>
+<i>Familiar Letters</i>, Vol. I, p. 84.</p>
+
+<p><span class="fnnum"><a name="fn474" id="fn474" href="#fnref474">[474]</a></span>
+<i>Life of Bage</i>, in <i>Novelists' Library</i>.</p>
+
+<p><span class="fnnum"><a name="fn475" id="fn475" href="#fnref475">[475]</a></span>
+<i>Essay on Judicial Reform</i>, <i>Edinburgh Annual
+  Register</i>, Vol. I, pt. 2, p. 352. Everyone knows that Scott was a
+  decided Tory, and it is commonly supposed that he was an extremely
+  prejudiced partisan. But he closes a political passage in
+  <i>Woodstock</i>
+  with these words: "We hasten to quit political reflections, the rather
+  that ours, we believe, will please neither Whig nor Tory." (End of
+  Chapter 11.) From the definitions of Whig and Tory given in the <i>Tales
+  of a Grandfather</i>, no one could guess his politics. (Chapter 53.)</p>
+
+<p><span class="fnnum"><a name="fn476" id="fn476" href="#fnref476">[476]</a></span>
+Leigh Hunt's <i>Autobiography</i>, Vol. I, p. 263. See also
+  pp. 258-260, and the notes on his <i>Feast of the Poets</i>.</p>
+
+<p><span class="fnnum"><a name="fn477" id="fn477" href="#fnref477">[477]</a></span>
+Courthope's <i>Liberal Movement</i>, p. 122.</p>
+
+<p><span class="fnnum"><a name="fn478" id="fn478" href="#fnref478">[478]</a></span>
+<i>Life of Murray</i>, Vol. II, p. 159.</p>
+
+<p><span class="fnnum"><a name="fn479" id="fn479" href="#fnref479">[479]</a></span>
+<i>Ibid.</i>, Vol. II, p. 232</p>
+
+<p><span class="fnnum"><a name="fn480" id="fn480" href="#fnref480">[480]</a></span>
+<i>Macmillan's Magazine</i>, lxx: 326.</p>
+
+<p><span class="fnnum"><a name="fn481" id="fn481" href="#fnref481">[481]</a></span>
+Newman's <i>Apologia</i>, pp. 96-97. Mark Twain thinks the
+  influence of the novels was pernicious. He says: "A curious
+  exemplification of the power of a single book for good or harm is
+  shown in the effects wrought by Don Quixote and those wrought by
+  Ivanhoe. The first swept the world's admiration for the mediaeval
+  chivalry-silliness out of existence; and the other restored it.... Sir
+  Walter had so large a hand in making Southern character, as it existed
+  before the war, that he is in great measure responsible for the war."
+  (<i>Life on the Mississippi</i>, ch. xlvi.)</p>
+
+<p><span class="fnnum"><a name="fn482" id="fn482" href="#fnref482">[482]</a></span>
+<i>Familiar Letters</i>, Vol. I, pp. 216-17. See also his
+  remarks upon booksellers in his review of Pitcairn's <i>Ancient Criminal
+  Trials</i>, <i>Quarterly</i>, February, 1831.</p>
+
+<p><span class="fnnum"><a name="fn483" id="fn483" href="#fnref483">[483]</a></span>
+<i>Fraser's</i>, xiii: 693.</p>
+
+<p><span class="fnnum"><a name="fn484" id="fn484" href="#fnref484">[484]</a></span>
+Essay on Dunbar in <i>Ephemera Critica</i>.</p>
+
+<p><span class="fnnum"><a name="fn485" id="fn485" href="#fnref485">[485]</a></span>
+<i>English Historical Review</i>, vi: 97.</p>
+
+<p><span class="fnnum"><a name="fn486" id="fn486" href="#fnref486">[486]</a></span>
+<i>Life, Letters and Journals of George Ticknor</i>, Vol. I, p. 283.</p>
+
+<p><span class="fnnum"><a name="fn487" id="fn487" href="#fnref487">[487]</a></span>
+Carlyle's <i>Essay on Scott</i>.</p>
+
+<p><span class="fnnum"><a name="fn488" id="fn488" href="#fnref488">[488]</a></span>
+<i>Lockhart</i>, Vol. II, p. 9.</p>
+
+<p><span class="fnnum"><a name="fn489" id="fn489" href="#fnref489">[489]</a></span>
+<i>Journal</i>, Vol. II, p. 259; <i>Lockhart</i>, Vol. V, p. 248.</p>
+
+<p><span class="fnnum"><a name="fn490" id="fn490" href="#fnref490">[490]</a></span>
+<i>Dryden</i>, Vol. I, conclusion.</p>
+
+<p><span class="fnnum"><a name="fn491" id="fn491" href="#fnref491">[491]</a></span>
+<i>British Novelists and their Styles</i>, p. 204.</p>
+
+<p><span class="fnnum"><a name="fn492" id="fn492" href="#fnref492">[492]</a></span>
+<i>Journal</i>, Vol. II, p. 173; <i>Lockhart</i>, Vol. V, p. 99.</p>
+
+<p><span class="fnnum"><a name="fn493" id="fn493" href="#fnref493">[493]</a></span>
+<i>History of Criticism</i>, Vol. I, p. 156.</p>
+
+<p><span class="fnnum"><a name="fn494" id="fn494" href="#fnref494">[494]</a></span>
+<i>Recollections of Scott</i> by R.P. Gillies, <i>Fraser's</i>,
+  xii: 688.</p>
+</div>
+
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Sir Walter Scott as a Critic of
+Literature, by Margaret Ball
+
+*** END OF THIS PROJECT GUTENBERG EBOOK SIR WALTER SCOTT AS A CRITIC ***
+
+***** This file should be named 16715-h.htm or 16715-h.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/1/6/7/1/16715/
+
+Produced by Ted Garvin, Lynn Bornath, and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+*** END: FULL LICENSE ***
+
+
+
+</pre>
+
+</body>
+</html>
+
diff --git a/16715-h/images/image01.png b/16715-h/images/image01.png
new file mode 100644
index 0000000..fac175c
--- /dev/null
+++ b/16715-h/images/image01.png
diff --git a/16715.txt b/16715.txt
new file mode 100644
index 0000000..6da8cd4
--- /dev/null
+++ b/16715.txt
@@ -0,0 +1,9238 @@
+The Project Gutenberg EBook of Sir Walter Scott as a Critic of Literature
+by Margaret Ball
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Sir Walter Scott as a Critic of Literature
+
+Author: Margaret Ball
+
+Release Date: September 18, 2005 [EBook #16715]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK SIR WALTER SCOTT AS A CRITIC ***
+
+
+
+
+Produced by Ted Garvin, Lynn Bornath, and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+[Transcriber's note: All footnotes have been gathered at
+the end of the text.]
+
+
+SIR WALTER SCOTT
+
+AS A CRITIC OF LITERATURE
+
+
+BY
+
+MARGARET BALL, PH.D.
+
+
+
+New York
+THE COLUMBIA UNIVERSITY PRESS
+1907
+
+
+
+
+Copyright, 1907
+BY THE COLUMBIA UNIVERSITY PRESS
+Printed from type November, 1907
+
+
+PRESS OF
+THE NEW ERA PRINTING COMPANY
+LANCASTER, PA.
+
+
+
+
+PREFACE
+
+
+The lack of any adequate discussion of Scott's critical work is a
+sufficient reason for the undertaking of this study, the subject of
+which was suggested to me more than three years ago by Professor Trent
+of Columbia University. We still use critical essays and monumental
+editions prepared by the author of the Waverley novels, but the
+criticism has been so overshadowed by the romances that its importance
+is scarcely recognized. It is valuable in itself, as well as in the
+opportunity it offers of considering the relation of the critical to the
+creative mood, an especially interesting problem when it is presented
+concretely in the work of a great writer.
+
+No complete bibliography of Scott's writings has been published, and
+perhaps none is possible in the case of an author who wrote so much
+anonymously. The present attempt includes some at least of the books and
+articles commonly left unnoticed, which are chiefly of a critical or
+scholarly character.
+
+I am glad to record my gratitude to Professor William Allan Neilson, now
+of Harvard University, and to Professors A.H. Thorndike, W.W. Lawrence,
+G.P. Krapp, and J.E. Spingarn, of Columbia, for suggestions in
+connection with various parts of the work. From the beginning Professor
+Trent has helped me constantly by his advice as well as by the
+inspiration of his scholarship, and my debt to him is one which can be
+understood only by the many students who have known his kindness.
+
+MOUNT HOLYOKE COLLEGE,
+June, 1907.
+
+
+
+
+CONTENTS
+
+
+CHAPTER I.
+
+Introduction: An Outline of Scott's Literary Career                  1
+
+
+CHAPTER II.
+
+Scott's Qualifications as Critic                                     9
+
+
+CHAPTER III.
+
+Scott's Work as Student and Editor in the Field of Literary History
+
+   1. The Mediaeval Period
+       (a) Minstrelsy of the Scottish Border                        17
+       (b) Studies in the Romances                                  32
+       (c) Other Studies in Mediaeval Literature                    40
+
+   2. The Drama                                                     46
+
+   3. The Seventeenth Century: Dryden                               59
+
+   4. The Eighteenth Century
+       (a) Swift                                                    65
+       (b) The Somers Tracts                                        70
+       (c) The Lives of the Novelists, and Comments on other
+           Eighteenth Century Writers                               72
+
+
+CHAPTER IV.
+
+Scott's Criticism of His Contemporaries                             81
+
+
+CHAPTER V.
+
+Scott as a Critic of His Own Work                                  108
+
+
+CHAPTER VI.
+
+Scott's Position as Critic                                         134
+
+
+APPENDICES
+
+I. Bibliography of Scott, Annotated                                147
+II. List of Books Quoted                                           174
+Index                                                              179
+
+
+
+
+A DATED LIST OF SCOTT'S BOOKS, ASIDE FROM THE POEMS AND NOVELS, AND OF
+THE PRINCIPAL WORKS WHICH HE EDITED (PERIODICAL CRITICISM NOT INCLUDED).
+
+
+1802-3  Minstrelsy of the Scottish Border (edited).
+
+1804    Sir Tristrem (edited).
+
+1806    Original Memoirs written during the Great Civil War; the Life of
+        Sir H. Slingsby, and Memoirs of Capt. Hodgson (edited).
+
+1808    Memoirs of Capt. Carleton (edited).
+
+1808    The Works of John Dryden (edited).
+
+1808    Memoirs of Robert Carey, Earl of Monmouth, and Fragmenta Regalia
+        (edited).
+
+1808    Queenhoo Hall, a Romance; and Ancient Times, a Drama (edited).
+
+1809    The State Papers and Letters of Sir Ralph Sadler (edited).
+
+1809-15 The Somers Tracts (edited).
+
+1811    Memoirs of the Court of Charles II, by Count Grammont (edited).
+
+1811    Secret History of the Court of James the First (edited).
+
+1813    Memoirs of the Reign of King Charles I, by Sir Philip Warwick
+        (edited).
+
+1814    The Works of Jonathan Swift (edited).
+
+1814-17 The Border Antiquities of England and Scotland.
+
+1816    Paul's Letters.
+
+1818    Essay on Chivalry.
+
+1819    Essay on the Drama.
+
+1819-26 Provincial Antiquities and Picturesque Scenery of Scotland.
+
+1820    Trivial Poems and Triolets by Patrick Carey (edited).
+
+1821    Northern Memoirs, calculated for the Meridian of Scotland; and
+        the Contemplative and Practical Angler (edited).
+
+1821-24 The Novelists' Library (edited).
+
+1822    Chronological Notes of Scottish Affairs from 1680 till 1701
+        (edited).
+
+1822    Military Memoirs of the Great Civil War (edited).
+
+1824    Essay on Romance.
+
+1826    Letters of Malachi Malagrowther on the Currency.
+
+1827    The Life of Napoleon Buonaparte.
+
+1828    Tales of a Grandfather, first series.
+
+1828    Religious Discourses, by a Layman.
+
+1828    Proceedings in the Court-martial held upon John, Master of
+        Sinclair, etc. (edited).
+
+1829    Memorials of George Bannatyne (edited).
+
+1829    Tales of a Grandfather, second series.
+
+1829-32 The "Opus Magnum" (Novels, Tales, and Romances, with
+        Introductions and Notes by the Author).
+
+1830    Tales of a Grandfather, third series.
+
+1830    Letters on Demonology and Witchcraft.
+
+1830    History of Scotland.
+
+1831    Tales of a Grandfather, fourth series.
+
+1831    Trial of Duncan Terig, etc. (edited).
+
+       *       *       *       *       *
+
+1890    The Journal of Sir Walter Scott.
+
+1894    Familiar Letters of Sir Walter Scott.
+
+
+
+
+CHAPTER I
+
+INTRODUCTION
+
+    Importance of a study of Scott's critical and scholarly
+    work--Connection between his creative work and his
+    criticism--Chronological view of his literary career.
+
+
+Scott's critical work has become inconspicuous because of his
+predominant fame as an imaginative writer; but what it loses on this
+account it perhaps gains in the special interest attaching to criticism
+formulated by a great creative artist. One phase of his work is
+emphasized and explained by the other, and we cannot afford to ignore
+his criticism if we attempt fairly to comprehend his genius as a poet
+and novelist. The fact that he is the subject of one of the noblest
+biographies in our language only increases our obligation to become
+acquainted with his own presentation of his artistic principles.
+
+But though criticism by so great and voluminous a writer is valuable
+mainly because of the important relation it bears to his other work, and
+because of the authority it derives from this relation, Scott's
+scholarly and critical writings are individual enough in quality and
+large enough in extent to demand consideration on their own merits. Yet
+this part of his achievement has received very little attention from
+biographers and critics. Lockhart's book is indeed full of materials,
+and contains also some suggestive comment on the facts presented; but as
+the passing of time has made an estimation of Scott's power more safe,
+students have lost interest in his work as a critic, and recent writers
+have devoted little attention to this aspect of the great man of
+letters.[1]
+
+The present study is an attempt to show the scope and quality of Scott's
+critical writings, and of such works, not exclusively or mainly
+critical, as exhibit the range of his scholarship. For it is impossible
+to treat his criticism without discussing his scholarship; since,
+lightly as he carried it, this was of consequence in itself and in its
+influence on all that he did. The materials for analysis are abundant;
+and by rearrangement and special study they may be made to contribute
+both to the history of criticism and to our comprehension of the power
+of a great writer. In considering him from this point of view we are
+bound to remember the connection between the different parts of his
+vocation. In him, more than in most men of letters, the critic resembled
+the creative writer, and though the critical temperament seems to show
+itself but rarely in his romances, we find that the characteristic
+absence of precise and conscious art is itself in harmony with his
+critical creed.
+
+The relation between the different parts of Scott's literary work is
+exemplified by the subjects he treated, for as a critic he touched many
+portions of the field, which in his capacity of poet and novelist he
+occupied in a different way. He was a historical critic no less than a
+historical romancer. A larger proportion of his criticism concerns
+itself with the eighteenth century, perhaps, than of his fiction,[2] and
+he often wrote reviews of contemporary literature, but on the whole the
+literature with which he dealt critically was representative of those
+periods of time which he chose to portray in novel and poem. This
+evidently implies great breadth of scope. Yet Scott's vivid sense of the
+past had its bounds, as Professor Masson pointed out.[3] It was the
+"Gothic" past that he venerated. The field of his studies,
+chronologically considered, included the period between his own time and
+the crusades; and geographically, was in general confined to England and
+Scotland, with comparatively rare excursions abroad. When, in his
+novels, he carried his Scottish or English heroes out of Britain into
+foreign countries, he was apt to bestow upon them not only a special
+endowment of British feeling, but also a portion of that interest in
+their native literature which marked the taste of their creator. We find
+that the personages in his books are often distinguished by that love of
+stirring poetry, particularly of popular and national poetry, which was
+a dominant trait in Scott's whole literary career.
+
+With Scotland and with popular poetry any discussion of Sir Walter
+properly begins. The love of Scottish minstrelsy first awakened his
+literary sense, and the stimulus supplied by ballads and romances never
+lost its force. We may say that the little volumes of ballad chap-books
+which he collected and bound up before he was a dozen years old
+suggested the future editor, as the long poem on the Conquest of
+Grenada, which he is said to have written and burned when he was
+fifteen, foreshadowed the poet and romancer.
+
+Yet Scott's career as an author began rather late. He published a few
+translations when he was twenty-five years old, but his first notable
+work, the _Minstrelsy of the Scottish Border_, did not appear until
+1802-3, when he was over thirty. This book, the outgrowth of his early
+interest in ballads and his own attempts at versifying, exhibited both
+his editorial and his creative powers. It led up to the publication of
+two important volumes which contained material originally intended to
+form part of the _Minstrelsy_, but which outgrew that work. These were
+the edition of the old metrical romance _Sir Tristrem_, which showed
+Scott as a scholar, and the _Lay of the Last Minstrel_, the first of
+Scott's own metrical romances. So far his literary achievement was all
+of one kind, or of two or three kinds closely related. In this first
+period of his literary life, perhaps even more than later, his editorial
+impulse, his scholarly activity, was closely connected with the
+inspiration for original writing. The _Lay of the Last Minstrel_ was the
+climax of this series of enterprises.
+
+With the publication of the _Minstrelsy_, Scott of course became known
+as a literary antiquary. He was naturally called upon for help when the
+_Edinburgh Review_ was started a few weeks afterwards, especially as
+Jeffrey, who soon became the editor, had long been his friend. The
+articles that he wrote during 1803 and 1804 were of a sort that most
+evidently connected itself with the work he had been doing: reviews, for
+example, of Southey's _Amadis de Gaul_, and of Ellis's _Early English
+Poetry_. During 1805-6 the range of his reviewing became wider and he
+included some modern books, especially two or three which offered
+opportunity for good fun-making. About 1806, however, his aversion to
+the political principles which dominated the _Edinburgh Review_ became
+so strong that he refused to continue as a contributor, and only once,
+years later, did he again write an article for that periodical.
+
+In the same year, 1806, Scott supplied with editorial apparatus and
+issued anonymously _Original Memoirs Written during the Great Civil
+War_, the first of what proved to be a long list of publications having
+historical interest, sometimes reprints, sometimes original editions
+from old manuscripts, to which he contributed a greater or less amount
+of material in the shape of introductions and notes. These were
+undertaken in a few cases for money, in others simply because they
+struck him as interesting and useful labors. It is easy to trace the
+relation of this to his other work, particularly to the novels. He once
+wrote to a friend, "The editing a new edition of _Somers's Tracts_ some
+years ago made me wonderfully well acquainted with the little traits
+which marked parties and characters in the seventeenth century, and the
+embodying them is really an amusing task."[4] Among the works which he
+edited in this way the number of historical memoirs is noticeable. After
+the volume that has been mentioned as the first, he prepared another
+book of _Memoirs of the Great Civil War_; and we find in the list a
+_Secret History of the Court of James I._, _Memoirs of the Reign of King
+Charles I._, Count Grammont's _Memoirs of the Court of Charles II._, _A
+History of Queen Elizabeth's Favourites_, etc. Such books as these,
+besides furnishing material for his novels, led Scott to acquire a mass
+of information that enabled him to perform with great facility and with
+admirable results whatever editorial work he might choose to undertake.
+
+These labors Scott always considered as trifles to be dispatched in the
+odd moments of his time, but the great edition of _Dryden's Complete
+Works_, which he began to prepare soon after the _Minstrelsy_ appeared,
+was more important. This, next to the _Minstrelsy_, was probably the
+most notable of all Scott's editorial enterprises. It was published in
+eighteen volumes in 1808, the year in which _Marmion_ also appeared.
+When the poet was reproached by one of his friends for not working more
+steadily at his vocation, he replied, "The public, with many other
+properties of spoiled children, has all their eagerness after novelty,
+and were I to dedicate my time entirely to poetry they would soon tire
+of me. I must therefore, I fear, continue to edit a little."[5] His
+interest in scholarly pursuits appears even in his first attempt at
+writing prose fiction, since Joseph Strutt's unfinished romance,
+_Queenhoo Hall_, for which Scott wrote a conclusion, is of consequence
+only on account of the antiquarian learning which it exhibits.
+
+Having become seriously alarmed over the political influence of the
+_Edinburgh Review_, Scott was active in forwarding plans for starting a
+strong rival periodical in London, and 1809 saw the establishment of the
+_Quarterly Review_. By that time he had done a considerable amount of
+work in practically every kind except the novel, and he was recognized
+as a most efficient assistant and adviser in any such enterprise as the
+promoters of the _Quarterly_ were undertaking. Moreover, his own
+writings were prominent among the books which supplied material for the
+reviewer. He worked hard for the first volume. But after that year he
+wrote little for the _Quarterly_ until 1818, and again little until
+after Lockhart became editor in 1825. From that time until 1831 he was
+an occasional contributor.
+
+1814 was the year of _Waverley_. Before that the poems had been
+appearing in rapid succession, and Scott had been busy with the _Works
+of Swift_, which came out also in 1814. The thirteen volumes of the
+edition of _Somers' Tracts_, already mentioned, and several smaller
+books, bore further witness to his editorial energy. The last of the
+long poems was published in 1815, about the same time with _Guy
+Mannering_, the second novel, and after that the novels continued to
+appear with that rapidity which constitutes one of the chief facts of
+Scott's literary career. For a few years after this period he did
+comparatively little in the way of editorial work, but his odd moments
+were occupied in writing about history, travels, and antiquities.[6]
+
+In 1820 Scott wrote the _Lives of the Novelists_, which appeared the
+next year in Ballantyne's _Novelists' Library_. By this time he had
+begun, with _Ivanhoe_, to strike out from the Scottish field in which
+all his first novels had been placed. The martial pomp prominent in this
+novel reflects the eager interest with which he was at that time
+following his son's opening career in the army; just as _Marmion_,
+written by the young quartermaster of the Edinburgh Light Horse, also
+expresses the military ardor which was so natural to Scott, and which
+reminds us of his remark that in those days a regiment of dragoons was
+tramping through his head day and night. Probably we might trace many a
+reason for his literary preoccupations at special times besides those
+that he has himself commented upon. In the case of the critical work,
+however, the matter was usually determined for him by circumstances of a
+much less intimate sort, such as the appeal of an editor or the
+appearance of a book which excited his special interest.
+
+When Scott was obliged to make as much money as possible he wrote novels
+and histories rather than criticism. His _Life of Napoleon Buonaparte_,
+which appeared in nine volumes in 1827, enabled him to make the first
+large payment on the debts that had fallen upon him in the financial
+crash of the preceding year, and the _Tales of a Grandfather_ were among
+the most successful of his later books. His critical biographies and
+many of his other essays were brought together for the first time in
+1827, and issued under the title of _Miscellaneous Prose Works_. The
+world of books was making his life weary with its importunate demands in
+those years when he was writing to pay his debts, and it is pleasant to
+see that some of his later reviews discussed matters that were not less
+dear to his heart because they were not literary. The articles on
+fishing, on ornamental gardening, on planting waste lands, remind us of
+the observation he once made, that his oaks would outlast his laurels.
+
+By this time the "Author of Waverley" was no longer the "unknown." His
+business complications compelled him to give his name to the novels, and
+with the loss of a certain kind of privacy he gained the freedom of
+which later he made such fortunate use in annotating his own works. From
+the beginning of 1828 until the end of his life in 1832, Scott was
+engaged, in the intervals of other occupations, in writing these
+introductions and notes for his novels, for an edition which he always
+called the _Opus Magnum_. This was a pleasant task, charmingly done.
+Indeed we may call it the last of those great editorial labors by which
+Scott's fame might live unsupported by anything else. First came the
+_Minstrelsy of the Scottish Border_, then the editions of Dryden and
+Swift. Next we may count the _Lives of the Novelists_, even in the
+fragmentary state in which the failure of the _Novelists' Library_ left
+them; and finally the _Opus Magnum_. When, in addition, we remember the
+mass of his critical work written for periodicals, and the number of
+minor volumes he edited, it becomes evident that a study of Scott which
+disregards this part of his work can present only a one-sided view of
+his achievement. And the qualities of his abundant criticism, especially
+its large fresh sanity, seem to make it worthy of closer analysis than
+it usually receives, not only because it helps to reveal Scott's genius,
+but also on account of the historical and ethical importance which
+always attaches to the ideals, literary and other, of a noble man and a
+great writer.
+
+
+
+
+CHAPTER II
+
+SCOTT'S QUALIFICATIONS AS CRITIC
+
+    Wide reading Scott's first qualification--Scott the
+    antiquary--Character of his interest in history--His
+    imagination--His knowledge of practical affairs--Common-sense in
+    criticism--Cheerfulness, good-humor, and optimism--General aspect of
+    Scott's critical work.
+
+
+Wide and appreciative reading was Scott's first qualification for
+critical work. A memory that retained an incredible amount of what he
+read was the second. One of the severest censures he ever expressed was
+in regard to Godwin, who, he thought, undertook to do scholarly work
+without adequate equipment. "We would advise him," Scott said in his
+review of Godwin's _Life of Chaucer_, "in future to read before he
+writes, and not merely while he is writing." Scott himself had
+accumulated a store of literary materials, and he used them according to
+the dictates of a temperament which had vivid interests on many sides.
+
+We may distinguish three points of view which were habitual to Scott,
+and which determined the direction of his creative work, as well as the
+tone of his criticism. These were--as all the world knows--the
+historical, the romantic, the practical.
+
+He was, as he often chose to call himself, an antiquary; he felt the
+appeal of all that was old and curious. But he was much more than that.
+The typical antiquary has his mind so thoroughly devoted to the past
+that the present seems remote to him. The sheer intellectual capacity of
+such a man as Scott might be enough to save him from such a limitation,
+for he could give to the past as much attention as an ordinary man could
+muster, and still have interest for contemporary affairs; but his
+capacity was not all that saved Scott. He viewed the past always as
+filled with living men, whose chief occupation was to think and feel
+rather than to provide towers and armor for the delectation of future
+antiquaries.[7] A sympathetic student of his work has said, "There is
+... throughout the poetry of this author, even when he leads us to the
+remotest wildernesses and the most desolate monuments of antiquity, a
+constant reference to the feelings of man in his social condition."[8]
+The past, to the author of _Kenilworth_, was only the far end of the
+present, and he believed that the most useful result of the study of
+history is a comprehension of the real quality of one's own period and a
+wisdom in the conduct of present day affairs.[9]
+
+The favorite pursuits of Scott's youth indicate that his characteristic
+taste showed itself early; indeed it is said that he retained his boyish
+traits more completely than most people do. We can trace much of his
+love of the past to the family traditions which made the adventurous
+life of his ancestors vividly real to him. The annals of the Scotts were
+his earliest study, and he developed such an affection for his
+freebooting grandsires that in his manhood he confessed to an
+unconquerable liking for the robbers and captains of banditti of his
+romances, characters who could not be prevented from usurping the place
+of the heroes. "I was always a willing listener to tales of broil and
+battle and hubbub of every kind," he wrote in later life, "and now I
+look back upon it, I think what a godsend I must have been while a boy
+to the old Trojans of 1745, nay 1715, who used to frequent my father's
+house, and who knew as little as I did for what market I was laying up
+the raw materials of their oft-told tales."[10] What attracted him in
+his boyhood, and what continued to attract him, was the picturesque
+incident, the color of the past, the mere look of its varied activity.
+The philosophy of history was gradually revealed to him, however, and
+his generalizing faculty found congenial employment in tracing out the
+relation of men to movements, of national impulses to world history. But
+however much he might exercise his analytical powers, history was never
+abstract to him, nor did it require an effort for him to conjure up
+scenes of the past. An acquaintance with the stores of early literature
+served to give him the spirit of remote times as well as to feed his
+literary tastes. On this side he had an ample equipment for critical
+work, conditioned, of course, by the other qualities of his mind, which
+determined how the equipment should be used.
+
+That Scott was not a dull digger in heaps of ancient lore was owing to
+his imaginative power,--the second of the qualities which we have
+distinguished as dominating his literary temperament. "I can see as many
+castles in the clouds as any man," he testified.[11] A recent writer has
+said that Scott had more than any other man that ever lived a sense of
+the romantic, and adds that his was that true romance which "lies not
+upon the outside of life, but absolutely in the centre of it."[12] The
+situations and the very objects that he described have the power of
+stirring the romantic spirit in his readers because he was alive to the
+glamour surrounding anything which has for generations been connected
+with human thoughts and emotions. The subjectivity which was so
+prominent an element in the romanticism of Shelley, Keats, and Byron,
+does not appear in Scott's work. Nor was his sense of the mystery of
+things so subtle as that of Coleridge. But Scott, rather than Coleridge,
+was the interpreter to his age of the romantic spirit, for the ordinary
+person likes his wonders so tangible that he may know definitely the
+point at which they impinge upon his consciousness. In Scott's work the
+point of contact is made clear: the author brings his atmosphere not
+from another world but from the past, and with all its strangeness it
+has no unearthly quality. In general the romance of his nature is rather
+taken for granted than insisted on, for there are the poems and the
+novels to bear witness to that side of his temperament; and the
+surprising thing is that such an author was a business man, a large
+landowner, an industrious lawyer.[13]
+
+Scott's imaginative sense, which clothed in fine fancies any incident or
+scene presented, however nakedly, to his view, accounts in part for his
+notorious tendency to overrate the work of other writers, especially
+those who wrote stories in any form. This explanation was hinted at by
+Sir Walter himself, and formulated by Lockhart; it seems a fairly
+reasonable way of accounting for a trait that at first appears to
+indicate only a foolish excess of good-nature. This rich and active
+imagination, which Scott brought to bear on everything he read, perhaps
+explains also his habit of paying little attention to carefully worked
+out details, and of laying almost exclusive emphasis upon main outlines.
+When he was writing his _Life of Napoleon_, he said in his _Journal_:
+"Better a superficial book which brings well and strikingly together the
+known and acknowledged facts, than a dull boring narrative, pausing to
+see further into a mill-stone at every moment than the nature of the
+mill-stone admits."[14] Probably his high gift of imagination made him a
+little impatient with the remoter reaches of the analytic faculties. Any
+sustained exercise of the pure reason was outside his province,
+reasonable as he was in everyday affairs. He preferred to consider
+facts, and to theorize only so far as was necessary to establish
+comfortable relations between the facts,--never to the extent of trying
+to look into the center of a mill-stone. It was not unusual for him to
+make very acute observations in the spheres of ethics, economics, and
+psychology, and to use them in explaining any situation which might seem
+to require their assistance; but these remarks were brief and
+incidental, and bore a very definite relation to the concrete ideas they
+were meant to illustrate.
+
+Scott was a business man as well as an antiquary and a poet. Mr.
+Palgrave thought Lockhart went too far in creating the impression that
+Scott could detach his mind from the world of imagination and apply its
+full force to practical affairs.[15] Yet the oversight of lands and
+accounts and of all ordinary matters was so congenial to him, and his
+practical activities were on the whole conducted with so much spirit and
+capability, that after emphasizing his preoccupation with the poetic
+aspects of the life of his ancestors, we must turn immediately about and
+lay stress upon his keen judgment in everyday affairs. To a school-boy
+poet he once wrote: "I would ... caution you against an enthusiasm
+which, while it argues an excellent disposition and a feeling heart,
+requires to be watched and restrained, though not repressed. It is apt,
+if too much indulged, to engender a fastidious contempt for the ordinary
+business of the world, and gradually to render us unfit for the exercise
+of the useful and domestic virtues which depend greatly upon our not
+exalting our feelings above the temper of well-ordered and well-educated
+society."[16] He phrased the same matter differently when he said: "'I'd
+rather be a kitten and cry, Mew!' than write the best poetry in the
+world on condition of laying aside common-sense in the ordinary
+transactions and business of the world."[17] "He thought," said
+Lockhart, "that to spend some fair portion of every day in any
+matter-of-fact occupation is good for the higher faculties themselves in
+the upshot."[18] Whether or not we consider this the ideal theory of
+life for a poet, we find it reasonable to suppose that a critic will be
+the better critic if he preserve some balance between matter-of-fact
+occupation and the exercise of his higher faculties. Sir Walter's maxim
+applies well to himself at least, and an analysis of his powers as a
+critic derives some light from it.
+
+The thing that is waiting to be said is of course that his criticism is
+distinguished by common-sense. Whether common-sense should really
+predominate in criticism might perhaps be debated; the quality
+indicates, indeed, not only the excellence but also the limitations of
+his method. For example, Scott was rather too much given to accepting
+popular favor as the test of merit in literary work, and though the
+clamorously eager reception of his own books was never able to raise his
+self-esteem to a very high pitch, it seems to have been the only thing
+that induced him to respect his powers in anything like an appreciative
+way.[19] His instinct and his judgment agreed in urging him to avoid
+being a man of "mere theory,"[20] and he sought always to test opinions
+by practical standards.
+
+More or less connected with his good sense are other qualities which
+also had their effect upon his critical work,--his cheerfulness, his
+sweet temper and human sympathy, his modesty, his humor, his
+independence of spirit, and his enthusiastic delight in literature. That
+his cheerfulness was a matter of temperament we cannot doubt, but it was
+also founded on principle. He had remarkable power of self-control.[21]
+His opinion that it is a man's duty to live a happy life appears rather
+quaintly in the sermonizing with which he felt called upon to temper the
+admiration expressed in his articles on _Childe Harold_, and it is
+implicit in many of his biographical studies. His own amiability of
+course influenced all his work. Satire he considered objectionable, "a
+woman's fault,"[22] as he once called it; though he did not feel himself
+"altogether disqualified for it by nature."[23] "I have refrained, as
+much as human frailty will permit, from all satirical composition,"[24]
+he said. For satire he seems to have substituted that kind of "serious
+banter, a style hovering between affected gravity and satirical
+slyness," which has been pointed out as characteristic of him.[25]
+Washington Irving noticed a similar tone in all his familiar
+conversations about local traditions and superstitions.[26]
+
+He was really optimistic, except on some political questions. In his
+_Lives of the Novelists_ he shows that he thought manners and morals had
+improved in the previous hundred years; and none of his reviews exhibits
+the feeling so common among men of letters in all ages, that their own
+times are intellectually degenerate. It is true that he looked back to
+the days of Blair, Hume, Adam Smith, Robertson, and Ferguson, as the
+"golden days of Edinburgh,"[27] but those golden days were no farther
+away than his own boyhood, and he had felt the exhilaration of the
+stimulating society which he praised. One of his contemporaries spoke of
+Scott's own works as throwing "a literary splendour over his native
+city";[28] and George Ticknor said of him, "He is indeed the lord of the
+ascendant now in Edinburgh, and well deserves to be, for I look upon him
+to be quite as remarkable in intercourse and conversation, as he is in
+any of his writings, even in his novels."[29] But he could hardly be
+expected to perceive the luster surrounding his own personality, and
+this one instance of regret for former days counts little against the
+abundant evidence that he thought the world was improving. Yet of all
+his contemporaries he was probably the one who looked back at the past
+with the greatest interest. The impression made by the author of
+_Waverley_ upon the mind of a young enthusiast of his own time is too
+delightful to pass over without quotation. "He has no eccentric
+sympathies or antipathies"; wrote J.L. Adolphus, "no maudlin
+philanthropy or impertinent cynicism; no nondescript hobby-horse; and
+with all his matchless energy and originality of mind, he is content to
+admire popular books, and enjoy popular pleasures; to cherish those
+opinions which experience has sanctioned; to reverence those
+institutions which antiquity has hallowed; and to enjoy, admire,
+cherish, and reverence all these with the same plainness, simplicity,
+and sincerity as our ancestors did of old."[30]
+
+By temperament, then, Scott was enthusiastic over the past and cheerful
+in regard to his own day; he was imaginative, practical, genial; and
+these traits must be taken into account in judging his critical
+writings. These and other qualities may be deduced from the most
+superficial study of his creative work. The mere bulk of that work bears
+witness to two things: first that Scott was primarily a creative writer;
+again, that he was of those who write much rather than minutely. It is
+obvious that to attack details would be easy. And since he was only
+secondarily a critic, it is natural that his critical opinions should
+not have been erected into any system. But while they are essentially
+desultory, they are the ideas of a man whose information and enthusiasm
+extended through a wide range of studies; and they are rendered
+impressive by the abundance, variety, and energy, which mark them as
+characteristic of Scott.
+
+
+
+
+CHAPTER III
+
+SCOTT'S WORK AS STUDENT AND EDITOR IN THE FIELD OF LITERARY HISTORY
+
+
+THE MEDIAEVAL PERIOD
+
+_Minstrelsy of the Scottish Border_
+
+    Scott's early interest in ballads--Casual origin of the
+    _Minstrelsy_--Importance of the book in Scott's career--Plan of the
+    book--Mediaeval scholarship of Scott's time--His theory as to the
+    origin of ballads and their deterioration--His attitude toward the
+    work of previous editors--His method of forming texts--Kinds of
+    changes he made--His qualifications for emending old poetry--Modern
+    imitations of the ballad included in the _Minstrelsy_--Remarks on
+    the ballad style--Impossibility of a scientific treatment of
+    folk-poetry in Scott's time--Real importance of the _Minstrelsy_.
+
+
+We think of the _Border Minstrelsy_ as the first work which resulted
+from the preparation of Scott's whole youth, between the days when he
+insisted on shouting the lines of _Hardyknute_ into the ears of the
+irate clergyman making a parish call, and the time when he and his
+equally ardent friends gathered their ballads from the lips of old women
+among the hills. But we have seen that the inspiration for his first
+attempts at writing poetry came only indirectly from the ballads of his
+own country. We learn from the introduction to the third part of the
+_Minstrelsy_ that some of the young men of Scott's circle in Edinburgh
+were stimulated by what the novelist, Henry Mackenzie, told them of the
+beauties of German literature, to form a class for the study of that
+language. This was when Scott was twenty-one, but it was still four
+years before he found himself writing those translations which mark the
+sufficiently modest beginning of his literary career. His enthusiasm for
+German literature was not at first tempered by any critical
+discrimination, if we may judge from the opinions of one or two of his
+friends who labored to point out to him the extravagance and false
+sentiment which he was too ready to admire along with the real genius of
+some of his models.[31] Apparently their efforts were useful, for in a
+review written in 1806 we find Scott, in a remark on Buerger, referring
+to "the taste for outrageous sensibility, which disgraces most German
+poetry."[32] His special interest in the Germans was an early mood which
+seems not to have returned. After the process of translation had
+discovered to him his verse-making faculty, he naturally passed on to
+the writing of original poems, and circumstances of a half accidental
+sort determined that the Scottish ballads which he had always loved
+should absorb his attention for the next two or three years.
+
+The publication of a book of ballads was first suggested by Scott as an
+opportunity for his friend Ballantyne to exhibit his skill as a printer
+and so increase his business. "I have been for years collecting old
+Border ballads," Scott remarked, "and I think I could with little
+trouble put together such a selection from them as might make a neat
+little volume to sell for four or five shillings."[33] From this casual
+proposition resulted _The Minstrelsy of the Scottish Border_, published
+in three volumes in 1802-3 and often revised and reissued during the
+editor's lifetime.
+
+This book and the prefaces to his own novels are likely to be thought of
+first when Scott is spoken of as a critic. The connection between the
+_Minstrelsy_ and the novels has often been pointed out, ever since the
+day of the contemporary who, on reading the ballads with their
+introductions, exclaimed that in that book were the elements of a
+hundred historical romances.[34] The interest of the earlier work is
+undoubtedly multiplied by the associations in the light of which we read
+it--associations connected with the editor's whole experience as an
+author, from the _Lay of the Last Minstrel_ to _Castle Dangerous_.
+
+Important as the _Minstrelsy_ is from the point of view of literary
+criticism, the material of its introductions is chiefly historical. The
+introduction in the original edition gives an account of life on the
+Border in the fifteenth and sixteenth centuries, with the outlines of
+many of the events that stimulated ballad-making, and an analysis of the
+temper of the Marchmen among whom this kind of poetry flourished; then
+by special introductions and notes to the poems an attempt is made to
+explain both the incidents on which they seem to have been founded, and
+parallel cases that appear in tradition or record. Some enthusiastic
+comment is included, of the kind that was so natural to Scott, on the
+effect of ballad poetry upon a spirited and warlike people. The writer
+continues: "But it is not the Editor's present intention to enter upon a
+history of Border poetry; a subject of great difficulty, and which the
+extent of his information does not as yet permit him to engage in." It
+was, in fact, nearly thirty years later[35] that Scott wrote the
+_Remarks on Popular Poetry_ which since that date have formed an
+introduction to the book, as well as the essay, _On Imitations of the
+Ancient Ballad_, which at present precedes the third part. The more
+purely literary side of the editor's duty--leaving out of account the
+modern poems written by Scott and others--was exhibited chiefly in the
+construction of texts, a matter of which I shall speak later, after
+considering his views of the origin and character of folk-poetry in
+general.
+
+But first we may recall the fact that Scott was following a fairly well
+established vogue in giving scholarly attention to ancient popular
+poetry. A revival of interest in the study of mediaeval literature had
+been stimulated in England by the publication of Percy's _Reliques_ in
+1765 and Warton's _History of English Poetry_ in 1774. In 1800 there
+were enough well-known antiquaries to keep Scott from being in any sense
+lonely. Among them Joseph Ritson[36] was the most learned, but he was
+crotchety in the extreme; and while his notions as to research were in
+advance of his time, his controversial style resembled that of the
+seventeenth century. George Ellis,[37] on the other hand, was
+distinguished by an eighteenth-century urbanity, and his combination of
+learning and good taste fitted him to influence a broader public than
+that of specialists. At the same time he was a delightful and
+stimulating friend to other scholars. Southey was becoming known as an
+authority on the history and literature of the Spanish peninsula. A
+review in the _Quarterly_ a dozen years later mentions these
+three,--Ellis, Scott, and Southey,--as "good men and true" to serve as
+guides in the remote realms of literature.[38] Ellis's friend, John
+Hookham Frere, had great abilities but was an incurable dillettante.
+Scott particularly admired a Middle-English version of _The Battle of
+Brunanburgh_ which Frere wrote in his school-boy days, and considered
+him an authoritative critic of mediaeval English poetry. Robert
+Surtees[39] and Francis Douce[40] were antiquaries of some importance,
+and both, like all the others named, were friends of Scott. Mr. Herford
+calls this period a day of "Specimens" and extracts: "Mediaeval romance
+was studied in Ellis's _Specimens_," he says, "the Elizabethan drama in
+Lamb's, literary history at large in D'Israeli's gently garrulous
+compilations of its 'quarrels,' 'amenities,' 'calamities,' and
+'curiosities.'"[41] But the scholarship of the time on the whole is
+worthy of respect. In the case of ballads and romances notable work had
+been done before Scott entered the field,[42] and he and his
+contemporaries were carrying out the promise of the half century before
+them--continuing the work that Percy and Warton had begun.
+
+Among the problems connected with ballad study, that which arises first
+is naturally the question of origins. Scott made no attempt to formulate
+a theory different in any main element from that which was held by his
+predecessors. He agreed with Percy that ballads were composed and sung
+by minstrels, and based his discussion on the materials brought forward
+by Percy and Ritson for use in their great controversy.[43] Ritson
+himself never doubted that ballads were composed and sung by individual
+authors, though he might refuse to call them minstrels. The idea of
+communal authorship, which Jacob Grimm was to suggest only half a dozen
+years after the first edition of the _Minstrelsy_, would doubtless have
+been rejected by Scott, even if he had considered it. But we have no
+evidence that he did so. Probably he did not, as he never felt the need
+of a new theory.[44]
+
+Scott's opinion in regard to the transmission of ballads followed
+naturally from his theory of their origin. His aristocratic instincts
+perhaps helped to determine his belief that ballads were composed by
+gifted minstrels, and that they had deteriorated in the process of being
+handed down by recitation. He called tradition "a sort of perverted
+alchymy which converts gold into lead." "All that is abstractedly
+poetical," he said, "all that is above the comprehension of the merest
+peasant, is apt to escape in frequent repetition; and the _lacunae_ thus
+created are filled up either by lines from other ditties or from the
+mother wit of the reciter or singer. The injury, in either case, is
+obvious and irreparable."[45] From this point of view Scott considered
+that the ballads were only getting their rights when a skilful hand gave
+them such a retouching as should enable them to appear in something of
+what he called their original vigor.[46]
+
+We may learn what qualities he considered necessary for an editor in
+this field, from the latter part of his _Remarks on Popular Poetry_, in
+which he discusses previous attempts to collect English and Scottish
+ballads. Of Percy he speaks in the highest terms, here and elsewhere. We
+have seen that he felt a strong sympathy with Percy's desire to dress up
+the ballads and make them as attractive to the public as their intrinsic
+charms render them to their friends. He did not of course realize the
+extent to which the Bishop reworked his materials, as the publication of
+the folio manuscript has since revealed it, and Ritson's captious
+remarks on the subject were naturally discounted on the score of their
+ill-temper. But it is not to be doubted that Ritson had an appreciable
+effect on Scott's attitude, by stirring him up to some comprehension of
+the things that might be said in favor even of dull accuracy. Ritson's
+collections are cited in their place, with a tribute to the extreme
+fidelity of their editor. It is a pity that this accurate scholar could
+not have had a sufficient amount of literary taste, to say nothing of
+good manners, to inspire others with a fuller trust in his method. Scott
+expresses impatience with him for seeming to prefer the less effective
+text in many instances, "as if a poem was not more likely to be
+deteriorated than improved by passing through the mouths of many
+reciters."[47] He admitted, however, that it was not in his own period
+necessary to rework the ballads as much as Bishop Percy had done, since
+the _Reliques_ had already created an audience for popular poetry. His
+purpose evidently was to steer a middle course between such graceful but
+sophisticated versions as were given in the _Reliques_, and the exact
+transcript of everything to be gathered from tradition, whether
+interesting or not, that was attempted by Ritson. In his later revisions
+he gave way more than at first to his natural impulse in favor of the
+added graces which he could supply.[48]
+
+It is easy to see how his own contributions of word and phrase might
+slip in, since his avowed method was to collate the different texts
+secured from manuscripts or recitation or both, and so to give what to
+his mind was the worthiest version. Believing that the ballads had been
+composed by men not unlike himself, he assumed, in the manner well known
+to classical text-critics, that his familiarity with the conditions of
+the ancient social order gave him some license for changing here and
+there a word or a line. In determining which stanzas or lines to choose,
+when choice was possible, he was guided by his antiquarian knowledge and
+by the general principle of selecting the most poetic rendering among
+those at his command. This was his way of showing his respect for the
+minstrel bards of whom he was fond of considering himself a successor.
+
+So far it is perfectly easy to take his point of view. But it is more
+difficult to reconcile his practice with his professions. We find this
+declaration in the forefront of the book: "No liberties have been taken
+either with the recited or written copies of these ballads, farther than
+that, where they disagreed, which is by no means unusual, the editor, in
+justice to the author, has uniformly preserved what seemed to him the
+best or most poetical rendering of the passage.... Some arrangement was
+also occasionally necessary to recover the rhyme, which was often, by
+the ignorance of the reciters, transposed or thrown into the middle of
+the line. With these freedoms, which were essentially necessary to
+remove obvious corruptions and fit the ballads for the press, the editor
+presents them to the public, under the complete assurance that they
+carry with them the most indisputable marks of their authenticity."[49]
+In the face of this fair announcement we are surprised, to say the
+least, at the number of lines and stanzas which scholars have discovered
+to be of Scott's own composition.[50]
+
+Occasionally his notes give some slight indication of his method of
+treatment, as for instance this, on _The Dowie Dens of Yarrow_: "The
+editor found it easy to collect a variety of copies; but very difficult
+indeed to select from them such a collated edition as might in any
+degree suit the taste of 'these more light and giddy-paced times.'"
+Notes on some others of the ballads say that "a few conjectural
+emendations have been found necessary," but no one of these remarks
+would seem really ingenuous in a modern scholar when we consider how far
+the "conjectural emendations" extended. Moreover, changes were often
+made without the slightest clue in introduction or note.[51]
+
+The case was complicated for Scott by the poetical tastes of his
+assistants. Leyden[52] was apparently quite capable of taking down a
+ballad from recitation in such a way as to produce a more finished poem
+than one would expect a traditional ballad to be. And Hogg,[53] who
+supplied several ballads from the recitations of his mother and other
+old people, was probably still less strict. "Sure no man," he is quoted
+as having said, "will think an old song the worse of being somewhat
+harmonious."[54] Yet it is easy to see that Scott's friends might have
+acted differently if his own practice had favored absolute fidelity to
+the texts.
+
+A remark in Scott's review of Evans's _Old Ballads_ seems a pretty
+definite arraignment of his own procedure. "It may be asked by the
+severer antiquary of the present day, why an editor, thinking it
+necessary to introduce such alterations in order to bring forth a new,
+beautiful, and interesting sense from a meagre or corrupted original,
+did not in good faith to his readers acquaint them with the liberties he
+had taken and make them judge whether in so doing he transgressed his
+limits. We answer that unquestionably such would be the express duty of
+a modern editor, but such were not the rules of the service when Dr.
+Percy first opened the campaign."[55]
+
+One wonders whether the "rules of the service" did not in Scott's
+opinion occasionally permit a little wilful mystification. The case of
+_Kinmont Willie_ tempts one to such an explanation. Besides the capital
+instance of his anonymity as regards the novels, Scott several times
+seemed to amuse himself in perplexing the public. There was the case of
+the _Bridal of Triermain_, which he tried by means of various careful
+devices to pass off as the work of a friend. But perhaps the best
+example appears in connection with _The Fortunes of Nigel_. He first
+designed the material of that book for a series of "private letters"
+purporting to have been written in the reign of James I., but when he
+had finally complied with the advice of his friends and used it for a
+novel, he said to Lockhart, "You were all quite right: if the letters
+had passed for genuine, they would have found favour only with a few
+musty antiquaries."[56] This suggests comparison with the conduct of his
+friend Robert Surtees, who palmed off upon him three whole ballads of
+his own and got them inserted in the _Minstrelsy_ as ancient, with a
+plausible tale concerning the circumstances of their recovery. Surtees,
+one is interested to observe, never dared tell Scott the truth, and
+Scott always accepted the ballads as genuine--a lack of discernment
+rather compromising in an editor, though one may perhaps excuse him on
+the ground of his confidence in his brother antiquary.[57]
+
+In one direction Scott seems to have been more conscientious than we
+might be inclined to suppose after seeing the discrepancy between the
+standard of exactness that his own statements lead us to expect and the
+results that actually appear. I believe that he intended to preserve the
+manuscript texts just as he received them, and that he would have wished
+to have them given to the public when the public was prepared to want
+them. To support this theory we have first the fact that most of his own
+emendations have been traced by means of the manuscripts which he
+used.[58] It is significant that in speaking of a poet who had altered a
+manuscript to suit a revised reading he grew indignant over that fault
+far more than over the mere change in the published version. _The Raid
+of the Reidswire_, he said, "first appeared in Allan Ramsay's
+_Evergreen_, but some liberties have been taken by him in transcribing
+it; and, what is altogether unpardonable, the manuscript, which is
+itself rather inaccurate, has been interpolated to favour his readings;
+of which there remain obvious marks."[59] Scott said also that the time
+had come for the publication of Percy's folio manuscript; though we must
+believe that he would not have wished to see the manuscript published
+until the ballads had become familiar to the world in what he considered
+a beautified form.
+
+The changes Scott made were usually in style rather than in substance.
+Often he merely substituted an archaic word for a modern one; but often
+whole lines and longer passages offered temptations which the poet in
+him could not resist, and he "improved" lavishly. For example, we have
+his note on _Earl Richard_--"The best verses are here selected from both
+copies, and some trivial alterations have been adopted from
+tradition,"--with the comment by Mr. Henderson--"The emendations of
+Scott are so many, and the majority relate so entirely to style, that no
+mere tradition could have supplied them."[60] His versions are in
+general characterized by a smoothness and precision of meter which to
+the student of ballads is very suspicious. But he seems occasionally to
+have altered or supplied incidents as well as phrases. The historical
+event which furnished the purpose for the expedition of Sir Patrick
+Spens seems to have been introduced into the ballad by Scott, and Mr.
+Henderson thinks that "when the deeds of his ancestors were concerned it
+was impossible for him to resist the temptation to employ some of his
+own minstrel art on their behalf."[61]
+
+Certainly Scott's qualifications for evolving true poetry out of the
+crude fragments that sometimes served as a basis formed a very unusual
+combination when they were united with his knowledge of early history
+and literature. He had such confidence in his own powers in this
+direction that he at one time intended to write a series of imitations
+of Scottish poets of different periods, from Thomas the Rhymer down, and
+thus to exhibit changes in language as well as variations in literary
+style.[62] He evidently thought that the ballads as they appeared in the
+_Minstrelsy_ were truer to their originals than were the copies he was
+able to procure from recitation. Lockhart gives him precisely the kind
+of praise he would have desired, in saying, "From among a hundred
+corruptions he seized with instinctive tact the primitive diction and
+imagery."[63]
+
+It is evident that Scott's public did not wish him to be more careful
+than he was in discriminating between new and old matter. One of his
+moments of strict veracity seems even to have occasioned some annoyance
+to the writer of the _Edinburgh_ article, who apparently preferred to
+believe in the antiquity of _The Flowers of the Forest_ rather than to
+learn that "the most positive evidence" proved its modern origin. The
+editor's introduction to the poem seems perfectly clear; he names his
+authority and quotes two verses which are ancient;[64] but the reviewer
+says with a perverse irritability: "Mr. Scott would have done well to
+tell us how much he deems ancient, and to give us the 'positive
+evidence' that convinced him _the whole_ was not so."[65] This review
+was, however, for the most part favorable.
+
+The fact that Scott included modern imitations of the ballad in his book
+is another indication that his attitude was like that of his
+predecessors.[66] Doubtless these helped the _Minstrelsy_ to sell, but a
+more modern taste would choose to put them in a place by themselves, not
+in a collection of old ballads. An essay on _Imitations of the Ancient
+Ballad_ was written, as were the _Remarks on Popular Poetry_, for the
+1833 edition. It is chiefly interesting for its autobiographical matter,
+though it also contains criticisms of Burns and other writers of ballad
+poetry--"a species of literary labour which the author has himself
+pursued with some success."[67] Scott's statement that the ballad style
+was very popular at the time he began to write, and that he followed the
+prevailing fashion, was one of many examples of his modesty, taken in
+connection with the remark in another part of the essay to the effect
+that this style "had much to recommend it, especially as it presented
+considerable facilities to those who wished at as little exertion or
+trouble as possible to attain for themselves a certain degree of
+literary reputation." To complete the comparison, however, we need an
+observation found in one of Scott's reviews, on the spurious ballad
+poetry, full of false sentiment, sometimes written in the eighteenth
+century. "It is the very last refuge of those who can do nothing better
+in the shape of verse; and a man of genius should disdain to invade the
+province of these dawdling rhymers."[68]
+
+Scott's criticism of ballad style probably suffered from his interest in
+modern imitations of ballads. Perhaps also the real quality of ancient
+popular poetry was a little obscured for him by his belief that it was
+written by professional or semi-professional poets. If he wrote _Kinmont
+Willie_, he succeeded in catching the right tone better than anyone
+since him has been able to do, but even in this poem there are turns of
+phrase that remind one of the _Lay of the Last Minstrel_ rather than of
+the true folk-song.[69] After his first attempts at versifying he
+received from William Taylor, of Norwich, who had made an earlier
+translation of Buerger's _Lenore_, a letter of hearty praise intermingled
+with very sensible remarks about the tendency in some parts of Scott's
+_Chase_ toward too great elaboration.[70] Scott's answer was as follows:
+"I do not ... think quite so severely of the Darwinian style, as to deem
+it utterly inconsistent with the ballad, which, at least to judge from
+the examples left us by antiquity, admits in some cases of a
+considerable degree of decoration. Still, however, I do most sincerely
+agree with you, that this may be very easily overdone, and I am far from
+asserting that this may not be in some degree my own case; but there is
+scarcely so nice a line to distinguish, as that which divides true
+simplicity from flatness and _Sternholdianism_ (if I may be allowed to
+coin the word), and therefore it is not surprising, that in endeavouring
+to avoid the latter, so young and inexperienced a rhymer as myself
+should sometimes have deviated also from the former."[71] This was
+Scott's earliest stage as a man of letters, and he evidently learned
+more about ballads later. But there appears in much of his criticism on
+the subject a limitation which may be assigned partly to his time, and
+partly, no doubt, to the fact that he was a poet and could not forget
+all the sophistications of his art.
