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+The Project Gutenberg EBook of Sir Walter Scott, by William Paton Ker
+
+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
+       A Lecture at the Sorbonne
+
+Author: William Paton Ker
+
+Release Date: April 29, 2007 [EBook #21250]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK SIR WALTER SCOTT ***
+
+
+
+
+Produced by Constanze Hofmann, Jeanette Jordan, Lori
+Scoggins, Norilan, McMartha, sassi, Siobhan Hillman, Tamise
+Totterdell, Zara Baxter, Janet Blenkinship and the Online
+Distributed Proofreading Team at http://www.pgdp.net
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+
+
+  SIR WALTER SCOTT
+
+  A Lecture at the Sorbonne,
+  May 22, 1919, in the series of
+  _Conférences Louis Liard_
+
+  BY
+
+  WILLIAM PATON KER, LL.D.
+
+  GLASGOW
+
+  MACLEHOSE, JACKSON AND CO.
+
+  PUBLISHERS TO THE UNIVERSITY
+
+  1919
+
+
+
+
+NOTE
+
+
+This Essay appeared in the _Anglo-French Review_, August, 1919, and
+I am obliged to the Editor and Publisher for leave to reprint it.
+
+                                           W. P. K.
+
+
+
+
+Sir Walter Scott
+
+
+When I was asked to choose a subject for a lecture at the Sorbonne,
+there came into my mind somehow or other the incident of Scott's visit
+to Paris when he went to see _Ivanhoe_ at the Odéon, and was amused to
+think how the story had travelled and made its fortune:--
+
+     'It was an opera, and, of course, the story sadly mangled and
+     the dialogue in great part nonsense. Yet it was strange to
+     hear anything like the words which (then in an agony of pain
+     with spasms in my stomach) I dictated to William Laidlaw at
+     Abbotsford, now recited in a foreign tongue, and for the
+     amusement of a strange people. I little thought to have
+     survived the completing of this novel.'
+
+It seemed to me that here I had a text for my sermon. The cruel
+circumstances of the composition of _Ivanhoe_ might be neglected. The
+interesting point was in the contrast between the original home of
+Scott's imagination and the widespread triumph of his works abroad--on
+the one hand, Edinburgh and Ashestiel, the traditions of the Scottish
+border and the Highlands, the humours of Edinburgh lawyers and Glasgow
+citizens, country lairds, farmers and ploughmen, the Presbyterian
+eloquence of the Covenanters and their descendants, the dialect hardly
+intelligible out of its own region, and not always clear even to natives
+of Scotland; on the other hand, the competition for Scott's novels in
+all the markets of Europe, as to which I take leave to quote the
+evidence of Stendhal:--
+
+     'Lord Byron, auteur de quelques héroïdes sublimes, mais
+     toujours les mêmes, et de beaucoup de tragédies mortellement
+     ennuyeuses, n'est point du tout le chef des romantiques.
+
+     'S'il se trouvait un homme que les traducteurs à la toise se
+     disputassent également à Madrid, à Stuttgard, à Paris et à
+     Vienne, l'on pourrait avancer que cet homme a deviné les
+     tendances morales de son époque.'
+
+If Stendhal proceeds to remark in a footnote that 'l'homme lui-même est
+peu digne d'enthousiasme,' it is pleasant to remember that Lord Byron
+wrote to M. Henri Beyle to correct his low opinion of the character of
+Scott. This is by the way, though not, I hope, an irrelevant remark. For
+Scott is best revealed in his friendships; and the mutual regard of
+Scott and Byron is as pleasant to think of as the friendship between
+Scott and Wordsworth.
+
+As to the truth of Stendhal's opinion about the vogue of Scott's novels
+and his place as chief of the romantics, there is no end to the list of
+witnesses who might be summoned. Perhaps it may be enough to remember
+how the young Balzac was carried away by the novels as they came fresh
+from the translator, almost immediately after their first appearance at
+home.
+
+One distinguishes easily enough, at home in Scotland, between the
+novels, or the passages in the novels, that are idiomatic, native,
+homegrown, intended for his own people, and the novels not so limited,
+the romances of English or foreign history--_Ivanhoe_, _Kenilworth_,
+_Quentin Durward_. But as a matter of fact these latter, though possibly
+easier to understand and better suited to the general public, were not
+invariably preferred. The novels were 'the Scotch novels.' Although
+Thackeray, when he praises Scott, takes most of his examples from the
+less characteristic, what we may call the English group, on the other
+hand, Hazlitt dwells most willingly on the Scotch novels, though he did
+not like Scotsmen, and shared some of the prejudice of Stendhal--'my
+friend Mr. Beyle,' as he calls him in one place--with regard to Scott
+himself. And Balzac has no invidious preferences: he recommends an
+English romance, _Kenilworth_, to his sister, and he also remembers
+David Deans, a person most intensely and peculiarly Scots.
