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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"> </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"> </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"> </td></tr> + +<tr><td colspan="2">1. The Mediaeval Period</td></tr> +<tr><td> (a) Minstrelsy of the Scottish Border</td> + <td class="page"><a href="#page17">17</a></td></tr> +<tr><td> (b) Studies in the Romances</td> + <td class="page"><a href="#page32">32</a></td></tr> +<tr><td> (c) Other Studies in Mediaeval Literature</td> + <td class="page"><a href="#page40">40</a></td></tr> + +<tr><td colspan="2"> </td></tr> + +<tr><td>2. The Drama</td> + <td class="page"><a href="#page46">46</a></td></tr> + +<tr><td colspan="2"> </td></tr> + +<tr><td>3. The Seventeenth Century: Dryden</td> + <td class="page"><a href="#page59">59</a></td></tr> + +<tr><td colspan="2"> </td></tr> + +<tr><td colspan="2"> 4. The Eighteenth Century</td></tr> +<tr><td> (a) Swift</td> + <td class="page"><a href="#page65">65</a></td></tr> +<tr><td> (b) The Somers Tracts</td> + <td class="page"><a href="#page70">70</a></td></tr> +<tr><td> (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"> </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"> </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"> </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"> </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> </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—Connection between his creative work and his + criticism—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—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.</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—as all the world knows—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,—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,—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,—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—Casual origin + of the <i>Minstrelsy</i>—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 <i>Minstrelsy</i>— + Remarks on the ballad style—Impossibility of a scientific treatment + of folk-poetry in Scott's time—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—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—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.</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,—Ellis, Scott, and Southey,—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—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—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>—"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."<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—"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—His early fondness for romances—His acquaintance with + Romance languages—His work on the <i>Sir Tristrem</i>—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.</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—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—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 +<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>Encyclopædia 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—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.</p> + +<p>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,<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—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—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.</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,—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,—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>Encyclopædia 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,—"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—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,—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,—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,—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 +<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—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."<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—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.</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,—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—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<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,—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"—and here we see Scott's eighteenth-century +affinities—"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>—Comparison of the + <i>Dryden</i> and the <i>Swift</i>—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.</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>—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 <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,—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.<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,—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—Occasional + carelessness—Purpose of the notes—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,—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>—Writers discussed—Value of the + <i>Lives</i>—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.</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,—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,—"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—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."<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:—<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—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.</p> + + <p class="chapdesc">Poets—Burns—Coleridge—Relation of <i>Christabel</i> to + Scott's work—Scott's dislike for extreme + Romanticism—Wordsworth—Southey—Scott's review of + <i>Kehama</i>—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.</p> + + <p class="chapdesc">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.</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,—"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."<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,—"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—the publication of which Miss Seward really forced upon him as a +dying request—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—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—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—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."<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—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—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.<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—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.</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—<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—more +favourable to narrative poetry at least—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,—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 <i>sainte paresse</i>—that delightful indolence—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,—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—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—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";<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—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—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—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."<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,—"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—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 <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>,—"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—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>—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,—"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,—"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,—"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,—"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,—"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,—"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—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.</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;—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,—"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—"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—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,—"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;—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—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 & Co. for + John Ballantyne & 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 & 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 & 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 & 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 & 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 /> + The Black Dwarf.<br /> + 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 /> + 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 Encyclopædia 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 /> + The Bride of Lammermoor.<br /> + 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 /> + The Betrothed.<br /> + 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 & 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 /> + The Highland Widow.<br /> + The Two Drovers.<br /> + 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 /> + 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 /> + Count Robert of Paris.<br /> + 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—of which one is + ancient and one a modern imitation written by Robert + Surtees—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>Encyclopædia 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—"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 + & 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—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. + (<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—<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>—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—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, <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>—an account of the + Highland clans, largely narrative (<i>Quarterly</i>, January, 1816); + Ritson's <i>Annals of the Caledonians, Picts and Scots</i>—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>—an article similar to that on Ritson's + book (<i>Quarterly</i>, November, 1829); Pitcairn's <i>Ancient Criminal + Trials</i>—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>—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>Encyclopædia + 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—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—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—the sacred + verses—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—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 <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—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"—"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. 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