+
+The true nature of ballad poetry could hardly be understood until
+scholars had investigated the structure of primitive society in a way
+that Scott's contemporaries were not at all prepared to do. Even Scott,
+with all his intelligent interest in bygone institutions and modes of
+expression, could hardly have foreseen the anthropological researches
+which the problem of literary origins has since demanded. We do not
+find, then, that Scott's work on ballads was marked by any special
+originality in point of view or method. _The Minstrelsy of the Scottish
+Border_ was a notable book because it did better what other men had
+tried to do, and especially because of the charm and effectiveness of
+its historical comment. It was more trustworthy than Percy's collection
+and more graceful than Ritson's; it was richer than other books of the
+kind in what people cared to have when they wanted ballads, and yet was
+not, for its time, over-sophisticated. Scott's conclusions cannot now be
+accepted without question, but the illustrations with which he sets them
+forth and the wide reading and sincere love of folk-poetry which
+evidently lie behind them produce a pleasant effect of ripe and
+reasonable judgment. The admirable qualities of the book were at once
+recognized by competent critics, and it will always be studied with
+enthusiasm by scholars as well as by the uncritical lover of ballads.
+
+
+_Studies in the Romances_
+
+    Scott's theory as to the connection between ballads and
+    romances--His early fondness for romances--His acquaintance with
+    Romance languages--His work on the _Sir Tristrem_--Value of his
+    edition--Special quality of Scott's interest in the Middle
+    Ages--General theories expressed in the body of his work on
+    romances--His type of scholarship.
+
+Ballads and romances are so closely related that Scott's early and
+lasting interest in the one form naturally grew out of his interest in
+the other. He held the theory that "the romantic ballads of later times
+are for the most part abridgments of the ancient metrical romances,
+narrated in a smoother stanza and more modern language."[72] It is not
+surprising, then, that a considerable body of his critical work has to
+do with the subject of mediaeval romance.
+
+Throughout his boyhood Scott read all the fairy tales, eastern stories,
+and romances of knight-errantry that fell in his way. When he was about
+thirteen, he and a young friend used to spend hours reading together
+such authors as Spenser, Ariosto, and Boiardo.[73] He remembered the
+poems so well that weeks or months afterwards he could repeat whole
+pages that had particularly impressed him. Somewhat later the two boys
+improvised similar stories to recite to each other, Scott being the one
+who proposed the plan and the more successful in carrying it out. With
+this same friend he studied Italian and began to read the Italian poets
+in the original. In his autobiography he says:[74] "I had previously
+renewed and extended my knowledge of the French language, from the same
+principle of romantic research. Tressan's romances, the Bibliotheque
+Bleue, and Bibliotheque de Romans, were already familiar to me, and I
+now acquired similar intimacy with the works of Dante, Boiardo, Pulci,
+and other eminent Italian authors." Writing some years later he
+remarked: "I was once the most enormous devourer of the Italian romantic
+poetry, which indeed is the only poetry of their country which I ever
+had much patience for; for after all that has been said of Petrarch and
+his school, I am always tempted to exclaim like honest Christopher Sly,
+'Marvellous good matter, would it were done.' But with Charlemagne and
+his paladins I could dwell forever."[75] Scott learned languages easily,
+and he read Spanish with about as much facility as Italian. Don Quixote
+seems often to be the guide with whom he chooses to traverse the fields
+of romance.[76] In Scott's boyhood one of his teachers noticed that he
+could follow and enjoy the meaning of what he read in Latin better than
+many of his school-fellows who knew more about the language, and it was
+the same all through his life--he got what he wanted from foreign
+literatures with very little trouble.
+
+Scott constantly refers to the work of Percy, Warton, Tressan,[77]
+Ritson, and Ellis, in the study of ancient romances, but in editing _Sir
+Tristrem_ he made one part of the field his own, and became the
+authority whom he felt obliged to quote in the Essay on Romance.
+
+Thomas the Rhymer of Erceldoune was at first an object of interest to
+Scott because of the ballad of _True Thomas_ and the traditions
+concerning him that floated about the countryside. The "Rhymer's Glen"
+was afterwards a cherished possession of Scott's own on the Abbotsford
+estate. In the Advocates' Library at Edinburgh, of which Scott was in
+1795 appointed a curator, was an important manuscript that contained
+among other metrical romances one professing to be a copy of that
+written by Thomas of Erceldoune on Sir Tristrem. From a careful piecing
+together of evidence furnished by this poem and by Robert of Brunne,
+with the assistance of certain legal documents which supplied dates,
+Scott built up about the old poet a theory that he elaborated in his
+edition of _Sir Tristrem_, published in 1804, and that continued to
+interest him vividly as long as he lived. It reappears in many of his
+critical writings[78] and also in the novels. In the _Bride of
+Lammermoor_ Ravenswood goes to his death in compliance with the prophecy
+of Thomas quoted by the superstitious Caleb Balderstone. And in _Castle
+Dangerous_ Bertram, who is unconvincing perhaps because he is endowed
+with the literary and antiquarian tastes of a Walter Scott himself, is
+actuated by an irrepressible desire to discover works of the Rhymer.
+
+Scott's edition of _Sir Tristrem_ gives--besides the text, introduction,
+and notes--a short conclusion written by himself in imitation of the
+original poet's style. Much of his theory has fallen. He considered this
+_Sir Tristrem_ to be the first of the written versions of that story, a
+supposition that was not long tenable. The poem is now known to be based
+upon a French original, and many scholars think the name Erceldoune was
+arbitrarily inserted by the English translator; though Mr. McNeill, the
+latest editor, thinks there is a "reasonable probability" in favor of
+Scott's opinion that the author was the historic Thomas, who flourished
+in the thirteenth century. It is important, however, that Scott's
+scholarship in the matter passed muster at that time with such men as
+Ellis, who wrote the review in the _Edinburgh_, in which he said, "Upon
+the whole we are much disposed to adopt the general inferences drawn by
+Mr. Scott from his authorities, and have great pleasure in bearing
+testimony to the very uncommon diligence which he has evinced in
+collecting curious materials, and to the taste and sagacity with which
+he has employed them.... With regard to the notes, they contain an
+almost infinite variety of curious information, which had been hitherto
+unknown or unnoticed."[79] John Hookham Frere said, as quoted in a
+letter by Ellis, "I consider _Sir Tristrem_ as by far the most
+interesting work that has as yet been published on the subject of our
+earliest poets."[80] Scott's opinions were in 1824 thought to be of
+sufficient importance, either from their own merits or on account of his
+later fame, to call forth a dissertation appended to the edition of
+Warton's _History of English Poetry_ published in that year.
+
+The first edition of the text swarms with errors, according to
+Koelbing,[81] a recent editor of the romance, and later editions are
+still very inaccurate.[82] It could hardly be expected that a man with
+Scott's habits of mind would edit a text accurately. But no one of that
+period was competent to construct a text that would seem satisfactory
+now. The study of English philology was not sufficiently developed in
+that direction, nor did scholars appreciate either the difficulties or
+the requirements of text-criticism. It is not to be wondered at that
+Scott failed, in this instance as well as afterwards in the case of the
+text of Dryden, to give a version that would stand the minute scrutiny
+of later scholarship.
+
+His sympathies were rather with the scholar who opens the store of old
+poetry to the public, than with him who uses his erudition simply for
+the benefit of erudite people. The diction of the Middle Ages was
+interesting to him only as it reflected the customs and emotions of its
+period. He used the romances as authorities on ancient manners. The
+_Chronicles_ of Froissart, because they give "a knowledge of
+mankind,"[83] were almost as much a hobby with him as Thomas the Rhymer,
+and in this case also he endows characters in his novels with his own
+fondness for the ancient writer.[84] The fruit of Scott's acquaintance
+with Froissart appears prominently in his essay on _Chivalry_ and in
+various introductions to ballads in the _Minstrelsy_, as well as in the
+novels of chivalry. Scott at one time proposed to publish an edition of
+Malory, but abandoned the project on learning that Southey had the same
+thing in mind.[85]
+
+The first periodical review Scott ever published was on the subject of
+the _Amadis de Gaul_, as translated by Southey and by Rose. The article
+is long and very carefully constructed, and expresses many ideas on the
+subject of the mediaeval romance in general that reappear again and
+again, particularly in the essay on _Romance_ written in 1823 for the
+_Encyclopaedia Britannica_. Among these general ideas that found frequent
+expression in his critical writings, one which in the light of his
+creative work becomes particularly interesting to us is his judgment on
+the distinctions between metrical and prose romances. He always
+preferred the poems, though he was so interested in the prose stories
+that he talked about them with much enthusiasm, and it sometimes seems
+as if he liked best the kind he happened to be analyzing at the moment.
+
+Other matters that necessarily presented themselves when he was treating
+the subject of romance were the problem of the sources of narrative
+material, especially the perplexed question concerning the development
+of the Arthurian cycle, and the problem, already discussed in connection
+with ballads, concerning the character of minstrels. The minstrels
+reappear throughout Scott's studies in mediaeval literature, and were
+perhaps more interesting to him than any other part of the subject.
+Though, as we have seen, he formulated a compromise between the opposing
+opinions of Percy and Ritson, no one who reads the description of the
+Last Minstrel can doubt what was the picture that he preferred to carry
+in his mind.
+
+His ideas on the subject of the origin and diffusion of narrative
+material were those of the sensible man trying to look at the matter in
+a reasonable way. Here again he adopted an attitude of compromise, in
+that he admitted the partial truth of various theories which he
+considered erroneous only in so far as any one of them was stretched
+beyond its proper compass. "Romance," he said, "was like a compound
+metal, derived from various mines, and in the different specimens of
+which one metal or other was alternately predominant."[86]
+
+On the subject of the Arthurian cycle, the origin of which has never
+ceased to be matter for debate, he held essentially the opinions that
+the highest French authority has adopted that Celtic traditions were the
+foundation, and that the metrical romances preceded those in prose.[87]
+The important offices of French poets in giving form to the story he
+underestimated. When he said, "It is now completely proved, that the
+earliest and best French romances were composed for the meridian of the
+English court,"[88] he fell into the error that has not always been
+avoided by scholars who have since written on the subject, of feeling
+certitude about a proposition in which there is no certainty.
+
+Scott's work on romances, though it does not always rise above
+commonplaceness, escapes the perfunctory quality of hack writing by
+virtue of his keen interest in the subject. He continued to like this
+prosaic kind of literary task even while he was writing novels with the
+most wonderful facility. We may judge not only by the fact that he
+continued to write reviews at intervals throughout his life, but by an
+explicit reference in his _Journal_: "I toiled manfully at the review
+till two o'clock, commencing at seven. I fear it will be uninteresting,
+but I like the muddling work of antiquities, and besides wish to record
+my sentiments with regard to the Gothic question."[89]
+
+It is evident that Scott did not himself find the "muddling work of
+antiquities" dull, because he realized, emotionally as well as
+intellectually, the life of past times. This led him to form broader
+views than the ordinary student constructs out of his knowledge of
+special facts. An admirable illustration of this characteristic occurs
+in the essay on Romance, at the point where Scott is discussing the
+social position of the minstrels, in the light of what Percy and Ritson
+had said on the subject. He goes on: "In fact, neither of these
+excellent antiquaries has cast a general or philosophic glance on the
+necessary condition of a set of men, who were by profession the
+instruments of the pleasure of others during a period of society such as
+was presented in the Middle Ages." There follows a detailed and very
+interesting account of what the writer's own "philosophic glance" leads
+him to believe. The method is useful but dangerous; in the same essay
+occurs an amusing example of what philosophy may do when it is given
+free rein. Within two pages appear these conflicting statements: "The
+Metrical Romances, though in some instances sent to the press, were not
+very fit to be published in this form. The dull amplifications, which
+passed well enough in the course of a half-heard recitation, became
+intolerable when subjected to the eye." "The Metrical Romances in some
+instances indeed ran to great length, but were much exceeded in that
+particular by the folios which were written on the same or similar
+topics by their prose successors. Probably the latter judiciously
+reflected that a book which addresses itself only to the eyes may be
+laid aside when it becomes tiresome to the reader; whereas it may not
+always have been so easy to stop the minstrel in the full career of his
+metrical declamation." Flaws like this may be picked in the details of
+Scott's method, just as we may sometimes find fault with the lapses in
+his mediaeval scholarship. We do him no injustice when we say that aside
+from certain aspects of his work on the ballads and _Sir Tristrem_, his
+achievement was that of a popularizer of learning.
+
+But if he lacked some of the authority of erudition, he escaped also the
+induration of pedantry. In writing of remote and dimly known periods,
+critics are perhaps most apt to show their defects of temper, and Scott
+often commented on the acerbity of spirit which such studies seem to
+induce. "Antiquaries," he said, "are apt to be both positive and
+polemical upon the very points which are least susceptible of proof, and
+which are least valuable if the truth could be ascertained; and which
+therefore we would gladly have seen handled with more diffidence and
+better temper in proportion to their uncertainty."[90] Of Ritson he says
+many times in one form or another that his "severe accuracy was
+connected with an unhappy eagerness and irritability of temper." Scott
+rode his own hobbies with an expansive cheerfulness that did not at all
+hinder them from being essentially serious.
+
+
+_Other Studies in Mediaeval Literature_
+
+    Scott's attitude on the Ossianic controversy--His slight
+    acquaintance with other northern literatures--Anglo-Saxon
+    scholarship of the time--Character of his familiarity with
+    Middle-English poetry--His opinions in regard to Chaucer--General
+    importance of Scott's work on mediaeval literature.
+
+Part of Scott's critical work on mediaeval literature falls outside the
+limits of the two divisions we have been considering--those of ballad
+and romance. He knew comparatively little about the early poetry of the
+northern nations, but at some points his knowledge of Scottish
+literature made the transition fairly easy to the literature of other
+Teutonic peoples. But he was especially bound to be interested in the
+Gaelic, for a Scotsman of his day could hardly avoid forming an opinion
+in regard to the Ossianic controversy then raging with what Scott
+thought must be its final violence. He did not understand the Gaelic
+language,[91] but he had a vivid interest in the Highlanders. The
+picturesque quality of their customs made it natural enough for him to
+use them in his novels, and by the "sheer force of genius," says Mr.
+Palgrave, who considers this Scott's greatest achievement, "he united
+the sympathies of two hostile races."[92]
+
+As early as 1792 Scott had written for the Speculative Society an essay
+on the authenticity of Ossian's poems, and one of his articles for the
+_Edinburgh Review_ in 1805 was on the same subject, occasioned by a
+couple of important documents which supported opposite sides, and which,
+he said, set the question finally at issue. This article represents
+Scott the critic in a typical attitude. The material was almost
+altogether furnished in the works which he was surveying.[93] His task
+was to distinguish the essential points of the problem, to state them
+plainly, and to weigh the evidence on each side. In this he shows
+notable clearness of thought, and also, throughout the rather long
+treatment of a complicated subject, great lucidity in arrangement and
+statement. He was led by this study to change the opinion which he had
+held in common with most of his countrymen, and to adopt the belief that
+the poems were essentially creations of Macpherson, with only the names
+and some parts of the story adopted from the Gaelic.[94] Other
+references to Ossian occur in Scott's writings, and it is evident in
+this case, as in many others, that an investigation of the matter in his
+early career, whether from original or from secondary sources, gave him
+material for allusion and comment throughout his life. For, as we have
+constant occasion to remark in studying Scott, with a very definite
+grasp of concrete fact he combined a vigorous generalizing power, and
+all the parts of his knowledge were actively related. He seems to have
+made little preparation for some of his most interesting reviews, but to
+have utilized in them the store gathered in his mind for other purposes.
+
+Of the northern Teutonic languages Scott had slight knowledge, though he
+was always interested in the northern literatures. In a review of the
+_Poems of William Herbert_, of which the part most interesting to the
+reviewer consisted of translations from the Icelandic, Scott says: "We
+do not pretend any great knowledge of Norse; but we have so far traced
+the 'Runic rhyme' as to be sensible how much more easy it is to give a
+just translation of that poetry into English than into Latin." In the
+same review we find him saying, after a slight discussion of the style
+of Scaldic poetry, "The other translations are generally less
+interesting than those from the Icelandic. There is, however, one poem
+from the Danish, which I transcribe as an instance how very clearly the
+ancient popular ballad of that country corresponds with our own." So we
+see him drawing from all sources fuel for his favorite fire--the study
+of ballads. Very characteristically also Scott suggests that the author
+should extend his researches to the popular poetry of Scandinavia,
+"which we cannot help thinking is the real source of many of the tales
+of our minstrels."[95] It seems probable that Scott's acquaintance with
+northern literatures came partly through his ill-fated amanuensis, Henry
+Weber.[96] His acknowledgement in the introduction to _Sir Tristrem_
+would indicate this, taken together with other references by Scott to
+Weber's attainments.
+
+Scott could hardly be called a student of Anglo-Saxon, though he was
+perhaps able to read the language. His remarks on the subject may,
+however, mean simply that he was familiar with early Middle English.[97]
+In his essay on Romance he referred to Sharon Turner's account of the
+story of Beowulf, but called the poem Caedmon, and made no correction
+when he added the later footnote in regard to Conybeare's fuller and
+more interesting analysis published in 1826.[98] The researches of these
+men indicate the state of Anglo-Saxon scholarship in England. Sharon
+Turner's very inaccurate description of _Beowulf_ was published in 1805.
+Danish scholars made the first translations of the poem, but no one
+could give a really scholarly text or translation until the year after
+Scott died, when the first edition by J.M. Kemble appeared. There were
+students of the language, however, who were doing good work in feeling
+their way toward a comprehension of its special qualities. One of these
+was George Ellis. In his _Specimens_ he published examples of
+Anglo-Saxon and Middle-English poetry, and his information was helpful
+in enlarging Scott's outlook. Scott's own knowledge of Anglo-Saxon
+literature did not amount to enough to be of importance by itself, but
+it served perhaps to fortify the basis of his generalizations about all
+early poetry.
+
+A review of the _Life and Works of Chatterton_ gave Scott an opportunity
+to discuss the characteristics of Middle-English poetry, but his general
+thesis, that the Rowley poems exhibit graces and refinements which are
+in marked contrast to the tenuity of idea and tautology of expression
+found in genuine works of the period, is supported by an argument which
+seems to be based on a characterization of the romances rather than on a
+close acquaintance with other Middle-English poetry. We notice a similar
+quality in what Scott says elsewhere concerning Frere's translation into
+Chaucerian English of the _Battle of Brunanburgh_: "This appears to us
+an exquisite imitation of the antiquated English poetry, not depending
+on an accumulation of hard words like the language of Rowley, which in
+everything else is refined and harmonious poetry, nor upon an
+agglomeration of consonants in the orthography, the resource of later
+and more contemptible forgers, but upon the style itself, upon its
+alternate strength and weakness, now nervous and concise, now diffuse
+and eked out by the feeble aid of expletives."[99] Of Middle-English
+poets other than Chaucer and the author or translator of _Sir Tristrem_,
+Laurence Minot was the one to whom Scott alluded most frequently,
+doubtless because in Ritson's edition of Minot that poet had become more
+accessible than most of his contemporaries. Whatever detailed work Scott
+did on the poetry of this period was chiefly in connection with _Sir
+Tristrem_, which has naturally been considered in relation with his
+other studies in romances.
+
+Scott's familiarity with Chaucer appears in his numerous quotations from
+that poet, but usually the passages are cited to illustrate mediaeval
+manners rather than for any specifically literary purpose. Yet there are
+Chaucer enthusiasts among the characters of _Woodstock_ and _Peveril of
+the Peak_.[100] Chaucer's fame was well enough established so that Scott
+seems on the whole to have taken his merit for granted, and not to have
+said much about it except in casual references.[101] Among general
+readers he must have been comparatively little known, however,
+notwithstanding the respect paid him by scholars. In 1805 we find Scott
+writing to Ellis that his scheme for editing a collection of the British
+Poets had fallen through, for, he said, "My plan was greatly too liberal
+to stand the least chance of being adopted by the trade at large, as I
+wished them to begin with Chaucer. The fact is, I never expected they
+would agree to it."[102]
+
+Scott's review of Godwin's _Life of Chaucer_, one of the best known of
+his periodical essays, is altogether concerned with the manner in which
+Godwin did his work, and so exhibits Scott's ideas on the subject of
+biography and his methods of reviewing rather than his attitude towards
+Chaucer's poetry. His most definite remarks concerning Chaucer are to be
+found in his comments upon Dryden's _Fables_, as for example: "The
+Knight's Tale, whether we consider Chaucer's original poem, or the
+spirited and animated version of Dryden, is one of the best pieces of
+composition in our language";[103] "Of all Chaucer's multifarious
+powers, none is more wonderful than the humour with which he touched
+upon natural frailty, and the truth with which he describes the inward
+feelings of the human heart."[104] Yet he once called _Troilus and
+Criseyde_ "a somewhat dull poem."[105] _The Cock and the Fox_, on the
+other hand, he speaks of as "a poem which, in grave ironical narrative,
+liveliness of illustration, and happiness of humorous description,
+yields to none that ever was written."[106]
+
+In estimating the importance of Scott's studies on any one period we
+have to think of them as part of a greater whole. The wide range of his
+investigations would evidently make it impossible to expect a complete
+treatment of all the subjects he might choose to discuss, and we have
+found, in fact, that his criticism of mediaeval literature led to
+systematic results in no other lines than those of the ballad and the
+romance. But these were large and important matters. Moreover, to all
+that he wrote in connection with the Middle Ages there attaches a
+special interest; for with that work he made his real start in
+literature; and it reflected the peculiarly delightful vein in his own
+nature which was constant from youth to age, and which gave to his poems
+and novels some of their most brilliant qualities.[107]
+
+
+THE DRAMA
+
+    Scott's fondness for the drama and his acquaintance with actors--His
+    ideas about plot structure--His own dramatic experiments--His
+    opinion of the theaters of his day--His knowledge of English
+    dramatic literature--Familiarity with Elizabethan plays shown in his
+    novels--His Essay on the Drama--Ancient drama--French
+    drama--Dramatic unities--German drama--Elizabethan
+    drama--Shakspere--Ben Jonson--Dryden and other Restoration
+    dramatists--Morality of theater-going--Character of Scott's interest
+    in the drama.
+
+Like most of his characteristics, Scott's taste for the theater was
+exhibited in his childhood. We find him reverting, in a review written
+in 1826,[108] to his rapturous emotions on the occasion of seeing his
+first play; and in the private theatricals which he and his brothers and
+sister performed in the family dining-room he was always the manager. In
+1810 he was active in helping to bring out in Edinburgh the _Family
+Legend_ of his friend Joanna Baillie.[109] One of the actors on that
+occasion was Daniel Terry,[110] who became an intimate friend of
+Scott's. For Terry Scott wrote _The Doom of Devorgoil_, but the piece
+was not found suitable for presentation. Several of the novels were more
+successfully dramatized by the same friend, so that we find the "Author"
+humorously complaining in the "Introductory Epistle" to _The Fortunes of
+Nigel_, "I believe my muse would be _Terry_fied into treading the stage
+even if I should write a sermon." Among Scott's friends were several
+other actors, particularly Mrs. Siddons and her brother John Kemble, and
+the comedian Charles Mathews. In Scott's review of _Kelly's
+Reminiscences and the Life of Kemble_ we find recorded many of the
+discriminations he was fond of making in regard to the talents of
+particular actors.
+
+In his childhood Scott felt well qualified to take the part of Richard
+III., for he considered that his limp "would do well enough to represent
+the hump."[111] After a similar fashion we find him commenting on the
+improbabilities of the tragedy of _Douglas_: "But the spectator should,
+and indeed must, make considerable allowances if he expects to receive
+pleasure from the drama. He must get his mind, according to Tony
+Lumpkin's phrase, into 'a concatenation accordingly,'[112] since he
+cannot reasonably expect that scenes of deep and complicated interest
+shall be placed before him, in close succession, without some force
+being put upon ordinary probability; and the question is not, how far
+you have sacrificed your judgment in order to accommodate the fiction,
+but rather, what is the degree of delight you have received in
+return."[113]
+
+Scott disclaimed any special knowledge of stage-craft. "I know as little
+about the division of a drama as the spinster about the division of a
+battle, to use Iago's simile,"[114] he once wrote to a friend. Yet as a
+critic he had of course some general ideas about the making of plays,
+without having worked out any subtle theories on the subject. In
+criticising a play by Allan Cunningham, who had asked for his judgment
+on it, he remarked first that the plot was ill-combined. "If the mind
+can be kept upon one unbroken course of interest, the effect even in
+perusal is more gratifying. I have always considered this as the great
+secret in dramatic poetry, and conceive it one of the most difficult
+exercises of the invention possible, to conduct a story through five
+acts, developing it gradually in every scene, so as to keep up the
+attention, yet never till the very conclusion permitting the nature of
+the catastrophe to become visible,--and all the while to accompany this
+by the necessary delineation of character and beauty of language."[115]
+And again he said to the same person, "I hope you will make another
+dramatic attempt; and in that case I would strongly recommend that you
+should previously make a model or skeleton of your incidents, dividing
+them regularly into scenes and acts, so as to insure the dependence of
+one circumstance upon another, and the simplicity and union of your
+whole story."[116] Here we find Scott giving advice which by his own
+admission he was not himself able to follow in the composition of
+fiction. "I never could lay down a plan, or having laid it down I never
+could adhere to it," he wrote in his journal[117]. And the "Author" in
+the introductory epistle to _Nigel_ remarks, "It may pass for one good
+reason for not writing a play, that I cannot form a plot."
+
+The few experiments that he made he did not seem to regard seriously at
+any time, though he was rather favorably impressed on rereading the
+_Doom of Devorgoil_ after it had lain unused for several years.[118] Of
+_Halidon Hill_ he said, "It is designed to illustrate military
+antiquities and the manners of chivalry. The drama (if it can be called
+one) is in no particular either designed or calculated for the
+stage."[119] He seems to have been "often urged" to write plays, if one
+may trust Captain Clutterbuck's authority, and the effectiveness of the
+many poetical mottoes improvised by the Author of Waverley for the
+chapters of his novels, and subscribed "Old Play,"[120] was naturally
+used as an argument.[121] Scott's own judgment in the matter was
+expressed thus: "Nothing so easy when you are full of an author, as to
+write a few lines in his taste and style; the difficulty is to keep it
+up. Besides, the greatest success would be but a spiritless imitation,
+or, at best, what the Italians call a _centone_ [_sic_] from
+Shakspeare."[122] When Elliston became manager of Drury Lane in 1819 he
+applied to Scott for plays, but without effect.[123] Scott seems never
+to have felt any concern over the fact that the dramatized versions of
+his novels were often very poor, but Hazlitt wished that he would "not
+leave it to others to mar what he has sketched so admirably as a
+ground-work," for he saw no good reason why the author of Waverley could
+not write "a first-rate tragedy as well, as so many first-rate
+novels."[124]
+
+Scott felt that to write for the stage in his day was a thankless and
+almost degrading occupation. "Avowedly I will never write for the stage;
+if I do, 'call me horse.'" he said in a letter to Terry.[125] Again in
+a letter to Southey: "I do not think the character of the audience in
+London is such that one could have the least pleasure in pleasing
+them.... On the whole, I would far rather write verses for mine honest
+friend Punch and his audience";[126] and to a would-be tragedian he
+said: "In the present day there is only one reason which seems to me
+adequate for the encountering the plague of trying to please a set of
+conceited performers and a very motley audience,--I mean the want of
+money."[127] This degraded condition of the London stage Scott thought
+to be a consequence of limiting the number of theaters. We can hardly
+suppose, however, that he was pessimistic in regard to the written drama
+of his day, when he could say of Byron, "There is one who, to judge from
+the dramatic sketch he has given us in Manfred, must be considered as a
+match for Aeschylus, even in his sublimest moods of horror";[128] or
+when he could place Joanna Baillie in the same class with
+Shakspere[129].
+
+Scott probably did much reading in the drama in his early life. We know
+that by 1804 he had "long since" annotated his copy of Beaumont and
+Fletcher sufficiently so that he wished to offer it to Gifford, who,
+Scott erroneously understood, was about to edit their dramas.[130] The
+edition of Dryden, published in 1808, shows familiarity with Elizabethan
+as well as Restoration dramatists. He seems to have had first-hand
+knowledge of such men as Ford, Webster, Marston, Brome, Shirley,
+Chapman, and Dekker, whom he mentions as being "little known to the
+general readers of the present day, even by name."[131] But 1808 was
+the very year in which appeared Lamb's _Specimens of English Dramatic
+Poets_ and Coleridge's first course of lectures on Shakspere. The old
+dramatists were beginning to come to their own, through the sympathetic
+appreciation of the Romantic critics. Scott never refers, however, to
+the work of Lamb, Coleridge, or Hazlitt[132] in this field and we
+conclude that his researches in dramatic literature were the recreation
+of a man who realized that his business lay in another direction. But in
+preparing the _Dryden_, he doubtless read more widely in Restoration
+drama than he would otherwise have done. Throughout his life he
+continued to read plays at intervals, as we know from occasional
+references in the _Journal_; but after the _Dryden_ appeared we can
+point to no time in his career when such reading was his especial
+occupation. His familiarity with Elizabethan drama he showed even more
+emphatically than by serious critical writings on the subject, in his
+fragments from mythical "Old Plays,"[133] in his frequent references to
+single plays, and in the substance of some of the novels, particularly
+_The Fortunes of Nigel_ and _Woodstock_, which make use of settings,
+situations, and characterizations suggested by the drama.[134] Mr. Lang
+says of _The Fortunes of Nigel_, "The scenes in Alsatia are a distinct
+gain to literature, a pearl rescued from the unread mass of
+Shadwell."[135]
+
+His serious critical writings on the subject comprise little else than
+his _Essay on the Drama_, which appeared in the supplement to the
+_Encyclopaedia Britannica_, published in 1819, and the discussions given
+in connection with Dryden's plays.[136] Although the Essay was written
+ten years later than the _Dryden_, we have no reason to think that Scott
+changed his views or added greatly to his knowledge in the interval, and
+using these two sources we may discuss his account of the drama in
+general without regard to the particular date at which his opinions were
+expressed.
+
+His exposition in the _Essay on the Drama_ rested on the basis furnished
+by a historical study of the stage. He did not, of course, pretend to
+have formed his own conclusions on all points, and we find him quoting
+from various authorities, sometimes naming them and sometimes only
+indicating, perhaps, that he was "abridging from the best antiquaries."
+This, however, was chiefly in connection with the ancient drama. As I
+have already remarked, we do not find him referring to recent studies on
+the English drama. And though Scott had forgotten all his Greek we
+observe that he is bold enough to disagree with "the ingenious Schlegel"
+in regard to the comparative value of the Greek New Comedy. In his
+treatment of the ancient drama the main point for note is the success
+with which he gives a broad and connected view of the subject. His
+account of the drama in France needs correction in certain
+respects,[137] but it seems to indicate some first-hand knowledge and
+very definite opinions. He quotes Moliere frequently throughout his
+writings, and always speaks of him with admiration; but with no other
+French dramatist does he seem to have been familiar to such a degree.
+Judging French tragic poets too much from the Shaksperian point of view,
+he was not prepared to do them justice.[138] On the dramatic unities, of
+which he remarked, "Aristotle says so little and his commentators and
+followers talk so much," Scott wrote, here and elsewhere, with decision
+and vivacity. The unities of time and place he calls "fopperies," though
+time and place, he admits, are not to be lightly changed.[139] He
+connects the whole discussion with the study of theatrical conditions,
+and never bows down to authority as such. He says, "Surely it is of less
+consequence merely to ascertain what was the practice of the ancients,
+than to consider how far such practice is founded upon truth, good
+taste, and general effect"; and again, "Aristotle would probably have
+formulated different rules if he had written in our time." And though he
+adopted and applied to the drama the Horatian dictum that the end of
+poetry is to instruct and delight, it was not because Horace and a long
+line of critics had said it, but because he thought it was true.
+Doubtless his phrase would have been different if he had not taken what
+was lying nearest, but his habit was never carefully to avoid the common
+phrase. His general opinion of French drama was decidedly unfavorable,
+and he thought it was doubtful whether their plays would ever be any
+nearer to nature. "That nation," he observes calmly, "is so unfortunate
+as to have no poetical language."
+
+His remarks on German drama are general in character, though we know
+that in his early days he was much interested in translating
+contemporary German plays. His version of Goethe's _Goetz von
+Berlichingen_ was the most important of these translations. A letter of
+Scott's contains the following reference to this play:[140] "The
+publication of Goetz was a great era ... in German literature, and
+served completely to free them from the French follies of unities and
+decencies of the scene, and gave an impulse to their dramas which was
+unique of its kind. Since that, they have been often stark mad but
+never, I think, stupid. They either divert you by taking the most
+brilliant leaps through the hoop, or else by tumbling into the custard,
+as the newspapers averred the Champion did at the Lord Mayor's dinner."
+
+When he is on English ground we can best trace Scott's individual
+opinions, yet even here he reflects some of the limitations of the less
+enlightened scholarship of his time, especially in connection with early
+Elizabethan writers. He passes from _Ferrex and Porrex_[141] and _Gammer
+Gurton's Needle_ directly to Shakspere, and quite omits Marlowe and the
+other immediate predecessors. He was not ignorant of their existence,
+for against a statement of Dryden's that Shakspere was the first to use
+blank verse we find in Scott's edition the note,--"This is a mistake.
+Marlowe and several other dramatic authors used blank verse before the
+days of Shakespeare";[142] and one of his youthful notebooks contains
+this comment on _Faustus_: "A very remarkable thing. Grand subject--end
+grand."[143] In 1831 Scott intended to write an article for the
+_Quarterly Review_ on Peele, Greene, and Webster, and in asking
+Alexander Dyce to have Webster's works sent to him he said, "Marlowe and
+others I have,--and some acquaintance with the subject, though not
+much."[144] Webster he considered "one of the best of our ancient
+dramatists." The proposed article was never written, because of Scott's
+final illness.
+
+In spite of his statement that "the English stage might be considered
+equally without rule and without model when Shakspeare arose," Scott did
+not seem inclined to leave the great man altogether unaccounted for, as
+some critics have preferred to do, for he says, "The effect of the
+genius of an individual upon the taste of a nation is mighty; but that
+genius in its turn is formed according to the opinions prevalent at the
+period when it comes into existence." These opinions, however, Scott
+assigns very vaguely to the influence of "a nameless crowd of obscure
+writers," and thinks it fortunate that Shakspere was unacquainted with
+classical rules. The critic had evidently made no attempt to define the
+influence of particular writers upon Shakspere. His criticism is at some
+points purely conventional, as for instance when he calls the poet "that
+powerful magician, whose art could fascinate us even by means of
+deformity itself "; but on the whole Scott seems to write about
+Shakspere in a very reasonable and discriminating way.
+
+He has a good deal to say of Ben Jonson, in other places as well as in
+this Essay on the Drama.[145] He was evidently well acquainted with that
+poet, and admired him without liking him. Somewhere he calls him "the
+dry and dogged Jonson,"[146] and again he speaks of his genius in very
+high terms. The contrast between Shakspere and Jonson moved him even to
+epigram:[147] "In reading Shakespeare we often meet passages so
+congenial to our nature and feelings that, beautiful as they are, we can
+hardly help wondering they did not occur to ourselves; in studying
+Jonson, we have often to marvel how his conceptions could have occurred
+to any human being." It was characteristic of Scott to note the fact
+that Shakspere wrote rapidly, Jonson slowly, for he was fond of getting
+support for his theory that rapid writing is the better.
+
+As early as 1804 Scott referred to _The Changeling_ as "an old play
+which contains some passages horribly striking,"[148] and in so doing
+voiced, as Mr. Swinburne says, "the first word of modern tribute to the
+tragic genius of Thomas Middleton."[149] Scott also praised Massinger
+highly, especially for his strength in characterization, and once called
+him "the most gentleman-like of all the old English dramatists."[150] He
+discussed Beaumont and Fletcher sympathetically, for he knew them well
+and frequently quoted from them. He named Shirley, Ford, Webster, and
+Dekker in a group, and spoke of the singular profusion of talents
+devoted in this period to the writing of plays, an observation which is
+made more explicitly later in the _Journal_, when he has just been
+reading an old play which, he says, "worthless in the extreme, is, like
+many of the plays in the beginning of the seventeenth century, written
+to a good tune. The dramatic poets of that time seem to have possessed
+as joint-stock a highly poetical and abstract tone of language, so that
+the worst of them often remind you of the very best."[151] This
+circumstance he accounts for by a reference to the audiences, and this
+in turn he seems to ascribe partly to the great number of theaters then
+open in London. He dwells so much on the evils of limiting the number of
+play-houses to two or three, that we may fairly consider it one of his
+hobbies, and it is possible that he had some slight influence toward
+increasing that public opposition to the theatrical monopoly which
+finally, in 1843, resulted in the nullification of the patents.
+
+Scott's discussion of Restoration drama is admirably vigorous and clear.
+He probably simplified the matter too much at some points, indeed, as
+for example in over-estimating the influence exerted upon the stage by
+Charles II. and his French tastes, and in tracing the origin of the
+French drama to romances. But in general his facts are right and his
+deductions fair. Mr. Saintsbury has accused him of depreciating Dryden's
+plays, especially the comedies, out of disgust at their indecency; yet
+in judging the period as a whole he seems to discriminate sufficiently
+between indelicacy and dulness. "The talents of Otway," he says, "in his
+scenes of passionate affection rival, at least, and sometimes excel
+those of Shakspeare." Again: "The comedies of Congreve contain probably
+more wit than was ever before embodied upon the stage; each word was a
+jest, and yet so characteristic that the repartee of the servant is
+distinguished from that of the master; the jest of the cox-comb from
+that of the humorist or fine gentleman of the piece." Lesser writers of
+the time are also sympathetically characterized,--Shadwell, for
+instance, whom he thought to be commonly underestimated.[152] The heroic
+play Scott discussed vivaciously in more than one connection, for, as we
+should expect, his sense of humor found its absurdities tempting.[153]
+On the rant in the _Conquest of Granada_ he remarked, "Dryden's apology
+for these extravagances seems to be that Almanzor is in a passion. But
+although talking nonsense is a common effect of passion, it seems hardly
+one of those consequences adapted to show forth the character of a hero
+in theatrical representation."[154] Scott's opinion of the form of these
+plays appears in the following comment: "We doubt if, with his utmost
+efforts, [Moliere] could have been absolutely dull, without the
+assistance of a pastoral subject and heroic measure."[155] Concerning
+the indecency of the literature of the period Scott wrote emphatically.
+He was much troubled by the problem of whether to publish Dryden's works
+without any cutting, and came near taking Ellis's advice to omit some
+portions, but he finally adhered to his original determination: "In
+making an edition of a man of genius's works for libraries and
+collections ... I must give my author as I find him, and will not tear
+out the page, even to get rid of the blot, little as I like it."[156]
+
+The question of the morality of theater-going was one Scott felt obliged
+to discuss when he was writing upon the drama. He found its vindication,
+characteristically, in a universal human trait,--the impulse toward
+mimicry and impersonation,--and in the good results that may be supposed
+to attend it. In naming these he lays what seems like undue stress on
+the teaching of history by the drama, in language that might quite as
+well be applied to historical novels. His argument on the literary side
+also is stated in a somewhat too sweeping way:--"Had there been no
+drama, Shakespeare would, in all likelihood, have been but the author of
+_Venus and Adonis_ and of a few sonnets forgotten among the numerous
+works of the Elizabethan age, and Otway had been only the compiler of
+fantastic odes."[157] A final plea, in favor of the stage as a
+democratic agency--though this of course is not Scott's phrasing--seems
+slightly unusual for him, although not essentially out of character.
+"The entertainment," he says, "which is the subject of general
+enjoyment, is of a nature which tends to soften, if not to level, the
+distinction of ranks."[158] In another mood he admitted the greater
+likelihood that immoral plays would injure the public character than
+that moral plays would elevate it.[159]
+
+It is sufficiently apparent to any student of Scott's work that he was
+personally very fond of the drama. Many of the literary references and
+allusions which appear in great abundance throughout his writings are
+from plays, and show, as we have seen, a wide acquaintance with English
+dramatic writers, from Shakspere to such comparatively little-known
+playwrights as Suckling and Cowley. In the _Letters of Malachi
+Malagrowther on the Currency_, for example, Scott's unusual range of
+reading reveals itself even in connection with a subject remote from his
+ordinary field, and here as elsewhere he shows himself prone to quote
+from the drama.[160] But Scott was interested in plays for what he found
+in them of characters and manners, of witty and sententious speech, of
+situations and incidents, and only secondarily in the technical aspects
+of the drama. Reading his novels we could guess that he would care more
+for the concrete elements of a play than for the orderly march of events
+through the various stages of a formally proper construction. In this
+respect he differs from Coleridge; but indeed the two men may be
+contrasted at almost every point. In summing up this part of Scott's
+criticism we must remember also that it was chiefly incidental. Perhaps
+whatever qualities it exhibits are on this account particularly
+characteristic: at any rate his opinions on the drama were the reaction
+of an unusually capable mind upon a department of literature in which
+his reading was all the more fruitful because it followed the lines of a
+natural inclination.
+
+
+THE SEVENTEENTH CENTURY
+
+_Dryden_
+
+    Scott's preparations for his edition of Dryden--Wide Scope of the
+    work--Scott's estimation of Dryden--Grounds for putting Dryden above
+    Chaucer and Spenser--Admirable style of the biography--Comments by
+    Scott on other seventeenth century writers.
+
+The edition of _Dryden's Complete Works_ deserves further notice,
+especially since only eight of the eighteen volumes are occupied with
+the plays, and these have less commentary than other parts of the works.
+In 1805 Scott wrote to his friend George Ellis, "My critical notes will
+not be very numerous but I hope to illustrate the political poems, as
+_Absalom and Achitophel_, the _Hind and Panther_, etc., with some
+curious annotations. I have already made a complete search among some
+hundred pamphlets of that pamphlet-writing age, and with considerable
+success, as I have found several which throw light on my author."[161]
+He added that another edition of Dryden was proposed, and Ellis wrote in
+answer, "With regard to your competitors, I feel perfectly at my ease,
+because I am convinced that though you should generously furnish them
+with all the materials, they would not know how to use them; _non cuivis
+hominum contingit_ to write critical notes that anyone will read."[162]
+
+When Scott's Dryden was reedited and reissued in 1882-93 by Professor
+Saintsbury, the new editor said: "It certainly deserves the credit of
+being one of the best-edited books on a great scale in English, save in
+one particular,--the revision of the text."[163] The elaborate
+historical notes are left untouched, as being "in general thoroughly
+trustworthy,"[164] though the editor considers them somewhat excessive,
+especially as sometimes containing illustrative material from perfectly
+worthless contemporaries. On the other hand, the "explanation of word
+and phrase is a little defective."[165]
+
+The most notable quality of the _Life of Dryden_ which composes the
+first of the eighteen volumes is its breadth of scope. Scott's aim may
+best be given in his own words in the Advertisement: "The general
+critical view of Dryden's works being sketched by Johnson with
+unequalled felicity, and the incidents of his life accurately discussed
+and ascertained by Malone, something seemed to remain for him who should
+consider these literary productions in their succession, as actuated by,
+and operating upon, the taste of an age where they had so predominant
+influence; and who might, at the same time, connect the life of Dryden
+with the history of his publications, without losing sight of the fate
+and character of the individual."[166]
+
+Errors of judgment appear in places; sometimes they are due to the
+imperfect scholarship of the time; sometimes they arise from prejudices
+of Scott's own. In the very first chapter we find him condemning Lyly
+and all writers of "conceited" language--particularly of course the
+Metaphysicals--with a thoroughness that a truly catholic critic ought
+probably to avoid. Scott had a constitutional dislike for a labored
+style, and at the same time a fondness for the direct and
+straightforward way of looking at things. So, though he was open to the
+emotional appeal of a poem like _Christabel_, he took no pleasure in the
+devious processes by which the cold intellect has sometimes tried to
+give fresh interest to familiar words and ideas. They quite prevented
+him from seeing the passion in the work of Donne, for example, and he
+considered all metaphysical poets, in so far as they showed the traits
+of their class, to be without poetical feeling.
+
+Scott placed Dryden after Shakspere and Milton as third in the list of
+English writers. I think he would even have been willing to say that
+Dryden was the third as a poet. For greatly as he admired Chaucer, Scott
+did not feel Chaucer's full power, and indeed it was only beginning to
+be possible to read Chaucer with any appreciation of his metrical
+excellence. Spenser, of whom he once wrote: "No author, perhaps, ever
+possessed and combined in so brilliant a degree the requisite qualities
+of a poet,"[167] was more of a favorite with Scott than Chaucer. But at
+another time he spoke of Drayton as possessing perhaps equal powers of
+poetry,[168] and he seems to have felt that Spenser becomes tedious
+through the continued use of his difficult stanza and even more because
+of the "languor of a continued allegory."[169] In comparing his
+judgments on Spenser and Dryden we may conclude that the critic found
+more in the later poet of that solid intellectual basis which he
+emphasizes in characterizing him. "This power of ratiocination," says
+Scott, "of investigating, discovering, and appreciating that which is
+really excellent, if accompanied with the necessary command of fanciful
+illustration and elegant expression, is the most interesting quality
+which can be possessed by a poet."[170] Again he lays emphasis on
+Dryden's versatility,--greater, he says, than that of Shakspere and
+Milton. In _Old Mortality_ Dryden is referred to as "the great
+High-priest of all the Nine." Scott would have called this another point
+of his superiority over Spenser, if he had made the comparison.
+
+Yet he saw Dryden's deficiencies. "It was a consequence of his mental
+acuteness that his dramatic personages often philosophized and reasoned
+when they ought only to have felt,"[171] Scott remarks and he frequently
+deplores Dryden's failure "in expressing the milder and more tender
+passions."[172] Of Dryden's great gift of style, Scott speaks in the
+highest terms. "With this power," he says, "Dryden's poetry was gifted
+in a degree surpassing in modulated harmony that of all who had preceded
+him and inferior to none that has since written English verse [_sic_].
+He first showed"--and here we see Scott's eighteenth-century
+affinities--"that the English language was capable of uniting smoothness
+and strength."[173]
+
+Such criticism as Scott gives on specific parts of Dryden's work is
+clear-cut, fair for the most part, and has the sanity and reasonableness
+which are the most noticeable qualities of his criticism in general. It
+would be easier to find illustrations of shrewdness than of subtlety
+among his notes, but his discriminations are often effective and
+satisfying. His discussion, for example, of prologues and epilogues
+considered in relation to the theatrical conditions which determined
+their character is admirable.[174] A note on "the cant of supposing that
+the _Iliad_ contained an obvious and intentional moral"[175] is also
+full of sense and vigor, but these qualities are so thoroughly diffused
+through the work that there is no need of particularizing. His praise of
+_Alexander's Feast_ may be referred to, however, as showing his
+characteristic delight in objective poetry.[176] As a lyric poet, he
+says, Dryden "must be allowed to have no equal."[177]
+
+The peculiarly congenial qualities of the subject may have had something
+to do with the fact that the style in which the _Life of Dryden_ is
+written is noticeably better than that of Scott's ordinary work. It is
+marked with a care and accuracy that were not, unfortunately, habitual
+to him. Perhaps it was an advantage that when he wrote the book he had
+not yet become altogether familiar with his own facility; certainly the
+substance and the manner of treatment unite in making this the most
+important of his critical biographies.
+
+Various references indicate that Scott was acquainted in at least a
+general way with English writers throughout the whole of Dryden's
+century. He speaks of the poems of Phineas Fletcher as containing "many
+passages fully equal to Spenser"[178]; he says that Cowley "is now ...
+undeservedly forgotten"[179]; he calls _Hudibras_ "the most witty poem
+that ever was written,"[180] but says, "the perpetual scintillation of
+Butler's wit is too dazzling to be delightful"[181]; he talks of Waller
+and quotes from him[182]; he refers to the charming quality of Isaac
+Walton's work;[183] and he adopts Samuel Pepys as a familiar
+acquaintance.[184] These references occur mostly in the _Dryden_ or in
+the novels, and we may conclude that the work for the _Dryden_ gathered
+up and strengthened all Scott's acquaintance with the literature of the
+seventeenth century, from Shakspere and Milton down to writers of
+altogether minor importance; and gave him material for many of the
+allusions that appear in his later work. It is probably true that there
+are more quotations from Dryden in Scott's books than from any other one
+author,[185] though lines from Shakspere occurred more often in his
+conversation and familiar letters.
+
+
+THE EIGHTEENTH CENTURY
+
+_Swift_
+
+    The preparation of _Swift's Complete Works_--Comparison of the
+    _Dryden_ and the _Swift_--The bibliographical problem presented by
+    Swift's works--Inaccuracies in the biography--Scott's success in
+    portraying a perplexing temperament--Judicious quality of his
+    literary criticism.
+
+As soon as the _Dryden_ was completed Scott was offered twice as much
+money as he had received for that work, for a similar edition of
+Swift.[186] He readily undertook the task, and in the midst of many
+other editorial engagements set to work upon it. The preparation of the
+book extended over the six years during which Scott ran the greater part
+of his poetical career. On its appearance one of his friends expressed
+the feeling which every student of Scott must have had in regard to the
+large editorial labors that he undertook, in saying, "I am delighted and
+surprised; for how a person of your turn could wade through, and so
+accurately analyze what you have done (namely, all the dull things
+calculated to illustrate your author), seems almost impossible, and a
+prodigy in the history of the human mind."[187] The work was first
+published in 1814. Ten years later it was revised and reissued; and
+Scott's _Swift_ has, like his _Dryden_, been the standard edition of
+that author ever since.
+
+In each case Scott had to deal with an important and varied body of
+literature in the two fields of poetry and prose, though the proportions
+were different; and in each case he had occasion for illustrative
+historical annotations of the kind that he wrote with unrivalled
+facility. He was master of the political intrigues of Queen Anne's reign
+no less completely than of the circumstances which gave rise to _Absalom
+and Achitophel_, and the fact that his notes are less voluminous in the
+_Swift_ is probably to be accounted for by the comparative absence of
+quaintness in the literary and social fashions of the eighteenth
+century.
+
+The peculiar conditions under which Swift's writings had appeared, and
+his remarkable indifference to literary fame, gave the editor
+opportunity to look for material which had not before been included in
+his works. The diligent search of Scott and his various correspondents
+enabled him to add about thirty poems, between sixty and seventy letters
+from Swift, and about sixteen other small pieces. The most noteworthy
+item among these additions was the correspondence between Swift and Miss
+Vanhomrigh, of which only a very small part had previously been made
+public.[188]
+
+Scott's notes seem to indicate that most of the necessary searching
+through newspapers and obscure pamphlets for forgotten work of Swift was
+performed by "obliging correspondents," and that the editor himself had
+only to pass judgment on what was brought to his attention. This
+impression may arise largely from his cordiality in expressing
+indebtedness to his helpers, but it is certain that his position as a
+popular poet gave Scott the assistance of many people who would not have
+been enlisted in the work by an ordinary editor. But Scott had the
+difficult task of deciding whether the unauthenticated pieces were to be
+assigned to Swift. The bibliography of Swift is still so uncertain that
+it is impossible to say how many of the small pamphlets in verse and
+prose added in this edition are really his work.[189] Scott had good
+reason for his additions in most cases, though sometimes, as he was
+aware, the Dean had merely revised the work of other people. The editor
+was occasionally over-credulous in attributing pieces to Swift, but he
+was perhaps oftener too generous in giving room to things which he knew
+had very little claim to be considered Swift's work. When he was in
+doubt he chose to err on the safe side, according to the principles set
+forth in the following note on the _Letter from Dr. Tripe to Nestor
+Ironside_: "The piece contains a satirical description of Steele's
+person, and should the editor be mistaken in conjecturing that Swift
+contributed to compose it, may nevertheless, at this distance of time,
+merit preservation as a literary curiosity."[190] The ample space
+afforded by the nineteen volumes of the book gives room to Arbuthnot's
+_History of John Bull_--because it was "usually published in Swift's
+works,"--to the verses addressed to the Dean and those written in memory
+of him, as well as to the prose and verse miscellanies of Pope and
+Swift, and the miscellanies and _jeux d'esprit_ of Swift and Sheridan.
+Swift's correspondence fills the last four and a half volumes.
+
+The biography, which occupies the first volume, is admirable in tone,
+but the facts Scott gives are less to be relied upon than the inferences
+and conclusions he derives from them. He corresponded with persons who
+were in a position to know about Swift from his friends and
+acquaintances, and probably he trusted too much to these "original
+sources." We find, as perhaps the most noteworthy instance, that the
+marriage to Stella is stated as an ascertained fact, on authority that
+is not now considered convincing. Later biographers of Swift,--Sir Henry
+Craik, Leslie Stephen, Mr. Churton Collins,--have borne witness to the
+human interest of Scott's biography, and its preeminence, in spite of
+inaccuracies, among all the Lives of Swift that have been written. But
+Mr. Churton Collins thinks Scott did not present a really clear view of
+Swift's mysterious character, and Craik says he took only the
+conventional attitude towards Swift's politics, misanthropy, and
+religion. The charge indicates Scott's weakness, and perhaps also much
+of his strength, as a biographer and critic, for he had no prejudice
+against the conventional as such, and was never anxious to exhibit
+special "insight" of any kind. Yet I think his portrayal of Swift has
+seemed to most readers a clear presentation of a real and comprehensible
+character.[191]
+
+Scott's remark when he undertook the work, that Swift was of his early
+favorites,[192] seems surprising when one remembers how his genial
+nature recoiled from misanthropy and cynicism; but his treatment of the
+Dean was so sympathetic that Jeffrey thought him decidedly too lenient,
+and was moved to express righteous indignation in the pages of the
+_Edinburgh Review_.[193] The rebuke was unnecessary, for Scott did not
+omit to record Swift's failings and to express wholesomely vigorous
+opinions concerning them, though he felt that they ought to be looked
+upon as evidences of disease rather than of guilt. He felt also, with
+perhaps some excess of charity but surely not such as could be in the
+least harmful, that "if the Dean's principles were misanthropical, his
+practice was benevolent. Few have written so much with so little view
+either to fame or to profit, or to aught but benefit to the
+public."[194] Jeffrey's condemnation of Scott's point of view was
+mingled with just praise. He said of the biography: "It is quite fair
+and moderate in politics; and perhaps rather too indulgent and tender
+towards individuals of all descriptions,--more full, at least, of
+kindness and veneration for genius and social virtue, than of
+indignation at baseness and profligacy. Altogether it is not much like
+the production of a mere man of letters, or a fastidious speculator in
+sentiment and morality; but exhibits throughout, and in a very pleasing
+form, the good sense and large toleration of a man of the world."
+
+The very practical motives that inspired most of Swift's pamphlets would
+naturally attract Scott. Probably it was the remembrance of the
+_Drapier's Letters_ that suggested to him a similar form of protest
+against proposed changes in the Scottish currency; certainly the
+_Letters of Malachi Malagrowther_ had an effect comparable to that of
+Swift's more consummately ingenious appeal. Another quality in Swift's
+work that would naturally arouse Scott's admiration was the remarkable
+directness and lucidity of the style. Scott appreciated the originality
+force of Swift, even when it was used in the service of satire.
+Sometimes, he says, "the intensity of his satire gives to his poetry a
+character of emphatic violence which borders upon grandeur."[195] The
+editor's discussion of _Gulliver's Travels_ an acute and illuminating
+little essay, contains one comment that gives an amusing revelation of
+his point of view. He says in regard to the fourth part of the story:
+"It is some consolation to remark that the fiction on which this libel
+on human nature rests is in every respect gross and improbable, and, far
+from being entitled to the praise due to the management of the first two
+parts, is inferior in plan even to the third."[196] This is a sound
+verdict, even if it does contain an extra-literary element. Scott
+surpassed most of his contemporaries, except the younger Romantic
+writers, in his ability to eliminate irrelevant considerations in
+estimating any literary work; and if occasionally his strong moral
+feeling appears in his criticism, it serves to remind us how much less
+often this happens than a knowledge of his temperament would lead us to
+expect. In spite of the qualities in his subject that might naturally
+bias Scott's judgment, his criticism throughout this edition of Swift
+seems on the whole very judicious. It defines the literary importance
+and brings out plainly the power of a man whose work presents unusual
+perplexities to the critic.
+
+
+_The Somers Tracts_
+
+    Character of the collection and of Scott's work on it--Occasional
+    carelessness--Purpose of the notes--Scott's attitude towards these
+    studies.
+
+While Scott was working on his _Dryden_ and before he began the _Swift_
+he undertook to edit the great collection which had been published fifty
+years before as _Somers' Tracts_. His task was to arrange, revise, and
+annotate pamphlets which represented every reign from Elizabeth to
+George I. He grouped them chronologically by reigns, and separated them
+further into sections under the headings,--Ecclesiastical, Historical,
+Civil, Military, Miscellaneous; he also added eighty-one pamphlets, all
+written before the time of James II. The largest number of additions in
+any one section was historical and had reference to Stafford. Among the
+miscellaneous tracts that he incorporated were Derrick's _Image of
+Ireland_ from a copy in the Advocates' Library, and Gosson's _School of
+Abuse_. Scott's statement in the Advertisement as to why he did not omit
+any of the original collection shows his unpedantic attitude toward the
+kind of studies which he was encouraging by the republication of this
+series. He says: "When the variety of literary pursuits, and the
+fluctuation of fashionable study is considered, it may seem rash to pass
+a hasty sentence of exclusion, even upon the dullest and most despised
+of the essays which this ample collection offers to the public. There
+may be among the learned, even now, individuals to whom the rabbinical
+lore of Hugh Broughton presents more charms than the verses of Homer;
+and a future day may arise when tracts on chronology will bear as high a
+value among antiquaries as 'Greene's Groats' Worth of Wit,' or 'George
+Peele's Jests,' the present respectable objects of research and
+reverence."
+
+In editing this collection Scott made little attempt to decide disputed
+problems of authorship when the explanation did not lie upon the
+surface. Indeed the following note regarding the tract called _A New
+Test of the Church of England's Loyalty_ shows that he sometimes
+neglected very obvious sources of information, for the piece is given in
+one of Defoe's own collections of his works: "This defence of whiggish
+loyalty," says Scott, "seems to have been written by the celebrated
+Daniel De Foe, a conjecture which is strengthened by the frequent
+reference to his poem of the True-born Englishman."[197] He was not
+often so careless, but the rapidity and range of his work during these
+years undoubtedly gave occasion for more than one lapse of accuracy,
+while at the same time it perhaps increased the effectiveness of his
+comment.
+
+His notes and introductions vary in length according to the requirements
+of the case, for he aimed to provide such material as would prevent the
+necessity of reference to other works. Matters that were obscure he
+explained, and he wrote little comment on those that were generally
+understood. When he left himself so free a hand he could indulge his
+personal tastes somewhat also, and we are not surprised to find an
+especial abundance of notes on an account of the Gowrie Conspiracy which
+presented a perplexing problem in Scottish history.
+
+The connection of _Somers' Tracts_ with other things that Scott did has
+already been remarked upon.[198] That he found some sort of stimulation
+in all his scholarly employments is sufficiently evident to anyone who
+studies his work as a whole, and this fact might well serve as a motive
+for such study. Yet it is only fair to remember that Scott was not a
+novelist during these years when he was performing his most laborious
+editorial tasks. We are accustomed to think of the brilliant use he was
+afterwards to make of the knowledge he was gaining, but the motives
+which influenced him were those of the man whose interest in literature
+and history makes scholarly work seem the most natural way of earning
+money. "These are studies, indeed, proverbially dull," he once wrote,
+speaking of Horace Walpole's antiquarian researches, "but it is only
+when they are pursued by those whose fancies nothing can enliven."[199]
+
+
+_The Lives of the Novelists, and Comments on Other Eighteenth Century
+Writers_
+
+    The _Novelists' Library_--Writers discussed--Value of the
+    _Lives_--General tone of competence in these essays--Scott's
+    catholic taste--Points of special interest in the
+    discussion--Relations of the novel and the drama--Supernatural
+    machinery in novels--Mistakes in the criticism of
+    Defoe--Realism--Motive in the novel--Aim of the prefaces--Scott's
+    familiarity with eighteenth century literature.
+
+It has already been said that a large part of Scott's critical work
+concerned itself with the eighteenth century. Of his greater editorial
+labors two may be considered as belonging to that period, for
+Ballantyne's _Novelists' Library_, though an enterprise which was
+commercially a failure and which consequently remained incomplete, may
+from the point of view of Scott's contributions fitly be compared with
+the _Dryden_ and the _Swift_. Such parts as were published appeared in
+1821. The bulk of the volumes and the small type in which they were
+printed were considered to be the cause of their failure, and it was not
+until the critical biographies were extracted and published separately,
+by Galignani the Parisian bookseller, in 1825, that they seem to have
+attracted notice.
+
+Scott wrote these _Lives of the Novelists_ at a time when his hands were
+full of literary projects, altogether for John Ballantyne's benefit. The
+author afterwards spoke of them as "rather flimsily written,"[200] but
+we may surmise that to the fact that they were not the result of special
+study is due something of their ripeness of reflection and breadth of
+generalization. "They contain a large assemblage of manly and sagacious
+remarks on human life and manners,"[201] wrote the _Quarterly_ reviewer.
+
+The writers considered were all British, with the exception of LeSage.
+The choice, or at least the arrangement, seems more or less haphazard.
+Richardson, Fielding, and Smollett naturally began the group, and Sterne
+followed after an interval. Johnson and Goldsmith were treated briefly,
+for the prefaces were to be proportioned to the amount of work by each
+author included in the text. Horace Walpole, Clara Reeve, and Mrs.
+Radcliffe represented the Gothic romance. Charles Johnstone, Robert
+Bage, and Richard Cumberland were among the inferior writers included.
+Henry Mackenzie, who was still living and was a personal friend of
+Scott, completes the list so far as it went before the series was
+terminated by the publisher's death. When Scott's _Miscellaneous Prose
+Works_ were collected he added the lives of Charlotte Smith and Defoe,
+but in each of these cases the biographical portion was by another hand,
+the criticism being his own.[202]
+
+The study of the novel as a _genre_ was naturally undeveloped at that
+time. Dunlop's _History of Prose Fiction_ had appeared in 1814,
+evidently a much more ambitious attempt than Scott's; but Scott could
+treat the British novelists with comparative freedom from the trammels
+of any established precedent. Of course his position as one who had
+struck out a wonderful new path in the writing of novels gave to his
+reflections on other novelists a very special interest. The _Lives of
+the Novelists_ are not to be neglected even now, and this is the more to
+be insisted on because the criticism of novels has been practiced with
+increasing zeal since Scott himself has become a classic and since his
+successors have made this field of literature more varied and popular,
+if not greater, than the first masters made it. A recent writer on
+eighteenth century literature says: "By far the best criticism of the
+eighteenth century novelists will be found in the prefatory notices
+contributed by Scott to Ballantyne's _Novelists' Library_."[203] But the
+same writer adds: "Sir Walter Scott, indeed, considered _Fathom_
+superior to _Jonathan Wild_, an opinion which must always remain one of
+the mysteries of criticism."[204]
+
+This comment indicates that there was no lack of assuredness in Scott's
+treatment, and we do indeed find a very pleasant tone of competence
+which, though liable to error as in the exaggerated praise bestowed upon
+Smollett, gives much of their effectiveness to the criticisms. The
+quality appears elsewhere in Scott's critical work, but it is perhaps
+especially noticeable here. For example, we find this dictum: "There is
+no book in existence, in which so much of the human character, under all
+its various shades and phases, is described in so few words, as in the
+_Diable Boiteux_."[205] The illustration is perhaps a trifle extreme,
+for Scott is not often really dogmatic. From this point of view as from
+others we naturally make the comparison with Johnson's _Lives of the
+Poets_, and we find that without being so sententious, so admirably
+compact in style, Scott is also not so dictatorial.
+
+We cannot accuse Scott of liking any one kind of novel to the exclusion
+of others. He ranks _Clarissa Harlowe_ very high;[206] he says _Tom
+Jones_ is "truth and human nature itself."[207] _The Vicar of Wakefield_
+he calls "one of the most delicious morsels of fictitious composition on
+which the human mind was ever employed." "We return to it again and
+again," he says, "and bless the memory of an author who contrives so
+well to reconcile us to human nature."[208] He praises _Tristram
+Shandy_, calling Uncle Toby and his faithful Squire, "the most
+delightful characters in the work, or perhaps in any other."[209] The
+quiet fictions of Maria Edgeworth and Jane Austen, the exciting tales of
+Mrs. Radcliffe, the sentiment of Sterne, even the satires of Bage,--all
+pleased him in one way or another. Scott's autobiography contains the
+following comment on his boyish tastes in the matter of novels: "The
+whole Jemmy and Jenny Jessamy tribe I abhorred, and it required the art
+of Burney, or the feeling of Mackenzie, to fix my attention upon a
+domestic tale. But all that was adventurous and romantic I devoured
+without much discrimination."[210] In later life he learned to exercise
+his judgment in regard to stories of adventure not less than those of
+the "domestic" sort, and perhaps the liking for quiet tales grew upon
+him; at any rate his taste seems remarkably catholic.
+
+The most interesting portions of the _Lives of the Novelists_ are those
+which show us, by the frequent recurrence of the same subjects, what
+parts of the theory of novel-writing had particularly engaged Scott's
+attention. For example we find him discussing, most fully in the _Life
+of Fielding_, the reasons why a successful novelist is likely not to be
+a successful playwright. The way in which he looks at the matter
+suggests that he was thinking quite as much of the probability of
+failure in his own case should he begin to write plays, as of the
+subject of the memoir; for Fielding wrote his plays before his novels,
+but the argument assumes a man who writes good novels first and bad
+plays afterwards. One of his statements seems rather curious and hard to
+explain,--"Though a good acting play may be made by selecting a plot and
+characters from a novel, yet scarce any effort of genius could render a
+play into a narrative romance." Perhaps he expected the "Terryfied"
+versions of _Guy Mannering_ and _Rob Roy_ to hold the stage longer than
+fate has permitted them to do. From another point of view also he was
+interested in the connection of the novel and the drama. He felt that
+the direction of the drama in the modern period had been largely
+determined by the influence of successful novels; and he probably
+overestimated the effect of the "romances of Calprenede and Scuderi" on
+heroic tragedy.[211]
+
+A subject which recurs even oftener than that of the distinction between
+drama and novel is the question of supernatural machinery in novels.
+Horace Walpole is commended for giving us ghosts without furnishing
+explanations. Indeed the _Castle of Otranto_ is highly praised;[212] but
+so also is Mrs. Radcliffe's work, except on the one point of the attempt
+to rationalize mysteries. The kind of romance which she
+"introduced"[213] is compared with the melodrama, and its particular
+mode of appeal is analyzed in very interesting fashion. In the _Life of
+Clara Reeve_ the proper treatment of ghosts is discussed at length, for
+that author had contended that ghosts should be very mild and of "sober
+demeanour." Scott justifies her practice, but not her theory, on the
+following grounds: "What are the limits to be placed to the reader's
+credulity, when those of common-sense and ordinary nature are at once
+exceeded? The question admits only one answer, namely, that the author
+himself, being in fact the magician, shall evoke no spirits whom he is
+not capable of endowing with manners and language corresponding to their
+supernatural character."
+
+Scott writes with much enthusiasm about Defoe's famous little
+ghost-story, _The Apparition of Mrs. Veal_, praising Defoe's wonderful
+skill in making the unreal seem credible. In connection with this tale
+Scott developed a very interesting anecdote to explain the fact that
+Drelincourt's _Defence against the Fear of Death_ is recommended by the
+apparition. "Drelincourt's book," he says, "being neglected, lay a dead
+stock on the hands of the publisher. In this emergency he applied to De
+Foe to assist him (by dint of such means as were then, as well as now,
+pretty well understood in the literary world) in rescuing the
+unfortunate book from the literary death to which general neglect seemed
+about to consign it." Scott goes on to assert that the story was simply
+a consummately clever advertising device. He may have found the germ of
+his hypothesis in a bookseller's tradition, but he states it as an
+assured fact, and doubtless believed it firmly because it seemed so
+beautifully reasonable. His explanation became the basis of later
+statements on the subject, and now obliges everyone who discusses Defoe
+to supply a contradiction; for the truth is that Drelincourt's book was
+so highly popular as to have gone through several editions before the
+ghost of Mrs. Veal mentioned it. Moreover, if Scott's little tale was
+fictitious, Defoe's, on the other hand, was really a reporter's version
+of an experience actually related by the person to whom he assigns it,
+and his skill in achieving verisimilitude was perhaps in this case less
+wonderful than his critics have generally supposed.[214]
+
+On the subject of realism, Scott was not in general very rigid. In his
+_Life of Richardson_ he says: "It is unfair to tax an author too
+severely upon improbabilities, without conceding which his story could
+have no existence; and we have the less title to do so, because, in the
+history of real life, that which is actually true bears often very
+little resemblance to that which is probable."[215] But this is perhaps
+only a plea for one kind of realism. He also refers to the question of
+historical "keening," and concludes that it is possible to have so much
+accuracy that the public will refuse to be interested, as _Lear_ would
+hardly be popular on the stage if the hero were represented in the
+bearskin and paint which a Briton of his time doubtless wore.[216]
+
+The motive of the novel is a subject which naturally engages the
+attention of the novelist-critic. Romantic fiction, he thinks may have
+sufficient justification if it acts as an opiate for tired spirits. A
+significant antithesis between his point of view in this matter and the
+more common attitude taken by critics in his time is illustrated by two
+reviews of Mrs. Shelley's _Frankenstein_, to which we may refer, though
+the book was later than those included in the _Novelists' Library_.
+Scott wrote in _Blackwood's_: "We ... congratulate our readers upon a
+novel which excites new reflections and untried sources of
+emotion."[217] The _Quarterly_ reviewer took the opposite and more
+conservative attitude and expressed himself thus: "Our taste and our
+judgment alike revolt at this kind of writing, and the greater the
+ability with which it may be executed the worse it is--it inculcates no
+lesson of conduct, manners, or morality; it cannot mend, and will not
+even amuse its readers, unless their taste has been deplorably
+vitiated--it fatigues the feelings without interesting the
+understanding; it gratuitously harasses the heart, and wantonly adds to
+the store, already too great, of painful sensations."[218] In general
+Scott minimizes the effect of any moral that may be expressed in the
+novel, but occasionally he seems inconsistent, when he is talking of
+sentiments that are peculiarly distasteful to him.[219] But his thesis
+is that "the direct and obvious moral to be deduced from a fictitious
+narrative is of much less consequence to the public than the mode in
+which the story is treated in the course of its details."[220] In the
+_Life of Fielding_ he says of novels: "The best which can be hoped is
+that they may sometimes instruct the youthful mind by real pictures of
+life, and sometimes awaken their better feelings and sympathies by
+strains of generous sentiment, and tales of fictitious woe. Beyond this
+point they are a mere elegance, a luxury contrived for the amusement of
+polished life."
+
+He conceived that his prefaces might be useful to warn readers against
+any ill effects that might otherwise result from the reading of the
+accompanying texts; and our comments on the _Lives of the Novelists_ may
+fitly close with a quotation which shows the writer's attitude toward
+the novels and his own criticisms upon them. The passage is taken from
+the _Life of Bage_. "We did not think it proper to reject the works of
+so eminent an author from this collection, merely on account of
+speculative errors.[221] We have done our best to place a mark on these;
+and as we are far from being of opinion that the youngest and most
+thoughtless derive their serious opinions from productions of this
+nature, we leave them for our reader's amusement, trusting that he will
+remember that a good jest is no argument; that the novelist, like the
+master of a puppet-show, has his drama under his absolute authority, and
+shapes the events to favour his own opinions; and that whether the Devil
+flies away with Punch, or Punch strangles the Devil, forms no real
+argument as to the comparative power of either one or other, but only
+indicates the special pleasure of the master of the motion."
+
+Scott was deeply in sympathy with the literature of the century within
+which he was born. To the evidence of his _Swift_ and of the _Lives of
+the Novelists_ it may be added that he contemplated making a complete
+edition of Pope, and that he professed to like _London_ and _The Vanity
+of Human Wishes_ the best of all poems. James Ballantyne said, rather
+ambiguously, "I think I never saw his countenance more indicative of
+high admiration than while reciting aloud from those productions."[222]
+In one of his letters Scott spoke of the "beautiful and feeling verses
+by Dr. Johnson to the memory of his humble friend Levett, ... which with
+me, though a tolerably ardent Scotchman, atone for a thousand of his
+prejudices."[223] Not only did he admire the great biography, but he
+called Boswell "such a biographer as no man but [Johnson] ever had, or
+ever deserved to have."[224] But he once said that many of the
+_Ramblers_ were "little better than a sort of pageant, where trite and
+obvious maxims are made to swagger in lofty and mystic language, and get
+some credit only because they are not understood."[225]
+
+Among other eighteenth century writers, Addison is distinguished by high
+praise in a few casual references,[226] but Scott once admitted that he
+did not like Addison so much as he felt to be proper.[227] A collection
+of Prior's poems Scott calls "an English classic of the first
+order."[228] He speaks of Parnell as "an admirable man and elegant
+poet,"[229] and mentions "the ponderous, persevering, and laborious
+dullness of Sir Richard Blackmore."[230] But these observations are of
+little importance except as they indicate that Scott had read the
+authors of the eighteenth century and acquiesced in the conventional
+judgments upon them. It is seldom in his brief and casual comments that
+Scott is particularly interesting as a critic, except when he is
+speaking of living writers, for he lacked the gift of conciseness. When
+he has a large canvas he is at his best, and this he has in the
+principal works described in this chapter:--_The Minstrelsy of the
+Scottish Border_, the _Works of Dryden_, the _Works of Swift_, and the
+_Lives of the Novelists_.
+
+
+
+
+CHAPTER IV
+
+SCOTT'S CRITICISM OF HIS CONTEMPORARIES
+
+    Scott's freedom from literary jealousy--His disapproval of the
+    typical reviewer's attitude--Jeffrey, Gifford, and Lockhart--His own
+    practice in regard to reviewing--His informal critical
+    remarks--Opportunity for favorable judgments afforded by the number
+    of important writers in his period.
+
+    Poets--Burns--Coleridge--Relation of _Christabel_ to
+    Scott's work--Scott's dislike for extreme
+    Romanticism--Wordsworth--Southey--Scott's review of
+    _Kehama_--Byron--Scott's opinion of Byron's
+    character--Campbell--Moore--Allan Cunningham--Hogg--Crabbe--Joanna
+    Baillie--Matthew Lewis--Scott's judgment on his early taste for
+    poetry--Absence of comment on the work of Lamb, Landor, Hunt,
+    Hazlitt, and DeQuincey.
+
+    Novelists--Jane Austen--Maria Edgeworth--Cooper--Personal relations
+    between Scott and Cooper--Scott's verdict on Americans in
+    general--Washington Irving--Goethe--Fouque--Scott's interest in men
+    of action.
+
+
+To study Scott's relations with contemporary writers is a very pleasant
+task because nothing shows better the greatness of his heart. His
+admirable freedom from literary jealousy was an innate virtue which he
+deliberately increased by cultivation, taking care, also, never to
+subject himself to the conditions which he thought accounted for the
+faults of Pope, who had "neither the business nor the idleness of life
+to divide his mind from his Parnassian pursuits."[231] "Those who have
+not his genius may be so far compensated by avoiding his foibles," Scott
+said; and some years later he wrote,--"When I first saw that a literary
+profession was to be my fate, I endeavoured by all efforts of stoicism
+to divest myself of that irritable degree of sensibility--or, to speak
+plainly, of vanity--which makes the poetical race miserable and
+ridiculous."[232] The record of his life clearly shows that his kindness
+towards other men of letters was not limited to words. One who received
+his good offices has written,--"The sternest words I ever heard him
+utter were concerning a certain poet: 'That man,' he said, 'has had much
+in his power, but he never befriended rising genius yet.'"[233] We may
+safely say that Scott enjoyed liking the work of other men. "I am most
+delighted with praise from those who convince me of their good taste by
+admiring the genius of my contemporaries,"[234] he once wrote to
+Southey.
+
+It is commonly supposed that Scott's amiability led him into absurd
+excesses of praise for the works of his fellow-craftsmen, and indeed he
+did say some very surprising things. But when all his references to any
+one man are brought together, they will be found, with a few exceptions,
+pretty fairly to characterize the writer. His _obiter dicta_ must be
+read in the light of one another, and in the light, also, of his known
+principles. Temperamentally modest about his own work, he was also
+habitually optimistic, and the combination gave him an utterly different
+quality from that of the typical _Edinburgh_ or _Quarterly_ critics.
+
+His disapproval of their point of view he expressed more than once.[235]
+It seemed to him futile and ungentlemanly for the anonymous reviewer to
+seek primarily for faults, or "to wound any person's feelings ... unless
+where conceit or false doctrine strongly calls for reprobation."[236]
+"Where praise can be conscientiously mingled in a larger proportion than
+blame," he said, "there is always some amusement in throwing together
+our ideas upon the works of our fellow-labourers." He thought, indeed,
+that vituperative and satiric criticism was defeating its own end, in
+the case of the _Edinburgh Review_ since it was overworked to the point
+of monotony. Such criticism he considered futile as well on this account
+as because he thought it likely to have an injurious effect on the work
+of really gifted writers.
+
+An admirer of both Jeffrey and Scott, who once heard a conversation
+between the two men, has recorded a distinction which is exactly what we
+should expect.[237] He says: "Jeffrey, for the most part, entertained
+us, when books were under discussion, with the detection of faults,
+blunders, absurdities, or plagiarisms: Scott took up the matter where he
+left it, recalled some compensating beauty or excellence for which no
+credit had been allowed, and by the recitation, perhaps, of one fine
+stanza, set the poor victim on his legs again."
+
+On Jeffrey Scott's verdict was, "There is something in his mode of
+reasoning that leads me greatly to doubt whether, notwithstanding the
+vivacity of his imagination, he really has any _feeling_ of poetical
+genius, or whether he has worn it all off by perpetually sharpening his
+wit on the grindstone of criticism."[238] His comment on Gifford's
+reviews was to the effect that people were more moved to dislike the
+critic for his savagery than the guilty victim whom he flagellated.[239]
+In the early days of _Blackwood's Magazine_ Scott often tried to repress
+Lockhart's "wicked wit,"[240] and when Lockhart became editor of the
+_Quarterly_ his father-in-law did not always approve of his work. "Don't
+like his article on Sheridan's life,"[241] says the _Journal_. "There is
+no breadth in it, no general views, the whole flung away in smart but
+party criticism. Now, no man can take more general and liberal views of
+literature than J.G.L."[242]
+
+With these opinions, Scott was not likely often to undertake the
+reviewing of books that did not, in one way or another interest him or
+move his admiration; and he would lay as much stress as possible on
+their good points. Gifford told him that "fun and feeling" were his
+forte.[243] In his early days he was probably somewhat influenced by
+Jeffrey's method, and his articles on Todd's _Spenser_ and Godwin's
+_Life of Chaucer_ indicate that he could occasionally adopt something of
+the tone of the _Edinburgh Review_. Years afterwards he refused to write
+an article that Lockhart wanted for the _Quarterly_, saying, "I cannot
+write anything about the author unless I know it can hurt no one
+alive"[244] but for the first volume of the _Quarterly_ he reviewed Sir
+John Carr's _Caledonian Sketches_ in a way that Sharon Turner seriously
+objected to, because it made Sir John seem ridiculous.[245] Some of
+Scott's critics would perhaps apply one of the strictures to himself:
+"Although Sir John quotes Horace, he has yet to learn that a wise man
+should not admire too easily; for he frequently falls into a state of
+wonderment at what appears to us neither very new nor very
+extraordinary."[246] But if admiration seems to characterize too great a
+proportion of Scott's critical work, it is because he usually preferred
+to ignore such books as demanded the sarcastic treatment which he
+reprehended, but which he felt perfectly capable of applying when he
+wished. Speaking of a fulsome biography he once said, "I can no more
+sympathize with a mere eulogist than I can with a ranting hero upon the
+stage; and it unfortunately happens that some of our disrespect is apt,
+rather unjustly, to be transferred to the subject of the panegyric in
+the one case, and to poor Cato in the other."[247]
+
+Besides Scott's formal reviews, we find cited as evidence of his extreme
+amiability his letters, his journal, and the remarks he made to friends
+in moments of enthusiasm. These do indeed contain some sweeping
+statements, but in almost every case one can see some reason, other than
+the desire to be obliging, why he made them. He was not double-faced.
+One of the nearest approaches to it seems to have been in the case of
+Miss Seward's poetry, for which he wrote such an introduction as hardly
+prepares the reader for the remark he made to Miss Baillie, that most of
+it was "absolutely execrable." His comment in the edition of the
+poems--the publication of which Miss Seward really forced upon him as a
+dying request--is sedulously kind, and in _Waverley_ he quotes from her
+a couple of lines which he calls "beautiful." But the essay is most
+carefully guarded, and throughout it the editor implies that the woman
+was more admirable than the poetry. Personally, indeed, he seems to have
+liked and admired her.[248]
+
+The catalogue of Scott's contemporaries is so full of important names
+that his genius for the enjoyment of other men's work had a wide
+opportunity to display itself without becoming absurd. An argument early
+used to prove that Scott was the author of _Waverley_ was the frequency
+of quotation in the novels from all living poets except Scott himself,
+and he felt constrained to throw in a reference or two to his own poetry
+in order to weaken the force of the evidence.[249] The reader is
+irresistibly reminded of the following description, given by Lockhart in
+a letter to his wife, of a morning walk taken by Wordsworth and Scott in
+company: "The Unknown was continually quoting Wordsworth's Poetry and
+Wordsworth ditto, but the great Laker never uttered one syllable by
+which it might have been intimated to a stranger that your Papa had ever
+written a line either of verse or prose since he was born."[250]
+
+Scott's opinions in regard to his fellow craftsmen may best be given
+largely in his own words--words which cannot fail to be interesting,
+however little evidence they show of any attempt to make them quotable.
+
+In considering Scott's estimation of his contemporaries it is
+chronologically proper to mention Burns first. As a boy of fifteen Scott
+met Burns, an event which filled him with the suitable amount of awe. He
+was most favorably impressed with the poet's appearance and with
+everything in his manner. The boy thought, however, that "Burns'
+acquaintance with English poetry was rather limited, and also, that
+having twenty times the abilities of Allan Ramsay and of Ferguson, he
+talked of them with too much humility as his models."[251] Scott's
+admiration of Burns was always expressed in the highest and, if one may
+say so, the most affectionate terms. He refused to let himself be named
+"in the same day" with Burns.[252] "Long life to thy fame and peace to
+thy soul, Rob Burns!" he exclaimed, in his _Journal_; "when I want to
+express a sentiment which I feel strongly, I find the phrase in
+Shakespeare--or thee."[253] On another day he compared Burns with
+Shakspere as excelling all other poets in "the power of exciting the
+most varied and discordant emotions with such rapid transitions."[254]
+Again, "The Jolly Beggars, for humorous description and nice
+discrimination of character, is inferior to no poem of the same length
+in the whole range of English poetry."[255] Scott wished that Burns
+might have carried out his plan of dramatic composition, and regretted,
+from that point of view, the excessive labor at songs which in the
+nature of things could not all be masterpieces.[256]
+
+Of writers who were more precisely contemporaries of Scott, the Lake
+Poets and Byron are the most important. The precedence ought to be given
+to Coleridge because of the suggestion Scott caught from a chance
+recitation of _Christabel_ for the meter he made so popular in the
+_Lay_.[257] Fragments from _Christabel_ are quoted or alluded to so
+often in the novels[258] and throughout Scott's work that we should
+conclude it had made a greater impression upon him than any other single
+poem written in his own time, if Lockhart had not spoken of Wordsworth's
+sonnet on Neidpath Castle as one which Scott was perhaps fondest of
+quoting.[259] _Christabel_ is not the only one of Coleridge's poems
+which Scott used for allusion or reference, but it was the favorite. "He
+is naturally a grand poet," Scott once wrote to a friend. "His verses on
+Love, I think, are among the most beautiful in the English language. Let
+me know if you have seen them, as I have a copy of them as they stood in
+their original form, which was afterwards altered for the worse."[260]
+The _Ancient Mariner_ also made a decided impression on him, if we judge
+from the fact that he quoted from it several times.[261] Scott evidently
+felt that Coleridge was a most tantalizing poet, and once intimated that
+future generations would in regard to him feel something like Milton's
+desire "to call up him who left half told the story of Cambuscan
+bold."[262] "No man has all the resources of poetry in such profusion,
+but he cannot manage them so as to bring out anything of his own on a
+large scale at all worthy of his genius.... His fancy and diction would
+have long ago placed him above all his contemporaries, had they been
+under the direction of a sound judgment and a steady will."[263] Such,
+in effect, was the opinion that Scott always expressed concerning
+Coleridge, and it is practically that of posterity. In _The Monastery_
+Coleridge is called "the most imaginative of our modern bards." In
+another connection, after speaking of the "exquisite powers of poetry he
+has suffered to remain uncultivated," Scott adds, "Let us be thankful
+for what we have received, however. The unfashioned ore, drawn from so
+rich a mine, is worth all to which art can add its highest decorations,
+when drawn from less abundant sources."[264] These remarks are worth
+quoting, not only because of their wisdom, but also because Scott had
+small personal acquaintance with Coleridge and was rather repelled than
+attracted by what he knew of the character of the author of
+_Christabel_. His praises cannot in this case be called the tribute of
+friendship, and his own remarkable power of self-control might have made
+him a stern judge of Coleridge's shortcomings.
+
+One of his most interesting comments on Coleridge is contained in a
+discussion of Byron's _Darkness_, a poem which to his mind recalled "the
+wild, unbridled, and fiery imagination of Coleridge."[265] _Darkness_ is
+characterized as a mass of images and ideas, unarranged, and the critic
+goes on to warn the author against indulging in this sort of poetry. He
+says: "The feeling of reverence which we entertain for that which is
+difficult of comprehension, gives way to weariness whenever we begin to
+suspect that it cannot be distinctly comprehended by anyone.... The
+strength of poetical conception and beauty of diction bestowed upon such
+prolusions [_sic_], is as much thrown away as the colors of a painter,
+could he take a cloud of mist or a wreath of smoke for his canvas." It
+is disappointing that we have no comment from Scott upon Shelley's
+poetry, but we can imagine what is would have been.[266] Scott's
+position as the great popularizer of the Romantic movement in poetry
+makes particularly interesting his very evident though not often
+expressed repugnance to the more extreme development of that movement.
+
+Wordsworth's peculiar theory of poetry seemed to Scott superfluous and
+unnecessary, though he was never, so far as we can judge, especially
+irritated by it.[267] Of Wordsworth and Southey he wrote to Miss Seward:
+"Were it not for the unfortunate idea of forming a new school of poetry,
+these men are calculated to give it a new impulse; but I think they
+sometimes lose their energy in trying to find not a better but a
+different path from what has been travelled by their predecessors."[268]
+Scott paid tribute in the introduction to _The Antiquary_ to as much of
+Wordsworth's poetical creed as he could acquiesce in when he said, "The
+lower orders are less restrained by the habit of suppressing their
+feelings, and ... I agree with my friend Wordsworth that they seldom
+fail to express them in the strongest and most powerful language." In a
+letter to Southey Scott calls Wordsworth "a great master of the
+passions,"[269] and in his _Journal_ he said: His imagination "is
+naturally exquisite, and highly cultivated by constant exercise."[270]
+At another time he compared Wordsworth and Southey as scholars and
+commented on the "freshness, vivacity, and spring" of Wordsworth's
+mind.[271]
+
+The personal relations between Scott and Wordsworth were, as Wordsworth's
+tribute in _Yarrow Revisited_ would indicate, those of affectionate
+intimacy. And if Scott took exception to Wordsworth's choice of subjects
+and manner, Wordsworth used the same freedom in disagreeing with Scott's
+poetical ideals. "Thank you," he wrote in 1808, "for _Marmion_, which I
+have read with lively pleasure. I think your end has been attained. That
+it is not in every respect the end which I should wish you to purpose to
+yourself, you will be well aware, from what you know of my notions of
+composition, both as to matter and manner."[272] When, in 1821, Chantrey
+was about to exhibit together his busts of the two poets, Scott wrote:
+"I am happy my effigy is to go with that of Wordsworth, for (differing
+from him in very many points of taste) I do not know a man more to be
+venerated for uprightness of heart and loftiness of genius. Why he will
+sometimes choose to crawl upon all fours, when God has given him so
+noble a countenance to lift to heaven, I am as little able to account
+for as for his quarrelling (as you tell me) with the wrinkles which time
+and meditation have stamped his brow withal."[273]
+
+These remarks upon Wordsworth and Coleridge touch merely the fringe of
+the subject, and indeed we do not find that Scott exercised any such
+sublimated ingenuity in appreciating these men as has often been
+considered essential. We can see that he admired certain parts of their
+work intensely, but we look in vain for any real analysis of their
+quality. But as he never had occasion to write essays upon their poetry,
+it is perhaps hardly fair to expect anything more than the general
+remarks that we actually do find, and as far as they go they are
+satisfactory.
+
+Like most of his distinguished contemporaries, Scott held the work of
+Southey in surprisingly high estimation.[274] Southey, more than anyone
+else except Wordsworth, and more than Wordsworth in some ways, was the
+"real poet" of the period, devoting his whole heart to literature and
+his whole time to literary pursuits. Scott commented on the fact,
+saying, "Southey's ideas are all poetical," and, "In this respect, as
+well as in many others, he is a most striking and interesting
+character."[275] Nevertheless Scott found it easy to criticise Southey's
+poems adversely, as we may see from his correspondence. Writing to Miss
+Seward he pointed out flaws in the story and the characterization of
+_Madoc_,[276] yet after repeated readings he saw enough to convince him
+that _Madoc_ would in the future "assume his real place at the feet of
+Milton."[277] _Thalaba_ was one of the poems he liked to have read aloud
+on Sunday evenings.[278] A review of _The Curse of Kehama_, in which he
+seemed to express the opinion that this surpassed the poet's previous
+work, illustrates his professed creed as to criticism. He wrote to Ellis
+concerning his article: "What I could I did, which was to throw as much
+weight as possible upon the beautiful passages, of which there are many,
+and to slur over the absurdities, of which there are not a few.... This
+said _Kehama_ affords cruel openings for the quizzers, and I suppose
+will get it roundly in the _Edinburgh Review_. I could have made a very
+different hand of it, indeed, had the order of the day been _pour
+dechirer_."[279] If Scott had to make an effort in writing the review,
+he made it with abundant energy. Some absurdities are indeed mentioned,
+but various particular passages are characterized in the most
+enthusiastic way, with such phrases as "horribly sublime," "impressive
+and affecting," "reminds us of the Satan of Milton, yet stands the
+comparison," "all the gloomy power of Dante." It may be noted that Scott
+used Milton's name rather freely in comparisons, and that for Dante his
+admiration was altogether unimpassioned,[280] but the review, after all,
+is on the whole very laudatory.[281] In it Scott awards to Southey the
+palm for a surpassing share of imagination, which he elsewhere gave to
+Coleridge. Possibly Scott was the less inclined to be severe over the
+absurdities of _Kehama_ because Southey agreed with his own theory as to
+the evil of fastidious corrections.[282] At any rate he seems to have
+been quite sincere in saying to Southey, in connection with the
+poet-laureateship which, according to Scott's suggestion, was offered to
+him in 1813, "I am not such an ass as not to know that you are my better
+in poetry, though I have had, probably but for a time, the tide of
+popularity in my favour."[283]
+
+Much as Scott admired Southey, Wordsworth, and Coleridge, he considered
+Byron the great poetical genius of the period. He once spoke of Byron as
+the only poet of transcendent talents that England had had since
+Dryden.[284] At another time his comment was: "He wrote from impulse,
+never from effort; and therefore I have always reckoned Burns and Byron
+the most genuine poetical geniuses of my time, and half a century before
+me. We have ... many men of high poetical talent, but none, I think, of
+that ever-gushing and perennial fountain of natural water."[285] The
+likenesses between Byron's poetical manner and Scott's own must have
+made it easy for the elder poet to recognize the power of the younger,
+since Scott was innocent of all repining or envy over the fact which he
+so freely acknowledged in later years, that Byron "beat" him out of the
+field.[286] From the time of the appearance of the first two cantos of
+_Childe Harold_ he acknowledged the author's "extraordinary power,"[287]
+and even before that he had tried to soften Jeffrey's harsh treatment of
+_Hours of Idleness_.[288] In 1814 he was ready to say, "Byron hits the
+mark where I don't even pretend to fledge my arrow."[289]
+
+It was Byron, rather than Scott, who realized the debt of the new
+popular favorite to the old; and their personal relations were of the
+pleasantest, though they were never intimate as Scott was with Southey
+and Wordsworth. As poets, Scott and Byron seem to have understood each
+other thoroughly.[290] None of the other great poets of the period did
+justice to Scott, nor did he succeed so well in defining the power of
+any of the others. His first review of _Childe Harold_ is the most
+important of all his articles on the poetry of his time; and his remarks
+written at the death of Lord Byron, though brief, are not less full of
+good judgment. Originality, spontaneity, and the ability and inclination
+to write rapidly were traits Scott admired most in Byron, and in the
+vigor and beauty of the poems he found the fine flower of all these
+qualities. "We cannot but repeat our conviction," he says, "that poetry,
+being, in its higher classes, an art which has for its elements
+sublimity and unaffected beauty, is more liable than any other to suffer
+from the labour of polishing.... It must be remembered that we speak of
+the higher tones of composition; there are others of a subordinate
+character where extreme art and labour are not bestowed in vain. But we
+cannot consider over-anxious correction as likely to be employed with
+advantage upon poems like those of Lord Byron, which have for their
+object to rouse the imagination and awaken the passions."[291]
+
+Byron's temperament was far from being of a sort that Scott could
+admire, though he was very susceptible to his personal charm: "Byron's
+countenance is a thing to dream of," he once said;[292] but he felt that
+popular estimation did Byron injustice. His articles on this poet
+contain some of his most characteristic moral reflections. Something of
+Byron's gloominess Scott attributes to the sensitive poetic organization
+which he felt that Byron had in an extreme degree; but more to the
+perverted habit of looking within rather than around upon the realities
+of life, in which Providence intended men to find their happiness. The
+philosophy is not novel or brilliant; it is only very sincere and very
+just; and it supplies to Scott's criticism of Byron that element of
+moral reflection which we feel was necessary to the occasion.[293]
+
+But though Scott never failed to express disapproval of Byron's attitude
+toward life, he kept his criticism on this point essentially distinct
+from his judgment on the poetry. In a way it was impossible to separate
+the two subjects, and the public demanded some discussion of the man
+when his poetry was reviewed. But Scott's verdict on the importance of
+the poems as such was unaffected by his disapproval of the author's
+point of view. He praised _Don Juan_ no less heartily than _Childe
+Harold_.
+
+His criticism of _Don Juan_ is, however, to be gathered only from short
+and incidental remarks, as he never reviewed the poem. A satire written
+by R.P. Gillies is commemorated thus in Scott's _Journal_: "This poem
+goes to the tune of _Don Juan_, but it is the champagne after it has
+stood two days with the cork drawn."[294] He called Byron "as various in
+composition as Shakspeare himself"; and added, "this will be admitted by
+all who are acquainted with his _Don Juan_.... Neither _Childe Harold_,
+nor any of the most beautiful of Byron's earlier tales, contain more
+exquisite morsels of poetry than are to be found scattered through the
+cantos of _Don Juan_."[295] The defence of _Cain_ which Scott wrote in
+accepting the dedication of that poem to himself is well known.[296] He
+calls it a "very grand and tremendous drama," and continues, "Byron has
+certainly matched Milton on his own ground. Some part of the language is
+bold, and may shock one class of readers, whose tone will be adopted by
+others out of affectation or envy. But then they must condemn the
+_Paradise Lost_, if they have a mind to be consistent."
+
+Scott's comments on Byron are closely paralleled by those of Goethe, who
+considered that Byron had the greatest talent of any man of his
+century.[297] The opinions of continental critics in general were
+similar. Among English critics Matthew Arnold aroused many protests when
+he ranked Byron as one of the two greatest English poets of the
+nineteenth century, but his views seem perfectly rational now; and
+though he remarked upon the extravagance of Scott's phrases his own
+verdict was not very unlike that we have been considering.
+
+Scott's enthusiasm about the literature of his own time seems natural
+enough when we consider that the list of his notable contemporaries is
+far from exhausted after Burns, the Lake Poets, and Byron have been
+named. Campbell was a poet of whose powers he thought very highly, but
+who, he believed had given only a sample of the great things he might do
+if he would cease to "fear the shadow of his own reputation." Before he
+wrote about Byron Scott had given in his review of _Gertrude of Wyoming_
+an exposition of his opinion as to the dangers of extreme care in
+revision. "The truth is," he says, "that an author cannot work upon a
+beautiful poem beyond a certain point without doing it real and
+irreparable injury in more respects than one."[298] He felt that
+Campbell had worked, in many cases, beyond the "certain point." For the
+"impetuous lyric sally," like the _Mariners of England_ and the _Battle
+of the Baltic_, Scott rightly thought that Campbell excelled all his
+contemporaries. Moore was another lyrist whose poetry Scott greatly
+admired. In Moore's case, as in Southey's, the contemporary estimate was
+higher than can now be maintained, but Moore is to-day underrated. From
+what Scott says about him we conclude that the man's personality and his
+way of singing added much to the exquisiteness of his songs. "He seems
+almost to think in music," Scott said, "the notes and words are so
+happily suited to each other";[299] and, "it would be a delightful
+addition to life if T.M. had a cottage within two miles of one."[300]
+Allan Cunningham was a young protege of Scott whose songs, "Its hame and
+it's hame," and "A wet sheet and a flowing sea," seemed to him "among
+the best going."[301] Another poet who received Scott's good offices was
+Hogg, whose relations with the greater man are described so vividly and
+at some points so amusingly by Lockhart. Scott called him a "wonderful
+creature for his opportunities."[302]
+
+For the poet Crabbe, Scott, like Byron and Wordsworth,[303] had a steady
+and high admiration. In the Sunday evening readings that Lockhart
+describes as being so pleasant a feature of the life of the family in
+Edinburgh, Crabbe was perhaps the chief standing resource after
+Shakspere.[304] His work was particularly recommended to the young
+people of the family,[305] and when the venerable poet visited the
+Scotts in 1822, he was received as a man whom they always looked upon as
+nobly gifted. Scott once wrote of him: "I think if he had cultivated the
+sublime and the pathetic instead of the satirical cast of poetry, he
+must have stood very high (as indeed he does at any rate) on the list of
+British poets. His _Sir Eustace Grey_ and _The Hall of Justice_ indicate
+prodigious talent."[306] Scott did not like Crabbe's choice of
+subjects,[307] but he appreciated the "force and vigour" of a poet whom
+students of our own day are once more beginning to admire, after a
+period during which he was practically ignored.
+
+Scott's very high estimation of Joanna Baillie has already been
+mentioned.[308] In this case as in many others he was proud and happy in
+the personal friendship of the writer whose works he admired. He once
+wrote to Miss Edgeworth: "I have always felt the value of having access
+to persons of talent and genius to be the best part of a literary man's
+prerogative."[309] Almost the earliest of the writers for whose
+friendship Scott felt grateful was Matthew Lewis, famed as the author of
+_The Monk_. Lewis was also something of a poet, and was really helpful
+to Scott in giving him advice on literary subjects. Though Scott
+perceived that Lewis's talents "would not stand much creaming"[310] he
+continued to regard him as one who had had high imagination and a "finer
+ear for rhythm than Byron's."
+
+Scott felt that his own taste in respect to poetry became more rigorous
+as he grew older. In 1823 in a letter to Miss Baillie he commented on
+Mrs. Hemans as "somewhat too poetical for my taste--too many flowers, I
+mean, and too little fruit--but that may be the cynical criticism of an
+elderly gentleman; for it is certain that when I was young I read verses
+of every kind with infinitely more indulgence, because with more
+pleasure than I can now do--the more shame for me now to refuse the
+complaisance which I have had so often to solicit."[311] Similarly he
+speaks in the preface to _Kenilworth_ of having once been delighted with
+the poems of Mickle and Langhorne: "There is a period in youth when the
+mere power of numbers has a more strong effect on ear and imagination
+than in after-life." With these comments we may put Lockhart's sagacious
+remark: "His propensity to think too well of other men's works sprung,
+of course, mainly from his modesty and good nature; but the brilliancy
+of his imagination greatly sustained the delusion. It unconsciously gave
+precision to the trembling outline, and life and warmth to the vapid
+colours before him."[312] This and his kindness would account for the
+latter half of the observation made by his publisher: "I like well
+Scott's ain bairns--but heaven preserve me from those of his
+fathering."[313]
+
+I have found no reference to Landor, a poet whom Southey and Wordsworth
+read with eagerness, but Mr. Forster makes this statement in his
+_Biography of Landor_: "Among Landor's papers I found a list, prepared
+by himself, of resemblances to passages of his own writing to be found
+in Scott's _Tales of the Crusaders_. There were several from _Gebir_....
+The poem had made a great impression on Scott, who read it at Southey's
+suggestion."[314] Forster also notes the fact that Southey, in a letter
+to Scott written in 1812, spoke very highly of Landor's _Count
+Julian_.[315] I am similarly unable to cite any comment by Scott on the
+writings of Lamb. Was it because Scott's genius clung to Scotland and
+Lamb's to London, that the two seemed so little to notice each other? It
+does seem odd that Scott never refers to the delightful _Specimens of
+English Dramatic Poets_. At one time Lamb wrote to Sir Walter asking a
+contribution toward a fund that was being raised to help William Godwin
+out of pecuniary troubles, and Scott replied, through the artist Haydon,
+with a cheque for ten pounds and a pleasant message to Mr. Lamb, "whom I
+should be happy to see in Scotland, though I have not forgotten his
+metropolitan preference of houses to rocks, and citizens to wild rustics
+and highland men."[316] Hazlitt and Hunt were two other writers whose
+literary work Scott ignored.[317] This, as well as his neglect of Lamb's
+and DeQuincey's essays, may be due largely to the fact that he seldom
+read newspapers and magazines, and these writers were journalists and
+contributors to periodicals. Voracious reader as Scott was, he had to
+economize time somewhere, and the hours saved from papers could be given
+to books. We do find one or two references to these men as political
+writers. Scott hoped Lockhart would learn, as editor of the _Quarterly_,
+to despise petty adversaries, for "to take notice of such men as Hazlitt
+and Hunt in the _Quarterly_ would be to introduce them into a world
+which is scarce conscious of their existence."[318]
+
+Among novelists, those of Scott's contemporaries to whom he gave the
+highest praise were women. This is, however to be expected, and it is
+natural to find Jane Austen receiving the highest praise of all; since
+Scott was emphatically not of the tribe of critics who are able to
+appreciate only one kind of novel or poem. Her novels seemed to grow
+upon him and he read them often. It was in connection with her
+"exquisite touch" that he was moved to reflect, in the words so often
+quoted from his _Journal_, "The Big Bow-wow strain I can do myself like
+any now going."[319] Among the expressions of admiration which occur in
+his review of _Emma_,[320] Scott records a characteristic bit of protest
+in regard to the tendency of Miss Austen and other novelists to make
+prudence the guiding motive of all their favorite young women
+characters, especially in matters of the heart. He did not like this
+pushing out of Cupid to make way for so moderate a virtue as prudence;
+he thought that it is often good for young people to fall in love
+without regard to worldly considerations. Scott rated Miss Edgeworth
+nearly as high as Miss Austen, and hers is the added honor of having
+inspired the author of _Waverley_ with a desire to emulate her
+power.[321] With these two novelists he associated Miss Ferrier, as well
+as the somewhat earlier writer, Fanny Burney.[322]
+
+Aside from these women and Henry Mackenzie, perhaps the highest praise
+that Scott bestowed on any contemporary novelist was given to Cooper.
+Here, as in the case of Byron, Scott seemed to ignore the other writer's
+indebtedness to himself. He speaks, in the general preface to the
+Waverley Novels, of "that striking field in which Mr. Cooper has
+achieved so many triumphs"; and at another time calls him "the justly
+celebrated American novelist." In his _Journal_ he comments on _The Red
+Rover_[323] and _The Prairie_;[324] _The Pilot_ he recommends warmly in
+a letter to Miss Edgeworth.[325]
+
+The personal relations between "the Scotch and American lions," as Scott
+called himself and Cooper, when they met in Parisian society in
+1826,[326] had some interesting consequences. Cooper suggested to Scott
+that he try to secure for himself part of the profits arising from the
+publication of his works in America, by entering them as the property of
+some citizen.[327] They finally concluded to substitute for this plan
+one suggested by Scott, which involved the writing by the Author of
+Waverley, of a letter addressed to Cooper, to be transmitted by him to
+some American publisher who would undertake the publication of an
+authorized edition of which half the profits should go to the author.
+Future works were to be sent over to this publisher in advance of their
+appearance in England. The letter was really an appeal to the justice of
+the American people, and contained an allusion to the publication of
+Irving's works in England according to a plan very similar to that
+proposed by Scott. But the scheme failed here in America, and apparently
+the letter was not made public until Cooper, irritated by the appearance
+in Lockhart's _Life of Scott_ of Sir Walter's comments on his personal
+manner,[328] explained the affair (except the reason for dropping the
+plan), and published the correspondence in the _Knickerbocker Magazine_
+for April, 1838.[329] Later in the same year Cooper wrote a severe
+review of the biography of Scott, attacking his character in a way that
+seems absurdly exaggerated.[330] Yet Charles Sumner seems to have
+thought that Cooper made his points, and Mr. Lounsbury is inclined to
+agree with him.[331]
+
+One of the milder strictures in Cooper's review was as follows "As he
+was ambitious of, so was he careful to preserve, his personal
+popularity, of which we have a striking proof in the studied kindnesses
+that for years were laid before this country in deeds and words, as
+compared with his real acts and sentiments toward America and Americans
+which are now revealed in his letters." A passage which doubtless roused
+Cooper's ire may be quoted. Of the Americans Scott said, in a letter to
+Miss Edgeworth, "They are a people possessed of very considerable
+energy, quickened and brought into eager action by an honourable love of
+their country and pride in their institutions; but they are as yet rude
+in their ideas of social intercourse, and totally ignorant, speaking
+generally, of all the art of good breeding, which consists chiefly in a
+postponement of one's own petty wishes or comforts to those of others.
+By rude questions and observations, an absolute disrespect to other
+people's feelings, and a ready indulgence of their own, they make one
+feverish in their company, though perhaps you may be ashamed to confess
+the reason. But this will wear off and is already wearing away. Men,
+when they have once got benches, will soon fall into the use of
+cushions. They are advancing in the lists of our literature, and they
+will not be long deficient in the _petite morale_, especially as they
+have, like ourselves, the rage for travelling."[332]
+
+Scott liked George Ticknor,[333] and he called Washington Irving "one of
+the best and pleasantest acquaintances I have made this many a
+day."[334] In later life he congratulated himself on having from the
+first foreseen Irving's success.[335] When we remember also that Scott
+quotes from Poor Richard,[336] refers to Cotton Mather's
+_Magnalia_,[337] and speaks of "the American Brown" as one whose novels
+might be reprinted in England,[338] we ought probably to conclude that
+his acquaintance with our literature was as comprehensive as could have
+been expected.
+
+Among continental writers belonging to his period, Goethe was very
+properly the one for whom Scott had the strongest admiration. But we
+find comparatively few references to his reading the great German after
+the early period of translation. Throughout Lockhart's _Life of Scott_
+it is evident that the biographer had a more thorough acquaintance with
+Goethe than had Scott, and it seems probable that the younger man
+influenced the elder in his judgment on _Faust_ and on Goethe's
+character. In the Introduction to _Quentin Durward_ we find an
+interesting comment on Goethe's success in creating a really wicked
+Mephistopheles, who escapes the noble dignity that Milton and Byron gave
+to their pictures of Satan. Goethe and Scott exchanged letters once in
+1827,[339] and it was a personal grief to Sir Walter that the German
+poet's death prevented a visit Scott proposed to make him in 1832. In
+_Anne of Geierstein_ Goethe is called "an author born to arouse the
+slumbering fame of his country";[340] and in the _Journal_ Scott
+characterizes him as "the Ariosto at once and almost the Voltaire of
+Germany."[341] The suggestion for the character of Fenella in _Peveril
+of the Peak_ was taken from Goethe, as we learn by Scott's
+acknowledgment in the Introduction. Another German from whom Scott
+borrowed a suggestion--this time for the unlucky "White Lady of
+Avenel"--was the Baron de la Motte Fouque. Scott was evidently
+interested in his work, though he thought Fouque sometimes used such a
+profusion of historical and antiquarian lore that readers would find it
+difficult to follow the narrative.[342] Sir Walter asked his son to tell
+the Baroness de la Motte Fouque that he had been much interested in her
+writings and those of the Baron, and added, "It will be civil, for folks
+like to know that they are known and respected beyond the limits of
+their own country."[343]
+
+In the literary circles of Paris Scott more than once experienced the
+pleasure of finding himself "known and respected" by foreigners,[344]
+and he had intimate relations with men of letters in London. On one of
+his visits there he saw Byron almost every morning for some time, at the
+house of Murray the publisher. In Edinburgh society Scott was naturally
+a prominent figure, being noted for his fund of anecdote and his
+superior gifts in presiding at dinners. But however much his kindly
+personal feeling is reflected in his comments on the literary work of
+his friends, he was too well-balanced to assume anything of the
+patronizing tone that such success as his might have made natural to
+another sort of man. His fellow-poets thought him a delightful person
+whom they liked so much that they could almost forgive the preposterous
+success of his facile and unimportant poetry.
+
+His full-blooded enjoyment of life and literature tempered without
+obscuring his critical instinct, and though he was "willing to be
+pleased by those who were desirous to give pleasure",[345] he noted the
+weak points of men to whose power he gladly paid tribute. Wordsworth,
+Coleridge, Southey, and Byron, whom he classed as the great English
+poets of his time, may, with the exception of Southey, be given the
+places he assigned to them. In regard to Byron, Scott expressed a
+critical estimate that the public is only now getting ready to accept
+after a long period of depreciating Byron's genius. The men whose work
+Scott judged fairly and sympathetically represent widely different
+types. With some of them he was connected by the new impulse that they
+were imparting to English poetry, but he was so close to the transition
+period that he could look backward to his predecessors with no sense of
+strangeness. He was never inclined to quarrel with the "erroneous
+system" of a poem which he really liked. His comments on Byron's
+_Darkness_ suggest that if he had read more than he did of Shelley and
+others among his younger contemporaries he might have found much to
+reprehend, but he held that "we must not limit poetical merit to the
+class of composition which exactly suits one's own particular
+taste."[346] Among novelists even less than among poets can we trace a
+"school" to which he paid special allegiance. He read and enjoyed all
+sorts of good stories, growing in this respect more catholic in his
+tastes, though perhaps more severe in his standards, as he grew older.
+
+In speaking of Scott's relations with his contemporaries, we must
+especially remember his ardent interest in those realities of life which
+he considered greater than the greatest books. In one of his reviews he
+laid stress on the merit of writing on contemporary events,[347] and he
+seemed to think there was too little of such celebration. There are many
+evidences of his great admiration for those of his contemporaries who
+were men of action, but it is sufficient to remember that the only man
+in whose presence Scott felt abashed was the Duke of Wellington, for he
+counted that famous commander the greatest man of his time.
+
+
+
+
+CHAPTER V
+
+SCOTT AS A CRITIC OF HIS OWN WORK
+
+    Lack of dogmatism about his own work--Harmony between his talents
+    and his tastes--His conviction of the value of spontaneity and
+    abundance--Merits of a rapid meter--Greater care necessary in verse
+    writing a reason why he turned to prose--His attitude in regard to
+    revision--Modesty about his own work--His opinion of the popular
+    judgment--Importance of novelty--Rivalry with Byron--Scott's
+    attempts to keep ahead of his imitators--Devices to secure
+    novelty--His resolution to write history--Historical motives of his
+    novels--His comments on the use of historical material--His verdict
+    in regard to his descriptive abilities and methods--Lack of emphasis
+    on the ethical aspect of his work--His judgment on the position of
+    the novel in literature.
+
+
+"Scott is invariably his own best critic," says Mr. Andrew Lang.[348] Of
+this Scott was not himself in the least convinced, and when we recall
+how, to please his printer, James Ballantyne, he tacked on a last scene
+to _Rokeby_, resuscitated the dead Athelstane in _Ivanhoe_, and
+eliminated the main motive of _St. Ronan's Well_, we wish he had been
+more uniformly inclined to trust his own critical judgment.
+
+He never scheduled the qualities of his own genius. A man who could
+sincerely say what he did about literary immortality would not be apt to
+develop any dogma in regard to his artistic achievement. "Let me please
+my own generation," he said, "and let those that come after us judge of
+their taste and my performances as they please; the anticipation of
+their neglect or censure will affect me very little."[349] His opinions
+about his own work are to be deduced largely from casual remarks
+scattered through his letters and journals. His introductions to his
+novels, in the _Opus Magnum_, are valuable sources, however, and the
+"Epistle" preceding _The Fortunes of Nigel_ is a mine of material,
+though, unlike the later introductions, it was written "according to the
+trick," when he was still preserving his anonymity. We have an article
+which he wrote for the _Quarterly_ on two of his own books, the review
+of _Tales of My Landlord_.[350] His criticism of the work of other
+people is also very helpful in this connection, since from it we may
+learn what qualities he wished to find in poetry and in the novel, as
+well as in history, biography, and criticism, the fields in which he did
+much, though less famous work.
+
+The student of his criticism is struck at once by the fact that the
+qualities which Scott particularly admired in literature were those for
+which he was himself preeminent. Yet he cannot be accused, as Poe may
+be, of constructing a theory that those types of art were greatest which
+he found himself most skilful in exemplifying. Scott's nature was of
+that most efficient kind that enables a man to do such things as he
+likes to see done. We cannot argue that he was incapable of attending to
+minute niceties and on this account chose to emphasize the large
+qualities of literature. For notwithstanding that lack of delicacy which
+characterized his physical senses and which we might therefore conclude
+would affect his literary discernment, we have among his small poems
+some that show his power, occasionally at least, to satisfy the most
+fastidious critic of detail. Evidently he could write in more than one
+style, and though the style he used most is undoubtedly that which was
+most natural to him, it was also that which he thought, on other grounds
+than the character of his own talents, best worth while. Yet he had so
+little vanity in regard to his own work that he could hardly understand
+his success, though it depended on those very qualities which, in other
+authors, excited his utmost admiration.
+
+One of his fundamental opinions about literary work was that to write
+much and with abundant spontaneity is better than to polish minutely.
+Over and over again we find this idea expressed, most noticeably in
+connection with the poet Campbell, whom Scott could scarcely forgive for
+making so little use of his poetical gifts. He applauded the
+much-criticised fertility of Byron, whose genius was in that respect
+akin to his own. "I never knew name or fame burn brighter by over-chary
+keeping of it,"[351] Scott said. The greatest writers he observed, have
+been the most voluminous. His position was one that could be fortified
+by inductive reasoning, contrasting in this respect with theories which
+seem plausible only until they are tested by actual facts, as, for
+example, Poe's idea that long poems lose effectiveness by their length.
+But perhaps Scott did not sufficiently take into account the circular
+nature of his argument; for since the world has refused to consider the
+men very great who "never spoke out," the truth is not so much that a
+great man ought to write copiously as that if a man does not write
+copiously he will not be counted great. Scott seemed to think it was
+mere wilfulness that prevented a man of such gifts as Campbell's from
+writing abundantly.
+
+The corresponding disadvantages of rapid composition were of course
+evident to him. From the first appearance of the _Lay_ to the end of his
+career he lamented his inability to plan a story in an orderly manner
+and follow out the scheme; he admitted also that "the misfortune of
+writing fast is that one cannot at the same time write concisely."[352]
+Of _Marmion_ he told Southey, "I had not time to write the poem
+shorter."[353]
+
+His grief on these points seems qualified, however, by a conviction that
+he could not write with deliberation and method and still produce the
+effect of vivacious spontaneity. He thought Fielding was almost the only
+novelist who had thoroughly succeeded in combining these various
+admirable qualities,[354] and he said in this connection, "To demand
+equal correctness and felicity in those who may follow in the track of
+that illustrious novelist, would be to fetter too much the power of
+giving pleasure, by surrounding it with penal rules; since of this sort
+of light literature it may be especially said--_tout genre est permis,
+hors le genre ennuyeux_."[355] "To confess to you the truth," says the
+"Author" in the Introductory Epistle to _Nigel_, "the works and passages
+in which I have succeeded, have uniformly been written with the greatest
+rapidity; and when I have seen some of these placed in opposition with
+others, and commended as more highly finished, I could appeal to pen and
+standish, that the parts in which I have come feebly off were by much
+the more laboured." He attempted to write _Rokeby_ with great care, but
+threw the first version into the fire because he concluded that he had
+"corrected the spirit out of it, as a lively pupil is sometimes flogged
+into a dunce by a severe schoolmaster."[356] He was better satisfied
+with the result when he resumed his pen in his "old Cossack
+manner."[357] Similarly he writes of John Home's tragedy, _Douglas_,
+that the finest scene was, "we learn with pleasure but without
+surprise," unchanged from the first draft;[358] and elsewhere he speaks
+of the greater chance for popularity of the "bold, decisive, but
+light-touched strain of poetry or narrative in literary composition,"
+over the "more highly-wrought performance."[359]
+
+A good exposition of Scott's real opinion in regard to his own style is
+to be found in his review of _Tales of My Landlord_. Some parts of the
+article were probably inserted by his friend William Erskine, but the
+section I quote bears unmistakable evidence that it was written by the
+author himself, for it expresses that combined reprobation and approval
+of his style which is amusingly characteristic of him. He says: "Our
+author has told us that it was his object to present a series of scenes
+and characters connected with Scotland in its past and present state,
+and we must own that his stories are so slightly constructed as to
+remind us of the showman's thread with which he draws up his pictures
+and presents them successively to the eye of the spectator.... Against
+this slovenly indifference we have already remonstrated, and we again
+enter our protest.... We are the more earnest in this matter, because it
+seems that the author errs chiefly from carelessness. There may be
+something of system in it, however, for we have remarked, that with an
+attention which amounts even to affectation, he has avoided the common
+language of narrative and thrown his story, as much as possible, into a
+dramatic shape. In many cases this has added greatly to the effect, by
+keeping both the actors and action continually before the reader and
+placing him, in some measure, in the situation of an audience at a
+theater, who are compelled to gather the meaning of the scene from what
+the dramatis personae say to each other, and not from any explanation
+addressed immediately to themselves. But though the author gain this
+advantage, and thereby compel the reader to think of the personages of
+the novel and not of the writer, yet the practice, especially pushed to
+the extent we have noticed, is a principal cause of the flimsiness and
+incoherent texture of which his greatest admirers are compelled to
+complain."[360]
+
+Lockhart points out that the fruit of Scott's study of Dryden may have
+been to fortify his opinion as to what the greatness of literature
+really consists in, and applies to Scott himself some of the phrases
+used in the characterization of the earlier poet. "'Rapidity of
+conception, a readiness of expressing every idea, without losing
+anything by the way'; 'perpetual animation and elasticity of thought';
+and language 'never laboured, never loitering, never (in Dryden's own
+phrase) cursedly confined,'" are set over against "pointed and nicely
+turned lines, sedulous study, and long and repeated correction and
+revision," and are pronounced the superior virtues.[361] The concluding
+paragraph of Scott's review of a poem on the Battle of Talavera
+exemplifies his use of this doctrine. "We have shunned, in the present
+instance," he says, "the unpleasant task of pointing out and dwelling
+upon individual inaccuracies. There are several hasty expressions, flat
+lines, and deficient rhymes, which prove to us little more than that the
+composition was a hurried one. These, in a poem of a different
+description, we should have thought it our duty to point out to the
+notice of the author. But after all it is the spirit of a poet that we
+consider as demanding our chief attention; and upon its ardour or
+rapidity must finally hinge our applause or condemnation."[362]
+
+Scott's opinions about meters reflect the same taste. He persuaded
+himself, when he was writing _The Lady of the Lake_, that the
+eight-syllable line is "more congenial to the English language--more
+favourable to narrative poetry at least--than that which has been
+commonly termed heroic verse,"[363] and he proceeded to show that the
+first half-dozen lines of Pope's _Iliad_ were each "bolstered out" with
+a superfluous adjective. "The case is different in descriptive poetry,"
+he added, "because there epithets, if they are happily selected, are
+rather to be sought after than avoided.... But if in narrative you are
+frequently compelled to tag your substantives with adjectives, it must
+frequently happen that you are forced upon those that are merely
+commonplaces." He mentions other beauties of his favorite verse,--the
+opportunities for variation by double rhyme and by occasionally dropping
+a syllable, and the correspondence between the length of line and our
+natural intervals between punctuation,--but gives as his final excuse
+for using it his "better knack at this 'false gallop' of verse." The
+argument is ingenious enough, but his analysis of heroic verse has only
+a limited application, and his last reason probably was, as he was
+candid enough to admit, the most weighty. George Ellis replied to his
+defence thus: "I don't think, after all the eloquence with which you
+plead for your favourite metre, that you really like it from any other
+motive than that _sainte paresse_--that delightful indolence--which
+induces one to delight in those things which we can do with the least
+fatigue."[364] This seems hardly a fair return for the poet's appeal to
+Ellis in one of the epistles of _Marmion_:[365]
+
+   "Come listen! bold in thy applause,
+    The bard shall scorn pedantic laws."
+
+Another introduction in the same poem is given up to a justification of
+the author's "unconfined" style, on the score of his love for the wild
+songs of his own country and the freedom of his early training.[366]
+
+Scott practically never rewrote his prose, and the result gave Hazlitt
+opportunity to say:[367] "We should think the writer could not possibly
+read the manuscript after he has once written it, or overlook the
+press."[368] His habit of carrying two trains of thought on together was
+also responsible for slips in diction and syntax. An amanuensis working
+for him noticed this peculiarity, and Scott said in his _Journal_:
+"There must be two currents of ideas going on in my mind at the same
+time.... I always laugh when I hear people say, Do one thing at once. I
+have done a dozen things at once all my life."[369]
+
+But the making of poetry required more attention. "Verse I write twice,
+and sometimes three times over,"[370] he said, and one is moved to
+wonder whether the distaste for writing poetry, that he professed about
+1822, arose largely from a growing aversion to what he probably
+considered extreme care in composition.[371] A series of three comments
+on his own poetry may be given to illustrate his widely varying moods in
+regard to it. They are all taken from letters written not far from the
+time when _Marmion_ was published. "As for poetry, it is very little
+labour to me; indeed 'twere pity of my life should I spend much time on
+the light and loose sort of poetry which alone I can pretend to
+write."[372] "I believe no man now alive writes more rapidly than I do
+(no great recommendation), but I never think of making verses till I
+have a sufficient stock of poetical ideas to supply them."[373] "If I
+ever write another poem, I am determined to make every single couplet of
+it as perfect as my uttermost care and attention can possibly
+effect."[374] In spite of this momentary resolution to take more pains
+with his next poem, he was unable to do so when the time came; or if, as
+in the case of _Rokeby_ he did make the attempt, the results seemed to
+him unsatisfactory. Yet verse required much more careful finishing than
+prose, even when it was written by Scott, and this fact has been too
+little emphasized in discussions of his transition from verse to prose
+romances.
+
+Scott's temperamental aversion to revising what he had once written was
+evidently sanctioned by his literary creed. Near the end of his life he
+recalled how he had submitted one of his earliest poems to the criticism
+of several acquaintances, with the consequence that after he had adopted
+their suggestions, hardly a line remained unaltered, and yet the changes
+failed to satisfy the critics.[375] He said: "This unexpected result,
+after about a fortnight's anxiety, led me to adopt a rule from which I
+have seldom departed during more than thirty years of literary life.
+When a friend whose judgment I respect has decided and upon good
+advisement told me that a manuscript was worth nothing, or at least
+possessed no redeeming qualities sufficient to atone for its defects, I
+have generally cast it aside; but I am little in the custom of paying
+attention to minute criticisms or of offering such to any friend who may
+do me the honour to consult me. I am convinced that, in general, in
+removing even errors of a trivial or venial kind, the character of
+originality is lost, which, upon the whole, may be that which is most
+valuable in the production." This position appears doubly significant
+when we remember that it was assumed by a man who had only the slightest
+possible amount of paternal jealousy in regard to his writings.[376]
+
+Scott did not always adhere to this resolution, for he did accept
+criticism and make alterations, more in compliance with the wishes of
+James Ballantyne, his friend and printer, than to meet the desires of
+anyone else. He considered that Ballantyne represented the ordinary
+popular taste, and he was ready to make some sacrifice of his own
+judgment in order to satisfy his public. He sent the conclusion of
+_Rokeby_ to Ballantyne with this note: "Dear James,--I send you this out
+of deference to opinions so strongly expressed, but still retaining my
+own, that it spoils one effect without producing another."
+
+When one of his books was adversely criticised by the public he received
+the judgment with open mind, and often analyzed it with much acuteness.
+The introduction to _The Monastery_ is a good example of frank, though
+not servile, submission to the decree of public opinion. That he was
+deeply impressed with his blunder in managing the White Lady of Avenel
+may be surmised from the fact that in several later discussions of the
+effect of supernatural apparitions in novels, he emphasized the
+necessity of keeping them sufficiently infrequent to preserve an
+atmosphere of mystery. Of _The Monastery_ he said: "I agree with the
+public in thinking the work not very interesting; but it was written
+with as much care as the others--that is, with no care at all."[377] But
+sometimes he felt inclined to rebel against a popular verdict, as when
+Norna, in _The Pirate_, was said to be a mere copy of Meg
+Merrilies.[378]
+
+In his later days he grew more and more unsure of himself, as he felt
+compelled to work at his topmost speed. His _Journal_ for 1829 has the
+following record in regard to a review he was writing: "I began to warm
+in my gear, and am about to awake the whole controversy of Goth and
+Celt. I wish I may not make some careless blunders."[379] The criticisms
+of "J.B." became more frequent and more irritating to him as he felt a
+growing inability to achieve precision in details.[380] When Lockhart
+pointed out some lapses in his style, he wrote in his _Journal_, "Well!
+I will try to remember all this, but after all I write grammar as I
+speak, to make my meaning known, and a solecism in point of composition,
+like a Scotch word in speaking, is indifferent to me."[381] Until he
+felt his powers failing, he was for the most part at once good-natured
+and independent in his manner of receiving criticism. Whether or not he
+agreed with the opinion expressed, he usually thought that what he had
+once written might best stand, though he might be influenced in later
+work by the advice that had been given.[382]
+
+"I am sensible that if there be anything good about my poetry or prose
+either," Scott wrote, in a passage that has often been quoted, "it is a
+hurried frankness of composition which pleases soldiers, sailors and
+young people of bold and active disposition."[383] I have tried to show
+that this quality was one which he not only enjoyed, in his own work and
+in that of other writers, but that as a critic he very seriously
+approved of it.
+
+Yet in spite of his belief that the greatest literature is not the
+result of slow and painful labor, it was probably the ease with which he
+wrote which led him to undervalue his own work. However we may account
+for it, he found difficulty in regarding himself as a great author.[384]
+When this modesty of his came into conflict with the other opinion that
+he had always been inclined to hold--that the popularity of books is a
+test of their merit--the result is amusing. He was impelled at times to
+utter contemptuous words about the foolishness of the public, and of
+course he could not help being moved also in the other direction--to
+believe there was more in his writings than he had realized. In one mood
+he said, "I thank God I can write ill enough for the present
+taste";[385] and "I have very little respect for that dear _publicum_
+whom I am doomed to amuse, like Goody Trash in _Bartholomew Fair_, with
+rattles and gingerbread; and I should deal very uncandidly with those
+who may read my confessions were I to say I knew a public worth caring
+for, or capable of distinguishing the nicer beauties of composition.
+They weigh good and evil qualities by the pound. Get a good name and you
+may write trash. Get a bad one and you may write like Homer, without
+pleasing a single reader."[386] Looking back from the end of his career
+to the time when _The Lady of the Lake_ was in the height of its
+success, he wrote: "It must not be supposed that I was either so
+ungrateful or so superabundantly candid as to despise or scorn the value
+of those whose voice had elevated me so much higher than my own opinion
+told me I deserved. I felt, on the contrary, the more grateful to the
+public as receiving that from partiality which I could not have claimed
+from merit; and I endeavoured to deserve the partiality by continuing
+such exertions as I was capable of for their amusement."[387] The
+perfect respectability of these remarks tempts the reader to set over
+against them this earlier observation by the same writer in the guise of
+Chrystal Croftangry, "One thing I have learned in life--never to speak
+sense when nonsense will answer the purpose as well."[388]
+
+Whatever Scott might think of the worth of public admiration, he frankly
+attempted to write what would be popular. He had none of the feeling
+which has characterized many very interesting men of letters, that the
+desire for self-expression is the one motive of the author; his personal
+literary impulse, on the contrary, was always guided by the thought of
+the audience whom he was addressing. "No one shall find me rowing
+against the stream," says the "Author" in the Introductory Epistle to
+_Nigel_. "I care not who knows it--I write for general amusement; and
+though I will never aim at popularity by what I think unworthy means, I
+will not, on the other hand, be pertinacious in the defence of my own
+errors against the voice of the public." Of his last "apoplectic books,"
+he wrote, "I am ashamed, for the first time in my life, of the two
+novels, but since the pensive public have taken them, there is no more
+to be said but to eat my pudding and to hold my tongue."[389] Early in
+his career he seems to have felt that he could make a good deal of money
+by writing, if he should wish.[390] Towards the end he said, "I know
+that no literary speculation ever succeeded with me but where my own
+works were concerned; and that, on the other hand, these have rarely
+failed."[391]
+
+The popularity of his own books was so great that they required a
+special category. He seemed to be incapable of ascribing their success
+to extraordinary excellence, and he settled down to the opinion that it
+was simply their novelty that the public cared for. The enthusiastic
+welcome given him by the Irish when he visited Dublin caused him to say
+in one of his letters, "Were it not from the chilling recollection that
+novelty is easily substituted for merit, I should think, like the booby
+in Steele's play,[392] that I had been kept back, and that there was
+something more about me than I had ever been led to suspect."[393]
+
+He assumed that he had studied popular taste enough to have some
+knowledge of its shiftings, so that he might "set every sail towards the
+breeze."[394] "I may be mistaken," he once wrote, "but I do think the
+tale of Elspat M'Tavish in my bettermost manner, but J.B. roars for
+chivalry. He does not quite understand that everything may be overdone
+in this world, or sufficiently estimate the necessity of novelty. The
+Highlanders have been off the field now for some time."[395] His comment
+on _Ivanhoe_ was still more emphatic. "Novelty is what this giddy-paced
+time demands imperiously, and I certainly studies as much as I could to
+get out of the old beaten track, leaving those who like to keep the
+road, which I have rutted pretty well."[396]
+
+Believing from the beginning of his career that novelty was the chief
+merit of his work, he was prepared to live up to his principles. So it
+was that when he was "beaten" by Byron in metrical romances, he dropped
+with hardly a regret, so far as we can judge, the kind of writing in
+which he had attained such remarkable popularity, and turned to another
+kind. "Since one line has failed, we must just stick to something else,"
+he remarked, calmly.[397] This was when the small sales of _The Lord of
+the Isles_ as compared with the earlier poems warned Scott and his
+publisher in a very tangible way that the field had been captured by
+Byron. At this time _Waverley_ was in the market and _Guy Mannering_ was
+in process of composition. Though it was to his poetry that he chose to
+give his name, Scott had little reason to feel forlorn, as the sale of
+the novels from the very beginning was a pretty effective consolation
+for any possible hurt to his vanity. He could have owned them as his at
+any moment, had he chosen to do so. He did not read criticisms of his
+books, but was satisfied, as one of his friends observed, "to accept the
+intense avidity with which his novels are read, the enormous and
+continued sale of his works, as a sufficient commendation of them."[398]
+In the case of Byron, as always when the public approved the works of
+one of his brother authors, he considered the popular judgment right.
+
+Scott did not altogether stop writing poetry, however, as is sometimes
+supposed. _The Field of Waterloo_ and _Harold the Dauntless_ were both
+written after this time; and the mottoes and lyrics in the novels
+compose a delightful body of verse. The fact seems to be that he lost
+zest for writing long poems, partly because of the favor with which
+Byron's poems were received, and his own consequent feeling of
+inferiority in poetic composition; partly because of his discovery of
+the greater ease with which he could write prose, and the greater scope
+it gave him. The more ambitious attempts among the poems which he wrote
+after 1814 are comparative failures. But the poetry in his nature
+prevented him from entirely giving over the composition of verse, and he
+found real delight in the occasional writing of short pieces that
+required no continued effort. They were usually made to be used in the
+novels, for after the publication of _Guy Mannering_ novel-writing
+became specifically Scott's occupation.[399]
+
+The price of his success in any direction was that he was unable to keep
+his field to himself. Having set a fashion, he was more than once
+annoyed by the crowd who wrote in his style and made him feel the
+necessity of striking out a new line.[400] It was comparatively easy for
+the vigorous man who wrote _Waverley_, but in the end, when through his
+losses he was more than ever obliged to hit the popular taste, to feel
+that he must find a new style seemed a hard fate. Yet he meant to be
+beforehand in the race. This is the record in his _Journal_: "Hard
+pressed as I am by these imitators, who must put the thing out of
+fashion at last, I consider, like a fox at his last shifts, whether
+there be a way to dodge them--some new device to throw them off, and
+have a mile or two of free ground while I have legs and wind left to use
+it. There is one way to give novelty: to depend for success on the
+interest of a well-contrived story. But woe's me! that requires thought,
+consideration--the writing out a regular plan or plot--above all, the
+adhering to one--which I never can do, for the ideas rise as I write,
+and bear such a disproportioned extent to that which each occupied at
+the first concoction, that (cocksnowns!) I shall never be able to take
+the trouble; and yet to make the world stare, and gain a new march ahead
+of them all! Well, something we still will do."[401]
+
+By an easy extension of his principle, he came to believe that novelty
+would always succeed for a time. The opinion is expressed often in his
+reviews, and in his journal and letters is applied to his own work. So
+it was that when any one of his books seemed partially to fail with the
+public, his immediate impulse was to look for something new to be
+done.[402] One of his schemes was a work on popular superstitions,
+projected when _Quentin Durward_ seemed to be falling flat; but the
+success of the novel made the immediate execution of the plan
+unnecessary.[403]
+
+It was largely his desire to secure variety that encouraged him to
+undertake historical writing. He had also a theory about how history
+should be written, and so he felt that the novelty would consist in
+something more than the fact that the Author of Waverley had taken a new
+line. He wished, as Thackeray did later when he proposed to write a
+history of the Age of Queen Anne, to use in an avowedly serious book the
+material with which he had stored his imagination; and he believed he
+could present it with a vivacity that was not characteristic of
+professional historians. The success of the first series of _Tales of a
+Grandfather_ served to confirm the opinion he had expressed about
+them,--"I care not who knows it, I think well of them. Nay, I will hash
+history with anybody, be he who he will."[404]
+
+Scott had a very just sense of the value of his great stores of
+information. He did say that he would give one half his knowledge if so
+he might put the other half upon a well-built foundation,[405] but as
+years went on he learned to use with ease the accumulations of knowledge
+which in his youth had proved often unwieldy; and more than once he
+congratulated himself that he beat his imitators by possessing
+historical and antiquarian lore which they could only acquire by
+"reading up."[406] Though he testified that in the beginning of his
+first novel he described his own education, he could hardly apply to
+himself what is there said of Waverley, that, "While he was thus
+permitted to read only for the gratification of his amusement, he
+foresaw not that he was losing forever the opportunity of acquiring
+habits of firm and assiduous application, of gaining the art of
+controlling, directing, and concentrating the powers of his mind for
+earnest investigation."[407] It was otherwise with Scott himself. The
+result of the wide and desultory reading of his youth, acting upon a
+remarkably strong memory, was to put him into the position, as he says,
+of "an ignorant gamester, who kept a good hand until he knew how to play
+it."[408] So it was that he said of those who followed his lead in
+writing historical novels, "They may do their fooling with better grace;
+but I, like Sir Andrew Aguecheek, do it more natural."[409] His
+knowledge of history and antiquities was that part of his intellectual
+equipment in which he seemed to take most pride. He had the highest
+opinion of the value of historical study for ripening men's judgment of
+current affairs,[410] and indeed there were few relations of life in
+which an acquaintance with history did not seem to him indispensable.
+
+But he felt that historical writing had not been adapted "to the demands
+of the increased circles among which literature does already find its
+way."[411] Accordingly he resolved to use in the service of history that
+"knack ... for selecting the striking and interesting points out of dull
+details," which he felt was his endowment.[412] The original
+introduction to the _Tales of the Crusaders_ has the following burlesque
+announcement of his intention, in the words of the Eidolon Chairman: "I
+intend to write the most wonderful book which the world ever read--a
+book in which every incident shall be incredible, yet strictly true--a
+work recalling recollections with which the ears of this generation once
+tingled, and which shall be read by our children with an admiration
+approaching to incredulity. Such shall be the _Life of Napoleon_, by the
+_Author of Waverley_." He wished to controvert "the vulgar opinion that
+the flattest and dullest mode of detailing events must uniformly be that
+which approaches nearest to the truth."[413] There is no doubt that his
+histories are readable, yet we feel that Southey was right in his
+comment on the _Life of Napoleon_,--"It was not possible that Sir Walter
+could keep up as a historian the character which he had obtained as a
+novelist; and in the first announcement of this 'Life' he had, not very
+wisely, promised something as stimulating as his novels. Alas! he forgot
+that there could be no stimulus of curiosity in it."[414] A recent
+critic has said, "Scott lost half his power of vitalizing the past when
+he sat down formally to record it--when he turned from his marvellous
+recreation of James I. to give a laboured but very ordinary portrait of
+Napoleon."[415] His partial failure in this instance may have been due
+to an unfortunate choice of subject. Only a few years before he wrote
+the book Scott had been thinking of Napoleon as a "tyrannical
+monster,"[416] a "singular emanation of the Evil Principle,"[417] "the
+arch-enemy of mankind,"[418]--phrases which, in spite of their
+vividness, hardly seem to promise a life-like portrayal of the man.[419]
+
+In one notable respect, Scott's conception of how history should be
+written was very modern: he would depict the life of the people, not
+simply the actions of kings and statesmen. His historical novels, said
+Carlyle, "taught all men this truth, which looks like a truism, and yet
+was as good as unknown to writers of history and others, till so taught:
+that the bygone ages of the world were actually filled by living men,
+not by protocols, state-papers, controversies, and abstractions of
+men."[420] One who has the academic notion that a novel, to be great,
+must be written with no ulterior purpose, is almost startled to observe
+how definitely Scott considered it the function of his novels to portray
+ancient manners. Speaking of old romances as a source which we may use
+for studying about our ancestors, he said: "From the romance, we learn
+what they were; from the history, what they did: and were we to be
+deprived of one of these two kinds of information, it might well be made
+a question, which is most useful or interesting."[421] He wished to make
+his own romances serve much the same purpose as those written in the
+midst of the customs which they unconsciously reflected. Of _Waverley_
+he said, "It may really boast to be a tolerably faithful portrait of
+Scottish manners."[422] He interrupts the story of _The Pirate_ to
+describe the charm of the leaden heart, and offers this excuse: "As this
+simple and original remedy is peculiar to the isles of Thule, it were
+unpardonable not to preserve it at length, in a narrative connected with
+Scottish antiquities."[423] His comment on _Ivanhoe_ was as follows: "I
+am convinced that however I myself may fail in the ensuing attempt, yet,
+with more labour in collecting, or more skill in using, the materials
+within his reach, illustrated as they have been by the labours of Dr.
+Henry, of the late Mr. Strutt, and above all, of Mr. Sharon Turner, an
+abler hand would have been successful."[424]
+
+Scott's early reading was only the basis for the research that he
+undertook afterwards.[425] Much of this later study was accomplished
+when he was engaged upon such books as _Somers' Tracts_, _Dryden's_ and
+_Swift's Works_, and the other historical publications that make the
+bibliography of Scott so surprising to the ordinary reader; but some of
+his investigations were undertaken specifically for the novels. The
+_Literary Correspondence_ of his publisher, Archibald Constable,
+contains many evidences of Scott's efforts, assisted often by Constable,
+to get antiquarian and topographical details correct in the novels. In
+1821 Constable suggested that Sir Walter write a story of the time of
+James I. of England, and was told, "If you can suggest anything about
+the period I will be happy to hear from you; you are always happy in
+your hints."[426] Some years earlier the author and the publisher had a
+correspondence concerning a series of letters on the history of Scotland
+which the former was planning to write, and which he wished to publish
+anonymously for the following reason: "I have not the least doubt that I
+will make a popular book, for I trust it will be both interesting and
+useful; but I never intended to engage in any proper historical labour,
+for which I have neither time, talent, nor inclination.... In truth it
+would take ten years of any man's life to write such a History of
+Scotland as he should put his name to."[427] He called his _Napoleon_
+"the most severe and laborious undertaking which choice or accident ever
+placed on my shoulders."[428]
+
+More than once Scott expresses the opinion that though novels may be
+useful to arouse curiosity about history, and to impart some knowledge
+to people who will not do any serious thinking, they may, on the other
+hand, work harm by satisfying with their superficial information those
+who would otherwise read history.[429] It seems as if he designed the
+_Life of Napoleon_ and the _History of Scotland_ for a new reading class
+that the novels had been creating, and as if he wished to make the step
+of transition not too long. We can almost fancy them as a series of
+graded books arranged to lead the people of Great Britain up to a
+sufficient height of historical information. The _Tales of a
+Grandfather_ were intended for the beginners who had never been infected
+by the common heresy concerning the dulness of history, and who were
+blessed with sufficiently active imagination to make the sugar-coating
+of fiction superfluous.[430]
+
+But great as was the interest that Scott took in the historical aspect
+of his work, his artistic sense guided his use of materials, and he was
+well aware of the danger of over-working the mine. The principles on
+which he chose periods and events to represent are illustrated in many
+of the introductions. Of _The Fortunes of Nigel_ he said: "The reign of
+James I., in which George Heriot flourished, gave unbounded scope to
+invention in the fable, while at the same time it afforded greater
+variety and discrimination of character than could, with historical
+consistency, have been introduced if the scene had been laid a century
+earlier."[431]
+
+His first published attempt at fiction-writing was a conclusion to the
+novel, _Queenhoo-Hall_,[432] of which his opinion was that it would
+never be popular because antiquarian knowledge was displayed in it too
+liberally. "The author," he says, "forgot ... that extensive neutral
+ground, the large proportion, that is, of manners and sentiments which
+are common to us and to our ancestors, having been handed down unaltered
+from them to us, or which, arising out of the principles of our common
+nature, must have existed in either state of society."[433] Scott's
+practice in regard to the language of his historical novels was based on
+much the same theory. He intended to admit "no word or turn of
+phraseology betraying an origin directly modern,"[434] but to avoid
+obsolete words for the most part; and he never attempted to follow with
+fidelity the style of the exact age of which he was writing. The
+translation of Froissart by Lord Berners seemed to him a sufficiently
+good model to serve for the whole mediaeval period.[435] In his review
+of _Tales of My Landlord_ he says of the proem to his book: "It is
+written in the quaint style of that prefixed by Gay to his _Pastorals_,
+being, as Johnson terms it, 'such imitation as he could obtain of
+obsolete language, and by consequence, in a style that was never written
+or spoken in any age or place.'"
+
+His _Journal_ contains observations on several historical novels which
+were of little consequence, as, for example, on one by a Mr. Bell,--"He
+goes not the way to write it; he is too general, and not sufficiently
+minute";[436] and on _The Spae-Wife_, by Galt,--"He has made his story
+difficult to understand, by adopting a region of history little
+known."[437] On the other hand he remarked, when someone had suggested a
+number of historical subjects to him,--"People will not consider that a
+thing may already be so well told in history, that romance ought not in
+prudence to meddle with it";[438] and at another time he spoke of "the
+usual habit of antiquarians," to "neglect what is useful for things that
+are merely curious."[439]
+
+Aside from the familiar knowledge of ancient manners which he thought
+enabled him to give his tales the necessary touch of novelty, and from
+the "hurried frankness," or spontaneity of style which endowed them with
+vitality, Scott believed that his talents included a special knack at
+description. He felt, however, that a sense of the picturesque in action
+was a different thing from a similar perception in regard to scenery,
+and that though the first was natural to him, he was obliged to use
+effort to develop the second.[440] Some study of drawing in his youth
+helped him to comprehend the demands of perspective, and he endeavored
+to carry out the principle of describing a scene in the way in which it
+would naturally strike the spectator, neither overloading with confused
+detail nor over-emphasizing what should be subordinate.[441] That his
+plan was consciously adopted may be seen from his discussion of Byron's
+skill in description and from his comments on the descriptive passages
+of the mediaeval romances.[442]
+
+At the same time he understood the advantages of the realistic method.
+On one occasion he stated as his creed, "that in nature herself no two
+scenes were exactly alike, and that whoever copied truly what was before
+his eyes would possess the same variety in his descriptions, and exhibit
+apparently an imagination as boundless as the range of nature in the
+scenes he recorded; whereas, whoever trusted to imagination would soon
+find his own mind circumscribed and contracted to a few favourite
+images, and the repetition of these would sooner or later produce that
+very monotony and barrenness which had always haunted descriptive poetry
+in the hands of any but the patient worshippers of truth."[443]
+Wordsworth disapproved of Scott's method in description. He is quoted as
+having said: "Nature does not permit an inventory to be made of her
+charms! He should have left his pencil and note-book at home [and] fixed
+his eye as he walked with a reverent attention on all that surrounded
+him."[444] Somewhat like a rejoinder sounds another remark of Scott's,
+in phrases that Wordsworth would have detested. Scott said cheerfully,
+"As to the actual study of nature, if you mean the landscape gardening
+of poetry ... I can get on quite as well from recollection, while
+sitting in the Parliament house, as if wandering through wood and
+wold."[445] At another time he said, "If a man will paint from nature,
+he will be likely to amuse those who are daily looking at it."[446]
+
+Though Scott prided himself somewhat on his descriptive powers he
+realized that he could not do his best work on minute canvases. We have
+already seen how he contrasted himself with Jane Austen. "The exquisite
+touch," he said, "which renders ordinary commonplace things and
+characters interesting from the truth of the description and the
+sentiment, is denied to me."[447]
+
+Of Scott's opinion in regard to the ethical effect of novels, I have
+already spoken.[448] The fact that he refused to use the conventional
+plea of a desire to improve public morals, and that he understood how
+little a reader is really influenced by the exalted sentiments of heroes
+of fiction, gave Carlyle a fit of righteous indignation;[449] but it is
+futile to say that Scott "had no message to deliver to the world." He
+might have retorted, in the words which he once used about
+Homer,--"Doubtless an admirable moral may be often extracted from his
+poem; because it contains an accurate picture of human nature, which can
+never be truly presented without conveying a lesson of instruction. But
+it may shrewdly be suspected that the moral was as little intended by
+the author as it would have been the object of an historian, whose work
+is equally pregnant with morality, though a detail of facts be only
+intended."[450] It was a comfort to Scott at the end of his life to
+reflect that the tendency of all he had written was morally good,[451]
+and we can well believe that he was pleased by the enthusiastic tribute
+of his young critic, J.L. Adolphus, who said of his books: "There is not
+an unhandsome action or degrading sentiment recorded of any person who
+is recommended to the full esteem of the reader."[452]
+
+That Scott considered poetical power very important for a writer of
+novels, he made evident in his _Lives of the Novelists_. Mr. Herford has
+said, but surely without good reason, that Scott wholly lacked the sense
+of mystery, and that in this respect Mrs. Radcliffe was more modern than
+he.[453] Yet it was Scott who censured Mrs. Radcliffe for explaining her
+mysteries. He had a vein of superstition in his nature, too, about which
+he might have said, using the words given to a character in one of his
+stories,--"It soothes my imagination, without influencing my reason or
+conduct."[454] A liking for the wonderful and terrible, which he felt
+from his earliest childhood, was one manifestation of a poetical
+temperament which is so apparent that there is no need of reciting the
+evidence. The poetical qualities in the Waverley novels gave Adolphus
+one of his favorite arguments in the attempt to prove that Scott was the
+author.
+
+Yet Scott seemed to feel that his position as a writer of popular
+fiction, however much the novel is capable of being the vehicle of
+imagination and poetical power, was not a really high one. James
+Ballantyne persuaded him to omit from one of his introductions a passage
+that seemed to belittle the occupation of his life,[455] but in the
+introduction to _The Abbot_ he wrote: "Though it were worse than
+affectation to deny that my vanity was satisfied at my success in the
+department in which chance had in some measure enlisted me, I was
+nevertheless far from thinking that the novelist or romance-writer
+stands high in the ranks of literature." The ideal which he set for
+himself is indicated in the following passage of his article on _Tales
+of My Landlord_: "If ... the features of an age gone by can be recalled
+in a spirit of delineation at once faithful and striking ... the
+composition is in every point of view dignified and improved; and the
+author, leaving the light and frivolous associates with whom a careless
+observer would be disposed to ally him, takes his seat on the bench of
+the historians of his time and country." He once expressed the opinion
+that the historical romance approaches, in some measure, when it is
+nobly executed, to the epic in poetry.[456] When a medal of Scott,
+engraved from the bust by Chantrey, was struck off, he suggested the
+motto which was used:
+
+    "Bardorum citharas patrio qui reddidit Istro,"
+
+and said, "because I am far more vain of having been able to fix some
+share of public attention upon the ancient poetry and manners of my
+country, than of any original efforts which I have been able to make in
+literature."[457] The following commendation, which he wrote for a book
+of portraits accompanied by essays, might be made to apply to his
+novels: "It is impossible for me to conceive a work which ought to be
+more interesting to the present age than that which exhibits before our
+eyes our 'fathers as they lived'"[458] He felt strongly the value and
+importance of past manners, faiths and ideals for the present, and from
+this point of view took satisfaction in the social and ethical teaching
+of his novels.
+
+On the whole, Scott's opinions about his own work fitted well with his
+general literary principles, except that his modesty inclined him to
+discount his own performance while he overestimated that of others. With
+this qualification we may remember that he always spoke sensibly about
+his work, without affectation, and with abundant geniality. We are
+reminded of the comment on Moliere quoted by Scott from a French
+writer,--"He had the good fortune to escape the most dangerous fault of
+an author writing upon his own compositions, and to exhibit wit, where
+some people would only have shown vanity and self-conceit."[459]
+
+
+
+
+CHAPTER VI
+
+SCOTT'S POSITION AS CRITIC
+
+    Comparison of Scott with Jeffrey and with the Romantic critics--His
+    criticism largely appreciative--Romantic in special cases and
+    Augustan in attitude--Comparison with Coleridge--Scott's respect for
+    the verdict of the public--His opinion that elucidation is the
+    function of criticism--Use of historical illustration--Hesitation
+    about analysing poetry--Political criticism--Verdict of his
+    contemporaries on his criticism--Influence as a critic--Literary
+    prophecies--Character of his critical work as a whole--His attitude
+    towards it--Lack of system--Broad fields he covered--His greatness a
+    reason for the importance of his criticism.
+
+
+Important as Scott's poetry was in the English Romantic revival, as a
+critic he can hardly be counted among the Romanticists. His attitude,
+nevertheless, differed radically from that of the school represented by
+Jeffrey and Gifford. We have already seen that he disliked their manner
+of reviewing, and that he was conscious of complete disagreement with
+Jeffrey in regard to poetic ideals. Of Jeffrey Mr. Gates has said: "[He]
+rarely _appreciates_ a piece of literature.... He is always for or
+against his author; he is always making points."[460] That Scott was
+influenced in his early critical work by the tone of the _Edinburgh
+Review_ is undeniable, but temperamentally he was inclined to give any
+writer a fair chance to stir his emotions; and he did not adopt the
+magisterial mood that dictated the famous remark, "This will never do."
+Scott's style lacked the adroitness and pungency which helped Jeffrey
+successfully to take the attitude of the censor, and which made his
+satire triumphant among his contemporaries. Scott declined, moreover, to
+cultivate skill in a method which he considered unfair. Compared with
+Jeffrey's his criticism wanted incisiveness, but it wears better.
+
+The period was transitional, and Jeffrey did not go so far as Scott in
+breaking away from the dictation of his predecessors. But his attitude
+was on the whole more modern than the reader would infer from the
+following sentence in one of his earliest reviews: "Poetry has this much
+at least in common with religion, that its standards were fixed long ago
+by certain inspired writers, whose authority it is no longer lawful to
+call in question."[461] He considered himself rather an interpreter of
+public opinion than a judge defining ancient legislation, but he used
+the opinion of himself and like-minded men as an unimpeachable test of
+what the greater public ought to believe in regard to literature. We may
+remember that the enthusiasm over the Elizabethan dramatists which seems
+a special property of Lamb and Hazlitt, and which Scott shared, was
+characteristic also of Jeffrey himself. It was Jeffrey's dogmatism and
+his repugnance to certain fundamental ideas which were to become
+dominant in the poetry of the nineteenth century that lead us to
+consider him one of the last representatives of the eighteenth century
+critical tradition. Scott praised the Augustan writers as warmly as
+Jeffrey did, but he was more hospitable to the newer literary impulse.
+"Perhaps the most damaging accusation that can be made against Jeffrey
+as a critic," says Mr. Gates, "is inability to read and interpret the
+age in which he lived."[462]
+
+Scott's criticism was largely appreciative, but appreciative on a
+somewhat different plane from that of the contemporary critics whom we
+are accustomed to place in a more modern school: Hazlitt, Hunt, Lamb,
+and Coleridge. His judgments were less delicate and subtle than the
+judgments of these men were apt to be, and more "reasonable" in the
+eighteenth-century sense; they were marked, however, by a regard for the
+imagination that would have seemed most unreasonable to many men of the
+eighteenth century.
+
+Scott had not a fixed theory of literature which could dominate his mind
+when he approached any work. He was open-minded, and in spite of his
+extreme fondness for the poetry of Dr. Johnson he was apt to be on the
+Romantic side in any specific critical utterance. We have seen also that
+he resembled the Romanticists in his power to disengage his verdicts on
+literature from ethical considerations. On the other hand he seems
+always to have deferred to the standard authorities of the classical
+criticism of his time when his own knowledge was not sufficient to guide
+him. In discussing Roscommon's Essay on Translated Verse he wrote: "It
+must be remembered that the rules of criticism, now so well known as to
+be even trite and hackneyed, were then almost new to the literary
+world."[463]
+
+Perhaps the main reason why one would not class Scott's critical work
+with that of the Romanticists is that he had no desire to proclaim a new
+era in creative literature or in criticism. Like the Romanticists he was
+ready to substitute "for the absolute method of judging by reference to
+an external standard of 'taste,' a method at once imaginative and
+historical";[464] yet he talked less about imagination than about good
+sense. The comparison with Boileau suggests itself, for Scott admired
+that critic in the conventional fashion, calling him "a supereminent
+authority,"[465] and Boileau also had said much about "reason and good
+sense." But Scott had an appreciation of the _furor poeticus_ that made
+"good sense" quite a different thing to him from what it was to Boileau.
+He did not say, moreover, that the poet should be supremely
+characterized by good sense, but that the critic, recognizing the facts
+about human emotion, should make use of that quality.
+
+The subjective process by which experience is transmuted into literature
+engaged Scott's attention very little: in this respect also he stands
+apart from the newer school of critics. The metaphysical description of
+imagination or fancy interested him less than the piece of literature in
+which these qualities were exhibited. His own mental activities were
+more easily set in motion than analysed, and the introspective or
+philosophical attitude of mind was unnatural to him. Because of his
+adoption of the historical method of studying literature, and the
+similarity of many of his judgments to those which were in general
+characteristic of the Romantic school, we may say that Scott's criticism
+looks forward; but it shows the influence of the earlier period in its
+acceptance of traditional judgments based on external standards which
+disregarded the nature of the creative process.
+
+From Coleridge Scott is separated in the most definite way. Coleridge
+began at the foundation, building up a set of principles such as the new
+impulse in literature seemed to demand. Scott preferred the concrete,
+and was stimulated by the particular book to express opinions that would
+never have come to his mind as the result of pursuing a train of
+unembodied ideas. Coleridge's judgments, moreover, would be unaffected
+by public estimation, for he sought to found them on the spiritual and
+philosophic consciousness that exists apart from the crowd.[466] Scott,
+on the other hand, was ready to use popular judgment as an important
+test of his opinions. Coleridge himself pointed out another interesting
+contrast. He wrote: "Dear Sir Walter Scott and myself were exact, but
+harmonious opposites in this;--that every old ruin, hill, river, or
+tree, called up in his mind a host of historical or biographical
+associations, ... whereas, for myself, notwithstanding Dr. Johnson, I
+believe I should walk over the plain of Marathon without taking more
+interest in it than in any other plain of similar features."[467] We
+might perhaps say that Coleridge's affection was given to ideas,
+Scott's, to objects; hence Coleridge was a critic of literary principles
+and theories, Scott a critic of individual books and writers. It follows
+that Scott was on the whole an impressionistic critic. A study of his
+personality is essential to a consideration of his critical work, for he
+was not so much a systematic student of literature, guided by fixed
+principles, as a man of a certain temperament who read particular things
+and made particular remarks about them as he felt inclined. The
+inconsistencies and contradictions which would naturally result from
+such a procedure are occasionally noticeable, but they are fewer than
+would occur in the work of a less well-balanced man than himself.
+
+His ideas about criticism were influenced by his feeling that the
+judgment of the public would after all take its own course, and that it
+was in the long run the best criterion. He used his opinion that an
+author, even in his own lifetime, commonly receives fair treatment from
+the public, as an argument against establishing in England any literary
+body having the power of pensioning literary men.[468] On this subject
+he said, "There is ... really no occasion for encouraging by a society
+the competition of authors. The land is before them, and if they really
+have merit they seldom fail to conquer their share of public applause
+and private profit.... I cannot, in my knowledge of letters, recollect
+more than two men whose merit is undeniable while, I am afraid, their
+circumstances are narrow. I mean Coleridge and Maturin."
+
+Scott's whole attitude toward criticism shows that he felt its supreme
+function to be elucidation. It should also, he believed, warn the world
+against books that were foolish, or pernicious, intellectually or
+morally; but unless there were good reason for issuing such warnings the
+bad books should be ignored and the good treated sympathetically, not
+without such discrimination as should distinguish between the better and
+the worse in them, but with emphasis on the better. His literary creed,
+though not formulated into a system, was conscious and fairly definite;
+but it consisted of general principles which never resolved themselves
+into intricate subtleties requiring great space for their development.
+Scott could not think in that way, and he felt convinced that such
+thinking was useless and worse than useless. A magazine-writer of his
+own period who said of him,--"The author of _Waverley_, we apprehend,
+has neither the patience nor the disposition requisite for writing
+philosophically upon any subject,"[469] was mistaken, for much of
+Scott's criticism, without making any pretensions, is really
+philosophical. But any fine-drawn analysis seemed to him to serve the
+vanity of the critic rather than the need of the public; and he despised
+that arrogance in the critic which leads him to assume to direct
+literary taste.
+
+Historical illustration was that kind of editorial work which he found
+most congenial, and which harmonized best with his critical principles;
+for when he could bring definite facts to the service of elucidation he
+felt that he was doing something worth while. Among all the
+introductions and annotations that we have from his hand, including
+those of the _Dryden_ and the _Swift_, this kind of explanation greatly
+predominates over the more strictly literary comment; in his reviews,
+also, it is evident that he seized every opportunity for turning from
+literary to historical discussion. He was in the habit of "embroidering
+the subject, whatever it might be, with lively anecdotic
+illustration,"[470] as one of his biographers says. We are not to
+conclude that in writing on specifically literary subjects he felt ill
+at ease. He felt, on the contrary, that the objection lay in the too
+great ease with which the critic might become dictatorial. He was fond
+enough of details when they were concrete and vital. The facts of
+literary history were in this category to him, as distinguished from the
+notions of literary theory; and we find that his critical principles are
+apt to appear incidentally among remarks on what seemed to him the more
+tangible and important facts of literary and social history. The books
+he chose to review were chiefly those which gave him a chance to use his
+historical information and imagination. His ideas were concrete, as
+those of a great novelist must inevitably be. Indeed the dividing line
+between creative work and criticism seems often to be obliterated in
+Scott's literary discussions, since he was inclined to amplify and
+illustrate instead of dissecting the book under consideration. As a
+critic he was distinguished by the qualities which appear in his novels,
+and which may be described in Hazlitt's words, as "the most amazing
+retentiveness of memory, and vividness of conception of what would
+happen, be seen, and felt by everybody in given circumstances."[471]
+
+Scott felt that there was especial danger of futile theorizing in the
+criticism of poetry. In writing about _Alexander's Feast_ he discussed
+for a moment the possibility of detecting points at which the author had
+paused in his work, but almost immediately he stopped himself with the
+characteristic remark--"There may be something fanciful ... in this
+reasoning, which I therefore abandon to the reader's mercy; only begging
+him to observe, that we have no mode of estimating the exertions of a
+quality so capricious as a poetic imagination."[472] Early in his career
+he gave this rather over-amiable explanation of the fact that he had
+never undertaken to review poetry: "I am sensible there is a greater
+difference of tastes in that department than in any other, and that
+there is much excellent poetry which I am not nowadays able to read
+without falling asleep, and which would nevertheless have given me great
+pleasure at an earlier period of my life. Now I think there is something
+hard in blaming the poor cook for the fault of our own palate or
+deficiency of appetite."[473] We have seen that he did review poetry
+afterwards, but that he was inclined to do it with the least possible
+emphasis on the specifically aesthetic elements. On the subject of
+novel-writing he developed a somewhat fuller critical theory, but here
+also his discussions concerned themselves rather with the kind of ideas
+set forth than with the manner of presentation.
+
+It does indeed seem as if Scott's feelings were more easily aroused to
+the point of formulating "laws" in the field of political criticism than
+in that which appears to us his more legitimate sphere. He has his
+fling, to be sure, at Madame de Stael, because she "lived and died in
+the belief that revolutions were to be effected, and countries governed,
+by a proper succession of clever pamphlets."[474] But in proposing the
+establishment of the _Quarterly Review_ he made no secret of the fact
+that his motives were political. The literary aspect of the periodical
+was thought of as a subordinate, though a necessary and not unimportant
+phase of the undertaking. The _Letters of Malachi Malagrowther_ contain
+some very definite maxims on the subject of political economy, and just
+as decided are the remarks made in the last of _Paul's Letters_, as well
+as in the _Life of Napoleon_ and elsewhere, as to how Louis XVIII. ought
+to set about the task of calming his distracted kingdom of France. But
+however emphatic Scott may be in the comments on government which appear
+throughout his writings, he was as strongly averse in this matter as in
+literary affairs to any separation of philosophy from fact: his maxims
+are always derived from experience. The following statement of opinion
+is typical: "In legislating for an ancient people, the question is not,
+what is the best possible system of law, but what is the best they can
+bear. Their habitudes and prejudices must always be respected; and,
+whenever it is practicable, those prejudices, instead of being
+destroyed, ought to be taken as the basis of the new regulations."[475]
+
+It was Scott's political creed that roused the ire of such men as
+Hazlitt and Hunt, though they may also have been exasperated at the
+unprecedented success of poetry which seemed so facile and so
+superficial to them as Scott's. Leigh Hunt calls him "a poet of a purely
+conventional order," "a bitter and not very large-minded politician," "a
+critic more agreeable than subtle."[476] But Scott's politics may be
+looked at in another way. "In his patriotism," says Mr. Courthope, "his
+passionate love of the past, and his reverence for established
+authority, literary or political, Scott is the best representative among
+English men of letters of Conservatism in its most generous form."[477]
+
+Though it seems to have been a common opinion among the literary men of
+his own time that Scott's criticism was superficial, his knowledge of
+mediaeval literature was, as we have seen, recognized and respected.
+Favorable comments by his contemporaries on other parts of his critical
+work are not difficult to find. For example, Gifford wrote to Murray in
+regard to the article on _Lady Suffolk's Correspondence_: "Scott's paper
+is a clever, sensible thing--the work of a man who knows what he is
+about."[478] Isaac D'Israeli made the following observation on another
+of Scott's papers: "The article on Pepys, after so many have been
+written, is the only one which, in the most charming manner possible,
+shows the real value of these works, which I can assure you many good
+scholars have no idea of."[479] A more recent verdict may be set beside
+those just quoted, and it is in perfect agreement with them. "His
+critical faculty," says Professor Saintsbury, "if not extraordinarily
+subtle, was always as sound and shrewd as it was good-natured."[480]
+
+Scott's influence as a critic was not very great, but his creative work
+exerted a strong influence on criticism as well as on the whole
+intellectual life of his age. His own novels demanded of the critic that
+kind of appreciation of the large qualities and negligence of the small
+which he had insisted on considering the function of criticism; and they
+became a fact in literature which determined to some degree the attitude
+taken toward ephemeral ideas. Newman notes the popularity of Scott's
+novels as one of the influences which prepared the ground for the
+Tractarian movement, for Scott enriched the visions of men by his
+pictures of the past, gave them noble ideas, and created a desire for a
+greater richness of spiritual life.[481] Much of his criticism also was
+inspired by the wish to construct an adequate picture of the past; so
+far it worked in the same direction with the novels. Its most important
+offices aside from this were perhaps to present large and kindly views
+of literature and literary characters, especially through biographical
+essays; and to ameliorate somewhat the prevailing asperity of periodical
+criticism.
+
+A man of Scott's temperament was little likely to set himself up for a
+prophet, and probably no literary prophecies of his were in the least
+influential. Though he sometimes boasted that he understood the varying
+currents of popular taste, his experience in the publishing business
+taught him the fallibility of his impressions when the work of writers
+other than himself was concerned. He once wrote,--"The friends who know
+me best, and to whose judgment I am myself in the constant habit of
+trusting, reckon me a very capricious and uncertain judge of poetry; and
+I have had repeated occasion to observe that I have often failed in
+anticipating the reception of poetry from the public."[482] But it is
+beyond the strength of flesh and blood to resist saying things about the
+future sometimes, and Scott occasionally yielded to the temptation,
+helped, no doubt, by his amiability. Southey's _Madoc_, however, has not
+yet assumed that place at the feet of Milton which, as we have seen, he
+ventured to predict for it. Yet, if we may trust the memory of one of
+his friends, Scott foresaw the literary success of two of his greatest
+contemporaries. R.P. Gillies said in his _Recollections_: "I remember
+well how correct Scott's impressions were of such beginners in the
+literary world as had not then acquired any fixed character. Of Lord
+Byron he had from the first a favourable impression.... Of Wordsworth he
+always spoke favourably, insisting that he was a true poet, but
+predicting that it would be long ere his works obtained the praise which
+they merited from the public."[483] Scott explicitly prided himself on
+two of his prophecies: that Washington Irving would make a name for
+himself, and that Sir Arthur Wellesley would become known as an
+extraordinary man.
+
+Though Scott's critical work is comparatively little known, and though
+it presents no solidly organized front by which the public may be
+impressed, the opinions of so notable a writer have always had a certain
+weight. Mr. Churton Collins thinks Scott's judgment on Dunbar has led
+modern editors to indulge in very exaggerated statements concerning the
+merit of that poet.[484] A heavier charge has been laid at Scott's door
+on the score of his edition of the _Memoirs of Captain Carleton_. He
+concluded on very insufficient evidence, says Colonel Parnell, that
+these memoirs were genuinely historical, published them as such, and by
+the weight of his opinion falsified "the whole stream of
+nineteenth-century history bearing on the reign of Queen Anne."[485]
+Stanhope, Macaulay, and other historians were ready to accept Scott's
+judgment without further investigation, it seems; and if the accusation
+be true we may conclude that his influence as a critic has reached
+farther than might at first sight appear. Yet we may be content to
+follow his lead in general, except in those bits of enthusiasm over his
+friends which bear witness to a generously optimistic nature rather than
+to a rigid critical attitude such as we should hardly demand in any case
+from a man of letters commenting on his contemporaries and friends.
+George Ticknor was greatly impressed by the "right-mindedness" of the
+young Sophia Scott,[486] and we may fairly adopt the word to describe
+the father whom she so much resembled. There was in him, as Carlyle
+said, "such a sunny current of true humour and humanity, a free joyful
+sympathy with so many things; what of fire he had all lying so
+beautifully latent, as radical latent heat, as fruitful internal warmth
+of life;--a most robust, healthy man!"[487]
+
+Writers upon Scott have made much, perhaps too much, of his feeling that
+his position as a landed gentleman was more enviable than his prominence
+as a writer. The point would be of greater consequence if it performed
+so important a function in explaining his work as has commonly been
+assigned to it. We are told that he wrote much and hastily because he
+wanted money to establish and support an estate; but the truth is that
+if he wrote at all he had to write in this way. He justly believed that
+he could do his best work so. Yet it was a natural result of his
+facility that he should look upon the literature he produced as of
+comparatively little moment. Some of his remarks about his critical
+work, however, show that he really regarded creative writing as the
+business of his life, and that in contrast with it he considered his
+criticism a relief from more arduous labor. After the publication of
+_Marmion_ he wrote: "I have done with poetry for some time--it is a
+scourging crop, and ought not to be hastily repeated. Editing,
+therefore, may be considered as a green crop of turnips or peas,
+extremely useful for those whose circumstances do not admit of giving
+their farm a summer fallow."[488] After years of novel-writing he said
+of writing a review, "No one that has not laboured as I have done on
+imaginary topics can judge of the comfort afforded by walking on
+all-fours, and being grave and dull."[489]
+
+From what Scott said about Dryden as a critic we may conclude that the
+unsystematic character of his own scholarly work may have been a matter
+of principle as well as inclination. "Dryden," he wrote, "forebore, from
+prudence, indolence, or a regard for the freedom of Parnassus, to erect
+himself into a legislator."[490] The words remind us of comments made
+upon Scott's own work, as for example by Professor Masson, who spoke of
+"the shrewdness and sagacity of some of his critical prefaces to his
+novels, where he discusses principles of literature without seeming to
+call them such."[491] Scott was quick to notice "cant and slang"[492] in
+the professional language of men in all arts; and he valued most highly
+the remarks of those whose intelligence had not been overlaid by a
+conventional pedantry.
+
+Knowing that criticism was not the main business of his life, we are
+inclined to be surprised at the broad fields which he seemed to have no
+hesitation in entering upon. His remarkable memory doubtless had
+something to do with this, but he lived in a period when generalization
+was more possible and more permissible than it is in this era of special
+monographs. The large tendencies and characteristics that he traced in
+his essay on Romance, for instance, are undoubtedly to be qualified at
+numberless points, but writing when he did, Scott was comparatively
+untroubled by these limitations. Moreover, he had the gift of seeing
+things broadly, so that in essentials his survey remains true. But the
+amount of his work is almost as astonishing as its scope and variety. He
+could accomplish so much only by disregarding details of form; and that
+he did so we know from our study of his principles of composition,
+confirmed by the evidence of the passages from him that have here been
+quoted. It is clear, also, that he was not limited by that "horror of
+the obvious," which, as Mr. Saintsbury says, "bad taste at all times has
+taken for a virtue."[493] Beyond this we have to fall back for
+explanation on the unusual qualities of his mind. An observing friend
+said of him that, "With a degree of patience and quietude which are
+seldom combined with much energy, he could get through an incredible
+extent of literary labour."[494]
+
+Every quality which made Scott a great man contributes to the interest
+and importance of his criticism. Such a body of criticism, formulated by
+a large creative genius, would be of special consequence if it served
+merely as the basis for a study of his other work, a commentary on the
+principles which underlay his whole literary achievement. But it would
+be strange if a man of Scott's intellectual personality could write
+criticism which was not important in itself, and we can only account for
+the general neglect of this part of his work by considering how large a
+place his poems and novels give him in the history of our literature. If
+he deserves a still larger place, we may remember with satisfaction that
+as a man he was great enough to support honorably any distinction won by
+his mind.
+
+
+
+
+APPENDIX I.
+
+BIBLIOGRAPHY
+
+
+The bibliography of Scott's writings is given in three parts, as
+follows:
+
+1. Books which Scott wrote or edited, or to which he was an important
+   contributor. The list is chronological.
+
+2. Contributions to periodicals.
+
+3. Books which contain letters written by Scott. These titles are
+   arranged approximately in the order of their importance from the
+   point of view of a study of Scott.
+
+
+1. _Books which Scott wrote or edited, or to which he was an important
+contributor_.
+
+(In the following list the first editions of the poems and novels
+are noted without bibliographical details. In the case of other
+works the main facts in regard to publication are given; and an
+attempt is made to indicate the nature of the books named, unless
+they have been discussed in the text.)
+
+1796
+  The Chase and William and Helen. (Translated from Buerger.)
+
+1799
+  Goetz of Berlichingen. (Translated from Goethe.)
+
+  Apology for Tales of Terror.
+
+      Twelve copies were privately printed, to exhibit the work of the
+      Ballantyne press at Kelso. The title was occasioned by the delay
+      in the publication of Matthew Lewis's Tales of Terror, and the
+      little book contains poems which Scott had contributed to that
+      work. (The contents are named in the Catalogue of the Centenary
+      Exhibition.)
+
+1800
+  The Eve of St. John, a Border ballad.
+
+1802-3
+  Minstrelsy of the Scottish Border; consisting of historical and
+  romantic ballads, collected in the southern counties of Scotland; with
+  a few of modern date founded upon local tradition.
+
+      3 vols. Vols. I and 2, Kelso, 1802; vol. 3, Edinburgh, 1803.
+      Second edition, 1803. The book was republished frequently before
+      1830, when it was included in the collected edition of Scott's
+      poems. It has also been reprinted independently since then several
+      times. The latest and most complete edition is that published in
+      1902, edited by T.F. Henderson. Other books in which part of
+      Scott's ballad material was used in such a way as to give his name
+      a place on the title-page are named below:
+
+      Kinmont Willie: a Border ballad, with an historical introduction,
+      by Sir Walter Scott. (Carlisle Tracts No. 6) Carlisle, 1841.
+
+      A Ballad Book by C.K. Sharpe. MDCCCXXIII. Reprinted with notes and
+      ballads from the unpublished manuscripts of C.K. Sharpe and Sir
+      Walter Scott ... edited by ... D. Laing. Edinburgh, 1880.
+
+1804
+  Sir Tristrem: a metrical romance of the thirteenth century, by Thomas
+  of Ercildoune, called the Rhymer. Edited from the Auchinleck
+  manuscript by Walter Scott. Edinburgh.
+
+      Only 12 copies of Sir Tristrem were printed in the form in which
+      Scott had intended to publish it, without the expurgation which
+      his friends insisted upon. (_Letters to R. Polwhele_, etc., p. 18;
+      _Lockhart_, I. 361). The following book contains a part of the
+      same material:
+
+      A Penni worth of Witte, Florice and Blancheflour, and other pieces
+      of ancient English poetry, selected from the Auchinleck
+      manuscript. (With an account of the Auchinleck manuscript by Sir
+      Walter Scott) Edinburgh, 1857. Printed for the Abbotsford Club.
+
+1805
+  The Lay of the Last Minstrel.
+
+1806
+  Original Memoirs written during the great civil war; being the life of
+  Sir H. Slingsby, and memoirs of Capt. Hodgson. With notes, etc.
+  Edinburgh. [Edited by Scott anonymously.]
+
+  Ballads and Lyrical Pieces. [Poems which had already appeared in
+  various collections.]
+
+1808
+  Marmion.
+
+  Memoirs of Captain Carleton, ... including anecdotes of the war in
+  Spain under the Earl of Peterborough, ... written by himself.
+  Edinburgh. (8vo, but 25 copies were printed on large paper.) [Edited
+  by Scott anonymously.]
+
+      Scott was probably mistaken in considering this to be a genuine
+      autobiography. (See Col. Parnell's argument in _The English
+      Historical Review_, vi:97.) It has been attributed to Defoe, and
+      Col. Parnell attributes it to Swift, but the question of its
+      authorship is still unsolved. The book was first published in
+      1728, but Scott used the edition of 1743, which he was so
+      inaccurate as to take for the original edition; and as at that
+      date Defoe had long been dead and Swift had lost his mind, the
+      possibility of attributing it to either of them naturally would
+      not occur to him. Scott wrote scarcely any notes, but his short
+      introduction contains some interesting general reflections which
+      are quoted by Lockhart.
+
+  The Works of John Dryden, now first collected; illustrated with notes,
+  historical, critical and explanatory, and a life of the author, by
+  Walter Scott, Esq. 18 vols. London.
+
+      Second edition, 18 vols., Edinburgh, 1821.
+
+      Another edition, revised and corrected by George Saintsbury,
+      Edinburgh, 1882-1893.
+
+  The Life of John Dryden (4to, only 50 copies printed).
+
+      Memoirs of John Dryden, Paris, 1826.
+
+  Memoirs of Robert Carey, Earl of Monmouth, written by himself, and
+  Fragmenta Regalia, being a history of Queen Elizabeth's favourites, by
+  Sir Robert Naunton. With explanatory annotations. Edinburgh. [Edited
+  by Scott anonymously.]
+
+      Scott contributed no introductions, but his notes are copious,
+      especially with regard to the history of the Border. This is one
+      of the books of which Scott is reported to have said to his
+      publisher, Mr. Constable, "Did I not do Hodgson, Carey, Carleton,
+      etc., to serve you; and did I ever ask or receive any
+      remuneration?" (_Ballantyne's Refutation_, etc., p. 76.)
+
+  Queenhoo-Hall, a romance; and Ancient Times, a drama. By the late
+  Joseph Strutt, author of Rural Sports and Pastimes of the People of
+  England. [Edited by Scott, who wrote a conclusion for Queenhoo-Hall.
+  This conclusion is given in an appendix to the introduction of
+  Waverley.] Edinburgh.
+
+1809
+  The State Papers and Letters of Sir Ralph Sadler ... edited by Arthur
+  Clifford ... to which is added a memoir of the life of Sir Ralph
+  Sadler, with historical notes, by Walter Scott, Esq. 2 vols.
+  Edinburgh. (Also the same work in 3 vols., with same date.)
+
+      The biography is included in all the editions of Scott's Prose
+      Works.
+
+  The Life of Edward Lord Herbert of Cherbury, written by himself. With
+  a prefatory memoir. Edinburgh; printed by James Ballantyne & Co. for
+  John Ballantyne & Co. and John Murray. (A reprint of Walpole's
+  edition, with the prefatory memoir added.)
+
+      It is a question whether Scott edited this book, but it has been
+      ascribed to him, and is given under his name without hesitation in
+      the British Museum catalogue. The prefatory memoir is short and
+      largely made up of quotations, but it sounds as if Scott might
+      have written it. The book is one to which he often refers. Mr.
+      Sidney Lee, in his edition of the Autobiography, says merely,
+      "Walpole's edition was reprinted in 1770, 1809, and in 1826."
+      Reprinted in the Universal Library: Biography, vol. I, London,
+      1853.
+
+1809-15
+  A Collection of Scarce and Valuable Tracts on the most interesting and
+  entertaining subjects: but chiefly such as relate to the history and
+  constitution of these kingdoms. Selected from an infinite number in
+  print and manuscript, in the Royal, Cotton, Sion, and other public, as
+  well as private, libraries; particularly that of the late Lord Somers.
+  The second edition, revised, augmented, and arranged by Walter Scott,
+  Esq. 13 vols. London.
+
+      There are some additions. Scott says in the Advertisement: "The
+      Memoirs of the Wars in the Low Countries by the gallant Williams,
+      and the very singular account of Ireland by Derrick, are the most
+      curious of those now published for the first time.... The
+      introductory remarks and notes have been added by the present
+      Editor, at the expense of some time and labour. It is needless to
+      observe, that both have been expended upon a humble and
+      unambitious, though not, it is hoped, an useless task. The object
+      of the introductions was to present such a short and summary view
+      of the circumstances under which the Historical and Controversial
+      Tracts were respectively written, as to prevent the necessity of
+      referring to other works. Such therefore, as refer to events of
+      universal notoriety are but slightly and generally mentioned; such
+      as concern less remarkable points of history are more fully
+      explained. The Notes are in general illustrative of obscure
+      passages, or brief notices of authorities, whether corroborative
+      or contradictory of the text." The following book contains a part
+      of the same material:
+
+      The Image of Irelande with a Discoverie of Woodkarne. By John
+      Derricke, 1581. With Notes by Sir Walter Scott. Edited by John
+      Small. Edinburgh, 1883. (See _Somers' Tracts_, Vol. I.)
+
+1810
+  English Minstrelsy. Being a selection of fugitive poetry from the best
+  English authors, with some original pieces hitherto unpublished. 2
+  vols. Edinburgh.
+
+      The Centenary Catalogue says that Scott and his friend William
+      Erskine edited this book together. In the Advertisement the
+      publishers (John Ballantyne & Co.) say: "To one eminent
+      individual, whose name they do not venture to particularize, they
+      are indebted for most valuable assistance in selection,
+      arrangement, and contribution; and to that individual they take
+      this opportunity to present the humble tribute of their thanks,
+      for a series of kindnesses, of which that now acknowledged is
+      among the least." There is no critical apparatus. The book
+      contains original poems by Scott, Southey, Rogers, Joanna Baillie,
+      and others not so well known.
+
+  The Lady of the Lake.
+
+  Memoirs of the Duke of Sully. Translated from the French [by Charlotte
+  Lennox] ... a new edition ... corrected, with additional notes, some
+  letters of Henry the Great, and a brief historical introduction
+  embellished with portraits. 5 vols. London.
+
+      Another edition, 4 vols. London 1858, has these words on the
+      title-page: "A new edition, revised and corrected; with additional
+      notes, and an historical introduction, attributed to Sir Walter
+      Scott." I have found no external evidence that Scott was the
+      editor. The introduction sounds as if Scott wrote it, but that so
+      much work could have been done by him without occasioning any
+      record seems unlikely. There is a historical introduction of 35
+      pp., and copious notes. The book is one with which Scott was
+      familiar. See Memoirs of Robert Carey, pp. 34 and 41.
+
+  The Poetical Works of Anna Seward, with extracts from her literary
+  correspondence. Edited by Walter Scott, Esq. 3 vols. Edinburgh.
+
+      The biographical preface is given in the Miscellaneous Prose
+      Works. The notes are by Miss Seward.
+
+  Ancient British Drama, in three volumes. London. (Printed for William
+  Miller, by James Ballantyne & Co., Edinburgh.)
+
+      I find no evidence that Scott was the editor of this book, but it
+      is sometimes ascribed to him in library catalogues. It contains
+      merely a two-page introduction and brief notes, and a collection
+      of plays. (See above, p. 52, note.)
+
+1811
+  The Modern British Drama, in five volumes. London. (Printed for
+  William Miller, by James Ballantyne & Co., Edinburgh.)
+
+      Vols. I and II, Tragedies, with introduction in vol. I.
+
+      Vols. III and IV, Comedies, with introduction in vol. III.
+
+      Vol. V, Operas and Farces, with introduction.
+
+      These volumes apparently belong to the same collection as the
+      Ancient British Drama, noted above, and the external evidence for
+      Scott's authorship is the same. But the introductions are fuller,
+      and they sound very much like Scott. (See above, p. 52, note.)
+
+  The Vision of Don Roderick.
+
+  Memoirs of the Court of Charles II, by Count Grammont. With numerous
+  additions and illustrations. London. [Edited by Scott.]
+
+      Reprinted in 1846, 1853, 1864. This last edition, in the Bohn
+      Library, has about 100 pp. of historical notes.
+
+  Secret History of the Court of James the First. With notes and
+  introductory remarks. 2 vols. Edinburgh. [Edited by Scott
+  anonymously.]
+
+      The book contains 1. Osborne's Traditional Memoirs; 2. Sir Anthony
+      Welldon's Court and Character of King James; 3. Aulicus
+      Coquinariae; 4. Sir Edward Peyton's Divine Catastrophe of the
+      House of Stuarts.
+
+1813
+  Rokeby.
+
+  Memoirs of the Reign of King Charles I., by Sir Philip Warwick.
+  Edinburgh. [Edited by Scott anonymously.]
+
+  The Bridal of Triermain.
+
+1814
+  Illustrations of Northern Antiquities from the earlier Teutonic and
+  Scandinavian romances, by Robert Jamieson ... with an abstract of the
+  Eyrbyggja-Saga; being the early annals of that district of Iceland
+  lying around the promontory called Sudefells, by Walter Scott.
+  Edinburgh.
+
+      See also Northern Antiquities by P.H. Mallet, London, 1847; and
+      the edition in Bohn's Library, 1890.
+
+      Lockhart says: "Any one who examines the share of the work which
+      goes under Weber's name will see that Scott had a considerable
+      hand in that also. The rhymed versions from the _Nibelungen Lied_
+      came, I can have no doubt, from his pen." (_Lockhart_, II, 320.)
+
+  The Works of Jonathan Swift, containing additional letters, tracts,
+  and poems, not hitherto published; with notes and a life of the
+  author, by Walter Scott. 19 vols. Edinburgh.
+
+      Second edition, revised, Edinburgh, 1824.
+
+      Memoirs of Jonathan Swift, Paris, 1826.
+
+  The Letting of Humour's Blood in the Head Vaine, etc. By Samuel
+  Rowlands. Edinburgh. [Edited by Scott. His name is not given, but the
+  Advertisement is dated at Abbotsford.]
+
+      This is an exact reproduction of the 1611 edition, except for the
+      addition of a few pages containing the Advertisement and the
+      notes. Another edition was printed in 1815.
+
+  Waverley.
+
+1814-17
+  The Border Antiquities of England and Scotland; comprising specimens
+  of architecture and sculpture, and other vestiges of former ages,
+  accompanied by descriptions. Together with illustrations of remarkable
+  incidents in Border history and tradition, and original poetry. By
+  Walter Scott, Esq. 2 vols. 4to. London.
+
+      Another edition, in 2 vols. folio, London, 1889.
+
+      Lockhart says the introduction to this work was written in 1817,
+      but this is a mistake, for it is in the first volume, which was
+      published in 1814.
+
+1815
+  The Lord of the Isles.
+
+  Guy Mannering.
+
+  The Field of Waterloo.
+
+  The Secret Commonwealth of Elves, Fauns, and Fairies, by Robert Kirk.
+
+      The attribution of this to Scott rests on a letter by George
+      Ticknor, in Allibone's Dictionary (vol. II, p. 1967) in which he
+      says: "Kirk's Secret Commonwealth, a curious tract, of about a
+      hundred quarto pages, on Fairy Superstitions and second sight,
+      originally published in 1691, and of which, in 1815, Mr. Scott had
+      caused a hundred copies to be privately printed by the
+      Ballantynes, with additions, a circumstance, I think, not noted by
+      Lockhart." Mr. Lang thinks the book was never printed until 1815.
+      (See his edition, London, 1893). This 1815 edition of 100 copies
+      was made, he says, from a manuscript copy preserved in the
+      Advocates' Library, for Longman & Co. He quotes one of Scott's
+      references to the book, but does not intimate that Scott was the
+      editor.
+
+  Memorie of the Somervilles; being a history of the baronial house of
+  Somerville, by James, eleventh Lord Somerville. 2 vols. Edinburgh.
+  [Edited by Scott anonymously.]
+
+      The additions by the editor consist of a short preface and
+      abundant notes.
+
+1816
+  Paul's Letters to his Kinsfolk. Edinburgh.
+
+      These letters were anonymous, but Scott was always recognized as
+      the author of them. They are contained in the Miscellaneous Prose
+      Works.
+
+  The Antiquary.
+
+  Tales of my Landlord. First series:
+    The Black Dwarf.
+    Old Mortality.
+
+1817
+  Harold the Dauntless.
+
+  Rob Roy.
+
+1818
+  Tales of my Landlord. Second series:
+    The Heart of Midlothian.
+
+  Burt's Letters from the North of Scotland ... the fifth edition, with
+  a large appendix, containing various important historical documents,
+  hitherto unpublished; with an introduction and notes, by the editor,
+  R. Jamieson ... and the history of Donald the Hammerer, from an
+  authentic account of the family of Invernahyle (by Scott: see a note
+  accompanying the text). 2 vols. London.
+
+      Scott's contribution is short. See also Appendix IV, which is
+      taken "from a manuscript in the possession of the Gartmore Family,
+      communicated by Walter Scott Esq." Scott's name had become so
+      valuable that the publishers tried to put it on the title-page of
+      this book, to his great indignation. (See _Constable_, III, III,
+      119-20.)
+
+1818-24
+  The Encyclopaedia Britannica: Supplement. [For this work Scott wrote
+  the following essays:] Chivalry, published in 1818; The Drama,
+  published in 1819; Romance, published in 1824. (These are given in the
+  Miscellaneous Prose Works.)
+
+1819
+  Tales of my Landlord. Third series:
+    The Bride of Lammermoor.
+    A Legend of Montrose.
+
+  The Visionary, by Somnambulus. (A political satire in three letters,
+  republished from the Edinburgh Weekly Journal.) Edinburgh.
+
+  Description of the Regalia of Scotland. Edinburgh.
+
+      This has been reprinted many times. It was included also in
+      Provincial Antiquities.
+
+  Ivanhoe.
+
+1819-26
+  The Provincial Antiquities and Picturesque Scenery of Scotland, with
+  descriptive illustrations by Sir Walter Scott, Bart. [First published
+  in ten parts between 1819 and 1826.] 2 vols. London, 1826. 4to.
+
+1820
+  The Monastery.
+
+  The Abbot.
+
+  Memorials of the Haliburtons. Edinburgh. [Edited by Scott
+  anonymously.]
+
+      30 copies were printed in 1820, and 30 more in 1824.
+
+      Reprinted, London, 1877, for the Royal Historical Society, in
+      Genealogical Memoirs of the Family of Sir Walter Scott, Bart., of
+      Abbotsford, by the Rev. Charles Rogers, LL.D.
+
+  Trivial Poems and Triolets. Written in obedience to Mrs. Tomkin's
+  commands. By Patrick Carey. London. [Edited by Scott. His name is not
+  given, but the introduction is dated at Abbotsford.]
+
+      A thin 4to, with a short introduction and a few notes. A part of
+      the material had been used in the Edinburgh Annual Register for
+      1810.
+
+1821
+  Northern Memoirs, calculated for the meridian of Scotland. To which is
+  added the contemplative and practical angler. Writ in the year 1658.
+  By Richard Franck. A new edition, with preface and notes. Edinburgh.
+  [Edited by Scott.]
+
+  Kenilworth.
+
+  The Pirate.
+
+1821-4
+  The Novelists' Library. Edited, with prefatory memoirs, by Sir Walter
+  Scott. 10 vols. London.
+
+      Also Lives of the Novelists, 2 vols., Paris, 1825. A recent
+      edition is that published, with an introduction by Austin Dobson,
+      by the Oxford University Press (No. 94 in The World's Classics).
+      When these Lives were issued among the Miscellaneous Prose Works
+      some of the biographical prefaces were put with them, and also
+      biographical notices, reprinted from the Edinburgh Weekly Journal,
+      of Charles Duke of Buccleuch and Queensberry, John Lord
+      Somerville, King George III, Lord Byron, and The Duke of York. I
+      give below the names of certain books in which Scott's biographies
+      were utilized, but the list is probably far from complete:
+
+      An Account of the death and funeral procession of Frederick Duke
+      of York, etc. To which is subjoined Sir Walter Scott's Character
+      of His Royal Highness. By John Sykes. Newcastle, 1827.
+
+      The Life and Opinions of Tristram Shandy, gentleman. By Laurence
+      Sterne, A.M., with a life of the author, by Sir Walter Scott.
+      Paris, 1832. (Baudry's Foreign Library.)
+
+      Beauties of Sterne, with some account of his writings by Sir
+      Walter Scott. Amsterdam, 1836.
+
+      Select Works of Smollett. Memoir by Sir W. Scott. Philadelphia,
+      1849.
+
+      The Novels and Miscellaneous Works of Daniel De Foe. With a
+      biographical memoir of the author, literary prefaces to the
+      various pieces, illustrative notes, etc., including all contained
+      in the edition attributed to the late Sir Walter Scott, with
+      considerable additions. 20 vols., London, 1840.
+
+      The Novels and Miscellaneous Works of Daniel de Foe. With prefaces
+      and notes, including those attributed to Sir Walter Scott. 6
+      vols., London, 1854-6. (Bonn's British Classics.)
+
+      The Rambler, by Samuel Johnson LL.D., with a sketch of the
+      author's life by Sir Walter Scott. 2 vols., London, 187?
+
+1822
+  Chronological Notes of Scottish Affairs, from 1680 till 1701; being
+  chiefly taken from the diary of Lord Fountainhall. Edinburgh. [Edited
+  by Scott.]
+
+      See Historical Notices of Scotish Affairs, selected from the
+      manuscripts of Sir John Lauder of Fountainhall, bart. 2 vols.
+      Edinburgh, 1848, printed for the Bannatyne club. Here Scott's
+      edition is referred to, and his introduction is reprinted. The
+      book was re-edited because Scott did not use the original
+      manuscript, but an interpolated transcript, and he had no means
+      for accurately determining the original text.
+
+  Halidon Hill, a dramatic sketch.
+
+  Macduff's Cross (in Joanna Baillie's Poetical Miscellanies).
+
+  Military Memoirs of the Great Civil War. Being the military memoirs of
+  John Gwynne; and an account of the Earl of Glencairn's expedition, as
+  general of His Majesty's forces, in the highlands of Scotland, in the
+  years 1653 and 1654, by a person who was eye and ear witness to every
+  transaction.... Edinburgh. [Edited by Scott. His name is not given,
+  but the introduction is dated at Abbotsford.]
+
+      There are some notes, and a short historical introduction.
+
+  Sketch of the Life and Character of the late Lord Kinneder. [Edited by
+  Scott. A postscript says: "This notice was chiefly drawn up by the
+  late Mr. Hay Donaldson."] Edinburgh.
+
+      Only a few copies were printed, for private distribution.
+
+  The Fortunes of Nigel.
+
+1823
+  Peveril of the Peak.
+
+  Quentin Durward.
+
+  St. Ronan's Well.
+
+1824
+  Lays of the Lindsays, being poems by the ladies of the House of
+  Balcarras. Edinburgh. [Edited by Scott, and designed as a contribution
+  to the Bannatyne Club, but suppressed after being printed.]
+
+  Redgauntlet.
+
+1825
+  Auld Robin Gray; a ballad. By the Rt. Honourable Lady Anne Barnard,
+  born Lady Anne Lindsay, of Balcarras. [Edited by Scott for the
+  Bannatyne Club.]
+
+  Tales of the Crusaders:
+    The Betrothed.
+    The Talisman.
+
+1826
+  Letters of Malachi Malagrowther on the Currency. (To the editor of the
+  Edinburgh Weekly Journal.) 3 parts. Edinburgh.
+
+  Woodstock.
+
+1826?
+  Shakspeare [edited by Scott and Lockhart?], volumes II, III, and IV,
+  without title page and date. Printed by James Ballantyne & Co.
+
+      Scott and Lockhart began in 1823 or 1824 to prepare an edition of
+      Shakspere. In Jan., 1825, Constable wrote to a London bookseller:
+      "It gives me great pleasure to tell you that the first sheet of
+      Sir Walter Scott's Shakspeare is now in type ... This I expect
+      will be a first-rate property." (_Constable's Correspondence_, II,
+      344.) At the time of Constable's bankruptcy in 1826 there was a
+      disagreement in regard to the ownership of the property. Scott
+      wrote to Lockhart, May 30, 1826, "What do you about Shakspeare?
+      Constable's creditors seem desirous to carry it on. Certainly
+      their bankruptcy breaks the contract. For me _c'est egal_: I have
+      nothing to do with the emoluments, and I can with very little
+      difficulty discharge my part of the matter, which is the
+      Prolegomena, and Life and Times." (Lang's _Lockhart_, I, 409.) In
+      1827 the question of carrying on the work was still undecided, and
+      it was also mentioned in a letter in 1830. (Lang's _Lockhart_ II,
+      13 and 59). The project was ultimately abandoned, and the fate of
+      that part of the work which was actually in print is unknown. In
+      the Barton Collection in the Boston Public Library is preserved
+      what is perhaps a unique copy of three volumes of the set of ten
+      that Scott and Lockhart undertook to prepare. But as the books are
+      bound up without title-pages, and as the commentary contains
+      nothing that would determine its authorship, the attribution is
+      probable rather than certain. These volumes include twelve of the
+      comedies. On the fly-leaf of one of them is a note written by Mr.
+      Rodd, a London bookseller. He says: "I purchased these three
+      volumes from a sale at Edinburgh. They were entered in the
+      catalogue as 'Shakespeare's Works, edited by Sir Walter Scott and
+      Lockhart, vols. ii, in, iv, all published, _unique_'." It was not
+      positively known that such a work had been planned until the
+      publication of Constable's _Correspondence_ in 1874. At that time
+      Justin Winsor wrote a letter to the _Boston Advertiser_ (March 21,
+      1874) in which he said: "The account of the Barton collection,
+      which was printed fifteen years ago, contained the earliest public
+      mention, I believe, of the supposition that Scott ever engaged in
+      such a work, which this life of Constable now renders certain.
+      These later corroborative statements give a peculiar interest to
+      the volumes which are now in this library and which are perhaps
+      the only ones of the edition now in existence." The introductions
+      to the plays are each only a page or two long, and are mainly,
+      like the notes, compilations. The book corresponds fairly well
+      with the description given in _Constable_. (See Vol. III, pp. 183,
+      193, 237-8, 241, 242, 244, 246, 305, 321, 442. See also Lang's
+      _Lockhart_, I, 308-9, 395-6, and Lang's Introduction to _Peveril
+      of the Peak_.)
+
+1827
+  The Life of Napoleon Buonaparte, Emperor of the French. With a
+  preliminary view of the French Revolution. By the author of Waverley.
+  9 vols. Edinburgh.
+
+  Chronicles of the Canongate. First series:
+    The Highland Widow.
+    The Two Drovers.
+    The Surgeon's Daughter
+
+  Memoirs of the Marchioness de la Rochejaquelin. Translated from the
+  French. Edinburgh. (Constable's Miscellany, Vol. V. Introduction and
+  notes by Scott.)
+
+  The Miscellaneous Prose Works of Sir Walter Scott.
+
+      6 vols. Edinburgh, 1827, and Boston, 1829.
+
+      9 vols. Paris, 1827-34.
+
+      30 vols. London, 1834-46. (Containing many of the reviews
+      contributed by Scott to periodicals.)
+
+      Same, first 28 vols. (Omitting the Letters on Demonology and
+      Witchcraft.) Edinburgh, 1842-6, 1851, and 1861.
+
+      7 vols. Paris, 1837-8.
+
+      8 vols. Paris, 1840?
+
+      3 vols. Edinburgh, 1841-2, 1846, and 1854.
+
+1827-55
+  The Bannatyne Miscellany; containing original papers and tracts
+  relating to the history and literature of Scotland. (Edited by Sir
+  Walter Scott, D. Laing, and T. Thomson.) 3 vols.
+
+1828
+  Tales of a Grandfather. First series. 3 vols. Edinburgh. Religious
+  Discourses. By a layman. London.
+
+      Two sermons written by Sir Walter for George Huntly Gordon, then a
+      Probationer. Afterwards published by Gordon, with the author's
+      permission, to raise money.
+
+  Chronicles of the Canongate. Second series:
+    The Fair Maid of Perth.
+
+  Proceedings in the Court-martial held upon John, Master of Sinclair,
+  captain-lieutenant in Preston's regiment, for the murder of Ensign
+  Schaw of the same regiment, and Captain Schaw, of the Royals, 17
+  October, 1708; with correspondence respecting that transaction.
+  Edinburgh.
+
+      Edited by Sir Walter Scott and presented by him to the Roxburghe
+      club. Some of the same material seems to have been used in the
+      book named below:
+
+      Memoirs of the Insurrection in 1715, by John, Master of Sinclair.
+      With notes by Sir Walter Scott. Edinburgh, 1858, printed for the
+      Abbotsford Club.
+
+1829
+  Papers relative to the Regalia of Scotland. Edinburgh. Edited by Sir
+  Walter Scott and presented to the members of the Bannatyne Club by
+  William Bell, Esq.
+
+  Memorials of George Bannatyne, 1545-1608. Edited by Sir Walter Scott
+  for the Bannatyne Club. Edinburgh.
+
+      Scott wrote the memoir of George Bannatyne which occupies the
+      first 25 pages of the book. This memoir is also to be found in the
+      publications of the Hunterian Club, part 8, published in 1886.
+
+  Anne of Geierstein.
+
+  Tales of a Grandfather. Second series.
+
+1829-32
+  Novels, Tales, and Romances, with introductions and notes by the
+  author. (The "Opus Magnum.")
+
+      The same material is used in the following books:
+
+      Introductions and notes and illustrations to the novels, tales,
+      and romances of the author of Waverley. 3 vols., Edinburgh, 1833.
+
+      Autobiography of Sir Walter Scott. Philadelphia, 1831. Anderson,
+      in his bibliography of Scott, gives this as a supposititious work,
+      but with the exception of the title it is genuine, for it is
+      simply the piecing together of Scott's introductions to his
+      novels.
+
+1830
+  Tales of a Grandfather. Third series.
+
+  The Doom of Devorgoil, and Auchindrane or The Ayrshire Tragedy.
+
+  Letters on Demonology and Witchcraft, addressed to J.G. Lockhart,
+  Esq. London. (The Family Library.)
+
+      Other editions: New York, 1845; London, 1868 and 1876,
+      (illustrated by Cruikshank); London 1884, with an introduction by
+      Henry Morley. Included in the 30 vol. edition of the Miscellaneous
+      Prose works, but not in the 28 vol. edition.
+
+  Poems, with prefaces by the author. 11 vols. Introductory Remarks on
+  Popular Poetry (prefixed to Minstrelsy, Vol. I) and Essay on Imitations
+  of the Ancient Ballad (prefixed to Minstrelsy, Vol. III).
+
+      These essays were printed in 1830 and attached to the edition of
+      the poems then on sale. They were first regularly included in the
+      edition of 1833.
+
+  The History of Scotland. (Lardner's Cabinet Cyclopedia.) 2 vols.
+  London. [Not in the Miscellaneous Prose Works.]
+
+1831
+  Tales of a Grandfather. Fourth series. History of France.
+
+  The Life of Samuel Johnson, LL.D., including a Journal of his Tour to
+  the Hebrides, by James Boswell, Esq. New edition with numerous
+  anecdotes and notes by The Right Hon. John Wilson Croker, M.P.... 10
+  vols. London. [Scott wrote and signed the notes for the Tour to the
+  Hebrides.]
+
+  Trial of Duncan Terig, alias Clerk, and Alexander Bane Macdonald, for
+  the murder of Arthur Davis, Sergeant in General Guise's regiment of
+  foot. June, A.D. 1754. Edinburgh.
+
+      "To the members of the Bannatyne Club, this copy of a trial,
+      involving a curious point of evidence, is presented, by Walter
+      Scott." There is an introduction of 11 pages, giving the story of
+      the crime, and bringing together instances from literature and
+      history of the evidence of ghosts being cited in trials. That is
+      the "curious point of evidence" referred to. The proceedings of
+      the court are then reprinted without annotation.
+
+1832
+  Tales of my Landlord. Fourth series:
+    Count Robert of Paris.
+    Castle Dangerous.
+
+1848
+  Two Bannatyne Garlands from Abbotsford.
+
+      This little book was prepared for members of the Bannatyne club by
+      the secretary, D. Laing. It contains two ballads--of which one is
+      ancient and one a modern imitation written by Robert
+      Surtees--annotated by Scott.
+
+1889
+  Reliquiae Trottosienses, or Catalogue of the Gabions of the late
+  Jonathan Oldbuck. (Partially published in _Harper's Magazine_ for
+  April, 1889: Vol. lxxviii, pp. 778-788. This fragment describing the
+  main apartments at Abbotsford is the only part of the Reliquiae
+  Trottosienses that has been printed. There is a short introduction by
+  Mary Monica Maxwell Scott.)
+
+      The same material was included in the following book: Abbotsford,
+      the personal relics and antiquarian treasures of Sir Walter Scott,
+      described by the Hon. Mary Monica Maxwell Scott. London, 1893.
+
+1890
+  The Journal of Sir Walter Scott, from the original manuscript at
+  Abbotsford. (Edited by David Douglas.) 2 vols. Edinburgh.
+
+      Second edition, 1891. Large extracts from this Journal had
+      previously been published in Lockhart's Life of Scott.
+
+
+2. _Contributions to Periodicals_.
+
+(a) Reviews
+
+(Most of these essays are reprinted in the 28 and 30 volume editions of
+Scott's Miscellaneous Prose Works. Articles not included in that
+collection are marked by a note indicating the evidence on which they
+are attributed to Scott.)
+
+1803
+  Amadis de Gaul, translated by Southey and by Rose. (_Edinburgh
+  Review_, October. Vol. III.)
+
+  Sibbald's Chronicle of Scottish Poetry. (_Edinburgh_, October. Vol.
+  III. Not in M.P.W. See Lockhart, Vol. I, p. 335.)
+
+1804
+  Godwin's Life of Chaucer. (_Edinburgh_, January. Vol. III.)
+
+  Ellis's Specimens of the Early English Poets. (_Edinburgh_, April.
+  Vol. IV.)
+
+  The Life and Works of Chatterton. (_Edinburgh_, April. Vol. IV.)
+
+1805
+  Johnes's Translation of Froissart. (_Edinburgh_, January. Vol. V.)
+
+  Colonel Thornton's Sporting Tour. (_Edinburgh_, January. Vol. V.)
+
+  Fleetwood, a novel by William Godwin. (_Edinburgh_, April. Vol. VI.)
+
+  The New Practice of Cookery. (_Edinburgh_, July. Vol. VI.)
+
+  The Ossianic Poems. (_Edinburgh_, July. Vol. VI. Not in M.P.W. See
+  Lockhart, Vol. I, p. 409.)
+
+  Todd's Edition of Spenser. (_Edinburgh_, October. Vol. VII.)
+
+1806
+  Ellis's Specimens of English Romance, and Ritson's Ancient English
+  Metrical Romances. (_Edinburgh_, January. Vol. VII.)
+
+  The Miseries of Human Life. [By Rev. James Beresford.] (_Edinburgh_,
+  October. Vol. IX.)
+
+  Miscellaneous Poetry by the Hon. William Herbert. (_Edinburgh_,
+  October. Vol. IX.)
+
+1809
+  Reliques of Burns, collected by R.H. Cromek. (_Quarterly Review_,
+  February. Vol. I.)
+
+  Southey's Translation of The Cid. (_Quarterly_, February. Vol. I.)
+
+  Sir John Carr's Caledonian Sketches. (_Quarterly_, February. Vol. I.)
+
+  Campbell's Gertrude of Wyoming and other poems. (_Quarterly_, May.
+  Vol. I.)
+
+  John de Lancaster, a novel by Richard Cumberland. (_Quarterly_, May.
+  Vol. I.)
+
+  The Battles of Talavera, a poem [by John Wilson Croker]. (_Quarterly_,
+  November. Vol. II.)
+
+1810
+  The Fatal Revenge or The Family of Montorio, a romance [by C.R.
+  Maturin]. (_Quarterly_, May. Vol. III.)
+
+  Collections of Ballads and Songs by R.H. Evans and John Aiken.
+  (_Quarterly_, May. Vol. III.)
+
+1811
+  Southey's Curse of Kehama. (_Quarterly_, February. Vol. V.)
+
+1815
+  Emma and other novels by Jane Austen. (_Quarterly_, October. Vol. XIV.
+  Not in M.P.W. See Lockhart, Vol. IV, p. 3.)
+
+1816
+  The Culloden Papers. (_Quarterly_, January. Vol. XIV.)
+
+  Childe Harold, Canto III, and other poems by Lord Byron. (_Quarterly_,
+  October. Vol. XVI.)
+
+1817
+  Tales of My Landlord. [Probably written with the help of William
+  Erskine. See Lockhart, Vol. III, p. 81. See also the Introduction to
+  Waverley, written in 1830.] (_Quarterly_, January. Vol. XVI.)
+
+1818
+  Douglas on Military Bridges. (_Quarterly_, May. Vol. XVIII. Not in
+  M.P.W. See Lockhart, Vol. III, p. 173.)
+
+  Kirkton's History of the Church of Scotland, edited by C.K. Sharpe.
+  (_Quarterly_, May. Vol. XVIII.)
+
+  Letters from Horace Walpole to George Montague. (_Quarterly_, April.
+  Vol. XIX. Not in M.P.W. See Memoir of John Murray, Vol. II, p. 12.)
+
+  Childe Harold, Canto IV. (_Quarterly_, April. Vol. XIX.)
+
+  Women or Pour et Contre, a tale [by C.R. Maturin]. (_Edinburgh_, June.
+  Vol. XXX.)
+
+  Frankenstein, a novel [by Mrs. Shelley]. (_Blackwood_, March. Vol.
+  II.)
+
+  Remarks on General Gourgaud's Narrative. (_Blackwood_, November. Vol.
+  IV. Not in M.P.W. See Lockhart, Vol. III, p. 238.)
+
+1824
+  The Correspondence of Lady Suffolk. (_Quarterly_, January. Vol. XXX.)
+
+1826
+  Pepys' Diary. (_Quarterly_, March. Vol. XXXIII.) Boaden's Life of
+  Kemble, and Kelly's Reminiscences. (_Quarterly_, June. Vol. XXXIV.)
+
+  The Omen [by John Galt]. (_Blackwood_, July. Vol. XX.)
+
+1827
+  Mackenzie's Life and Works of John Home. (_Quarterly_, June. Vol.
+  XXXVI.)
+
+  The Forester's Guide, by Robert Monteath. On Planting Waste Lands.
+  (_Quarterly_, October. Vol. XXXVI.)
+
+  On the Supernatural in Fictitious Composition, and particularly on the
+  Works of Hoffman. (_Foreign Quarterly Review_, July. Vol. I.)
+
+      See also Contes Fantastiques de E.T.A. Hoffmann, traduits de
+      l'Allemand par M. Loeve-Veimars, et precedes d'une notice
+      historique sur Hoffmann par Walter Scott. Paris, 1830. 16 vols.
+
+1828
+  The Planter's Guide, by Sir Henry Steuart. On Landscape Gardening.
+  (_Quarterly_, March. Vol. XXXVII.)
+
+  Sir Humphrey Davy's Salmonia or Days of Fly-fishing. (_Quarterly_,
+  October. Vol. XXXVIII.)
+
+  Moliere. (_Foreign Quarterly Review_, February. Vol. II.)
+
+1829
+  Hajji Baba in England; and The Kuzzilbash, a tale of Khorasan.
+  (_Quarterly_, January. Vol. XXXIX.)
+
+  Ritson's Annals of the Caledonians, Picts, and Scots, etc.
+  (_Quarterly_, July. Vol. XLI.)
+
+  Tytler's History of Scotland. (_Quarterly_, November. Vol. XLI.)
+
+  Revolutions of Naples in 1647 and 1648. (_Foreign Quarterly Review_,
+  August. Vol. IV. Not in M.P.W. See Journal, Vol. I, p. 145, and Vol.
+  II, p. 278.)
+
+1830
+  Southey's Life of John Bunyan. (_Quarterly_, October. Vol. XLIII.)
+
+1831
+  Pitcairn's Ancient Criminal Trials. (_Quarterly_, February. Vol.
+  XLIV.)
+
+
+(b) Contributions to the Edinburgh Annual Register
+
+(The dates given are those on the volumes. In most cases the book was
+issued about a year and a half after the nominal date. Most of Scott's
+contributions are unsigned. Those which were afterwards included in the
+collected edition of his poems are in this list marked "Poems"; in other
+cases (unless the article is signed) a note is made of the reason for
+attributing it to Scott).
+
+1808 Vol. I, part 2.
+
+  The Bard's Incantation. Poems.
+
+  To a Lady, with Flowers from a Roman Wall. Poems.
+
+  The Violet. Poems.
+
+  Hunting Song. Poems.
+
+  The Resolve. Poems.
+
+  View of the changes proposed and adopted in the administration of
+  justice in Scotland. (See _Lockhart_, Vol. II, p. 154.)
+
+  Living Poets of Great Britain. (From internal evidence I think this
+  article may have been written by Scott, and am sure that he dictated
+  many of the opinions it expresses, if he is not responsible for the
+  whole.)
+
+1809 Vol. II, part 2.
+
+  The Vision of Don Roderick. (Reprinted from the first edition.) Poems.
+
+  Epitaph designed for a Monument to be erected in Lichfield Cathedral
+  to the Rev. Thomas Seward. Poems.
+
+  Cursory remarks upon the French order of battle, particularly in the
+  campaigns of Buonaparte. (See _Lockhart_, Vol. II, p. 161.)
+
+  Periodical Criticism. (From internal evidence I am sure that this was
+  written by Scott. The style is decidedly more interesting than that of
+  the article on the poets, in the volume for the preceding year.)
+
+  The Inferno of Altisidora. (This immediately follows the article on
+  Periodical Criticism, and is a burlesque sketch on the same subject.
+  It serves to introduce the following imitations, respectively, of
+  Crabbe, Moore, and Scott himself.)
+
+    The Poacher.
+
+    "Oh say not, my love, with that mortified air."
+
+    The Vision of Triermain.
+
+1810 Vol. III, part 2.
+
+  Account of the poems of Patrick Carey, a poet of the seventeenth
+  century. (Afterwards prefixed to the volume of Carey's poems published
+  in 1820. See _Lockhart_, Vol. II, pp. 245-8.)
+
+1811 Vol. IV, part 2.
+
+  Biographical memoir of John Leyden, M.D. (In the Miscellaneous Prose
+  Works.)
+
+1812 Vol. V, part 2.
+
+  Extracts from a journal kept during a coasting voyage through the
+  Scottish Islands. (Published in complete form in _Lockhart_, Vol. II.)
+
+1813 Vol. VI.
+
+  The Dance of Death. Poems.
+
+  Romance of Dunois, from the French. Poems.
+
+  Song for the anniversary meeting of the Pitt Club of Scotland. Poems.
+
+  Song on the lifting of the banner of the House of Buccleuch, at a
+  great football match on Carterhaugh. Poems.
+
+1814 Vol. VII.
+
+  Historical Review of the Year. (See _Lockhart_, Vol. III, p. 76.)
+
+1815 Vol. VIII.
+
+  Historical Review of the Year. (See _Lockhart_, Vol. III, p. 124.)
+
+  The Search after Happiness, or the Quest of Sultaun Solimaun.
+  (Reprinted from the _Sale-Room_. See _Lockhart_, Vol. III, pp. 89-90.)
+
+1816 Vol. IX.
+
+  The Noble Moringer. Translated from the German. Poems. (See also the
+  introduction to _The Betrothed_.)
+
+1817 Vol. X.
+
+  Farewell Address, spoken by Mr. Kemble to the Edinburgh Theatre, on
+  the 29th March, 1817. (Reprinted from the _Sale-Room_. ) Poems.
+
+1824 Vol. XVII.
+
+  To Mons. Alexandre.
+
+
+(c) Contributions to other periodicals
+
+Scott contributed frequently to _The Edinburgh Weekly Journal_, edited
+and published by James Ballantyne. Some of the articles are reprinted in
+the Miscellaneous Prose Works. Lockhart reprints in the Life Scott's
+account of the coronation of George IV., and his Reply to General
+Gourgaud.
+
+Scott also contributed to _The Sale-Room_, a weekly paper edited and
+published by John Ballantyne from January 4 to July 12, 1817 (28
+numbers). (See _Lockhart_, Vol. III, p. 89.)
+
+To _The Keepsake_, an annual, Scott contributed in 1828 The Tapestried
+Chamber, My Aunt Margaret's Mirror, and The Laird's Jock, and in 1830
+The House of Aspen.
+
+In _Blackwood's Edinburgh Magazine_, Vol. I, appeared three articles
+entitled "Notices concerning the Scottish Gypsies," for which Scott
+furnished a large part of the material. (Numbers for April, May, and
+September, 1817.) Lockhart says that Scott dictated to Thomas Pringle "a
+collection of anecdotes concerning Scottish gypsies, which attracted a
+good deal of notice." The first article refers to "Mr. Walter Scott, a
+gentleman to whose distinguished assistance and advice we have been on
+the present occasion very peculiarly indebted, and who has not only
+furnished us with many interesting particulars himself, but has also
+obligingly directed us to other sources of curious information." Scott
+quotes from the first of the three articles in his review of _Tales of
+My Landlord_, and he afterwards used the same anecdotes in the
+introduction to _Guy Mannering_.
+
+
+3. _Books which contain letters written by Scott_.
+
+(As there is no complete collection of Scott's letters it has been
+thought wise to name the various sources, so far as the letters have
+appeared at all in print, from which such a collection might be made.
+The list includes only those books or articles in which letters were
+published for the first time; yet it is probably far from exhaustive.
+Notes are given in regard to the number or kind of the letters from
+Scott to be found in some of the less-known books.)
+
+Memoirs of Sir Walter Scott, by J.G. Lockhart.
+
+    Edinburgh, 7 vols. 1837-8. 10 vols. 1839. Abridged edition 1848. The
+    edition referred to throughout this study is that published by
+    Macmillan and Company in 5 volumes, 1900.
+
+Familiar Letters of Sir Walter Scott [edited by D. Douglas].
+
+    2 vols. Edinburgh, 1894.
+
+Letters and Recollections of Sir Walter Scott, by Mrs. Hughes (of
+Uffington), edited by Horace G. Hutchinson.
+
+    London, 1904. (First published in _The Century_, xliv: 424 and 566;
+    July and August, 1903.)
+
+The Life and Letters of John Gibson Lockhart, by Andrew Lang, from
+Abbotsford and Milton Lockhart mss. and other original sources.
+
+    2 vols. London, 1897.
+
+    These volumes contain many letters from Scott to Lockhart.
+
+Memoir and Correspondence of the late John Murray, with an account of
+the origin and progress of the House, 1768-1843, by Samuel Smiles.
+
+    2 vols. London, 1891.
+
+    This book contains many letters from Scott to Murray, who published
+    some of Scott's works and was the proprietor of the _Quarterly
+    Review_.
+
+Archibald Constable and his Literary Correspondents. A Memorial by his
+son Thomas Constable.
+
+    3 vols. Edinburgh, 1873.
+
+    The third volume is wholly taken up with an account of Scott's
+    relations with Constable, his publisher, and many letters are given.
+    See also Vol. II, pages 347 and 474.
+
+[The Ballantyne and Lockhart Pamphlets.]
+
+I. Refutation of the Misstatements and Calumnies contained in Mr.
+Lockhart's Life of Sir Walter Scott, bart., respecting the Messrs.
+Ballantyne, by the trustees and son of the late Mr. James Ballantyne.
+(1835.)
+
+II. The Ballantyne Humbug Handled by the author of the Life of Sir
+Walter Scott. (1839.)
+
+III. Reply to Mr. Lockhart's Pamphlet, entitled "The Ballantyne-Humbug
+Handled," etc. (1839.)
+
+    The two last pamphlets contain numerous letters of Scott's. For a
+    history of Scott's publishing operations these pamphlets should be
+    studied in connection with the Memoirs of Lockhart, Murray, and
+    Constable.
+
+Annals of a Publishing House; William Blackwood and his sons, their
+magazine and friends. By Mrs. Oliphant.
+
+    3rd edition, 2 vols. Edinburgh, 1897.
+
+    About half a dozen letters not elsewhere published are given in this
+    book.
+
+Letters from and to Charles Kirkpatrick Sharpe, Esq., edited by
+Alexander Allardyce, with a memoir by Rev. W.K.R. Bedford.
+
+    2 vols. Edinburgh, 1888.
+
+    Lockhart wrote to Sharpe in 1834: "He had preserved so many letters
+    of yours.... that I must suppose the correspondence was considered
+    by himself as one not of the common sort." (Vol. II, p. 479.) Both
+    men were authors and antiquaries, and their letters as given in this
+    book illustrate their favorite studies.
+
+Lady Louisa Stuart. Selections from her manuscripts, edited by Hon.
+James Home.
+
+    London, 1899. (One section of the book is entitled "Unpublished
+    Letters of Sir Walter Scott and Lady Louisa Stuart.")
+
+Abbotsford Notanda, by Robert Carruthers. Subjoined to the Life of Sir
+Walter Scott by Robert Chambers, edited by W. Chambers.
+
+    London, 1871.
+
+    Letters from Scott to Hogg and Laidlaw are included.
+
+Memorials of Coleorton, being letters from Coleridge, Wordsworth and his
+Sister, Southey, and Sir Walter Scott, to Sir George and Lady Beaumont
+of Coleorton, Leicestershire, 1803 to 1834. Edited, with introduction
+and notes, by William Knight.
+
+    2 vols. Boston, 1887.
+
+    The second volume contains three letters by Scott.
+
+The Letters of Sir Walter Scott and Charles Kirkpatrick Sharpe to Robert
+Chambers, 1821-45. With original memoranda of Sir Walter Scott, etc.
+[Edited by C.E.S. Chambers.]
+
+    Edinburgh, 1904.
+
+Reminiscences of Sir Walter Scott, by John Gibson.
+
+    Edinburgh, 1871.
+
+    Besides nine letters from Scott this book gives in full a memorial
+    written by him in regard to the claim of Constable's trustee on
+    _Woodstock_ and _Napoleon_.
+
+Traditions and Recollections, Domestic, Clerical, and Literary; in which
+are included letters of Charles II, Cromwell, Fairfax, Edgecumbe,
+Macaulay, Wolcot, Opie, Whitaker, Gibbon, Buller, Courtenay, Moore,
+Downman, Drewe, Seward, Darwin, Cowper, Hayley, Hardinge, Sir Walter
+Scott, and other distinguished characters. By the Rev. R. Polwhele.
+
+    2 vols. London, 1826.
+
+    Vol. II. contains five letters from Scott.
+
+Letters of Sir Walter Scott, addressed to the Rev. R. Polwhele; D.
+Gilbert, Esq.; Francis Douce, Esq.; etc.
+
+    London, 1832.
+
+    Twenty-eight letters from Scott are given, of which at least one had
+    previously been published.
+
+A Memoir of the Life and Writings of the late William Taylor of Norwich,
+... containing his correspondence of many years with the late Robert
+Southey, Esq., and original letters from Sir Walter Scott, and other
+eminent literary men. Compiled and edited by J.W. Robberds, F.G.S., of
+Norwich.
+
+    2 vols. London, 1843.
+
+    Vol. I. contains two letters from Scott, of which the second has
+    decided critical interest. See pp. 94-100. Vol. II. has one letter
+    from Scott. See p. 533.
+
+Memoirs of Sir William Knighton, Bart. G.C.H. ... including his
+correspondence with many distinguished personages. By Lady Knighton.
+Philadelphia, 1838.
+
+    Fourteen letters from Scott are given.
+
+Letters between James Ellis, Esq., and Walter Scott, Esq.
+
+    Newcastle-upon-Tyne, 1850.
+
+    The letters from Scott are two in number.
+
+Haydon's Correspondence and Table-talk, with a Memoir by his son,
+Frederick Wordsworth Haydon.
+
+    2 vols., London, 1876.
+
+    The first volume contains a few letters by Scott.
+
+The Life and Letters of Washington Irving, by his nephew, Pierre M.
+Irving.
+
+    4 vols., New York, 1865.
+
+    Vol. I, p. 240, contains a letter to Brevoort; pp. 439-40, 442-4 and
+    450-1 contain three letters to Irving.
+
+Memorials of James Hogg, by M.G. Garden.
+
+    London, 1903.
+
+    Four letters by Scott are included.
+
+Memoirs of a Literary Veteran, including sketches and anecdotes of the
+most distinguished literary characters from 1794 to 1849, by R.P.
+Gillies.
+
+    3 vols. London, 1851.
+
+    Vol. II, pp. 77-83, contains three letters from Scott; Vol. III, pp.
+    143-4, contains one.
+
+Sir Walter Scott. The story of his life, by R. Shelton Mackenzie.
+
+    Boston, 1871.
+
+    See p. 471 for a letter not published elsewhere.
+
+Byron's Letters and Journals. Rowland E. Prothero, ed.
+
+    6 vols., London, 1898-1901.
+
+    See Vol. VI, p. 55 for a letter of Scott's not published elsewhere.
+
+Catalogue of the Exhibition held at Edinburgh in July and August, 1871,
+on occasion of the commemoration of the centenary of the birth of Sir
+Walter Scott.
+
+    Edinburgh, 1872.
+
+    This catalogue contains notices of the autograph letters which were
+    exhibited, and prints a few of the letters.
+
+A Critical Dictionary of English Literature and British and American
+Authors.... By S. Austin Allibone.
+
+    3 vols. Philadelphia, 1870.
+
+    Two letters from Scott to Ticknor are given in the article on Scott.
+
+Fragments of Voyages and Travel, by Basil Hall. Third series.
+
+    Chapter I. contains a letter written by Scott in the original
+    manuscript of _The Antiquary_, explaining why the author
+    particularly liked that novel.
+
+Letters, hitherto unpublished, written by members of Sir Walter Scott's
+family to their old governess. Edited, with an introduction and notes,
+by the Warden of Wadham College, Oxford.
+
+    London, 1905.
+
+    See pp. 13-15 for a letter from Scott, and pp. 37-38 for a note of
+    instructions in regard to his daughter Sophia's history lessons.
+
+Correspondence between J. Fenimore Cooper and Sir Walter Scott.
+
+    _The Knickerbocker Magazine_, xi: 380; April, 1838.
+
+    The letter from Scott to Cooper quoted above, p. 102, is here given.
+
+Fiction, Fair and Foul. By John Ruskin.
+
+    _Nineteenth Century_, viii: 195; August, 1880.
+
+    A footnote on pp. 196-7 contains fragments of five letters from
+    Scott to the builder of Abbotsford.
+
+Wordsworth's Poetical Works. Edited by William Knight.
+
+    II vols. Edinburgh, 1882.
+
+    See the index. Vol. XI, p. 196 has a letter from Scott which I think
+    had not previously been published. Vol. X, p. 105, gives one which
+    Lockhart quotes "very imperfectly," according to Prof. Knight.
+
+Portraits of Illustrious Personages of Great Britain ... with
+biographical and historical memoirs of their lives and actions, by
+Edmund Lodge.
+
+    London, 1835.
+
+    Vol. I contains, in the appendix to the preface, a letter from Scott
+    to the publisher, dated 25th March 1828. (See _Lockhart_, V, 350.)
+
+The Life and Letters of Maria Edgeworth, edited by Augustus J.C. Hare.
+
+    2 vols. Boston, 1895.
+
+    This contains a few letters of Scott's, but only one which is not
+    published elsewhere.
+
+A Short Account of successful exertions in behalf of the fatherless and
+widows after the war in 1814; containing letters from Mr. Wilberforce,
+Sir Walter Scott, Marshal Bluecher, etc. By Rudolf Ackermann.
+
+    Oxford, 1871.
+
+    There is only one letter by Scott.
+
+The Courser's Manual, etc., by T. Goodlake. 1828.
+
+    This book contains one letter by Scott, dated 16th October, 1828,
+    about an old Scottish poem entitled "The Last Words of Bonny Heck."
+    (See _Lockhart_, V. 219, for what is doubtless the same letter.)
+
+The Chimney-sweeper's Friend and Climbing-boy's Album. Arranged by James
+Montgomery.
+
+    London, 1824.
+
+    The Preface contains part of a letter from Scott, in which he
+    describes the construction of the chimneys at Abbotsford. (See
+    _Lockhart_, IV. 158-9.)
+
+
+
+
+APPENDIX II.
+
+
+1. _Bibliographies of Scott_
+
+Allibone, S.A. Dictionary of British and American Authors and
+Literature. 3 vols. Phil., 1870.
+
+Anderson, J.P. Bibliography of Scott, in the Life of Scott by C.D. Yonge
+(Great Writers Series). London, 1888.
+
+Lockhart's Life of Scott; the Centenary Catalogue (see above, p. 171);
+the British Museum Catalogue; the Dictionary of National Biography.
+
+
+2. _A partial list of the books used in the preparation of this Study_,
+aside from those given in the bibliography of Scott's works. (See
+particularly the list of books which contain letters written by Scott:
+Appendix I. 3.)
+
+Adolphus, J.L.
+  Letters to Richard Heber, Esq., containing critical remarks on the
+  series of novels beginning with "Waverley," and an attempt to
+  ascertain their author. Second edition. London, 1822.
+
+Aitken, G.A., ed.
+  Romances and Narratives by Daniel Defoe. 16 vols. London, 1895.
+
+Arnold, Matthew.
+  Byron. In Essays in Criticism. Second series. London, 1889.
+
+Carlyle, Thomas.
+  Sir Walter Scott. In Critical and Miscellaneous Essays. 4 vols.
+  London, 1857.
+
+Chambers, E.K.
+  The Mediaeval Stage. 2 vols. Oxford, 1903.
+
+Chesterton, G.K.
+  Varied Types. New York, 1903.
+
+Child, Francis J.
+  English and Scottish Popular Ballads. 5 vols. Boston, 1882-96.
+
+  English and Scottish Popular Ballads, edited from the collection of
+  Francis James Child by Helen Child Sargent and George Lyman Kittredge.
+  Boston, 1904.
+
+Clemens, S.L. (Mark Twain).
+  Life on the Mississippi. Boston, 1883.
+
+Cockburn, Henry.
+  Memorials of His Time. Edinburgh, 1874.
+
+Coleridge, S.T.
+  Specimens of the Table Talk of Samuel Taylor Coleridge. 2 vols.
+  London, 1835.
+
+  Letters of Samuel Taylor Coleridge, edited by E.H. Coleridge. 2 vols.
+  Boston, 1895.
+
+Collins, J. Churton.
+  Ephemera Critica. London, 1901.
+
+Courthope, W.J.
+  A History of English Poetry. 4 vols. New York, 1895-1903.
+
+  The Liberal Movement in English Literature. London, 1885.
+
+Cunningham, Allan.
+  Life of Scott. Boston, 1832.
+
+Dowden, Edward.
+  Life of Percy Bysshe Shelley. 2 vols. London, 1886.
+
+Fitzgerald, Percy.
+  New History of the English Stage, from the Restoration to the liberty
+  of the theatres, in connection with the patent houses. 2 vols. London,
+  1882.
+
+Forster, John.
+  Walter Savage Landor, a biography. 2 vols. London, 1869.
+
+Freeman, E.A.
+  The History of the Norman Conquest of England. 5 vols. New
+  York, 1873.
+
+Gates, L.E.
+  Three Studies in Literature. New York, 1899.
+
+Gillies, R.P.
+  Recollections of Sir Walter Scott. (Republished in book form from
+  _Fraser's Magazine_, Sept., Nov., Dec. 1835, and Jan., 1836.)
+
+Hazlitt, William.
+  Collected Works, edited by A.R. Waller and Arnold Glover. 12 vols.
+  London, 1902-4. (Spirit of the Age, Vol. IV; Plain Speaker, Vol. VII;
+  Dramatic Essays, Vol. VIII.)
+
+Herford, C.H.
+  The Age of Wordsworth. (Handbooks of English Literature.) London,
+  1905.
+
+Hogg, James, ed.
+  Jacobite Relics of Scotland, being the songs, airs, and legends of the
+  adherents of the House of Stuart. 2 vols. Edinburgh, 1819-21.
+
+  Domestic Manners and Private Life of Sir Walter Scott. Glasgow, 1834.
+
+Hudson, W.H.
+  Sir Walter Scott, London, 1901.
+
+Hunt, J.H. Leigh.
+  Autobiography; with reminiscences of friends and contemporaries. 2
+  vols. New York, 1850.
+
+  Feast of the Poets. London, 1814.
+
+  Lord Byron and some of his contemporaries. Second edition. 2 vols.
+  London, 1828.
+
+Hutton, R.H.
+  Sir Walter Scott. (English Men of Letters.) New York, 1878.
+
+Irving, Washington.
+  Abbotsford and Newstead Abbey. (First volume of the "Crayon
+  Miscellany.") London, 1835.
+
+Lang, Andrew.
+  Sir Walter Scott (Literary Lives). New York, 1906.
+
+  Border edition of the Waverley Novels, 48 vols. London, 1892-1894.
+
+Laing, Malcolm, ed.
+  Poems of Ossian, containing the poetical works of James MacPherson in
+  prose and verse. 2 vols. Edinburgh, 1805.
+
+Legare, H.S.
+  Writings.... Edited by his sister. Charleston, S.C., 1846.
+
+Lounsbury, T.R.
+  James Fenimore Cooper. (American Men of Letters.) Boston, 1882.
+
+Maigron, Louis.
+  Le Roman Historique a l'Epoque Romantique: essai sur l'influence de
+  Walter Scott. Paris, 1898.
+
+Masson, David.
+  British Novelists and Their Styles. Cambridge, Eng., 1859.
+
+Matthews, Brander.
+  The Historical Novel, etc. New York, 1901.
+
+Meteyard, Eliza.
+  A Group of Englishmen (1795-1815), being records of the younger
+  Wedgwoods and their friends. London, 1871.
+
+Millar, J.H.
+  The Mid-Eighteenth Century. (Periods of European Literature.) New
+  York, 1902.
+
+Moore, Thomas.
+  Letters and Journals of Lord Byron, with notices of his life. 2 vols.
+  London, 1830.
+
+Myers, F.W.H.
+  Wordsworth. (English Men of Letters.) New York, 1881.
+
+Newman, J.H.
+  Apologia Pro Vita Sua. London, 1892.
+
+Nichol, John.
+  Byron. (English Men of Letters.) New York, 1880.
+
+Palgrave, F.T.
+  Biographical and Critical Memoir of Sir Walter Scott. (In Poetical
+  Works of Scott. London, 1866, Macmillan and Company.)
+
+Paris, Gaston.
+  La Litterature Francaise au Moyen Age. Paris, 1890.
+
+Percy, W.
+  Reliques of Ancient English Poetry, consisting of old heroic ballads,
+  songs, and other pieces of our earlier poets (chiefly of the lyric
+  kind) together with some few of later date. 3 vols. London, 1765.
+
+Pierce, E.L.
+  Memoirs and Letters of Charles Sumner. 2 vols. Boston, 1877.
+
+Ruskin, John.
+  Modern Painters. New edition, 5 vols. London, 1897.
+
+Saintsbury, George.
+  Life of Scott. (Famous Scots Series.) New York. [1897.]
+
+  A History of Criticism and Literary Taste in Europe.... 3 vols. New
+  York, 1900-1904.
+
+Scott, Temple, ed.
+  The Prose Works of Jonathan Swift, D.D. (Bohn's Standard Library.)
+  London, 1898-1905.
+
+Southey, Robert.
+  Selections from the Letters of Robert Southey, edited by John Wood
+  Warter. 4 vols. London, 1856.
+
+Stephen, Leslie.
+  English Literature and Society in the Eighteenth Century. (Ford
+  Lectures, 1903.) London, 1904.
+
+  Swift. (English Men of Letters.) New York, 1882.
+
+Taine, H.A.
+  Histoire de la Litterature Anglaise. 4 vols. Paris, 1863-64.
+
+Ticknor, George.
+  Life, Letters, and Journals of George Ticknor. Sixth edition. 2 vols.
+  Boston, 1877.
+
+White, A.D.
+  Autobiography. 3 vols. New York, 1905.
+
+Wylie, L.J.
+  Studies in the Evolution of English Criticism. Boston, 1894.
+
+
+3. _Periodicals and articles referred to, aside from the articles
+written by Scott._
+
+_The Bibliographer_: Notes for a Bibliography of Swift, by Stanley
+Lane-Poole. Vol. VI, pp. 160-71.
+
+_The Edinburgh Review_: Review of The Minstrelsy of the Scottish Border,
+Vol. I, pp. 395-406; Review of Sir Tristrem, Vol. IV, pp. 427-43; Review
+of Scott's edition of Swift, Vol. XXVII, pp. 1-58; Border Ballads, Vol.
+CCIII, pp. 306-26.
+
+_The English Historical Review_: Dean Swift and The Memoirs of Captain
+Carleton, by Col. the Hon. Arthur Parnell, R.E. Vol. VI, pp. 97-151.
+
+_Fraser's Magazine_: Review of Letters on Demonology and Witchcraft,
+Vol. II, pp. 507-519.
+
+_The Knickerbocker Magazine_: Review by J. Fenimore Cooper of Lockhart's
+Life of Scott, Vol. XII, pp. 349 ff.
+
+_Macmillan's Magazine_: The Historical Novel: Scott and Dumas, by Prof.
+Saintsbury, Vol. LXX, pp. 321-330.
+
+_The Nineteenth Century_: Defoe's "Apparition of Mrs. Veal," by G.A.
+Aitken, Vol. XXXVII, pp. 95 ff.
+
+_The Quarterly Review_: Review of Dunlop's History of Fiction, Vol.
+XIII, pp. 384-408; Review of Frankenstein, Vol. XVIII, pp. 37-385;
+Review of The Lives of the Novelists, Vol. XXXIV, pp. 349-378.
+
+
+
+
+INDEX.
+
+
+_Abbot, The_, 88, 132, 155
+_Abbotsford and Newstead Abbey_, 15, 176
+_Abbotsford, described by the Hon. Mary Monica Maxwell Scott_, 161
+_Abbotsford Notanda_, 169
+_Absalom and Achitophel_, 60, 63-4, 66
+_Account of the Death of Frederick, Duke of York, An_, 156
+Addison, Joseph, 80
+Adolphus, J.L., see _Letters to Heber_
+Aeschylus, 50
+_Age of Wordsworth, The_, 10, 20, 125, 131, 136, 175
+_Aiken's Collection of Songs_, Scott's review of, 26, 163
+Aitken, G.A., 77, 174, 178
+_Alastor_, 89
+_Alexander's Feast_, 63, 139
+Allibone, S.A., 56, 153, 172, 174
+_Amadis de Gaul_, Scott's review of, 4, 37, 128, 129, 162
+_Ancient British Drama_, 52, 151-2
+_Ancient Criminal Trials_, Scott's review of, 46, 143, 165
+_Ancient English Metrical Romances_, Scott's review of, 125, 162
+_Ancient Mariner, The_, 87-8
+_Ancient Times_, 149
+Anderson, J.P., see _Bibliography of Scott_
+_Annals of a Publishing House_, 169
+_Annals of the Caledonians_, etc., Scott's review of, 164
+_Anne of Geierstein_, 51, 65, 104, 127, 160
+_Antiquary, The_, 3, 50, 51, 89, 154, 172
+_Apologia_, Newman's, 142, 176
+_Apology for Tales of Terror_, 147
+_Apparition of Mrs. Veal, The_, 76-7, 178
+Arbuthnot, John, 68
+Ariosto, 33, 105
+Aristotle, 53, 54
+Arnold, Matthew, 95-6, 174
+_Auchindrane, or The Ayrshire Tragedy_, 160
+_Auchinleck Manuscript, The_, 34, 148
+_Auld Robin Gray_, 157
+Austen, Jane, 75, 100, 130
+_Autobiography of Scott_, 160
+
+
+Bage, Robert, 73, 75, 79
+Baillie, Joanna, 46, 85, 97, 98, 114, 118, 151, 156
+_Ballad Book, The_, 28, 148
+_Ballads and Lyrical Pieces_, 148
+_Ballantyne and Lockhart Pamphlets, The_, 149, 169
+_Bannatyne, Memoir of_, 44, 160
+_Bannatyne Miscellany, The_, 159
+Barnard, Lady Anne, 157
+_Bartholomew Fair_, 118
+_Battle of Brunanburgh, The_, 20, 43
+_Battles of Talavera_, Scott's review of, 106, 112-13, 163
+Beaumont and Fletcher, 42, 50, 51, 52, 56
+_Beggar's Bush, The_, 50
+_Beggar's Opera, The_, 50
+_Beowulf_, 42
+Berners, John, Lord, 128
+_Betrothed, The_, 157, 167
+_Bibliographer, The_, 67, 177
+_Bibliography of Scott_, Anderson's, 174
+_Bibliotheque Bleue_, 33
+_Bibliotheque de Romans_, 33
+_Black Dwarf, The_, 3, 87, 109, 154
+Blackmore, Sir Richard, 80
+_Blackwood's Edinburgh Magazine_, 78, 83, 100, 164, 167, 169
+Blair, Hugh, 15
+_Boaden's Life of Kemble_, Scott's review of, 46, 47, 58, 164
+Boiardo, 33
+Boileau, 136
+_Border Antiquities_, 153
+Boswell, James, 80, 161
+_Brennoralt_, 51
+_Bridal of Triermain, The_, 27, 152
+_Bride of Lammermoor, The_, 3, 34, 155
+_British Novelists and Their Styles_, 3, 145, 176
+Brome, Richard, 50
+Broughton, Hugh, 71
+Brown, Charles Brockden, 104
+Buchan, Peter, 27
+Bunyan, Scott's review of Southey's Life of, 111, 165
+Buerger, Gottfried, 18, 31, 147
+Burney, Fanny, 100
+Burns, Robert, 22, 30, 86, 93, 96
+_Burt's Letters from the North of Scotland_, 154
+Butler, Samuel, 64
+Byron, George Gordon, Lord, 11, 50, 86, 88-9, 91, 92-6, 97, 98, 99, 101,
+    104, 105, 106, 110, 121, 129, 143, 163, 171, 176
+
+
+_Cadyow Castle_, 30
+_Cain_, 95
+_Caledonian Sketches_, Scott's review of, 84, 163
+Calprenede, 53, 76
+Campbell, Thomas, 96, 100, 118, 163
+Carey, Patrick, 155
+_Carey, Robert, Memoirs of_, 149, 151
+_Carleton, Captain, Memoirs of_, 68, 144, 148, 178
+Carlyle, Thomas, 125, 131, 144, 174
+Carr, Sir John, 84, 163
+Cartwright, William, 50
+_Castle Dangerous_, 18, 34, 161
+_Castle of Otranto, The_, 76
+_Catalogue of the Centenary Exhibition_, 147, 151, 171, 174
+Chambers, E.K., 21, 174
+Chambers, Robert, 50, 169, 170
+_Changeling, The_, 56
+Chapman, George, 50
+_Chase, The_, 31, 147
+Chatterton, Scott's review of the Life and Works of, 43, 162
+Chaucer, 43, 44-5, 62, 162
+Chesterton, G.K., 11, 174
+_Childe Harold_, 14, 88, 93, 94, 95, 129, 163
+Child, Francis J., 24, 28, 31, 174
+_Chimney-Sweeper's Friend_, 173
+_Chivalry_, Essay on, 36, 46, 154
+_Christabel_, 62, 86-7, 88
+Christie, W.D., 60
+_Chronicles of the Canongate_, 2, 3, 80, 119, 129, 159
+_Chronological Notes of Scottish Affairs_, 156
+_Chrononhotonthologos_, 50
+_Cid, The_, Scott's review of, 92, 163
+_Clarissa Harlowe_, 74
+Clemens, Samuel L., 142, 174
+Clifford, Arthur, 149
+_Cock and the Fox, The_, 45
+Cockburn, Henry, 15, 175
+Coleridge, Samuel Taylor, 11, 22, 51, 86-9, 90-91, 92, 106, 135, 137,
+    138, 169, 175
+Collins, Churton, 68, 143-4, 175
+Colvin, Sidney, 100
+Congreve, William, 57, 60
+_Conquest of Granada, The_, 57
+_Constable, Archibald, Literary Correspondence of_, 12, 33, 48, 52, 98,
+    104, 121, 126, 127, 154, 158, 168, 169
+Conybeare, John J., 42
+Cooper, J. Fenimore, 14, 101-3, 172, 178
+_Correspondence of Lady Suffolk_, Scott's review of, 142, 164
+_Count Julian_, 99
+_Count Robert of Paris_, 161
+_Courser's Manual, The_, 173
+Courthope, W.J., 21, 141, 175
+Cowley, Abraham, 59, 64
+Cowper, William, 64
+Crabbe, George, 97, 166
+Craik, Sir Henry, 68
+_Critic, The_, 50
+Croker, J.W., 161, 163
+_Cromek's Reliques of Burns_, Scott's review of, 22, 86, 163
+_Culloden Papers_, Scott's review of, 45, 163
+Cumberland, Richard, 73, 163
+Cunningham, Allan, 47-8, 81-2, 96, 175
+_Curse of Kehama, The_, Scott's review of, 91, 92, 163
+
+
+Dante, 33, 92
+_Darkness_, 88-9
+Davy, Sir Humphrey, see _Salmonia_
+_Dean Swift and the Memoirs of Captain Carleton_, 68, 144, 148, 178
+Defoe, Daniel, 71, 73, 76-7, 148-9, 156, 178
+Dekker, Thomas, 50, 56
+_Demonology and Witchcraft, Letters on_, 45, 104, 138, 160, 178
+DeQuincey, Thomas, 99
+Derrick, John, 71, 150
+_Description of the Regalia of Scotland_, 155
+_Diable Boiteux, Le_, 74
+_Dictionary of British and American Authors_, 56, 153, 172, 174
+D'Israeli, Isaac, 20, 142
+_Domestic Manners and Private Life of Sir Walter Scott_, 114, 175
+_Don Juan_, 95
+Donne, John, 62
+_Don Quixote_, 33
+_Doom of Devorgoil, The_, 46-7, 48, 160
+Douce, Francis, 20
+_Douglas_, 47, 51, 111
+Douglas, David, 161, 168
+_Douglas on Military Bridges_, Scott's review of, 163
+Dowden, Prof. Edward, 91, 175
+_Drama_, Essay on, 50, 52-9, 136, 154
+_Drapier's Letters, The_, 69
+Drayton, Michael, 62
+Drelincourt's _Defence_, etc., 76-7
+Dryden, John, 44, 59-65, 93, 112, 145
+_Dryden's Works_, edited by Scott, 2, 5, 7, 36, 44-5, 50, 51, 52-8,
+    59-65, 66, 70, 73, 80, 126, 131, 136, 139, 145, 149
+Dunbar, William, 44, 143-4
+Dunlop, J.C., 73, 178
+Dyce, Alexander, 55
+
+
+Eberty, Felix, 2
+Edgeworth, Maria, 75, 76, 97, 100, 101, 103, 173
+_Edinburgh Annual Register, The_, 6, 26, 85, 91, 118, 141, 155, 165-7
+_Edinburgh Review_, 4, 5, 18, 25, 26, 29, 31, 35, 36, 38, 40, 43, 44,
+    46, 61, 69, 82, 84, 91, 125, 128, 129, 134, 135, 162, 164, 178
+_Edinburgh Weekly Journal, The_, 155, 156, 157, 167
+Elliott, Hon. Fitzwilliam, 25
+Ellis, George, 4, 20, 34, 35, 43, 44, 58, 60, 91, 113, 162
+Ellis, James, Letters of Scott to, 171
+_Emma_, Scott's review of, 100, 163
+_Encyclopaedia Britannica_, 37, 46, 52, 154
+_English and Scottish Popular Ballads_, 24, 28, 31, 174
+_English Historical Review, The_, 68, 144, 148, 178
+_English Literature and Society in the Eighteenth Century_, 97, 177
+_English Minstrelsy_, 151
+_Ephemera Critica_, 143-4, 175
+_Evans's Old Ballads_, Scott's review of, 26, 163
+_Eve of St. John, The_, 30, 147
+_Evergreen, The_, 28
+_Eyrbyggja Saga, The_, 42, 152
+
+
+_Fables_, Dryden's, 44-5, 64
+_Fair Maid of Perth, The_, 159
+_Fair Maid of the Inn, The_, 50
+_Family Legend, The_, 46
+_Familiar Letters of Sir Walter Scott_, 5, 13, 14, 33, 37, 40, 47, 50,
+    62, 80, 84, 85, 87, 89, 96, 97, 103, 104, 108, 110, 114, 115, 116,
+    118, 120, 138, 143, 168
+_Fatal Revenge, The_, Scott's review of, 163
+_Faust_, 104
+_Faustus_, 55
+_Ferdinand, Count Fathom_, 74
+Fergusson, Robert, 86
+_Ferrex and Porrex_, 54
+Ferrier, Susan, 100
+Fielding, Henry, 73, 74, 75-6, 78-9, 110
+_Field of Waterloo, The_, 121, 153
+Fitzgerald, Percy, 49, 175
+_Fleetwood_, Scott's review of, 162
+Fletcher, John, 42, 50, 51, 52, 56
+Fletcher, Phineas, 64
+Ford, John, 50, 56
+_Foreign Quarterly Review_, 57, 58, 105, 132, 133, 164
+_Forester's Guide, The_, Scott's review of, 164
+Forster, John, 85, 91, 98-9, 175
+_Fortunes of Nigel, The_, 27, 47, 48, 49, 51, 77, 108, 110, 111, 118,
+    119, 128, 131, 157
+Fouque, Baron de la Motte, 105
+_Fragmenta Regalia_, 55, 149
+_Fragments of Voyages and Travel_, 172
+France, Anatole, 127
+Franck, Richard, 155
+_Frankenstein_, 78, 89, 164, 178
+_Fraser's Magazine_, 85, 106, 130, 138, 143, 146, 175, 178
+Freeman, Edward, 126, 127, 175
+Frere, John Hookham, 20, 35
+Froissart, 36, 128, 162
+
+
+Galt, John, 129, 164
+_Gammer Gurton's Needle_, 54
+Gates, Prof. L.E., 134, 135, 175
+Gay, John, 128
+_Gebir_, 98
+_Gertrude of Wyoming_, Scott's review of, 82, 96, 163
+Gibson, John, 170
+Gifford, William, 50, 52, 83, 84, 134, 141
+Gilfillan, George, 1
+Gillies, R.P., 14, 85, 95, 106, 130, 143, 146, 171, 175
+_Glenfinlas_, 30
+Godwin, William, 9, 44, 99
+_Godwin's Life of Chaucer_, Scott's review of, 9, 44, 84, 124, 162
+Goethe, 54, 95, 104-5, 125, 147
+_Goetz von Berlichingen_, 54, 147
+Goldsmith, Oliver, 73, 75
+Gosson, Stephen, 71
+_Gourgaud's Narrative, Remarks on_, 164
+Grammont, Count, 5, 152
+_Gray Brother, The_, 30
+Greene, Robert, 55, 71
+Grimm, Jacob, 21
+_Groat's-worth of Wit_, 71
+_Group of Englishmen, A_, 87, 176
+_Gulliver's Travels_, 70
+_Guy Mannering_, 3, 6, 46, 50, 76, 117, 120, 121, 153, 167
+_Gwynne, John, Military Memoirs of_, 157
+
+
+_Hajji Baba in England_, Scott's review of, 164
+_Halidon Hill_, 48, 156
+_Hall of Justice, The_, 97
+_Harold the Dauntless_, 121, 154
+_Harper's Magazine_, 161
+Hawkesworth, John, 65
+Haydon, B.R., 99, 171
+Hazlitt, William, 49, 51, 85, 99, 114, 135, 139, 141, 175
+_Heart of Midlothian, The_, 3, 46, 154
+_Heber, Richard, Letters to_, 10, 15-16, 49, 65, 85, 88, 97, 114, 129,
+    131, 132, 174
+Hemans, Mrs. Felicia, 98
+Henderson's edition of _The Minstrelsy of the Scottish Border_, 22, 23,
+    24-5, 26, 28, 29, 148
+Henry, Robert, 126
+Herbert, Lord, of Cherbury, 150
+Herbert, William, Scott's review of the Poems of, 18, 31, 41, 162
+Herford, C.H., see _Age of Wordsworth_
+_Highland Widow, The_, 120, 159
+_Hind and the Panther, The_, 60
+_History of Criticism_, Saintsbury's, 146, 177
+_History of English Poetry_, Courthope's, 21, 175
+_History of English Poetry_, Warton's, 19, 21, 34, 35
+_History of John Bull_, 68
+_History of Prose Fiction_, Dunlop's, 73, 178
+_History of Queen Elizabeth's Favourites_, 5, 149
+_History of Scotland_, Scott's, 127, 160
+_History of Scotland_, Tytler's, Scott's review of, 45, 124, 164
+_History of the Church of Scotland_, Defoe's, 77
+_History of the Church of Scotland_, Sharpe's Kirkton's, Scott's review
+    of, 163
+_History of the Norman Conquest of England_, 126, 127, 175
+_History of the Years 1814 and 1815_, 6, 166
+_Hodgson, Captain, Memoirs of_, 148, 149
+Hoffman, Scott's review of the Works of, 89, 105, 132, 164
+Hogg, James, 26, 96, 114, 169, 171, 175
+Home, Scott's review of the Life of, 15, 80, 82, 106, 164
+Homer, 63, 71, 118, 131
+Horace, 54, 84
+_Hours of Idleness_, 93
+_House of Aspen, The_, 167
+_Hudibras_, 64
+Hudson, W.H., 2, 175
+Hughes, Mrs., 54, 168
+Hume, David, 15
+Hunt, Leigh, 99, 100, 135, 141, 176
+Hutton, R.H., 1, 176
+Hutchinson, H.G., 54, 168
+
+
+_Iliad, The_, 63, 131
+_Illustrations of Northern Antiquities_, 152
+_Image of Ireland, The_, 71, 150
+_Imitations of the Ancient Ballad_, Essay on, 19, 30, 41, 42, 88, 115,
+    160
+_Indian Emperor, The_, 53
+_Introductions, etc., to the Novels, Tales, and Romances, of the Author
+    of Waverley_, 160
+Irving, Washington, 15, 97, 101, 103-4, 117, 143, 171, 176
+_Ivanhoe_, 6, 87, 108, 120, 126, 127, 128, 142, 155
+
+
+_Jacobite Relics_, 26, 175
+Jamieson, Robert, 42, 152, 154
+Jeffrey, Francis, 4, 69, 83, 84, 93, 134-5
+_Jests of George Peele_, 71
+_Jonathan Wild_, 74
+_John de Lancaster_, Scott's review of, 163
+_Johnes's Froissart_, Scott's review of, 36, 162
+Johnson, Samuel, 60, 61, 64, 68, 73, 74, 79-80, 102, 128, 135, 137, 161
+Johnstone, Charles, 73
+_Jolly Beggars, The_, 86
+Jonson, Ben, 50, 51, 56, 118
+_Journal of a Tour to the Hebrides_, 161
+_Journal, Scott's_, 12, 38, 51, 56, 84, 100, 117, 122, 129, 161, 164
+    (see the footnotes for the many references not here indexed)
+_Judicial Reform_, Essay on, 141, 165
+
+
+Keats, John, 11, 100
+_Keepsake, The_, 167
+_Kelly's Reminiscences_, Scott's review of, 46, 47, 58, 164
+Kemble, Scott's review of the Life of, 46, 47, 58, 164
+Kemble, J.M., 43
+_Kenilworth_, 10, 51, 98, 155
+_Kinmont Willie_, 24, 26, 31, 148
+Kirk, Robert, 45, 153
+_Kirkton's History, etc._, Scott's review of, 163
+_Knickerbocker's History of New York_, 103
+_Knickerbocker Magazine, The_, 102, 172, 178
+Knight, Prof. William, see _Memorials of Coleorton_, and _Wordsworth_
+_Knight's Tale, The_, 44
+_Knighton, Sir William, Memoirs of_, 12, 171
+Koelbing, E., 35, 36
+_Kuzzilbash, The_, Scott's review of, 164
+
+
+_Lady of the Lake, The_, 46, 97, 113, 118, 119, 151
+_Lady Suffolk's Correspondence_, Scott's review of, 142, 164
+_Laird's Jock, The_, 167
+Laing, Malcolm, 40, 176
+Lamb, Charles, 20, 51, 99, 100, 135
+_Landor_, Forster's _Life of_, 85, 91, 98-9, 175
+_Landscape Gardening_, see _Planter's Guide_
+Lane-Poole, Stanley, 67, 177
+Lang, Andrew,
+    _Border Edition of the Waverley Novels_, 51, 89, 108, 158, 176
+    _Life of Lockhart_, 52, 84, 99, 100, 158, 168
+    _Life of Scott_, 87, 100, 126, 127, 176
+    _Secret Commonwealth of Elves, Fauns, and Fairies_, 153
+Langhorne, John, 98
+_Lay of the Last Minstrel, The_, 4, 18, 31, 87, 110, 148
+_Lays of the Lindsays_, 157
+Lee, Sidney, 150
+Lee, William, 77
+Legare, H.S., 94, 176
+_Legend of Montrose, A_, 51, 155
+Lennox, Charlotte, 151
+_Lenore_, 31, 147
+Le Sage, 73, 74
+_Letter from Dr. Tripe to Nestor Ironside_, 67
+_Letters of Malachi Malagrowther on the Currency_, 59, 69, 116, 140, 157
+_Letters of Sir Walter Scott_, 168-173, see also _Familiar Letters_,
+    Hutchinson, Polwhele, and Stuart, Lady Louisa
+_Letters on Demonology and Witchcraft_, 45, 104, 160, 178
+_Letters to Richard Heber, etc._, 10, 15-16, 49, 65, 85, 88, 97, 114,
+    129, 131, 132, 174
+_Letting of Humour's Blood in the Head Vaine, The_, 153
+_Levett, Robert, Verses on the Death of_, 80
+Lewis, Matthew, 30, 97-8, 147
+Leyden, John, 25, 30, 166
+_Liberal Movement in English Literature, The_, 141, 175
+_Life of Napoleon Buonaparte, The_, 7, 12, 78, 102, 124-5, 127, 140,
+    158, 170
+_Life on the Mississippi_, 142, 174
+_Life of Sir Walter Scott, The_, see Cunningham, Gilfillan, Hudson,
+    Hutton, Lang, Lockhart, Mackenzie, and Saintsbury
+_Litterature Francaise au Moyen Age, La_, 38, 177
+_Little French Lawyer, The_, 50
+_Lives of the Novelists_, 6, 7, 15, 72-9, 128, 131, 156, 178
+_Lives of the Poets_, 74
+_Living Poets of Great Britain_, Article on, 118, 165
+_Livre de Mon Ami, Le_, 127, 175
+Lockhart, John Gibson, 6, 22, 25, 27, 29, 52, 83, 84, 85, 98, 99, 112,
+    117, 158, 160, 168, 169
+_Lockhart's Life of Scott_, 1, 11, 12, 13, 96, 98, 101, 102-3, 112, 148,
+    149, 152, 153, 161, 162, 163, 164, 165, 166, 167, 168, 169, 172, 173,
+    174, 178 (see the footnotes for the many references not here indexed)
+Lodge, Edmund, 132, 172
+_London_, 79
+_Lord Byron and Some of his Contemporaries_, 99-100, 176
+_Lord of the Isles, The_, 120, 153
+Lounsbury, Prof. T.R., 14, 102, 176
+_Love_, 87
+Lyly, John, 61
+
+
+Macaulay, T.B., 144
+_Macduff's Cross_, 156
+Mackenzie, Colin, 30
+Mackenzie, Henry, 17, 73, 75, 100,
+    see also Home, John
+Mackenzie, R. Shelton, 1, 52, 123, 139, 171
+_Macmillan's Magazine_, 51, 142, 178
+McNeill, G.P., 35
+Macpherson, James, 40, 41, 176
+_Madoc_, 91
+_Magnalia_, 104
+Maigron, Louis, 105, 176
+_Malachi Malagrowther, Letters of_, 59, 69, 116, 140, 157
+Malone, Edmund, 60, 61
+Malory, 37
+_Manfred_, 50, 51
+Mark Twain, 142, 174
+Marlowe, Christopher, 55
+_Marmion_, 5, 6, 31, 90, 93, 97, 110, 113, 115, 145, 148
+Marston, John, 50
+_Masque of Owls, The_, 51
+Massinger, Philip, 56
+Masson, David, 3, 145, 176
+Mather, Cotton, 104
+Matthews, Prof. Brander, 76, 176
+Maturin, C.R., 138, 163, 164
+_Mediaeval Stage, The_, 21, 174
+_Memoirs of a Literary Veteran_, 14, 171
+_Memoirs of Captain Carleton_, 68, 144, 148-9, 178
+_Memoirs of Captain Hodgson_, 148, 149
+_Memoirs of Robert Carey_, 149, 151
+_Memoirs of the Court of Charles II._, 5, 152
+_Memoirs of the Insurrection in 1715_, 159
+_Memoirs of the Duke of Sully_, 151
+_Memoirs of the Marchioness de la Rochejaquelin_, 159
+_Memoirs of the Reign of King Charles I._, 5, 152
+_Memorials of Coleorton_, 169
+_Memorials of George Bannatyne_, 44, 160
+_Memorials of His Time_, Cockburn's, 15, 175
+_Memorials of James Hogg_, 171
+_Memorials of the Haliburtons_, 155
+_Memorie of the Somervilles_, 154
+_Merry Devil of Edmonton, The_, 50
+Meteyard, Eliza, 87, 176
+_Mezeray's History of France_, 80
+Mickle, W.J., 98
+Middleton, Thomas, 50, 56
+_Mid-Eighteenth Century, The_, 74, 176
+Millar, J.H., 74, 176
+_Military Bridges_, Scott's review of, 163
+_Military Memoirs of the Great Civil War_, 5, 157
+Milton, 40, 62, 65, 88, 91, 92, 95, 104, 143
+Minot, Laurence, 43
+_Minstrelsy of the Scottish Border_, 3, 4, 7, 17-32, 33, 36, 45, 80,
+    147-8, 160, 178
+_Mirror for Magistrates, The_, 55
+_Miscellaneous Prose Works_, Scott's, 7, 26, 73, 149, 151, 154, 156,
+    159, 160, 162, 163, 164, 166, 167
+_Miseries of Human Life_, Scott's review of, 162
+_Modern British Drama, The_, 52, 152
+_Modern Painters_, 10, 129, 177
+Moliere, 53, 57, 58, 133, 164
+_Monastery, The_, 88, 105, 116, 155
+_Monk, The_, 98
+Moore, Thomas, 96, 97, 166, 176
+_Murray, John, Memoir and Correspondence of_, 83, 84, 93, 105, 141, 142,
+    163, 168, 169
+_My Aunt Margaret's Mirror_, 131, 167
+Myers, F.W.H., 130, 176
+_Mysterious Mother, The_, 50
+
+
+_Napoleon_, Scott's _Life of_, 7, 12, 78, 102, 124-5, 127, 140, 158, 170
+Nash, Thomas, 59
+Naunton, Sir Robert, 149
+_Neidpath Castle_, Wordsworth's sonnet on, 87
+_New History of the English Stage_, 49, 175
+Newman, J.H., 142, 176
+_New Practice of Cookery, The_, Scott's review of, 162
+_New Test of the Church of England's Loyalty, A_, 71
+Nichol, John, 95, 176
+Nichols, John, 65
+_Nineteenth Century, The_, 77, 172, 178
+_Norman Conquest of England, The_, 126, 127, 175
+_Northern Antiquities_, 42, 152
+_Northern Memoirs_, 155
+_Notices concerning the Scottish Gypsies_, 167
+_Novelists' Library, The_, 6, 7, 72-79, 156
+
+
+_Ode on Scottish Music_, 30
+_Oedipe_, 53
+_Old Mortality_, 36, 62, 77, 89, 109, 128, 154
+Oliphant, Mrs., 169
+_Omen, The_, Scott's review of, 164
+_Opus Magnum, The_, 7, 108, 160
+_Original Memoirs Written during the Great Civil War_, 4, 148
+Ossian, 40-41, 162, 176
+Otway, Thomas, 50, 57, 58
+
+
+_Paradise Lost_, 95
+_Palamon and Arcite_, 64
+Palgrave, Francis, 13, 40, 177
+_Papers relative to the Regalia of Scotland_, 160
+Paris, Gaston, 38, 177
+Parnell, Col., the Hon. Arthur, 68, 144, 148, 178
+Parnell, Thomas, 80
+_Paul's Letters to his Kinsfolk_, 6, 88, 125, 140, 154
+Peele, George, 55
+_Penni Worth of Wit, A_, 148
+Pepys, Samuel, 65, 142, 164
+Percy, Thomas, 19, 20, 21, 22, 23, 26, 28, 32, 34, 37, 38, 177
+_Periodical Criticism_, Article on, 165
+Petrarch, 33
+_Peveril of the Peak_, 44, 105, 157
+Pierce, E.L., 177
+_Pilot, The_, 101
+_Pioneers, The_, 14
+_Pinner of Wakefield, The_, 59
+_Pirate, The_, 3, 117, 125-6, 155
+_Pitcairn's Ancient Criminal Trials_, Scott's review of, 46, 143, 165
+_Planter's Guide, The_, Scott's review of, 164
+_Planting Waste Lands_, Scott's review of, 164
+_Plays on the Passions_, 50
+Poe, Edgar Allan, 109, 110
+_Poems, with Prefaces by the Author_, 160
+Polwhele, R., Letters of Scott to, 132, 148, 170
+_Poor Richard's Almanac_, 104
+Pope, Alexander, 79, 81, 93, 97, 106, 113
+_Popular Poetry, Remarks on_, 19, 22, 30, 34, 160
+_Portraits of Illustrious Personages_, 132, 172
+_Prairie, The_, 101
+Prior, Matthew, 80
+_Proceedings in the Court-martial, etc._, 159
+_Provincial Antiquities_, 6, 56, 59, 155
+Pulci, 33
+
+
+_Quarterly Review_, 2, 5-6, 20, 22, 26, 45, 46, 55, 73, 77, 78, 82, 83,
+    84, 94, 96, 99, 100, 109, 112, 113, 114, 124, 129, 140, 143, 163,
+    164, 165, 168, 178
+_Queenhoo Hall_, 5, 128, 149
+_Quentin Durward_, 88, 104, 122, 127, 157
+
+
+Radcliffe, Mrs. Anne, 73, 75, 76, 131
+_Rambler, The_, 80, 156
+Ramsay, Allan, 28, 86
+_Recollections of Sir Walter Scott_, R.P. Gillies', 106, 130, 143, 146,
+    175
+_Redgauntlet_, 3, 89, 157
+_Red Rover, The_, 101
+Reeve, Clara, 73, 76, 78
+_Religio Laici_, 64
+_Religious Discourses by a Layman_, 159
+_Reliquiae Trottosienses_, 161
+_Reliques of Burns_, Scott's review of, 22, 86, 163
+_Remarks on Gen. Gourgaud's Narrative_, 164
+_Remarks on Popular Poetry_, 19, 22, 30, 34, 160
+_Remarks on the Death of Lord Byron_, 93, 95
+_Reminiscences of Sir Walter Scott_, John Gibson's, 170
+_Revolutions of Naples_, Article on, 164
+Richardson, Samuel, 73, 74-5, 77, 78
+Ritson, Joseph, 19, 20, 21, 23, 32, 34, 37, 38, 39, 45, 162, 164
+Robert of Brunne, 34
+Robertson, William, 15
+Robinson, Crabbe, 87
+_Rob Roy_, 3, 76, 154
+Rogers, Samuel, 151
+_Rokeby_, 108, 111, 115, 116, 152
+_Romance_, Essay on, 34, 37, 38-9, 42, 46, 146, 154
+_Roman Historique a l'Epoque Romantique, Le_, 105, 176
+Roscommon, Earl of, 136
+Rose, W.S., 37, 92, 162
+Rowlands, Samuel, 153
+Rowley, 43, 50
+Ruskin, John, 10, 129, 172, 177
+
+
+Sackville, Thomas, 54-5
+_Sadler, Sir Ralph, State Papers and Letters of_, 149
+_Saint Ronan's Well_, 51, 64, 88, 100, 108, 157
+Saintsbury, Prof. George, 2, 51, 53, 57, 60, 61, 63, 142, 146, 177, 178
+_Sale-Room, The_, 166, 167
+_Salmonia_, Scott's review of, 164
+Schlegel, 53
+_School of Abuse, The_, 71
+Scott, Temple, 67, 177
+Scuderi, 53, 76
+_Secret Commonwealth, The_, 45, 153
+_Secret History of One Year, The_, 71
+_Secret History of the Court of James I._, 5, 55, 152
+Severn, Joseph, 100
+Seward, Anne, 30, 85, 89, 91, 151
+Shadwell, Thomas, 51, 57
+Shakspere, 49, 50, 51, 52, 55-6, 57, 58, 59, 62, 65, 86, 95, 97, 157-8
+Sharpe, C.K., 27, 28, 30, 31, 66, 81, 97, 114, 118, 148, 163, 169
+Shelley, Mrs. Mary, 78, 163
+Shelley, P.B., 11, 89, 91, 106, 175
+Sheridan, Thomas, 65
+Shirley, James, 50, 56
+_Short Account of Successful Exertions, etc._, 173
+_Sibbald's Chronicle_, Scott's review of, 46, 162
+_Sir Eustace Grey_, 97
+_Sir John Oldcastle_, 59
+_Sir Tristrem_, 4, 34-6, 39, 42, 43, 56, 148, 178
+_Sketch Book, The_, 104
+_Sketch of Lord Kinneder_, 157
+_Slingsby, Sir H., Life of_, 148
+Smith, Adam, 15
+Smith, Charlotte, 73
+Smollett, Tobias, 73, 74, 156
+_Somers Tracts, The_, 4, 6, 60, 63, 70-72, 126, 150
+Somerville, Lord, 154
+Southerne, Thomas, 50
+Southey, Robert, 4, 20, 37, 46, 49, 82, 87, 89, 90, 91-2, 93, 96, 98,
+    99, 106, 110, 111, 118, 124, 143, 151, 162, 163, 165, 169, 170, 177
+_Spae-Wife, The_, 129
+_Specimens of Early English Romances_, Scott's review of, 125, 162
+_Specimens of English Dramatic Poets_, 20, 51, 99
+_Specimens of the Early English Poets_, Scott's review of, 43, 44, 162
+Spenser, 33, 62, 64
+Stael, Mme. de, 140
+Stanhope, Philip, Earl, 144
+Steele, Sir Richard, 67, 120
+Stephen, Sir Leslie, 65, 68, 97, 177
+Sterne, Laurence, 73, 75, 103, 156
+_Story of Rimini, The_, 99
+Strutt, Joseph, 5, 126, 149
+_Stuart, Lady Louisa, Letters of_, 10, 83, 127, 128, 169
+_Studies in the Evolution of English Criticism_, 137, 177
+Suckling, Sir John, 51, 59
+_Sumner, Charles, Memoirs and Letters of_, 102, 177
+_Supernatural in Fictitious Composition, The_, 164
+_Surgeon's Daughter, The_, 159
+Surtees, Robert, 20, 27, 30, 161
+Swift, Deane, 65
+Swift, Jonathan, 65-70, 103, 148-9, 177
+_Swift's Works_, edited by Scott, 6, 7, 65-70, 73, 79, 126, 139, 153, 178
+
+
+Taine, H.A., 125, 177
+_Tales of a Grandfather_, 7, 123, 127, 141, 159, 160
+_Tales of My Landlord_, 77, 109, 111-12, 128, 132, 154, 155, 161, 163,
+    167
+_Tales of the Crusaders_, 98, 124, 157
+_Talisman, The_, 157
+_Tapestried Chamber, The_, 85, 167
+Taylor, William, 31, 170
+_Tender Husband, The_, 120
+Terry, Daniel, 46, 49
+Thackeray, W.M., 80, 123
+_Thalaba_, 91, 135
+Thomas the Rhymer, 29, 30, 34-6, 148
+Thorkelin, 42
+_Thornton's Sporting Tour_, Scott's review of, 162
+_Three Studies in Literature_, 134, 135, 175
+Ticknor, George, 15, 56, 103, 144, 153, 177
+Tieck, 10
+Tierry, 127
+_Todd's Spenser_, Scott's review of, 61, 62, 84
+_Tom Jones_, 75
+_Traditions and Recollections, etc._, 170
+Tressan, 33, 34
+_Trial of Duncan Terig, The_, 161,
+_Tristram Shandy_, 75, 156
+_Trivial Poems and Triolets_, 155
+_Troilus and Criseyde_, 45
+_True-born Englishman, The_, 71
+_Trustworthiness of Border Ballads, The_, 25, 178
+Turner, Sharon, 42, 126
+_Two Bannatyne Garlands_, 161
+_Two Drovers, The_, 159
+_Tytler's History of Scotland_, Scott's review of, 45, 124, 164
+
+
+_Varied Types_, 11, 174
+_Vanity of Human Wishes, The_, 79
+_Venis and Adonis_, 58
+_Vicar of Wakefield, The_, 75
+_Virgin Queen, The_, 51
+_Visionary, The_, 155
+_Vision of Don Roderick, The_, 152, 165
+Voltaire, 78, 105
+
+
+Waldron, Francis, 51
+_Wallenstein_, 51, 88
+Waller, Edmund, 64
+Walpole, Horace, 71, 72, 73, 76, 150, 163
+Walpole, Robert, 71
+Walton, Isaac, 64-5
+_War Song of the Royal Edinburgh Light Dragoons_, 30
+Warton, Joseph, 60
+Warton, Thomas, 19, 21, 34, 35
+Warter, J.W., 124, 177
+Warwick, Sir Philip, 152
+_Waverley_, 3, 6, 36, 85, 100, 120, 122, 123, 125, 149, 153, 163
+Weber, Henry, 42, 52, 152
+Webster, John, 50, 55, 56
+White, Hon. Andrew, D., 127, 177
+_William and Helen_, 147
+Wilson, John, 50, 83
+_Women_, Scott's review of, 164
+_Women Pleased_, 50
+_Woodstock_, 44, 51, 141, 157, 170
+Wordsworth, William, 85, 87, 89-91, 92, 93, 97, 98, 106, 130, 143, 169,
+    172, 176
+Wylie, L.J., 137, 177
+
+
+_Yarrow Revisited_, 90
+
+
+
+  [Footnote 1: Mr. Hutton's _Life of Scott_, in the English Men of
+  Letters series, contains no chapter nor any extended passage on
+  Scott's critical and scholarly work, though there is a chapter on
+  "Scott's Morality and Religion," and one on "Scott as a Politician."
+  This, like the other short biographies of Scott, is professedly a
+  compilation, so far as its facts are concerned, from Lockhart's book.
+  The Lives of Scott by Gilfillan and by Mackenzie, published about the
+  time of the Scott centenary in 1871, are longer than Hutton's, but
+  contain no more extended references to the critical writings.
+  Mackenzie's book out of nearly five hundred pages gives only one to a
+  discussion of the edition of Dryden, and half a page to an account of
+  the establishment of the _Quarterly Review_. Gilfillan characterizes
+  the critical work in almost as short a space, but with a good deal of
+  judgment. The German biography of Scott contemporary with these, by
+  Dr. Felix Eberty, is concerned with the man rather than his works. Of
+  later Lives of Scott, Prof. Saintsbury's gives, in proportion to its
+  length, more space than any other to Scott's critical work, but the
+  book has only a hundred and fifty-five pages in all. Another recent
+  biographer, Mr. W.H. Hudson, says of Scott's editorial and critical
+  work, "these exertions, though they call for passing record, occupy a
+  minor place in his story"; and he gives them only "passing record."
+  Mr. Andrew Lang's still more recent and briefer _Sir Walter Scott_
+  devotes only a few lines here and there to comment on Scott as a
+  critic, and contains hardly even a reference to the little-known
+  volumes that he edited.]
+
+  [Footnote 2: Ten of Scott's twenty-seven novels (counting the first
+  series of _Chronicles of the Canongate_ as one) have scenes laid in
+  the eighteenth century. They are as follows, arranged approximately in
+  the order of their periods: _The Bride of Lammermoor_, _The Pirate_,
+  _The Black Dwarf_, _Rob Roy_, _The Heart of Midlothian_, _Waverley_,
+  _Guy Mannering_, _Redgauntlet_, _Chronicles of the Canongate (First
+  series)_, _The Antiquary_. The long poems all found their setting in
+  earlier periods.]
+
+  [Footnote 3: _British Novelists and their Styles_, pp. 167-8.]
+
+  [Footnote 4: _Familiar Letters_, Vol. II, p. 9.]
+
+  [Footnote 5: _Ibid._, Vol. I, p. 194.]
+
+  [Footnote 6: See particularly _Paul's Letters; Provincial
+  Antiquities_; and the Histories of the years 1814 and 1815, each a
+  respectable volume, written for the _Edinburgh Annual Register_.]
+
+  [Footnote 7: Ruskin's remark that "The excellence of Scott's work is
+  precisely in proportion to the degree in which it is sketched from
+  present nature," should not necessarily lead on to the condemnation
+  which follows: "He does not see how anything is to be got out of the
+  past but confusion, old iron on drawing-room chairs, and serious
+  inconvenience to Dr. Heavysterne." (_Modern Painters_, Part IV, ch.
+  16, Sec. 32.)]
+
+  [Footnote 8: _Letters to Richard Heber_, etc. (by J.L. Adolphus), pp.
+  136-137.]
+
+  [Footnote 9: Mr. Herford distinguishes two lines of romantic
+  sentiment--"the one pursuing the image of the past as a refuge from
+  reality, the other as a portion of it: the mediaevalism of Tieck and
+  the mediaevalism of Scott." _The Age of Wordsworth_, Introduction, p.
+  xxiv, note.]
+
+  [Footnote 10: _Letters of Lady Louisa Stuart_, p. 249.]
+
+  [Footnote 11: _Journal_, Vol. I, p. 333; _Lockhart_, Vol. V, p. 81.
+  The edition of Lockhart's _Life of Scott_ to which reference is made
+  throughout this study is that in five volumes, published by Macmillan
+  & Co. in the "Library of English Classics."]
+
+  [Footnote 12: Chesterton, _Varied Types_, pp. 161-2.]
+
+  [Footnote 13: The fact that Scott was a Clerk of the Court of Sessions
+  is remembered less frequently than the fact that he had business
+  complications. But this employment of his, which could be undertaken
+  only by a lawyer, occupied a large proportion of his time during
+  twenty-four years. He once wrote, "I cannot work well after I have had
+  four or five hours of the court, for though the business is trifling,
+  yet it requires constant attention, which is at length exhausting."
+  (_Constable's Correspondence_, Vol. III, p. 195.) Again he wrote, "I
+  saw it reported that Joseph Hume said I composed novels at the clerk's
+  table; but Joseph Hume said what neither was nor could be correct, as
+  any one who either knew what belonged to composing novels, or acting
+  as clerk to a court of justice, would easily have discovered."
+  (_Memoirs of Sir William Knighton_, p. 252.)]
+
+  [Footnote 14: _Journal_, Vol. I, p. 60; _Lockhart_, Vol. IV, p. 390.]
+
+  [Footnote 15: See the Memoir prefixed to the Globe Edition of Scott's
+  poems.]
+
+  [Footnote 16: _Familiar Letters_, Vol. I, p. 217.]
+
+  [Footnote 17: _Lockhart_, Vol. III, p. 447.]
+
+  [Footnote 18: _Ibid._, Vol. I, p. 122.]
+
+  [Footnote 19: Cooper measured his own success by the same test. At the
+  conclusion of the Letter to the Publisher with which _The Pioneers_
+  originally opened he said he should look to his publisher for "the
+  only true account of the reception of his book." (Lounsbury's _Life of
+  Cooper_, pp. 43-4.)]
+
+  [Footnote 20: _Napoleon_, Vol. I, ch. 2.]
+
+  [Footnote 21: "He fixed his attention on his employments without the
+  slightest consideration for his own feelings of whatever kind, either
+  in regard to state of health or domestic sorrows." (_Memoirs of a
+  Literary Veteran_, by R.P. Gillies, Vol. III, p. 141.)]
+
+  [Footnote 22: _Familiar Letters_, Vol. II, p. 365.]
+
+  [Footnote 23: _Familiar Letters_, Vol. I, p. 112.]
+
+  [Footnote 24: _Journal_, Vol. 1, p. 303; _Lockhart_, Vol. V, p. 68.]
+
+  [Footnote 25: _Letters to Heber_, p. 69.]
+
+  [Footnote 26: Irving's _Abbotsford_.]
+
+  [Footnote 27: _Life, Letters, and Journals of George Ticknor_, Vol. I,
+  p. 282. See also Scott's review of the _Life of Home_; and _Lockhart_,
+  Vol. III, p. 304.]
+
+  [Footnote 28: _Cockburn's Memorials_, p. 181.]
+
+  [Footnote 29: _Ticknor_, Vol. I, p. 280.]
+
+  [Footnote 30: _Letters to Heber_, p. 63; _Lockhart_, Vol. III, p.
+  496.]
+
+  [Footnote 31: _Lockhart_, Vol. I, p. 177.]
+
+  [Footnote 32: Review of _Poems of William Herbert_, _Edinburgh
+  Review_, October, 1806.]
+
+  [Footnote 33: _Lockhart_, Vol. I, pp. 275-6.]
+
+  [Footnote 34: _Lockhart_, Vol. I, p. 333.]
+
+  [Footnote 35: In 1830.]
+
+  [Footnote 36: Ritson's principal works were as follows: _Select
+  Collection of English Songs_ (1783); _Pieces of Ancient Popular Poetry
+  from Authentic Manuscripts and Old Printed Copies_ (1791); _Ancient
+  Songs from the Time of Henry III. to the Revolution_ (1792); _Scottish
+  Songs with the Genuine Music_ (1794); _Poems by Laurence Minot_
+  (1795); _Robin Hood Poems_ (1795); _Ancient English Metrical Romances_
+  (1802).]
+
+  [Footnote 37: Ellis published his _Specimens of the Early English
+  Poets_ in 1790, and it was reissued with the addition of the
+  Introduction in 1801 and 1803. He edited also Way's translations of
+  the Fabliaux (1796), and _Specimens of Early English Romances in
+  Metre_ (1805).]
+
+  [Footnote 38: Review of Dunlop's _History of Fiction_, July, 1815.]
+
+  [Footnote 39: The _Magnum Opus_ of Robert Surtees was his _History of
+  Durham_, published 1816-1840.]
+
+  [Footnote 40: Douce published _Illustrations of Shakespeare_ in 1807.
+  Later he edited _Arnold's Chronicle; Judicium, a Pageant_; and a
+  metrical _Life of St. Robert_. The two latter, which appeared in 1822
+  and 1824, were done for the Roxburghe Club. In 1824 he also wrote some
+  notes for Warton's _History of English Poetry_.]
+
+  [Footnote 41: _Age of Wordsworth_, p. 39.]
+
+  [Footnote 42: A number of volumes containing old ballads together with
+  modern imitations had been published both before and after the
+  appearance of Percy's _Reliques_, but Ritson's collections were the
+  first, except Percy's, to treat the material in a scholarly way.]
+
+  [Footnote 43: The discussion centered upon the social and literary
+  position of minstrels. The first edition of the _Reliques of Ancient
+  English Poetry_, published in 1765, contained an essay on the History
+  of Minstrelsy, and one on the Origin of the Metrical Romances, which,
+  taken together, says Mr. Courthope, "may be said to furnish the first
+  generalized theory of the nature of mediaeval poetry." (_History of
+  English Poetry_, Vol. I, p. 426.) Percy considered the minstrels as
+  the authors of the compositions which they sang to the harp, and as
+  holding a dignified social position similar to that of the Anglo-Saxon
+  scop or the old Norse scald. This theory was vigorously attacked by
+  Joseph Ritson in the preface of his _Select Collection of English
+  Songs_ in 1783, and again in his _Ancient English Metrical Romances_
+  in 1802, and in his essay On the Ancient English Minstrels in Ancient
+  Songs and Ballads (1792). Ritson contended that minstrels were musical
+  performers of a low class, or even acrobats, and that they were not
+  literary composers. Scott used his knowledge of ballads and romances
+  and the customs depicted in them to reinforce his own decision that
+  the truth lay somewhere between the two extremes. He pointed out that
+  the word may have covered a wide variety of professional entertainers.
+  A modern comment (by E.K. Chambers, in _The Mediaeval Stage_, Vol. I,
+  p. 66) seems like an echo of Scott: "This general antithesis between
+  the higher and lower minstrelsy may now, perhaps, be regarded as
+  established. It was the neglect of it, surely, that led to that
+  curious and barren logomachy between Percy and Ritson, in which
+  neither of the disputants can be said to have had hold of more than a
+  bare half of the truth."]
+
+  [Footnote 44: Scott's theory as to the authorship of ballads is even
+  now held by Mr. Courthope. At the end of his chapter on Minstrelsy, in
+  _The History of English Poetry_, he thus sums up the matter: "All the
+  evidence cited in this chapter shows that, so far from the ballad
+  being a spontaneous product of popular imagination, it was a type of
+  poem adapted by the professors of the declining art of minstrelsy,
+  from the romances once in favour with the educated classes. Everything
+  in the ballad--matter, form, composition--is the work of the minstrel;
+  all that the people do is to remember and repeat what the minstrel has
+  put together." This statement represents a position which is actively
+  assailed by the adherents of the communal origin theory. Another
+  critical idea which originated in Germany, and in which Scott had no
+  interest, though he knew something about it, was the Wolffian
+  hypothesis in regard to the Homeric poems. He once heard Coleridge
+  expound the subject, but failed to join in the discussion. (_Journal_,
+  Vol. II, p. 164; _Lockhart_, Vol. V, p. 193.) He said the theory could
+  never be held by any _poet_. See a note by Lockhart on the essay on
+  _Popular Poetry_. Henderson's edition of _Minstrelsy_, Vol. I, p. 3.]
+
+  [Footnote 45: Review of Cromek's _Reliques of Burns_. _Quarterly
+  Review_, February, 1809.]
+
+  [Footnote 46: "No one but Burns ever succeeded in patching up old
+  Scottish songs with any good effect," Scott wrote in his _Journal_
+  (Vol. II, p. 25). And in his review of Cromek's _Reliques of Burns_ he
+  said on the same subject of Scottish songs: "Few, whether serious or
+  humorous, past through his hands without receiving some of those magic
+  touches which, without greatly altering the song, restored its
+  original spirit, or gave it more than it had ever possessed."
+  (_Quarterly_, February, 1809.)]
+
+  [Footnote 47: _Remarks on Popular Poetry_, Henderson's edition of
+  _Minstrelsy_, Vol. I, p. 46.]
+
+  [Footnote 48: Henderson's edition of _Minstrelsy_, Vol. I, p. xix.]
+
+  [Footnote 49: Henderson's edition of _Minstrelsy_, Vol. I, pp. 167-8.]
+
+  [Footnote 50: The matter may be traced in Child's collection of
+  ballads, or more easily in the latest edition of the _Minstrelsy_,
+  edited by T.F. Henderson and published in four volumes in 1902. Mr.
+  Henderson's views of ballad origins are quite in accord with Scott's
+  own, but he notes the points at which Scott failed to follow any
+  originals. There seems to be some reason to believe, however, though
+  Mr. Henderson does not say so, that Scott wrote _Kinmont Willie_
+  without any originals at all, except the very similar situations in
+  three or four other ballads. See the introduction by Professor
+  Kittredge to the abridged edition of Child's ballads, edited by
+  himself and Helen Child Sargent.
+
+  It is unnecessary to give here any detailed account of Scott's
+  procedure, as the matter has been thoroughly worked out by students of
+  ballads. A few examples may be given as illustrations, however. In
+  _The Dowie Dens of Yarrow_ (Henderson's edition, Vol. III, p. 173) 28
+  lines out of the 68 are noted by Mr. Henderson as either changed or
+  added by Scott. Scott writes (beginning of fifth stanza), "As he gaed
+  up the Tennies bank" for "As he gaed up yon high, high hill," and we
+  find from a note of Lockhart's that _The Tennies_ is the name of a
+  farm belonging to the Duke of Buccleuch. In the sixth stanza Scott
+  changes the lines,
+
+    "O ir ye come to drink the wine
+     As we hae done before, O?" to
+    "O come ye here to part your land,
+     The bonnie forest thorough?"
+
+  In the seventeenth stanza he changes,
+
+    "A better rose will never spring
+     Than him I've lost on Yarrow?" to
+    "A fairer rose did never bloom
+     Than now lies cropp'd on Yarrow."
+
+  In _Jellon Grame_ (Vol. III, p. 203), Mr. Henderson notes changes in
+  15 different lines, and points out 2 whole stanzas, out of the 21,
+  that are interpolated. In the _Gay Goss-hawk_ (Vol. III, p. 187) 6
+  stanzas out of 39 are noted as probably wholly or mainly by Scott, and
+  30 stanzas were changed by him. Sometimes his alterations occurred in
+  every line of a stanza. It is probable that Scott changed _Jamie
+  Telfer_ enough to make the Scotts take the place of prominence that
+  had been held by the Elliotts in the original form of the story. See
+  _The Trustworthiness of Border Ballads as Exemplified by 'Jamie Telfer
+  i' the Fair Dodhead' and other Ballads_; by Lieut.-Col. the Hon.
+  Fitzwilliam Elliott. Reviewed in _Edinburgh Review_, No. 418, p. 306
+  (October, 1906).]
+
+  [Footnote 51: See the examples given in the preceding note. Most of
+  the changes there spoken of were made without annotation.]
+
+  [Footnote 52: This extraordinary young man was poet and scholar on his
+  own account by 1800, though he was four years younger than Scott. His
+  erudition in many fields was remarkable, and he was as enthusiastic as
+  Scott himself about Scotch poetry, and was the chief assistant in
+  gathering ballads for the _Minstrelsy_. He also collected the material
+  for the essay on Fairies in the second volume, which was especially
+  praised by the reviewer in the _Edinburgh Review_ (January, 1803).
+  Leyden's chief fame was derived from his wonderfully varied activities
+  in India, from 1803 to his early death in 1811. Any reader of
+  Lockhart's _Life of Scott_ or of Scott's delightful little memoir,
+  published first in the _Edinburgh Annual Register_ for 1811, and
+  included in the _Miscellaneous Prose Works_, must feel that the
+  uncouth young genius is a familiar acquaintance.]
+
+  [Footnote 53: The Ettrick Shepherd, who, after reading the first two
+  volumes of the _Minstrelsy_, sought an acquaintance with Scott, and
+  offered assistance which was gladly made use of in the preparation of
+  the third volume. Scott in his turn provided much of the material for
+  Hogg's _Jacobite Relics_, published in 1819. The following note on one
+  of the songs in that work adds to the reader's doubts concerning the
+  accuracy of Scott's texts: "I have not altered a word from the
+  manuscript, which is in the handwriting of an amanuensis of Mr.
+  Scott's, the most incorrect transcriber, perhaps, that ever tried the
+  business." (_Jacobite Relics_, Vol. I, p. 282. Note on song lxiii.)]
+
+  [Footnote 54: Henderson's edition of the _Minstrelsy_, Vol. I, p.
+  284.]
+
+  [Footnote 55: _Quarterly_, May, 1810.]
+
+  [Footnote 56: _Lockhart_, Vol. III, p. 514.]
+
+  [Footnote 57: Still more striking evidence that Scott lacked an
+  infallible sense of the difference between genuine and spurious ballad
+  material is afforded by his comments on Peter Buchan's collection,
+  which is now considered particularly untrustworthy. He thought that
+  with two or three exceptions the pieces in the book were genuine, and
+  said: "I scarce know anything so easily discovered as the piecing and
+  patching of an old ballad; the darns in a silk stocking are not more
+  manifest." (_Correspondence of C.K. Sharpe_, Vol. II, p. 424.)]
+
+  [Footnote 58: Scott's manuscript collections of ballads dropped
+  partially out of sight after his death, and it was only about 1890
+  that their magnitude and importance became known. Professor Child and
+  later editors have found them of very great service. (On Child's use
+  of the Abbotsford materials, see the Advertisement to Part VIII of his
+  collection, contained in Volume IV.) In 1880 appeared a reprint of the
+  _Ballad Book_ of C.K. Sharpe, "with notes and ballads from the
+  unpublished manuscripts of C.K. Sharpe and Sir Walter Scott," but the
+  contributions from Scott's papers did not amount to much. Scott's
+  materials were at the service of his friend for use in the original
+  edition of the _Ballad Book_, published in 1823. See _Sharpe's
+  Correspondence_, Vol. II, pp. 264, 271 and 325, for letters from Scott
+  on this subject.]
+
+  [Footnote 59: Note on _The Raid of the Reidswire_, in the
+  _Minstrelsy_.]
+
+  [Footnote 60: Henderson's edition of the _Minstrelsy_, Vol. III, p.
+  232.]
+
+  [Footnote 61: Henderson's edition of the _Minstrelsy_, Vol. II, p.
+  57.]
+
+  [Footnote 62: _Lockhart_, Vol. I, p. 360.]
+
+  [Footnote 63: _Ibid._, Vol. I, p. 332.]
+
+  [Footnote 64: First edition of the _Minstrelsy_, Vol. II, pp. 156-7.]
+
+  [Footnote 65: _Edinburgh Review_, January, 1803.]
+
+  [Footnote 66: The _Minstrelsy_ is arranged in three parts: I.,
+  Historical Ballads; II., Romantic Ballads; III., Imitations of the
+  Ballad. The first part is preceded by the Introductory Remarks on
+  Popular Poetry, and by the historical introduction. The second part is
+  preceded by the essay on The Fairies of Popular Superstition; and the
+  third by the essay on Imitations of the Ancient Ballad. The poems by
+  Scott given in this third part are as follows: _Thomas the Rhymer_
+  (parts 2 and 3), _Glenfinlas_, _The Eve of St. John_, _Cadyow Castle_,
+  _The Gray Brother_, _War Song of the Royal Edinburgh Light Dragoons_.
+  Besides these there are three poems by John Leyden (and he has also an
+  _Ode on Scottish Music_ preceding the Romantic ballads), two by C.K.
+  Sharpe, three by John Marriott, who was tutor to the children of the
+  Duke of Buccleuch, and one each by Matthew Lewis, Anna Seward, Dr.
+  Jamieson, Colin Mackenzie, J.B.S. Morritt, and an unnamed author. In
+  the other parts of the book there are a few imitations, notably the
+  three by Surtees--_Lord Ewine_, the _Death of Featherstonhaugh_, and
+  _Barthram's Dirge_, which Scott supposed were old; and one or two like
+  the _Flowers of the Forest_, which he noted as largely modern, or
+  which he had found, after arranging his material, to be wholly modern.
+  Nearly forty old ballads were published in the _Minstrelsy_ for the
+  first time.]
+
+  [Footnote 67: _Remarks on Popular Poetry_, conclusion.]
+
+  [Footnote 68: Review of the Poems of William Herbert. _Edinburgh
+  Review_, October, 1806.]
+
+  [Footnote 69: Stanzas 10-12, and 31, are noted by Child as
+  particularly suspicious. "Basnet," which occurs in stanza 10, is not a
+  very common word in ballads. It is used in _The Lay_, Canto I., stanza
+  25, and in _Marmion_, Canto VI, st. 21.]
+
+  [Footnote 70: _Lockhart_, Vol. I, p. 221.]
+
+  [Footnote 71: _Memoir of William Taylor_, Vol. I, pp. 98-99, and see
+  _Sharpe's Correspondence_, Vol. I, pp. 146-7, for a letter to Sharpe
+  on a similar point.]
+
+  [Footnote 72: _Minstrelsy_, Introduction to _Lord Thomas and Fair
+  Annie_.]
+
+  [Footnote 73: _Lockhart_, Vol. I, p. 101.]
+
+  [Footnote 74: _Ibid._, Vol. I, pp. 35-6.]
+
+  [Footnote 75: _Familiar Letters_, Vol. I, p. 244. See also _Lockhart_,
+  Vol. V, p. 408.]
+
+  [Footnote 76: Sometime before 1821 (probably a good while before, but
+  the date cannot be fixed), Scott began a translation of _Don Quixote_,
+  and afterwards gave the work over to Lockhart, who completed it. See
+  _Constable's Correspondence_, Vol. III, p. 161.]
+
+  [Footnote 77: Louis-Elizabeth de la Vergne, Comte de Tressan, was born
+  in 1705 and died in 1783. In early life he was sent to Rome on
+  diplomatic business, and it is said that in the Vatican library he
+  acquired his taste for the literature of chivalry. His chief works
+  were _Amadis de Gaules_ (1779); _Roland furieux_ (translated from the
+  Italian, 1780); _Corps d'extraits romans de chevalerie_ (1782). His
+  translations were partly adaptations, and were far from being rendered
+  with precision.]
+
+  [Footnote 78: See particularly his article on Ellis's and Ritson's
+  _Metrical Romances_ (_Edinburgh Review_, January, 1806), the essay on
+  _Romance_, and _Remarks on Popular Poetry_ in the _Minstrelsy_.]
+
+  [Footnote 79: _Edinburgh Review_, July, 1804. Ellis and Scott had had
+  much correspondence on _Sir Tristrem_, and it was Ellis's queries that
+  first led Scott into the detailed investigation which resulted in the
+  separate publication of the work. He had intended to print it in the
+  _Minstrelsy_ (_Lockhart_, Vol. I. p. 289). The letters are given in
+  _Lockhart_, Vol. I.]
+
+  [Footnote 80: _Lockhart_, Vol. I, p. 381.]
+
+  [Footnote 81: _Die nordische und die englische Version der
+  Tristan-sage_--II. _Sir Tristrem_. Heilbronn, 1882. Mr. George P.
+  McNeill's edition of _Sir Tristrem_ was printed for the Scottish Text
+  Society, Edinburgh, 1886.]
+
+  [Footnote 82: Koelbing thinks Scott probably hired a transcriber who
+  knew nothing of Middle English--a usual method of procedure in the
+  beginning of the nineteenth century. In later editions more errors
+  were introduced by the carelessness of printers, until, after 1830,
+  when the book was included in the complete editions of Scott's poems,
+  the text was collated with the manuscript. But it was still far from
+  correct. Koelbing enumerates about a hundred and thirty mistakes (see
+  his Introduction, p. xvii). Of these I took twenty-one at random, and
+  found that eight of them did not occur in the 1806 edition--in other
+  words, the person who collated the text nearly thirty years after
+  Scott or his hired transcriber had done it was far from infallible. A
+  few illustrations may be given of mistakes that occur in both the 1806
+  and the 1833 editions: l. 117, _send_ is given for _sent_; l. 846,
+  _telle_ for _tel_; l. 863, _How_ for _Hou_; l. 912, _mak_ for _make_;
+  l. 1212, _leuedi_ for _leuedy_; l. 1580, _wende sche weren_ for
+  _whende sche were_; l. 1334. _have_ for _han_; l. 1514, _as_ for
+  _als_.]
+
+  [Footnote 83: Review of Johnes's Translation of Froissart, _Edinburgh
+  Review_, January, 1805.]
+
+  [Footnote 84: Waverley, and Claverhouse in _Old Mortality_.]
+
+  [Footnote 85: _Lockhart_, Vol. I, pp. 480 and 482. _Familiar Letters_,
+  Vol. I, p. 147.]
+
+  [Footnote 86: _Essay on Romance_.]
+
+  [Footnote 87: See Gaston Paris, _La Litterature Francaise au Moyen
+  Age_, 1ere partie, ch. IV.]
+
+  [Footnote 88: Review of _Metrical Romances_, _Edinburgh Review_,
+  January, 1806.]
+
+  [Footnote 89: _Journal_, Vol. II, pp. 258-259.]
+
+  [Footnote 90: _Essay on Romance_.]
+
+  [Footnote 91: _Familiar Letters_, Vol. I, p. 46.]
+
+  [Footnote 92: Memoir in the Globe edition of Scott's poems.]
+
+  [Footnote 93: Scott adopted the conclusions of Malcolm Laing, who
+  edited Macpherson's poems and adduced parallel passages from "a mass
+  of poetry, enough to serve any six gentle readers for their lifetime,"
+  as the reviewer says. The most of these parallels were found in
+  "Homer, Virgil, and their two translators; Milton, Thomson, Young,
+  Gray, Mason, Home, and the English Bible." Although he was convinced
+  by the argument, Scott saw that the editor was in some cases misled by
+  his own ingenuity.]
+
+  [Footnote 94: Later, however (in the essay on Imitations of the
+  Ancient Ballad, 1830), he said: "In their spirit and diction they
+  nearly resemble fragments of poetry extant in Gaelic." By this time he
+  was probably reverting to the earlier opinion which had made the more
+  vivid impression.]
+
+  [Footnote 95: For the _Northern Antiquities_, edited by Robert
+  Jamieson and published in 1814, Scott wrote an abstract of the
+  _Eyrbyggja Saga_, using, as one would conclude from his introductory
+  words, the Latin version made by Thorkelin, who published the saga in
+  1787. The purpose of the publication required the historical and
+  antiquarian rather than the literary point of view, and accordingly we
+  find Scott's notes occupied with historical comment.]
+
+  [Footnote 96: In 1804 Weber came to Edinburgh in a deplorable
+  condition of poverty, and was employed and assisted in literary work
+  by Scott during the following nine years. In 1813 he was seized with
+  insanity, and challenged Scott, across the study table, to an
+  immediate duel with pistols. Scott supported Weber during the
+  remaining five years of his life in an insane hospital. He was much
+  liked by the Scott family. Scott rated his learning very highly, and
+  gave him valuable assistance in various literary projects. Weber's
+  chief publications were: _Metrical Romances of the Thirteenth,
+  Fourteenth, and Sixteenth Centuries_, with Introduction, Notes and
+  Glossary (1810); _Dramatic Works of John Ford_, with Introduction and
+  Explanatory Notes (1811); _Works of Beaumont and Fletcher_, with
+  Introduction and Explanatory Notes (1812): to this Scott's notes were
+  the most valuable contribution; _Illustrations of Northern
+  Antiquities_ (1814), with Jamieson and Scott.]
+
+  [Footnote 97: See his essay on _Imitations of the Ancient Ballad_.]
+
+  [Footnote 98: _Illustrations of Anglo-Saxon Poetry, translated by the
+  Vicar of Batheaston_. Conybeare had died two years before the
+  publication of the book.]
+
+  [Footnote 99: Review of Ellis's _Specimens_, _Edinburgh Review_,
+  April, 1804.]
+
+  [Footnote 100: Bletson and Richard Ganlesse.]
+
+  [Footnote 101: But see the dictum quoted by Scott in a somewhat
+  over-emphatic way from Ellis's _Specimens of the Early English Poets_,
+  to the effect that Chaucer's "peculiar ornaments of style, consisting
+  in an affectation of splendour, and especially of latinity," were
+  perhaps his special contribution to the improvement of English poetry.
+  (_Edinburgh Review_, April, 1804.) Scott said of Dunbar, "This darling
+  of the Scottish muses has been justly raised to a level with Chaucer
+  by every judge of poetry to whom his obsolete language has not
+  rendered him unintelligible." (_Memoir of Bannatyne_, p. 14.) After
+  naming the various qualities in which Dunbar was Chaucer's rival, he
+  pronounces the Scottish poet inferior in the use of pathos. The
+  relative position here assigned to the two poets seems to be rather an
+  exaltation of Dunbar than a degradation of Chaucer.]
+
+  [Footnote 102: _Lockhart_, Vol. I, p. 408.]
+
+  [Footnote 103: _Dryden_, Vol. XI, p. 245.]
+
+  [Footnote 104: _Dryden_, Vol. XI, p. 396.]
+
+  [Footnote 105: _Ibid._, Vol. VI, p. 243.]
+
+  [Footnote 106: _Ibid._, Vol. XI, p. 338.]
+
+  [Footnote 107: The discussion of popular superstitions given in the
+  introduction to the _Minstrelsy_ and in the Essay on Fairies, which is
+  prefixed to the ballad of _Young Tamlane_, suggests comparison with
+  the _Letters on Demonology and Witchcraft_ which Scott wrote in the
+  year before he died. He collected a remarkable library in regard to
+  superstition, and thought at various times of making a book on the
+  subject, but the project was pushed aside for other matters until
+  1831. The _Letters_ which he wrote then are full of pleasant anecdote
+  and judicious comment, and though they lack the vigor of his earlier
+  work they have remained fairly popular. An edition of Kirk's _Secret
+  Commonwealth of Elves and Fairies_, published in 1815, has been
+  attributed to Scott. (See below, the Bibliography of books edited by
+  Scott.) Reviews of his which have not been mentioned in this chapter,
+  but which naturally connect themselves with the subjects here
+  discussed, are the following: _The Culloden Papers_--an account of the
+  Highland clans, largely narrative (_Quarterly_, January, 1816);
+  Ritson's _Annals of the Caledonians, Picts and Scots_--an article of
+  more than forty pages, discussing the early history of Scotland and
+  the historians who have written upon it (_Quarterly_, July, 1829);
+  Tytler's _History of Scotland_--an article similar to that on Ritson's
+  book (_Quarterly_, November, 1829); Pitcairn's _Ancient Criminal
+  Trials_--a long article, which begins with an extended digression on
+  booksellers and collectors and on the Roxburghe and Bannatyne clubs
+  (_Quarterly_, February, 1831); Sibbald's _Chronicle of Scottish
+  Poetry_--merely a series of notes on special points (_Edinburgh
+  Review_, October, 1803); Southey's _Chronicle of the Cid_
+  (_Quarterly_, February, 1809). For the _Encyclopaedia Britannica_ Scott
+  wrote an essay on Chivalry, as well as the one on Romance to which
+  reference has been made.]
+
+  [Footnote 108: Review of _Kelly's Reminiscences and the Life of
+  Kemble_, _Quarterly Review_, June, 1826.]
+
+  [Footnote 109: _Lockhart_, Vol. II, p. 97.]
+
+  [Footnote 110: Terry had been educated as an architect, and his
+  knowledge and taste were of assistance to Scott in connection with the
+  building and furnishing of Abbotsford. After 1812 he played chiefly in
+  London. In 1816 his version of _Guy Mannering_, the first of his
+  adaptations from Scott, was presented. Before this he had taken the
+  part of Roderick Dhu in two dramatic versions of _The Lady of the
+  Lake_. In 1819 he was the first David Deans in his adaptation of _The
+  Heart of Midlothian_. Six years later he became manager of the Adelphi
+  theater, in association with F.H. Yates. At this time Scott became
+  Terry's security for L1280, a sum which he was afterward obliged to
+  pay with the addition of L500 for which the credit of James Ballantyne
+  was pledged. When financial embarrassment caused Terry to retire from
+  the management his mental and physical powers gave way, and he died of
+  paralysis in 1829. Terry admired Scott so much that he learned to
+  imitate his facial expression, his speech and his handwriting.]
+
+  [Footnote 111: _Lockhart_, Vol. I, p. 94.]
+
+  [Footnote 112: The phrase, which was a favorite one of Scott's, is
+  spoken not by Tony Lumpkin, but by one of his tavern companions.
+  Scott's use of it is an indication of the way in which he was familiar
+  with the drama. Very likely he never reread the play after his youth,
+  but his strong memory doubtless retained a pretty definite impression
+  of it.]
+
+  [Footnote 113: _Review of the Life and Works of John Home_,
+  _Quarterly_, June, 1827.]
+
+  [Footnote 114: _Familiar Letters_, Vol. II, p. 143.]
+
+  [Footnote 115: _Lockhart_, Vol. III, p. 427. It may be noted that this
+  criticism does not show much dramatic insight.]
+
+  [Footnote 116: _Lockhart_, Vol. III, pp. 445-6.]
+
+  [Footnote 117: _Journal_, Vol. I, p. 117; _Lockhart_, Vol. IV, p.
+  447.]
+
+  [Footnote 118: _Journal_, Vol. I, p. 94; _Lockhart_, Vol. IV, p. 419.]
+
+  [Footnote 119: Advertisement to _Halidon Hill_. When the publisher
+  Cadell closed a bargain with Scott in five minutes for _Halidon Hill_,
+  giving him L1000, he wrote as follows to his partner: "My views were
+  these: here is a commencement of a series of dramatic writings--let us
+  begin by buying them out." (_Constable's Correspondence_, Vol. III, p.
+  217.)]
+
+  [Footnote 120: "That well-written, but very didactic 'Old Play'," as
+  Adolphus calls it. (_Letters to Heber_, p. 55.)]
+
+  [Footnote 121: Introductory epistle to _Nigel_.]
+
+  [Footnote 122: _Lockhart_, Vol. V, p. 414.]
+
+  [Footnote 123: Fitzgerald's _New History of the English Stage_, Vol.
+  II, p. 404.]
+
+  [Footnote 124: _Dramatic Essays_, Hazlitt's _Works_, Vol. VIII, p.
+  422.]
+
+  [Footnote 125: _Lockhart_, Vol. III. p. 176.]
+
+  [Footnote 126: _Ibid._, Vol. III. p. 265.]
+
+  [Footnote 127: _Ibid._, Vol. III. p. 332.]
+
+  [Footnote 128: _Essay on the Drama_.]
+
+  [Footnote 129: In 1808 he wrote to a friend: "We have Miss Baillie
+  here at present, who is certainly the best dramatic writer whom
+  Britain has produced since the days of Shakspeare and Massinger."
+  (_Fam. Let._, Vol. I. p. 99.) But Wilson also put Joanna Baillie next
+  to Shakspere, and quite seriously. The article in the _Dictionary of
+  National Biography_, on Joanna Baillie says that when the first volume
+  of _Plays on the Passions_ was published anonymously in 1798, Walter
+  Scott was at first suspected of being the author. But as Scott had
+  done nothing to give him a literary reputation in 1798, the assertion
+  is incredible. It seems to be based on the following very inexact
+  statement in _Chambers's Biographical Dictionary of Eminent
+  Scotsmen._ (Vol. V, Art. _Joanna Baillie_.) "Rich though the period
+  was in poetry, this work made a great impression, and a new edition of
+  it was soon required. The writer was sought for among the most gifted
+  personages of the day, and the illustrious Scott, with others then
+  equally appreciated, was suspected as the author."]
+
+  [Footnote 130: _Lockhart_, Vol. I, p. 380.]
+
+  [Footnote 131: _Life of Dryden_, ch. I. In _Guy Mannering_ and _The
+  Antiquary_, the first two novels in which Scott habitually used
+  mottoes to head his chapters, most of the selections are from plays.
+  Eighteen plays of Shakspere are represented by twenty-nine quotations.
+  Other mottoes are from _The Merry Devil of Edmonton_, from Jonson,
+  from Fletcher (_The Little French Lawyer_, _Women Pleased_, _The Fair
+  Maid of the Inn_, _The Beggar's Bush_), from Brome, Dekker, Middleton
+  and Rowley, Cartwright, Otway, Southerne, _The Beggar's Opera_,
+  Walpole's _Mysterious Mother_, _The Critic_, _Chrononhotonthologos_,
+  Joanna Baillie. For the latter part of _The Antiquary_ many of the
+  mottoes were composed by Scott himself. _Kenilworth_ presents a
+  similar list, with some variations: Jonson's _Masque of Owls_ was
+  used, more than one play by Beaumont and Fletcher, Waldron's _Virgin
+  Queen_, _Wallenstein_, and _Douglas_. In _St. Ronan's Well_ there is a
+  larger proportion of non-dramatic mottoes, as in most of the later
+  novels, but we find represented nine of Shakspere's plays and one of
+  Beaumont and Fletcher's. _The Legend of Montrose_ (chapter XIV) has a
+  motto from Suckling's _Brennoralt_. In _Anne of Geierstein_ ten of
+  Shakspere's plays were drawn upon, and _Manfred_ was twice used. Scott
+  made his chapters much longer in these later novels, and used fewer
+  mottoes, but the evidence of the selections would seem to indicate
+  that he had lost something of his early familiarity with dramatic
+  literature.]
+
+  [Footnote 132: Hazlitt's _Characters of Shakespeare's Plays_ appeared
+  in 1817; his _Lectures on the Dramatic Literature of the Age of Queen
+  Elizabeth_ in 1821.]
+
+  [Footnote 133: Scott first began to fabricate occasional mottoes for
+  his chapters during the composition of _The Antiquary_ in 1816.]
+
+  [Footnote 134: Saintsbury in _Macmillan's Magazine_, lxx: 323. Scott's
+  style in many sages is strongly colored by the influence of
+  Shakspere.]
+
+  [Footnote 135: Introduction by Lang to _The Fortunes of Nigel_.]
+
+  [Footnote 136: It is possible that among the various jobs of editing
+  undertaken by Scott with a view to keeping the Ballantyne types busy,
+  were certain collections of dramas. _Ancient British Drama_, in three
+  volumes, and _Modern British Drama_, in five volumes, published in
+  1810 and 1811, are sometimes attributed to Scott in library
+  catalogues, but on what authority it seems impossible to discover.
+  There is almost no commentary in the _Ancient British Drama_, but the
+  _Modern British Drama_ contains three brief introductions which I
+  believe were written by Scott. They show a striking likeness to some
+  parts of the _Essay on the Drama_ written several years later, and it
+  is not probable that Scott took his criticism ready-made from another
+  author. In the preface to the _Ancient British Drama_ we find this
+  statement: "The present publication is intended to form, with _The
+  British Drama_ and _Shakspeare_, a complete and uniform collection in
+  ten volumes of the best English plays." The Shakspeare here referred
+  to is doubtless that of which Constable the publisher afterwards spoke
+  in his correspondence with Scott as "Ballantyne's Shakespeare," and
+  Scott had no hand in the editorship. (_Constable's Correspondence_,
+  Vol. III, p. 244.)
+
+  It is true, however, as R.S. Mackenzie says in his _Life of Scott_,
+  that Scott "had not only meditated, but partly executed an edition of
+  Shakespeare." The work was suggested by Constable in 1822, was begun
+  in 1823 or 1824, and three volumes of the proposed ten were printed by
+  the time of Constable's financial crash in the beginning of 1826. The
+  project was sometime afterwards abandoned, and the printed sheets,
+  which apparently were not bound up, disappeared from view. The first
+  volume was to be a life of Shakspere by Scott, and this was probably
+  not begun at all. Of the commentary in the other volumes, Scott was to
+  have the oversight but Lockhart was to do most of the work. It was not
+  designed that the critical apparatus should to any great degree
+  represent original ideas furnished by Lockhart or Scott, but the book
+  was to be "a sensible Shakespeare, in which the useful and readable
+  notes should be condensed and separated from the trash." (See the
+  discussion of the matter in letters between Scott and his publisher
+  given in the third volume of _Constables Correspondence_. See also
+  Lang's _Life of Lockhart_, Vol. I, p. 409, and Vol. II, p. 13, and
+  Mackenzie's _Life of Scott_, pp. 475-6.) The Boston Public Library
+  contains three volumes which are thought to be a unique copy of so
+  much of the Scott-Lockhart Shakspere as was printed. (See below, the
+  Bibliography of books edited by Scott.)
+
+  Scott's notes on Beaumont and Fletcher, which he had wished in 1804 to
+  offer to Gifford, were actually used by Weber in his _Beaumont and
+  Fletcher_, published about 1810, an edition which was characterized by
+  Scott as "too carelessly done to be reputable." (_Lockhart_, Vol. IV,
+  p. 472.)]
+
+  [Footnote 137: He seems to have connected heroic plays too closely
+  with "the romances of Calprenede and Scuderi." See his introduction to
+  _The Indian Emperor_, Dryden, Vol. II, pp. 317-20; also Vol. I, p. 56,
+  and Vol. VI, p. 125. On his opinion in regard to the relation between
+  novels and plays see below, pp. 75-6.]
+
+  [Footnote 138: See his comment on Corneille's _Oedipe_, _Dryden_, Vol.
+  VI, p. 125 and Mr. Saintsbury's note.]
+
+  [Footnote 139: _Lockhart_, Vol. III, p. 446.]
+
+  [Footnote 140: Hutchinson's _Letters of Scott_, p. 224.]
+
+  [Footnote 141: That Scott admired Sackville greatly is evident from
+  more than one comment. Of _Ferrex and Porrex_ he says, "In Sackville's
+  part of the play, which comprehends the two last acts, there is some
+  poetry worthy of the author of the sublime Induction to the Mirror of
+  Magistrates." (_Dryden_, Vol. II, p. 135.) Elsewhere Scott calls
+  Sackville "a beautiful poet." (_Fragmenta Regalia_, p. 277. _Secret
+  History of the Court of James I._, Vol. I, p. 278, note.)]
+
+  [Footnote 142: _Dryden_, Vol. II, p. 136.]
+
+  [Footnote 143: _Lockhart_, Vol. I, p. 229. See also Vol. III, p. 223.]
+
+  [Footnote 144: _Ibid._, Vol. V, p. 322.]
+
+  [Footnote 145: See, for example, _Hawthornden_, in _Provincial
+  Antiquities_.]
+
+  [Footnote 146: _Dryden_, Vol. XV, p. 337.]
+
+  [Footnote 147: _Ibid._, Vol. I, p. 10.]
+
+  [Footnote 148: Note on _Sir Tristrem_, Fytte II., stanza 56.]
+
+  [Footnote 149: See Middleton's Plays in the Mermaid edition:
+  Introduction, Vol. I, pp. viii-ix.]
+
+  [Footnote 150: Ticknor, in Allibone's _Dictionary_, Vol. II, p. 1968.]
+
+  [Footnote 151: _Journal_, Vol. I, p. 234; _Lockhart_, Vol. V, p. 23.]
+
+  [Footnote 152: See Scott's article on Moliere, _Foreign Quarterly
+  Review_, February, 1828.]
+
+  [Footnote 153: _Essay on Drama_; _Dryden_, Vol. I, p. 101 ff., Vol.
+  II, pp. 317-20, Vol. IV, p. 4.]
+
+  [Footnote 154: _Dryden_, Vol. IV, p. 4.]
+
+  [Footnote 155: Article on Moliere, _Foreign Quarterly Review_,
+  February, 1828.]
+
+  [Footnote 156: _Lockhart_, Vol. I, p. 431.]
+
+  [Footnote 157: Review of _Kelly's Reminiscences and the Life of
+  Kemble_, _Quarterly Review_, June, 1826.]
+
+  [Footnote 158: _Ibid._]
+
+  [Footnote 159: _Dryden_, Vol. VI, p. 128.]
+
+  [Footnote 160: _In Provincial Antiquities_ (Borthwick Castle). Scott
+  cites parallels from _Sir John Oldcastle, The Pinner of Wakefield_,
+  and one of Nash's pamphlets, for a curious incident in Scottish
+  history.]
+
+  [Footnote 161: _Lockhart_, Vol. I, p. 431. This search among
+  seventeenth century pamphlets may have suggested to Scott the need of
+  a new edition of _Somers' Tracts_. Apparently he arranged with the
+  publishers in 1807 to undertake this task, but the first volume did
+  not appear till 1809. (_Lockhart_, Vol. II, p. 10, and see below, pp.
+  89-90, for an account of Scott's edition of the _Tracts_.) Some of his
+  materials for the _Dryden_ were taken from this collection, but more
+  from the Luttrell collection, to which he refers in the
+  Advertisement.]
+
+  [Footnote 162: _Lockhart_, Vol. I, p. 433. Scott's _Dryden_ appeared
+  in 1808, and with some slight changes in 1821; as reedited by Mr.
+  Saintsbury it was published in 1882-1893. It was the first complete
+  and uniform edition of Dryden's works, and it remains the only one.
+  The dramatic works had appeared in folio in 1701. They were edited by
+  Congreve in 1717, and Scott used Congreve's text. The non-dramatic
+  poems were also published in 1701 in folio. They appeared in more
+  convenient forms in 1741, 1743, and 1760, but of these editions only
+  the last was reasonably complete. In 1800 the Critical and
+  Miscellaneous Prose Works were edited by Malone, who added a Life of
+  Dryden which has furnished a large part of the material used by
+  biographers since his time. This biography was badly written, but with
+  Johnson's brilliant essay it was the only Life of Dryden before
+  Scott's that was worth considering. An edition of Dryden's poems, with
+  notes by Joseph Warton and others, appeared in 1811, but seems to have
+  been prepared before Scott's edition was published. The text of this
+  is very incorrect. Since then the non-dramatic poems have been
+  published several times. Mr. Christie said in his preface to the Globe
+  edition: "Sir Walter Scott's is the last important edition of Dryden,
+  as it is indeed still the only general collection of his works; and it
+  is to be regretted that that distinguished man did not give as much
+  pains to the purification of Dryden's text as he did to his excellent
+  biography and to the notes which enrich the edition."]
+
+  [Footnote 163: Editor's Preface.]
+
+  [Footnote 164: _Dryden_, Vol. IX, p. 226.]
+
+  [Footnote 165: _Ibid._, Vol. IX, p. 2.]
+
+  [Footnote 166: In this connection Scott's review of Todd's edition of
+  Spenser is interesting. He takes exception to the lack of an
+  appearance of continuity in the biography, caused by the long
+  quotations included in the body of the narrative; and censures the
+  editor for not having used the history of Italian poetry in
+  elucidating Spenser's work. (_Edinburgh Review_, October, 1805.)]
+
+  [Footnote 167: Review of Todd's _Spenser_.]
+
+  [Footnote 168: _Dryden_, Vol. I, p. 6.]
+
+  [Footnote 169: _Familiar Letters_, Vol. I, p. 229; and _Dryden_, Vol.
+  I, p. 6.]
+
+  [Footnote 170: _Dryden_, Vol. I, pp. 402-3.]
+
+  [Footnote 171: _Dryden_, Vol. I, p. 403.]
+
+  [Footnote 172: _Ibid._, p. 404. Mr. Saintsbury thinks that Scott's
+  prefatory introductions to the plays are often "both meagre and
+  depreciatory"; also that Scott's judgment on Dryden's letters is
+  rather harsh, for him, and that after he had begun to write novels he
+  would not have been so impatient of remarks on "turkeys,
+  marrow-puddings, and bacon."]
+
+  [Footnote 173: _Ibid._, Vol. I, p. 405.]
+
+  [Footnote 174: _Ibid._, Vol. X, p. 307 ff.]
+
+  [Footnote 175: _Ibid._, Vol. XIV, pp. 136 and 146.]
+
+  [Footnote 176: _Ibid._, Vol. I, p. 405.]
+
+  [Footnote 177: In order to give a more specific view of Scott's
+  methods, two or three of the introductions to well-known poems may be
+  briefly analysed. The introduction to _Absalom and Achitophel_
+  occupies 111/2 pages, of which about 21/2 are given to quotation from a
+  tract which Scott thought furnished the argument to Dryden, and which
+  was unnoticed by any former commentator. Scott's remarks follow this
+  outline: Position of the poem in literature, and history of its
+  composition; origin of the particular allegory as applied to modern
+  politics; a parallel use of the allegory (with a quotation from
+  _Somers' Tracts_ in illustrations); aptness of the allegory; merits of
+  the satire--treatment of Monmouth and other main characters; changes
+  in the second edition to mitigate the satire; characterization of the
+  poem as having few flights of imagination but much correctness of
+  taste as well as fire and spirit; other objections by Johnson refuted;
+  success of the poem; history of the first publication and of the
+  replies and congratulatory poems; editions, and Latin versions. The
+  notes on this poem are historical and very full, but the introduction
+  contains as much literary as historical comment. _Religio Laici_ is
+  prefaced by 8 pages of introduction, in which are discussed the motive
+  of the writing, the argument, the title, the purpose of the poem, and
+  its reputation. Dryden's style in didactic poetry is compared with
+  Cowper's, to the disadvantage of the later poet. The introduction to
+  _The Hind and the Panther_ is 20 pages long, and discusses the history
+  of the period as well as the argument of the poem, its style, the
+  subject of fables in general, and the effects the poem produced. The
+  notes on this poem are copious. As he discussed the _Fables_ in the
+  _Life of Dryden_, Scott gave them no general introduction, and for
+  each poem he wrote only a slight preface, telling something of the
+  source and pointing out special beauties. His notes vary greatly in
+  abundance. Those on _Palamon and Arcite_, _e.g._, are brief,
+  explaining terms of chivalry and heraldry, but not giving literary or
+  linguistic comment.]
+
+  [Footnote 178: _Dryden_, Vol. XIII, p. 324.]
+
+  [Footnote 179: _Ibid._, Vol. XII, p. 20.]
+
+  [Footnote 180: _Ibid._, Vol. X, p. 213.]
+
+  [Footnote 181: _Ibid._, Vol. I, p. 411.]
+
+  [Footnote 182: _Ibid._, Vol. I, p. 98. See also _St. Ronan's Well_,
+  Vol. I, p. 105, and various mottoes in the novels. The edition of the
+  novels used for reference is that published in Edinburgh (1867) in 48
+  volumes.]
+
+  [Footnote 183: _Dryden_, Vol. X, p. 26.]
+
+  [Footnote 184: For example see _Anne of Geierstein_, Vol. II, p. 307.]
+
+  [Footnote 185: _Letters to Heber_, p. 292.]
+
+  [Footnote 186: The price offered for the _Swift_ was L1500. This must
+  have been a rather rash speculation on the publisher's part, as there
+  had been several editions of Swift's works published. The first
+  appeared in twelve volumes in 1755, edited by Hawkesworth. Deane
+  Swift, Hawkesworth, and others, added thirteen more volumes in the
+  course of the next twenty-five years, and when the whole was completed
+  it was reissued in three different sizes. In 1785 an edition in
+  seventeen volumes was published, edited by Thomas Sheridan. In 1801
+  the edition by Nichols was published, and it reappeared in 1804 and in
+  1808. Hawkesworth and Thomas Sheridan supplied biographies which
+  Leslie Stephen characterized by saying that Hawkesworth's gave no new
+  material and that Sheridan's was "pompous and dull." (Preface to
+  Leslie Stephen's _Life of Swift_.)]
+
+  [Footnote 187: _Correspondence of C.K. Sharpe_, Vol. II, p. 178.]
+
+  [Footnote 188: This correspondence consisted of 28 letters from Swift,
+  and 16 "Vanessa."]
+
+  [Footnote 189: A comparison of the index with the bibliography in the
+  _Dictionary of National Biography_ and with Mr. Stanley Lane-Poole's
+  _Notes for a Bibliography of Swift_ (_Bibliographer_, vi: 160-71)
+  shows that Scott was usually right in his judgment on the main
+  articles. But since Mr. Lane-Poole ends his list thus: "And numerous
+  short poems, trifles, characters and short pieces," it is evident that
+  one cannot carry the investigation far without undertaking to make a
+  complete bibliography of Swift. Mr. Temple Scott says, in the
+  Advertisement of his edition of Swift's Prose Works, begun in 1897,
+  that since Sir Walter's edition of 1824 "there has been no serious
+  attempt to grapple with the difficulties which then prevented and
+  which still beset the attainment of a trustworthy and substantially
+  complete text."]
+
+  [Footnote 190: _Swift_, Vol. IV, p. 280. Two more of Scott's comments
+  may be given, further to illustrate his method. "This piece [William
+  Crowe's Address to her Majesty, _Swift_, Vol. XII, p. 265] and those
+  which follow, were first extracted by the learned Dr. Barrett, of
+  Trinity College, Dublin, from the Lanesborough and other manuscripts.
+  I have retained them from internal evidence, as I have discarded some
+  articles upon the same score." "The following poems [poems given as
+  "ascribed to Swift," Vol. X, p. 434] are extracted from the manuscript
+  of Lord Lanesborough, called the Whimsical Medley. They are here
+  inserted in deference to the opinion of a most obliging correspondent,
+  who thinks they are juvenile attempts of Swift. I own I cannot
+  discover much internal evidence in support of the supposition."]
+
+  [Footnote 191: Colonel Parnell, writing in the _English Historical
+  Review_ on "Dean Swift and the Memoirs of Captain Carleton," has
+  spoken of the biography as "this most partial, verbose, and inaccurate
+  account of the dean's life and writings." He says also that in editing
+  _Carleton's Memoirs_ Scott adopted, without investigation and in the
+  face of evidence, Johnson's opinion that the memoirs were genuine;
+  that Scott was mistaken about the date of the first edition and
+  misquoted the title page; and that his "glowing account" of Lord
+  Peterborough, in the introduction, was amplified (without
+  acknowledgment) from a panegyric by Dr. Birch in "Houbraken's Heads."
+  (_English Historical Review_, January, 1891; vi: 97. For a further
+  reference to the article see below, p. 144.)]
+
+  [Footnote 192: _Lockhart_, Vol. II, p. 20.]
+
+  [Footnote 193: September, 1816.]
+
+  [Footnote 194: _Swift_ Vol. XVII, p. 4, note.]
+
+  [Footnote 195: _Life of Swift_, conclusion.]
+
+  [Footnote 196: _Swift_, Vol. XI, p. 12.]
+
+  [Footnote 197: Vol. IX, p. 569. The tract had already been correctly
+  assigned. A similar note on another tract indicates more careful
+  research on the part of the editor. The paper is _A Secret History of
+  One Year_, which had commonly been attributed to Robert Walpole. Scott
+  says: "This tract in not to found in Mr. Coxe's list of Sir Robert
+  Walpole's publications, nor in that given by his son, the Earl of
+  Oxford, in the Royal and Noble Authors.... It does not seem at all
+  probable that Walpole should at this crisis have thought it proper to
+  advocate these principles." (Vol. XIII, p. 873.) The piece is now
+  attributed to Defoe.]
+
+  [Footnote 198: See above, p. 4.]
+
+  [Footnote 199: _Horace Walpole_, in _Lives of the Novelists_.]
+
+  [Footnote 200: _Lockhart_, Vol. III, p. 512.]
+
+  [Footnote 201: _Quarterly_, September, 1826.]
+
+  [Footnote 202: See his explanation, in the articles themselves.]
+
+  [Footnote 203: _The Mid-Eighteenth Century_, by J.H. Millar, p. 143,
+  note.]
+
+  [Footnote 204: _Ibid._, p. 159. Scott compares Fielding and Smollett
+  at some length in the _Life of Smollett_.]
+
+  [Footnote 205: _Life of Le Sage_.]
+
+  [Footnote 206: _Life of Richardson_.]
+
+  [Footnote 207: _Life of Fielding_.]
+
+  [Footnote 208: _Life of Goldsmith_. As we might expect, Scott speaks
+  rather too favorably of Goldsmith's hack work in history and science.]
+
+  [Footnote 209: _Life of Sterne_.]
+
+  [Footnote 210: _Lockhart_, Vol. I, p. 35.]
+
+  [Footnote 211: See above, p. 53, note.]
+
+  [Footnote 212: See also the Introductory epistle to _Ivanhoe_; and the
+  Review of _Walpole's Letters_. "In attaining his contemporary
+  triumph," says Mr. Brander Matthews, "Scott owed more to Horace
+  Walpole than to Maria Edgeworth." _The Historical Novel_, p. 10.]
+
+  [Footnote 213: Scott uses the word.]
+
+  [Footnote 214: Mr. G.A. Aitken has given convincing evidence that the
+  story was not invented by Defoe. Mr. Aitken also shows the falsity of
+  Scott's statement that Drelincourt's book was in need of advertising,
+  as William Lee, in his _Life of Defoe_, had previously done. (See _The
+  Nineteenth Century_, xxxvii: 95. January, 1895; and also Aitken's
+  edition of Defoe's _Romances and Narratives_, Vol. XV, Introduction.)
+  A passage from Defoe's _History of the Church of Scotland_ is quoted
+  in the review of _Tales of My Landlord_, by Scott, who says that it
+  probably suggested one of the scenes in _Old Mortality_. Scott there
+  speaks of Defoe's "liveliness of imagination," and says he "excelled
+  all others in dramatizing a story, and presenting it as if in actual
+  speech and action before the reader." (_Quarterly Review_, January,
+  1817.)]
+
+  [Footnote 215: See also _The Fortunes of Nigel_, Vol. II, pp. 88-9.]
+
+  [Footnote 216: _Life of Clara Reeve_.]
+
+  [Footnote 217: Blackwood, March, 1818.]
+
+  [Footnote 218: _Quarterly_, May, 1818.]
+
+  [Footnote 219: See a reference to Voltaire and other French authors;
+  _Napoleon_, Vol. I, ch. 2.]
+
+  [Footnote 220: _Life of Richardson_.]
+
+  [Footnote 221: We gather from Scott's article that he considered the
+  following to be the chief "speculative errors" of Bage: he was an
+  infidel; he misrepresented different classes of society, thinking the
+  high tyrannical and the low virtuous and generous; his system of
+  ethics was founded on philosophy instead of religion; he was inclined
+  to minimize the importance of purity in women; he considered
+  tax-gatherers extortioners, and soldiers, licensed murderers.]
+
+  [Footnote 222: _Lockhart_, Vol. II, p. 132.]
+
+  [Footnote 223: Familiar Letters, Vol. I, p. 192. In his _George the
+  Third_, Thackeray said: "Do you remember the verses--the sacred
+  verses--which Johnson wrote on the death of his humble friend Levett?"
+  (Biographical edition of Thackeray, Vol. VII, p. 671.)]
+
+  [Footnote 224: _Life of Johnson_.]
+
+  [Footnote 225: Introduction to _Chronicles of the Canongate_.]
+
+  [Footnote 226: _Dryden_, Vol. XI, p. 81, note; Review of the _Life and
+  Works of John Home_, _Quarterly_, June, 1827.]
+
+  [Footnote 227: _Familiar Letters_, Vol. II, p. 44.]
+
+  [Footnote 228: _Swift_, Vol. XVI, p. 275, note. On one of the last sad
+  days before Sir Walter left Scotland for his Italian journey he quoted
+  in full Prior's poem on Mezeray's History of France. (_Lockhart_, Vol.
+  V, pp. 339-40.)]
+
+  [Footnote 229: _Swift_, Vol. III, p. 36.]
+
+  [Footnote 230: _Ibid._, Vol. XIII, p. 24.]
+
+  [Footnote 231: _Correspondence of C.K. Sharpe_, Vol. II, p. 194.]
+
+  [Footnote 232: _Journal_, Vol. I, p. 67; _Lockhart_, Vol. IV, p. 401.]
+
+  [Footnote 233: Allan Cunningham's _Life of Scott_, p. 96.]
+
+  [Footnote 234: _Lockhart_, Vol. I, p. 483.]
+
+  [Footnote 235: See the satirical paragraph in his review of _Gertrude
+  of Wyoming_, on the habits of reviewers in general. "We are perfectly
+  aware," he says, "that, according to the modern canons of criticism,
+  the Reviewer is expected to show his immense superiority to the author
+  reviewed, and at the same time to relieve the tediousness of
+  narration, by turning the epic, dramatic, moral story before him into
+  quaint and lively burlesque." (_Quarterly_, May, 1809.) In his review
+  of the _Life and Works of John Home_ he speaks of "the hackneyed rules
+  of criticism, which, having crushed a hundred poets, will never, it
+  may be prophesied, create, or assist in creating, a single one."
+  (_Quarterly_, June, 1827.)]
+
+  [Footnote 236: _Lockhart_, Vol. I, p. 363.]
+
+  [Footnote 237: _Lockhart_, Vol. I, p. 501. For a further comparison of
+  Scott and Jeffrey as critics see below, pp. 134-5.]
+
+  [Footnote 238: _Lockhart_, Vol. II, p. 204.]
+
+  [Footnote 239: _Ibid._, Vol. V, p. 97.]
+
+  [Footnote 240: _Journal_, Vol. II, p. 262]
+
+  [Footnote 241: _Ibid._, Vol. I, p. 173]
+
+  [Footnote 242: In general Scott admired Lockhart. "I have known the
+  most able men of my time," he once wrote, "and I never met any one who
+  had such ready command of his own mind, and possessed in a greater
+  degree the power of making his talents available upon the shortest
+  notice, and upon any subject." (_Life of Murray_, Vol. II, p. 222.)
+  But in Lockhart's earlier days Scott said, "I am sometimes angry with
+  him for an exuberant love of fun in his light writings, which he has
+  caught, I think, from Wilson, a man of greater genius than himself
+  perhaps, but who disputes with low adversaries, which I think a
+  terrible error, and indulges in a sort of humour which exceeds the
+  bounds of playing at ladies and gentlemen, a game to which I have been
+  partial all my life." (_Letters of Lady Louisa Stuart_, p. 225.)]
+
+  [Footnote 243: _Familiar Letters_, Vol. II, p. 400.]
+
+  [Footnote 244: Lang's _Lockhart_, Vol. I, p. 406.]
+
+  [Footnote 245: _Life of Murray_, Vol. I, pp. 146-7.]
+
+  [Footnote 246: _Quarterly_, February, 1809.]
+
+  [Footnote 247: _Lockhart_, Vol. I, p. 327.]
+
+  [Footnote 248: Scott wrote a poetical epitaph for the burial place of
+  Miss Seward and her father. See _Edinburgh Annual Register_, Vol. II,
+  pt. 2. In the introduction to _The Tapestried Chamber_, Scott said,
+  "It was told to me many years ago by the late Miss Anna Seward, who,
+  among other accomplishments that rendered her an amusing inmate in a
+  country house, had that of recounting narratives of this sort with
+  very considerable effect; much greater, indeed, than anyone would be
+  apt to guess from the style of her written performances." It must be
+  remembered that Miss Seward was one of the first persons of any
+  literary note, outside of Edinburgh, to show an interest in Scott's
+  work, and he committed himself to admiration of her poetry when he was
+  still in a rather uncritical stage. In regard to his later feeling
+  about her see _Recollections_, by R.P. Gillies, _Fraser's_, xiii: 692,
+  January, 1836.]
+
+  [Footnote 249: J.L. Adolphus, in an interesting passage in his
+  _Letters to Heber on the Authorship of Waverley_, noted many of the
+  references to contemporary poets. See pp. 53-4. See also Hazlitt's
+  _Spirit of the Age_, art. _Sir Walter Scott_]
+
+  [Footnote 250: _Familiar Letters_, Vol. II, p. 341. See also a similar
+  anecdote in Forster's _Life of Landor_, Vol. II, p. 244.]
+
+  [Footnote 251: _Lockhart_, Vol. I, pp. 116-17.]
+
+  [Footnote 252: _Ibid._, Vol. II, p. 132.]
+
+  [Footnote 253: _Journal_, Vol. I, p. 321.]
+
+  [Footnote 254: Review of _Cromek's Reliques of Burns_, _Quarterly_,
+  February, 1809.]
+
+  [Footnote 255: _Ibid._]
+
+  [Footnote 256: _Ibid._]
+
+  [Footnote 257: Crabbe Robinson, in his diary (quoted by Knight in his
+  edition of Wordsworth, Vol. X, p. 189), says that Coleridge and his
+  friends "consider Scott as having stolen the verse" of _Christabel_.
+  On this point see also a letter by Coleridge, given in Meteyard's
+  _Group of Englishmen_, pp. 327-8. In 1807 Coleridge wrote to Southey:
+  "I did not over-hugely admire the 'Lay of the Last Minstrel,' but saw
+  no likeness whatever to the 'Christabel,' much less any improper
+  resemblance." (_Letters of Coleridge_, ed. by E.H. Coleridge, Vol. II,
+  p. 523.) Yet Mr. Lang seems to think that in this matter Scott "showed
+  something of the deficient sense of _meum_ and _tuum_ which marked his
+  freebooting ancestors." (_Sir Walter Scott_, p. 36.) Apparently Scott
+  never dreamed that the matter could be looked at in this way. In
+  Lockhart's _Scott_ (Vol. II, pp. 77-8) we find described an occasion
+  on which the two men once met in London, when they were asked, with
+  other poets who were present, to recite from their unpublished
+  writings. Coleridge complied with the request, but Scott said he had
+  nothing of his own and would repeat some stanzas he had seen in a
+  newspaper. The poem was criticised adversely in spite of Scott's
+  protests, till Coleridge lost patience and exclaimed, "Let Mr. Scott
+  alone; I wrote the poem." Coleridge's lines:
+
+     "The Knight's bones are dust
+      And his good sword rust,
+      His soul is with the saints, I trust,"
+
+  are probably much better known as they appear in _Ivanhoe_,
+  incorrectly quoted, than in their proper form. Scott also added a note
+  on Coleridge in this connection. (_Ivanhoe_, Chapter VIII.)]
+
+  [Footnote 258: But apparently not in any earlier than _The Black
+  Dwarf_, which was written in 1816, the year in which the poem was
+  published. It was about 1803 that Scott heard _Christabel_ recited.
+  See _Familiar Letters_, Vol. II, p. 221.]
+
+  [Footnote 259: _Lockhart_, Vol. I, p. 356.]
+
+  [Footnote 260: _Familiar Letters_, Vol. I, p. 315.]
+
+  [Footnote 261: See _Letters to Heber_, p. 293; _On Imitations of the
+  Ancient Ballad_; _Lockhart_, Vol. III, pp. 56 and 264; _Quentin
+  Durward_, Vol. II, p. 394.]
+
+  [Footnote 262: Note in _The Abbot_.]
+
+  [Footnote 263: _Lockhart_, Vol. III, p. 223.]
+
+  [Footnote 264: Note in _St. Ronan's Well_. See also the comment on
+  _Wallenstein_ in _Paul's Letters_, Letter XV.]
+
+  [Footnote 265: Review of _Childe Harold_, _Canto III_, _Quarterly_,
+  October, 1816.]
+
+  [Footnote 266: In 1818 Scott wrote a review of _Frankenstein_ in which
+  it appears that he thought Shelley was the author. Shelley had sent
+  the book with a note in which he said that it was the work of a friend
+  and he had merely seen it through the press; and Scott took this for
+  the conventional evasion so often resorted to by authors. (See Mr.
+  Lang's note in his Introduction to the Waverley Novels, p. lxxxvi.)
+  Scott praises the substance and style of the book, and advises the
+  author to cultivate his poetical powers, in words which make it
+  evident that he did not know Shelley as a poet, though _Alastor_ had
+  appeared in 1816. Scott also praises _Frankenstein_ in his article on
+  Hoffmann. In reading Scott's novels I have noted two reminiscences of
+  the line, "One word is too often profaned." They are to be found in
+  _Old Mortality_, Vol. II, p. 93, and in _Redgauntlet_, Vol. I, p.
+  224.]
+
+  [Footnote 267: _Journal_, Vol. II, p. 179.]
+
+  [Footnote 268: _Familiar Letters_, Vol. I, p. 40.]
+
+  [Footnote 269: _Familiar Letters_, Vol. I, p. 97.]
+
+  [Footnote 270: _Journal_, Vol. I, p. 333]
+
+  [Footnote 271: _Ibid._, Vol. II, p. 190.]
+
+  [Footnote 272: I quote from the letter as given in Knight's
+  _Wordsworth_, Vol. II, p. 105. Prof. Knight says that Lockhart quotes
+  the letter less exactly (Vol. I, p. 489.)]
+
+  [Footnote 273: _Lockhart_, Vol. III, p. 428.]
+
+  [Footnote 274: Even Byron admired Southey. He once wrote, "His prose
+  is perfect. Of his poetry there are various opinions: there is,
+  perhaps, too much of it for the present generation; posterity will
+  probably select. He has _passages_ equal to anything." (Byron's
+  _Letters and Journals_, ed. Prothero, Vol. II, p. 331.) Shelley also
+  had a high opinion of Southey's work. (Dowden's _Life of Shelley_,
+  Vol. I, p. 158, and pp. 471-2.) Landor liked _Madoc_ and _Thalaba_ so
+  much that, when he found Southey hesitating to write more poems of a
+  similar kind because they did not pay, he offered to bear the expense
+  of the publication. Southey refused the assistance, but was stimulated
+  by the kindness and considered Landor's encouragement responsible for
+  his later work in poetry. (Forster's _Life of Landor_, Vol. I, pp.
+  209-214.)]
+
+  [Footnote 275: _Lockhart_, Vol. II, p. 307.]
+
+  [Footnote 276: _Ibid._, Vol. I, p. 415.]
+
+  [Footnote 277: _Ibid._, Vol. I, p. 477; see also _Edinburgh Annual
+  Register_ for 1809, part 2, p. 588.]
+
+  [Footnote 278: _Lockhart_, Vol. III, p. 197.]
+
+  [Footnote 279: _Lockhart_, Vol. II, p. 127.]
+
+  [Footnote 280: In his youth Scott read Dante with other Italian
+  authors, but he did not become well acquainted with him, and later
+  even expressed dislike for his work. (See _Lockhart_, Vol. V, p. 408.)
+  In 1825 he wrote to W.S. Rose, "I will subscribe for Dante with all
+  pleasure, on condition you do not insist on my reading him." (_Fam.
+  Let._, Vol. II, p. 356.)]
+
+  [Footnote 281: It may be interesting to have Southey's comment on the
+  same article. (See _Southey's Letters_, Vol. II, p. 307.) He says,
+  "Bedford has seen the review which Scott has written of it, and which,
+  from his account, though a very friendly one, is, like that of the
+  'Cid,' very superficial. He sees nothing but the naked story; the
+  moral feeling which pervades it has escaped him. I do not know whether
+  Bedford will be able to get a paragraph interpolated touching upon
+  this, and showing that there is some difference between a work of high
+  imagination and a story of mere amusement." Either Bedford was
+  mistaken in saying that Scott had ignored the moral aspect of the
+  poem, or else he succeeded in getting a passage interpolated, for the
+  review is sufficiently definite on that point.]
+
+  [Footnote 282: _Lockhart_, Vol. I, p. 481.]
+
+  [Footnote 283: _Ibid._, Vol. II, p. 296.]
+
+  [Footnote 284: _Lockhart_, Vol. V, p. 413.]
+
+  [Footnote 285: _Journal_, Vol. I, p. 112; _Lockhart_, Vol. IV, p.
+  429.]
+
+  [Footnote 286: _Lockhart_, Vol. V, p. 391.]
+
+  [Footnote 287: _Ibid._, Vol. II, p. 211.]
+
+  [Footnote 288: Introduction to _Marmion_; _Lockhart_, Vol. II, p. 82.]
+
+  [Footnote 289: _Lockhart_, Vol. II, p. 508.]
+
+  [Footnote 290: Byron did not altogether approve of Scott's poetry, but
+  he felt its effectiveness. In his "Reply to Blackwood's Edinburgh
+  Magazine," Byron wrote: "What have we got instead [of following Pope]?
+  A deluge of flimsy and unintelligible romances, imitated from Scott
+  and myself, who have both made the best of our bad materials and
+  erroneous system."]
+
+  [Footnote 291: Review of _Childe Harold_, _Canto III_, _Quarterly_,
+  October, 1816.]
+
+  [Footnote 292: _Lockhart_, Vol. III, p. 182.]
+
+  [Footnote 293: It should be remembered also that Scott's first review
+  of _Childe Harold_ appeared at a time when all England was condemning
+  Byron for his treatment of Lady Byron, and that the article was
+  thought by many to be altogether too lenient. Byron wrote to Murray
+  expressing his pleasure in the review before he knew who was
+  responsible for it, and some years later he wrote to Scott as follows:
+  "To have been recorded by you in such a manner would have been a proud
+  memorial at any time, but at such a time ... was something still
+  higher to my self-esteem.... Had it been a common criticism, however
+  eloquent or panegyrical, I should have felt pleased, undoubtedly, and
+  grateful, but not to the extent which the extraordinary
+  good-heartedness of the whole proceeding must induce in any mind
+  capable of such sensations." (_Byron's Letters and Journals_, Vol. VI,
+  p. 2.) See _Lockhart_, Vol. II, p. 510, for quotations from Byron
+  showing his admiration for Scott. An interesting contrast between the
+  characters of the two poets is drawn by H.S. Legare. (See his
+  _Collected Writings_, Vol. II, p. 258.)]
+
+  [Footnote 294: _Journal_, Vol. I, p. 221]
+
+  [Footnote 295: _Remarks on the Death of Lord Byron_.]
+
+  [Footnote 296: _Lockhart_, Vol. III, p. 525]
+
+  [Footnote 297: See Nichol's _Byron_ (English Men of Letters), p. 205;
+  and Arnold's essay on Byron.]
+
+  [Footnote 298: _Quarterly Review_, May, 1809.]
+
+  [Footnote 299: _Familiar Letters_, Vol. I, p. 341.]
+
+  [Footnote 300: _Journal_, Vol. I, p. 9.]
+
+  [Footnote 301: _Lockhart_, Vol. V, p. 70.]
+
+  [Footnote 302: _Ibid._, Vol. II, p. 306.]
+
+  [Footnote 303: Byron said, "Crabbe's the man, but he has got a coarse
+  and impracticable subject." (Moore's _Life and Letters of Byron_, Vol.
+  IV, pp. 63-4.) Leslie Stephen remarks that Crabbe "was admired by
+  Byron in his rather wayward mood of Pope-worship, as the last
+  representative of the legitimate school." (_English Literature and
+  Society in the 18th Century_, p. 207.)]
+
+  [Footnote 304: _Lockhart_, Vol. III, p. 197.]
+
+  [Footnote 305: The reader will at once recall the ingenuous remark of
+  Sophia Scott when she was asked, shortly after its appearance, how she
+  liked _The Lady of the Lake_. She said, "Oh, I have not read it; Papa
+  says there's nothing so bad for young people as reading bad poetry."
+  (_Lockhart_, Vol. II, p. 130. See also the _Life of Irving_, Vol. I,
+  p. 444.)]
+
+  [Footnote 306: _Familiar Letters_, Vol. II, p. 94.]
+
+  [Footnote 307: _Correspondence of C.K. Sharpe_, Vol. I, p. 353.]
+
+  [Footnote 308: See _Marmion_, introduction to Canto III, and other
+  passages noted by Adolphus in the _Letters to Heber_, p. 295. See also
+  _Familiar Letters_, Vol. I, p. 198, and the passage in _Lockhart_
+  (Vol. II, p. 132), in which James Ballantyne reports Scott as saying
+  to him, "If you wish to speak of a real poet, Joanna Baillie is now
+  the highest genius of our country."]
+
+  [Footnote 309: _Lockhart_, Vol. III, p. 306.]
+
+  [Footnote 310: _Lockhart_, Vol. V, p. 359; also Vol. I, p. 255; and
+  _Constable's Correspondence_, Vol. III, p. 300.]
+
+  [Footnote 311: _Lockhart_, Vol. IV, p. 117.]
+
+  [Footnote 312: _Ibid._, Vol. V, p. 448.]
+
+  [Footnote 313: _Ibid._, Vol. II, p. 14.]
+
+  [Footnote 314: _Forster_, Vol. I, p. 84, note.]
+
+  [Footnote 315: _Ibid._, Vol. I, p. 95.]
+
+  [Footnote 316: _Haydon's Correspondence_, Vol. I, p. 356.]
+
+  [Footnote 317: Hunt says Scott was interested in reading _The Story of
+  Rimini_. See Hunt's _Autobiography_, Vol. I, p. 260.]
+
+  [Footnote 318: _Journal_, Vol. I, p. 22. Scott wrote as follows to
+  Lockhart after the appearance of _Lord Byron and Some of his
+  Contemporaries_: "Hunt has behaved like a hyena to Byron, whom he has
+  dug up to girn and howl over him in the same breath." Mr. Lang makes
+  this comment: "Leigh Hunt ... had gone out of his way to insult Sir
+  Walter and to make the most baseless insinuations against him. Scott
+  probably never mentioned Leigh Hunt's name publicly in his life, and
+  he refers to the insults neither in his correspondence nor in his
+  _Journal_." (Lang's _Life of Lockhart_, Vol. II, pp. 22 and 24.) Hunt
+  evidently thought that Scott was partly responsible for the articles
+  in _Blackwood_ on the Cockney School. He says, "Unfortunately some of
+  the knaves were not destitute of talent: the younger were tools of
+  older ones who kept out of sight." (Hunt's _Lord Byron_, etc., Vol. I,
+  p. 423.) In his _Autobiography_, Hunt says, "Sir Walter Scott
+  confessed to Mr. Severn at Rome that the truth respecting Keats had
+  prevailed." (Vol. II, p. 44.) Mr. Lang points out that though Colvin
+  said of Scott (in his _Life of Keats_) "that he was in some measure
+  privy to the Cockney School outrages seems certain," he afterwards
+  recanted the statement. (In his edition of _Keats's Letters_, p. 60,
+  note. See Lang's _Lockhart_, Vol. I, pp. 196-8.) Scott invited Lamb to
+  Abbotsford when Lamb was looked upon as a leader of the Cockney
+  School. (Lang's _Scott_, p. 52.)]
+
+  [Footnote 319: _Journal_, Vol. I, p. 155; _Lockhart_, Vol. IV, p. 476,
+  and Vol. V, p. 380.]
+
+  [Footnote 320: _Quarterly_, October, 1815.]
+
+  [Footnote 321: Postscript to _Waverley_, and General Introduction.]
+
+  [Footnote 322: For references to the group of women novelists who were
+  so successful in depicting manners, see the _Life of Charlotte Smith_;
+  the Postscript to _Waverley_; the Introduction to _St. Ronan's Well_;
+  _Journal_, Vol. I, p. 164.]
+
+  [Footnote 323: _Journal_, Vol. II, p. III.]
+
+  [Footnote 324: _Ibid._, Vol. II, p. 116.]
+
+  [Footnote 325: _Lockhart_, Vol. IV, 164.]
+
+  [Footnote 326: _Journal_, Vol. I, p. 299; _Lockhart_, Vol. V, p. 65.]
+
+  [Footnote 327: _Journal_, Vol. I, p. 295; _Lockhart_, Vol. V, p. 62.]
+
+  [Footnote 328: The reference as given by Lockhart is as follows: "This
+  man, who has shown so much genius, has a good deal of the manners, or
+  want of manners, peculiar to his countrymen." (_Lockhart_, Vol. V, p.
+  62.) Cooper observes in regard to this point: "The manners of most
+  Europeans strike us as exaggerated, while we appear cold to them. Sir
+  Walter Scott was certainly so obliging as to say many flattering
+  things to me, which I, as certainly, did not repay in kind. As Johnson
+  said of his interview with George the Third, it was not for me to
+  bandy compliments with my sovereign. At that time the diary was a
+  sealed book to the world, and I did not know the importance he
+  attached to such civilities." It is a pity that the transcriber of the
+  passage in the _Journal_ changed "manner," which was the word Scott
+  wrote, to the more objectionable "manners." (_Journal_, Vol. I, p.
+  295.)]
+
+  [Footnote 329: Scott's letter was substantially as follows: "I have
+  considered in all its bearings the matter which your kindness has
+  suggested. Upon many former occasions I have been urged by my friends
+  in America to turn to some advantage the sale of my writings in your
+  country, and render that of pecuniary avail as an individual which I
+  feel as the highest compliment as an author. I declined all these
+  proposals, because the sale of this country produced me as much profit
+  as I desired, and more--far more--than I deserved. But my late heavy
+  losses have made my situation somewhat different, and have rendered it
+  a point of necessity and even duty to neglect no means of making the
+  sale of my works effectual to the extrication of my affairs, which can
+  be honorably and honestly resorted to. If therefore Mr. Carey, or any
+  other publishing gentleman of credit and character, should think it
+  worth while to accept such an offer, I am willing to convey to him the
+  exclusive right of publishing the _Life of Napoleon_, and my future
+  works in America, making it always a condition, which indeed will be
+  dictated by the publisher's own interest, that this monopoly shall not
+  be used for the purpose of raising the price of the work to my
+  American readers, but only for that of supplying the public at the
+  usual terms....
+
+  "At any rate, if what I propose should not be found of force to
+  prevent piracy, I cannot but think from the generosity and justice of
+  American feeling, that a considerable preference would be given in the
+  market to the editions emanating directly from the publisher selected
+  by the author, and in the sale of which the author had some interest.
+
+  "If the scheme shall altogether fail, it at least infers no loss, and
+  therefore is, I think, worth the experiment. It is a fair and open
+  appeal to the liberality, perhaps in some sort to the justice, of a
+  great people; and I think I ought not in the circumstances to decline
+  venturing upon it. I have done so manfully and openly, though not
+  perhaps without some painful feelings, which however are more than
+  compensated by the interest you have taken in this unimportant matter,
+  of which I will not soon lose the recollection." (_Knickerbocker
+  Magazine_, Vol. XI, p. 380 ff., April, 1838.)]
+
+  [Footnote 330: _Knickerbocker_, Vol. XII, p. 349 ff., October, 1838.]
+
+  [Footnote 331: In a letter written in January, 1839, Sumner said,
+  speaking of Cooper's article, "I think a proper castigation is applied
+  to the vulgar minds of Scott and Lockhart." (See _Memoir and Letters
+  of Charles Sumner_, by Edward L. Pierce, Vol. II, p. 38; and
+  Lounsbury's _Cooper_, p. 160.)]
+
+  [Footnote 332: _Lockhart_, Vol. IV, pp. 163-4.]
+
+  [Footnote 333: _Ibid._, Vol. III, p. 262.]
+
+  [Footnote 334: _Ibid._, Vol. III, p. 131, note; _Fam. Let._, Vol. I,
+  p. 440. "Walter Scott was the first transatlantic author to bear
+  witness to the merit of Knickerbocker," wrote P.M. Irving in his _Life
+  of Washington Irving_. Henry Brevoort presented Scott with a copy of
+  the second edition in 1813, and received this reply: "I beg you to
+  accept my best thanks for the uncommon degree of entertainment which I
+  have received from the most excellently jocose history of New York. I
+  am sensible that as a stranger to American parties and politics I must
+  lose much of the concealed satire of the piece, but I must own that
+  looking at the simple and obvious meaning only, I have never read
+  anything so closely resembling the style of Dean Swift, as the annals
+  of Diedrich Knickerbocker.... I think too there are passages which
+  indicate that the author possesses powers of a different kind, and has
+  some touches which remind me much of Sterne." (_Life of Irving_, Vol.
+  I, p. 240.) When, in 1819, Irving needed money, he wrote to Scott for
+  advice about publishing the _Sketch Book_ in England. "Scott was the
+  only literary man," he says, "to whom I felt that I could talk about
+  myself and my petty concerns with the confidence and freedom that I
+  would to an old friend--nor was I deceived. From the first moment that
+  I mentioned my work to him in a letter, he took a decided and
+  effective interest in it, and has been to me an invaluable friend."
+  (Vol. I, p. 456.) At this time Scott asked Irving to accept the
+  editorship of a political newspaper in Edinburgh, an offer which
+  Irving of course refused. (_Fam. Let._, Vol. II, p. 60; _Life of
+  Irving_, Vol. I, pp. 441-2, and Vol. III, pp. 272-3.) Scott called the
+  _Sketch Book_ "positively beautiful." He was by some people supposed
+  to be the author. In this connection it was said of him that his "very
+  numerous disguises," and his "well-known fondness for literary
+  masquerading, seem to have gained him the advantage of being suspected
+  as the author of every distinguished work that is published." (Letter
+  by Lady Lyttleton, in _Life of Irving_, Vol. II, p. 21.)]
+
+  [Footnote 335: _Lockhart_, Vol. III, p. 131; _Life of Irving_, Vol. I,
+  p. 240.]
+
+  [Footnote 336: _Lockhart_, Vol. IV, p. 161.]
+
+  [Footnote 337: _Letters on Demonology and Witchcraft_, Letter II.]
+
+  [Footnote 338: _Constable's Correspondence_, Vol. III, p. 199.]
+
+  [Footnote 339: _Lockhart_, Vol. V, pp. 100-104.]
+
+  [Footnote 340: Vol. I, p. 371.]
+
+  [Footnote 341: _Journal_, Vol. I, p. 359; _Lockhart_, Vol. V, p. 100.
+  See also _Journal_, Vol. II, pp. 483-4.]
+
+  [Footnote 342: Review of Hoffmann's novels, _Foreign Quarterly
+  Review_, July, 1827.]
+
+  [Footnote 343: _Lockhart_, Vol. IV, p. 19.]
+
+  [Footnote 344: M. Maigron says, speaking of the vogue of Scott in
+  France: "On peut affirmer meme que, de 1820 a 1830, aucun nom francais
+  ne fut en France aussi connu et aussi glorieux." (_Le Roman Historique
+  a l'Epoque Romantique_, p. 99. See also pp. 100-133.)]
+
+  [Footnote 345: The phrase is quoted from Scott's article on the _Life
+  and Works of John Home_, in which it is applied to Home's critical
+  work. The same idea occurs frequently in Scott's books, as indicating
+  one of the finest graces of life. It was one which Sir Walter was
+  foremost in practicing in all his social relations.]
+
+  [Footnote 346: He was talking about Pope. See the _Recollections_, by
+  R.P. Gillies, _Fraser's_, xii: 253 (Sept., 1835).]
+
+  [Footnote 347: Review of _The Battles of Talavera_, _Quarterly_,
+  November, 1809.]
+
+  [Footnote 348: Editor's Introduction to _Montrose_, Border edition of
+  the Waverley Novels.]
+
+  [Footnote 349: _Familiar Letters_, Vol. I, p. 125.]
+
+  [Footnote 350: _Quarterly_, January, 1817. Scott evidently wrote this
+  article chiefly for the purpose of defending the historical accuracy
+  of _Old Mortality_. He also wished to show that _The Black Dwarf_ was
+  founded on fact; and he devoted some space, as will appear in the
+  passage quoted below (pp. 111-112), to a discussion of the artistic
+  aspects of these and the earlier Waverly novels.]
+
+  [Footnote 351: _Journal_, Vol. II, p. 269.]
+
+  [Footnote 352: _Ibid._, Vol. II, p. 276.]
+
+  [Footnote 353: _Familiar Letters_, Vol. I, p. 96.]
+
+  [Footnote 354: Introductory epistle to _Nigel_; _Fam. Let._, Vol. I,
+  p. 28.]
+
+  [Footnote 355: Introduction to the _Monastery_.]
+
+  [Footnote 356: _Familiar Letters_, Vol. I, p. 258.]
+
+  [Footnote 357: _Rokeby_, Canto VI, stanza 26; _Waverley_, Vol. II, pp.
+  399-400; _Journal_, Vol. 1, p. 117; _Lockhart_, Vol. IV, pp. 447-8.]
+
+  [Footnote 358: Review of the _Life and Works of John Home_,
+  _Quarterly_, June, 1827.]
+
+  [Footnote 359: Review of Southery's _Life of Bunyan_, _Quarterly_,
+  October, 1830.]
+
+  [Footnote 360: _Quarterly_, January, 1817.]
+
+  [Footnote 361: _Lockhart_, Vol. II, pp. 7-8.]
+
+  [Footnote 362: _Quarterly_, November, 1809.]
+
+  [Footnote 363: _Lockhart_, Vol. II, p. 128.]
+
+  [Footnote 364: _Ibid._, Vol. II, p. 129.]
+
+  [Footnote 365: Epistle prefixed to Canto V.]
+
+  [Footnote 366: Epistle prefixed to Canto III.]
+
+  [Footnote 367: Hazlitt's _Spirit of the Age_, art. _Sir Walter Scott_;
+  see _Letters to Heber_, p. 75 ff.]
+
+  [Footnote 368: It is hard to say just how much he accomplished by the
+  proof-reading, which, to judge by his Journal, he habitually
+  performed. He wrote to Kirkpatrick Sharpe in 1809, after seeing a new
+  number of the _Quarterly_: "I am a little disconcerted with the
+  appearance of one or two of my own articles, which I have had no
+  opportunity to revise in proof." (_Sharpe's Correspondence_, Vol. I,
+  p. 370.) Lockhart gives an interesting sample of a sheet of Scott's
+  poetry tentatively revised by Ballantyne and reworked by the author.
+  (_Lockhart_, Vol. III, pp. 32-5.) It is certain that Ballantyne made
+  many suggestions, some of which Scott accepted and some of which he
+  summarily rejected. In Hogg's _Domestic Manners of Scott_ we find the
+  following account of what the printer said when Hogg reported that Sir
+  Walter was to correct some proofs for him: "He correct them for you!
+  Lord help you and him both! I assure you if he had nobody to correct
+  after him, there would be a bonny song through the country. He is the
+  most careless and incorrect writer that ever was born, for a
+  voluminous and popular writer, and as for sending a proof sheet to
+  him, we may as well keep it in the office. He never heeds it.... He
+  will never look at either your proofs or his own, unless it be for a
+  few minutes amusement" (pp. 242-3). When he wrote to Miss Baillie that
+  he had read the proofs of a play of hers which was being published in
+  Edinburgh, he added, "but this will not ensure their being altogether
+  correct, for in despite of great practice, Ballantyne insists I have a
+  bad eye." (_Familiar Letters_, Vol. I, p. 173.)]
+
+  [Footnote 369: _Journal_, Vol. II, p. 79; also 234 and 239;
+  _Lockhart_, Vol. V, pp. 116 and 240.]
+
+  [Footnote 370: _Journal_, Vol. I, p. 117; _Lockhart_, Vol. IV, p.
+  448.]
+
+  [Footnote 371: _Lockhart_, Vol. IV, pp. 2 and 391.]
+
+  [Footnote 372: _Familiar Letters_, Vol. I, p. 72.]
+
+  [Footnote 373: _Ibid._, Vol. I, p. 101.]
+
+  [Footnote 374: _Ibid._, Vol. I, p. 113.]
+
+  [Footnote 375: Essay on _Imitations of the Ancient Ballad_.]
+
+  [Footnote 376: A friend of Scott's once wrote to him, "You are the
+  only author I ever yet knew to whom one might speak plain about the
+  faults found with his works." (_Familiar Letters_, Vol. I, p. 282.) He
+  took great pains, contrary to his usual custom, in revising and
+  correcting the _Malachi Malagrowther_ papers, but these were
+  argumentative and in an altogether different class from his poems and
+  novels; and besides he felt a special responsibility in writing upon a
+  public matter "far more important than anything referring to [his]
+  fame or fortune alone." (_Lockhart_, Vol. IV, p. 460.)]
+
+  [Footnote 377: _Lockhart_, Vol. III, p. 379.]
+
+  [Footnote 378: Introduction to the _Pirate_.]
+
+  [Footnote 379: _Journal_, Vol. II, p. 250.]
+
+  [Footnote 380: This was, of course, an effect of overwork and disease.
+  Irving quotes Scott as saying: "It is all nonsense to tell a man that
+  his mind is not affected, when his body is in this state." (_Irving's
+  Life_, Vol. II, p. 459.)]
+
+  [Footnote 381: _Journal_, Vol. I, p. 181.]
+
+  [Footnote 382: See _Lockhart_, Vol. II, pp. 265-6.]
+
+  [Footnote 383: _Journal_, Vol. I, pp. 212-13; _Lockhart_, Vol. V, p.
+  13.]
+
+  [Footnote 384: See _Familiar Letters_, Vol. II, p. 309; _Lockhart_,
+  Vol. I, p. 216; Vol. IV, pp. 128 and 498; Vol. V, pp. 128, 412, 448.]
+
+  [Footnote 385: _Correspondence of C.K. Sharpe_, Vol. I, p. 352.]
+
+  [Footnote 386: _Journal_, Vol. II, p. 276. In the _Edinburgh Annual
+  Register_ for 1808 (published 1810) is an article on the _Living Poets
+  of Great Britain_, which if not written by Scott was evidently
+  influenced by him. Speaking of Southey, Campbell and Scott, the writer
+  says: "Were we set to classify their respective admirers we should be
+  apt to say that those who feel poetry most enthusiastically prefer
+  Southey; those who try it by the most severe rules admire Campbell;
+  while the general mass of readers prefer to either the Border Poet. In
+  this arrangement we should do Mr. Scott no injustice, because we
+  assign to him in the number of suffrages what we deny him in their
+  value." He once wrote to Miss Baillie, "No one can both eat his cake
+  and have his cake, and I have enjoyed too extensive popularity in this
+  generation to be entitled to draw long-dated bills upon the applause
+  of the next." (_Familiar Letters_, Vol. I, p. 173.) But in the
+  Introductory Epistle to _Nigel_ he said, "It has often happened that
+  those who have been best received in their own time have also
+  continued to be acceptable to posterity. I do not think so ill of the
+  present generation as to suppose that its present favour necessarily
+  infers future condemnation."]
+
+  [Footnote 387: Introduction to the _Lady of the Lake_; _Lockhart_,
+  Vol. II, p. 130.]
+
+  [Footnote 388: Introduction to _Chronicles of the Canongate_.]
+
+  [Footnote 389: _Journal_, Vol. II, p 473.]
+
+  [Footnote 390: _Lockhart_, Vol. II, p. 355.]
+
+  [Footnote 391: _Ibid._, Vol. V, p. 164.]
+
+  [Footnote 392: See speech of Humphry Gubbin, in _The Tender Husband_,
+  Act I, Sc. 2.]
+
+  [Footnote 393: _Lockhart_, Vol. IV, p 297; see also _Familiar
+  Letters_, Vol. I, p. 55.]
+
+  [Footnote 394: _Lockhart_, Vol. II, pp. 104 and 124.]
+
+  [Footnote 395: _Journal_, Vol. I, p. 222; _Lockhart_, Vol. V, p. 18.]
+
+  [Footnote 396: _Lockhart_, Vol. III, p. 350.]
+
+  [Footnote 397: _Ibid._, Vol. II, p. 508.]
+
+  [Footnote 398: _Lockhart_, Vol. IV, p. 229.]
+
+  [Footnote 399: When Constable was proposing to publish the poetry of
+  the novels separately, Scott wrote to him that it was beyond his own
+  power to distinguish what was original from what was borrowed, and
+  suggested the following Advertisement for the book:
+
+  "We believe by far the greater part of the poetry interspersed through
+  these novels to be original compositions by the author. At the same
+  time the reader will find passages which are quoted from other
+  authors, and may probably debit more of these than our more limited
+  reading has enabled us to ascertain. Indeed, it is our opinion that
+  some of the following poetry is neither entirely original nor
+  altogether borrowed, but consists in some instances of passages from
+  other authors, which the author has not hesitated to alter
+  considerably, either to supply defects of his own memory, or to adapt
+  the quotation more explicitly and aptly to the matter in hand."
+  (_Constable's Correspondence_, Vol. III, pp. 222-3.)]
+
+  [Footnote 400: "I have taught nearly a hundred gentlemen to fence very
+  nearly, if not altogether, as well as myself," he said. (_Journal_,
+  Vol. I, p. 167. See also pp. 273-5.)]
+
+  [Footnote 401: _Journal_, Vol. I, pp. 275-6; _Lockhart_, Vol. V, p.
+  45.]
+
+  [Footnote 402: _Lockhart_, Vol. IV, pp. 322 and 492; Vol. V, p. 186.]
+
+  [Footnote 403: _Ibid._, Vol. IV, p. 110.]
+
+  [Footnote 404: _Journal_, Vol. II, p. 106, and _Lockhart_, Vol. V, p.
+  162.]
+
+  [Footnote 405: _Lockhart_, Vol. I, pp. 33-4.]
+
+  [Footnote 406: _Ibid._, Vol. III, p. 259.]
+
+  [Footnote 407: _Waverley_, Vol. I, pp. 112-3. See also Mackenzie's
+  _Life of Scott_, p. 364.]
+
+  [Footnote 408: _Lockhart_, Vol. I, p. 29.]
+
+  [Footnote 409: _Journal_, Vol. I, pp. 274-5; _Lockhart_, Vol. V, p.
+  44. See also his review of Godwin's _Life of Chaucer_.]
+
+  [Footnote 410: _Lockhart_, Vol. IV, p. 103.]
+
+  [Footnote 411: _Ibid._, Vol. IV, p. 260.]
+
+  [Footnote 412: _Journal_, Vol. II, p. 96.]
+
+  [Footnote 413: Review of Tytler's _History of Scotland_, _Quarterly_,
+  November, 1829.]
+
+  [Footnote 414: _Southey's Letters_, Vol. IV, p. 62.]
+
+  [Footnote 415: Herford's _Age of Wordsworth_, pp. 39-40.]
+
+  [Footnote 416: _Lockhart_, Vol. II, p. 60.]
+
+  [Footnote 417: _Paul's Letters_, Letter XVI.]
+
+  [Footnote 418: _Lockhart_, Vol. II, p. 320.]
+
+  [Footnote 419: On Goethe's favorable opinion of the _Napoleon_, see a
+  letter given in the appendix to Scott's _Journal_ (Vol. II, pp. 485-6
+  and note).]
+
+  [Footnote 420: Carlyle's _Essay on Scott_. See also Taine's _History
+  of English Literature_, Introduction, I.]
+
+  [Footnote 421: Review of _Metrical Romances_, _Edinburgh Review_,
+  January, 1806.]
+
+  [Footnote 422: _Lockhart_, Vol. II, p. 333.]
+
+  [Footnote 423: _The Pirate_, Vol. II, p. 138.]
+
+  [Footnote 424: Introductory Epistle to _Ivanhoe_. Freeman, in his
+  _Norman Conquest_, vigorously attacks _Ivanhoe_ for its unwarranted
+  picture of the relations between Saxons and Normans in the thirteenth
+  century. (Vol. V, pp. 551-561.)]
+
+  [Footnote 425: Mr. Lang points out that he made many written notes of
+  his reading, as we should hardly expect a man of his unrivalled memory
+  to do. (_Life of Scott_, p. 27.)]
+
+  [Footnote 426: _Constable's Correspondence_, Vol. III, p. 161.]
+
+  [Footnote 427: _Constable's Correspondence_, Vol. III, pp. 93-4.]
+
+  [Footnote 428: _Letters of Lady Louisa Stuart_, p. 247.]
+
+  [Footnote 429: Mr. Lang's theory that Scott was responsible for a
+  decline in serious reading cannot be either proved or refuted
+  completely, but more than one man has given personal testimony
+  concerning the stimulating effect of the Waverley novels. Thierry's
+  _Norman Conquest_ was directly inspired by _Ivanhoe_, and with
+  _Ivanhoe_ is condemned by Freeman for its mistaken views. Mr. Andrew
+  D. White says in his _Autobiography_ that _Quentin Durward_ and _Anne
+  of Geierstein_ led him to see the first that he had ever clearly
+  discerned of the great principles that "lie hidden beneath the surface
+  of events"--"the secret of the centralization of power in Europe, and
+  of the triumph of monarchy over feudalism." (Vol. I, pp. 15-16.)]
+
+  [Footnote 430: Scott had theories as to what children's books ought to
+  be. They should stir the imagination, he said, instead of simply
+  imparting knowledge as certain scientific books attempted to do.
+  (_Lockhart_, Vol. II, p. 27.) But he seriously objected to any attempt
+  to write down to the understanding of children. Of the _Tales of a
+  Grandfather_ he said: "I will make, if possible, a book that a child
+  shall understand, yet a man will feel some temptation to peruse,
+  should he chance to take it up." (_Lockhart_, Vol. V, p. 112. See also
+  _ib._, Vol. I, p. 19.) Anatole France has expressed ideas about
+  children's books which are practically the same as those of Scott.
+  (See _Le Livre de Mon Ami_, 3me partie: "A Madame D * * *.")]
+
+  [Footnote 431: Introduction to _The Fortunes of Nigel_.]
+
+  [Footnote 432: See the Introduction to _Waverley_.]
+
+  [Footnote 433: Introductory Epistle to _Ivanhoe_.]
+
+  [Footnote 434: _Ibid._ In _Old Mortality_, Claverhouse was made to use
+  the phrase "sentimental speeches," but when Lady Louisa Stuart pointed
+  out to Scott that the word "sentimental" was modern, he struck it out
+  of the second edition.]
+
+  [Footnote 435: Introductory Epistle to _Ivanhoe_. For other references
+  to the use of a moderately antique diction see the essays on Walpole
+  and Clara Reeve in _Lives of the Novelists_, and the review of
+  Southey's _Amadis de Gaul_, _Edinburgh Review_, October, 1803.]
+
+  [Footnote 436: _Journal_, Vol. II, p. 226.]
+
+  [Footnote 437: _Ibid._, Vol. II, p. 319.]
+
+  [Footnote 438: _Ibid._, Vol. II, p. 216.]
+
+  [Footnote 439: _Ibid._, Vol. I, p. 323.]
+
+  [Footnote 440: _Lockhart_, Vol. I, p. 40.]
+
+  [Footnote 441: Introduction to _Chronicles of the Canongate_. See also
+  _Letters to Heber_, pp. 128-32, and 154; and Ruskin's analysis of
+  Scott's descriptions: _Modern Painters_, Part IV, ch. 16, Sec. 23 ff.]
+
+  [Footnote 442: See particularly his reviews of _Childe Harold_, _Canto
+  III_, _Quarterly_, October, 1816; and of Southey's translation of the
+  _Amadis de Gaul_, _Edinburgh Review_, October, 1803.]
+
+  [Footnote 443: _Lockhart_, Vol. II, pp. 232-3.]
+
+  [Footnote 444: Quoted in _Wordsworth_ (English Men of Letters) by
+  F.W.H. Myers, p. 143.]
+
+  [Footnote 445: _Recollections of Scott_, by R.P. Gillies. _Fraser's_,
+  xii: 254.]
+
+  [Footnote 446: _Lockhart_, Vol. III, p. 62.]
+
+  [Footnote 447: _Journal_, Vol. I, p. 155, and Vol. II, p. 37;
+  _Lockhart_, Vol. IV, p. 476, and Vol. V, p. 380.]
+
+  [Footnote 448: In the discussion of _Lives of the Novelists_.]
+
+  [Footnote 449: See his _Essay on Scott_.]
+
+  [Footnote 450: _Dryden_, Vol. XIV, p. 136.]
+
+  [Footnote 451: _Lockhart_, Vol. V, p. 415, and Introductory Epistle to
+  _Nigel_.]
+
+  [Footnote 452: _Letters to Heber_, p. 44.]
+
+  [Footnote 453: _Op. cit._, p. 120.]
+
+  [Footnote 454: _My Aunt Margaret's Mirror_.]
+
+  [Footnote 455: _Journal_, Vol. II, p. 8.]
+
+  [Footnote 456: Review of Hoffmann's Novels, _Foreign Quarterly
+  Review_, July, 1827.]
+
+  [Footnote 457: _Letters to R. Polwhele_, etc., p. 102.]
+
+  [Footnote 458: Lodge's _Illustrious Personages_, Preface.]
+
+  [Footnote 459: Article on Moliere, _Foreign Quarterly Review_,
+  February, 1828.]
+
+  [Footnote 460: _Three Studies in Literature_, p. 12.]
+
+  [Footnote 461: _Edinburgh Review_, No. 1, October, 1802: review of
+  _Thalaba_.]
+
+  [Footnote 462: _Three Studies in Literature_, p. 38.]
+
+  [Footnote 463: _Dryden_, Vol. XI, p. 26.]
+
+  [Footnote 464: Herford, _op. cit._, pp. 51-2.]
+
+  [Footnote 465: _Essay on the Drama_.]
+
+  [Footnote 466: Wylie, _Studies in Criticism_, pp. 107-8.]
+
+  [Footnote 467: _Table Talk_, August 4, 1833. _Works_, Vol. VI, p.
+  472.]
+
+  [Footnote 468: _Familiar Letters_, Vol. II, p. 402.]
+
+  [Footnote 469: Article on Scott's _Demonology and Witchcraft_,
+  _Fraser's_, December, 1830.]
+
+  [Footnote 470: Mackenzie's _Life of Scott_, p. 118.]
+
+  [Footnote 471: _The Plain Speaker_, Hazlitt's _Works_, Vol. VII, p.
+  345.]
+
+  [Footnote 472: _Dryden_, Vol. I, p. 342. See above, pp. 136-7.]
+
+  [Footnote 473: _Familiar Letters_, Vol. I, p. 84.]
+
+  [Footnote 474: _Life of Bage_, in _Novelists' Library_.]
+
+  [Footnote 475: _Essay on Judicial Reform_, _Edinburgh Annual
+  Register_, Vol. I, pt. 2, p. 352. Everyone knows that Scott was a
+  decided Tory, and it is commonly supposed that he was an extremely
+  prejudiced partisan. But he closes a political passage in _Woodstock_
+  with these words: "We hasten to quit political reflections, the rather
+  that ours, we believe, will please neither Whig nor Tory." (End of
+  Chapter 11.) From the definitions of Whig and Tory given in the _Tales
+  of a Grandfather_, no one could guess his politics. (Chapter 53.)]
+
+  [Footnote 476: Leigh Hunt's _Autobiography_, Vol. I, p. 263. See also
+  pp. 258-260, and the notes on his _Feast of the Poets_.]
+
+  [Footnote 477: Courthope's _Liberal Movement_, p. 122.]
+
+  [Footnote 478: _Life of Murray_, Vol. II, p. 159.]
+
+  [Footnote 479: _Ibid._, Vol. II, p. 232]
+
+  [Footnote 480: _Macmillan's Magazine_, lxx: 326.]
+
+  [Footnote 481: Newman's _Apologia_, pp. 96-97. Mark Twain thinks the
+  influence of the novels was pernicious. He says: "A curious
+  exemplification of the power of a single book for good or harm is
+  shown in the effects wrought by Don Quixote and those wrought by
+  Ivanhoe. The first swept the world's admiration for the mediaeval
+  chivalry-silliness out of existence; and the other restored it.... Sir
+  Walter had so large a hand in making Southern character, as it existed
+  before the war, that he is in great measure responsible for the war."
+  (_Life on the Mississippi_, ch. xlvi.)]
+
+  [Footnote 482: _Familiar Letters_, Vol. I, pp. 216-17. See also his
+  remarks upon booksellers in his review of Pitcairn's _Ancient Criminal
+  Trials_, _Quarterly_, February, 1831.]
+
+  [Footnote 483: _Fraser's_, xiii: 693.]
+
+  [Footnote 484: Essay on Dunbar in _Ephemera Critica_.]
+
+  [Footnote 485: _English Historical Review_, vi: 97.]
+
+  [Footnote 486: _Life, Letters and Journals of George Ticknor_, Vol. I,
+  p. 283.]
+
+  [Footnote 487: Carlyle's _Essay on Scott_.]
+
+  [Footnote 488: _Lockhart_, Vol. II, p. 9.]
+
+  [Footnote 489: _Journal_, Vol. II, p. 259; _Lockhart_, Vol. V, p.
+  248.]
+
+  [Footnote 490: _Dryden_, Vol. I, conclusion.]
+
+  [Footnote 491: _British Novelists and their Styles_, p. 204.]
+
+  [Footnote 492: _Journal_, Vol. II, p. 173; _Lockhart_, Vol. V, p. 99.]
+
+  [Footnote 493: _History of Criticism_, Vol. I, p. 156.]
+
+  [Footnote 494: _Recollections of Scott_ by R.P. Gillies, _Fraser's_,
+  xii: 688.]
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Sir Walter Scott as a Critic of
+Literature, by Margaret Ball
+
+*** END OF THIS PROJECT GUTENBERG EBOOK SIR WALTER SCOTT AS A CRITIC ***
+
+***** This file should be named 16715.txt or 16715.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/1/6/7/1/16715/
+
+Produced by Ted Garvin, Lynn Bornath, and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+*** END: FULL LICENSE ***
+
diff --git a/16715.zip b/16715.zip
new file mode 100644
index 0000000..b0c34fe
--- /dev/null
+++ b/16715.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..db19043
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #16715 (https://www.gutenberg.org/ebooks/16715)