+
+One may distinguish the Scotch novels, which only their author could
+have written, from novels like _Peveril of the Peak_ or _Anne of
+Geierstein_, which may be thought to resemble rather too closely the
+imitations of Scott, the ordinary historical novel as it was written by
+Scott's successors. But though the formula of the conventional
+historical novel may have been drawn from the less idiomatic group, it
+was not this that chiefly made Scott's reputation. His fame and
+influence were achieved through the whole mass of his immense and varied
+work; and the Scots dialect and humours, which make so large a part of
+his resources when he is putting out all his power, though they have
+their difficulties for readers outside of Scotland, were no real
+hindrances in the way of the Scotch novels: Dandie Dinmont and Bailie
+Nicol Jarvie, Cuddie Headrigg and Andrew Fairservice were not ignored or
+forgotten, even where _Ivanhoe_ or _The Talisman_ might have the
+preference as being more conformable to the general mind of novel
+readers.
+
+The paradox remains: that the most successful novelist of the whole
+world should have had his home and found his strength in a country with
+a language of its own, barely intelligible, frequently repulsive to its
+nearest neighbours, a language none the more likely to win favour when
+the manners or ideas of the country were taken into consideration as
+well.
+
+The critics who refuse to see much good in Scott, for the most part
+ignore the foundations of his work. Thus Stendhal, who acknowledges
+Scott's position as representative of his age, the one really great,
+universally popular, author of his day, does not recognise in Scott's
+imagination much more than trappings and tournaments, the furniture of
+the regular historical novel. He compares Scott's novels with _La
+Princesse de Clèves_, and asks which is more to be praised, the author
+who understands and reveals the human heart, or the descriptive
+historian who can fill pages with unessential details but is afraid of
+the passions.
+
+In which it seems to be assumed that Scott, when he gave his attention
+to the background and the appropriate dresses, was neglecting the
+dramatic truth of his characters and their expression. Scott, it may be
+observed, had, in his own reflexions on the art of novel-writing, taken
+notice of different kinds of policy in dealing with the historical
+setting. In his lives of the novelists, reviewing _The Old English
+Baron_, he describes the earlier type of historical novel in which
+little or nothing is done for antiquarian decoration or for local
+colour; while in his criticism of Mrs. Radcliffe he uses the very
+term--'melodrama'--and the very distinction--melodrama as opposed to
+tragedy--which is the touchstone of the novelist. Whatever his success
+might be, there can be no doubt as to his intentions. He meant his
+novels, with their richer background and their larger measure of detail,
+to sacrifice nothing of dramatic truth. _La Princesse de Clèves_, a
+professedly historical novel with little 'local colour', may be in
+essentials finer and more sincere than Scott. This is a question which I
+ask leave to pass over. But it is not Scott's intention to put off the
+reader with details and decoration as a substitute for truth of
+character and sentiment. Here most obviously, with all their
+differences, Balzac and Scott are agreed: expensive both of them in
+description, but neither of them inclined to let mere description (in
+Pope's phrase) take the place of sense--i.e. of the life which it is the
+business of the novelist to interpret. There is danger, no doubt, of
+overdoing it, but description in Balzac, however full and long, is never
+inanimate. He has explained his theory in a notice of Scott, or rather
+in a comparison of Scott and Fenimore Cooper (_Revue Parisienne_, 1840),
+where the emptiness of Cooper's novels is compared with the variety of
+Scott's, the solitude of the American lakes and forests with the crowd
+of life commanded by the author of _Waverley_. Allowing Cooper one great
+success in the character of Leather-stocking and some merit in a few
+other personages, Balzac finds beyond these nothing like Scott's
+multitude of characters; their place is taken by the beauties of nature.
+But description cannot make up for want of life in a story.
+
+Balzac shows clearly that he understood the danger of description, and
+how impossible, how unreasonable, it is to make scenery do instead of
+story and characters. He does not seem to think that Scott has failed in
+this respect, while in his remarks on Scott's humour he proves how far
+he is from the critics who found in Scott nothing but scenery and
+accoutrements and the rubbish of old chronicles. Scott's chivalry and
+romance are not what Balzac is thinking about. Balzac is considering
+Scott's imagination in general, his faculty in narrative and dialogue,
+wherever his scene may be, from whatever period the facts of his story
+may be drawn.
+
+Scott's superiority to his American rival comes out, says Balzac,
+chiefly in his secondary personages and in his talent for comedy. The
+American makes careful mechanical provision for laughter: Balzac takes
+this all to pieces, and leaves Scott unchallenged and inexhaustible.
+
+Scott's reputation has suffered a little through suspicion of his
+politics, and, strangely enough, of his religion. He has been made
+responsible for movements in Churches about which opinions naturally
+differ, but of which it is certain Scott never dreamed. Those who
+suspect and blame his work because it is reactionary, illiberal, and
+offensive to modern ideas of progress, are, of course, mainly such
+persons as believe in 'the march of intellect,' and think meanly of each
+successive stage as soon as it is left behind. The spokesman of this
+party is Mark Twain, who wrote a burlesque of the Holy Grail, and who in
+his _Life on the Mississippi_ makes Scott responsible for the vanities
+and superstitions of the Southern States of America:--
+
+     'The South has not yet recovered from the debilitating
+     influence of his books. Admiration of his fantastic heroes and
+     their grotesque "chivalry" doings and romantic juvenilities
+     still survives here, in an atmosphere in which is already
+     perceptible the wholesome and practical nineteenth century
+     smell of cotton-factories and locomotives.'
+
+It is useless to moralise on this, and the purport and significance of
+it may be left for private meditation to enucleate and enjoy. But it
+cannot be fully appreciated, unless one remembers that the author of
+this and other charges against chivalry is also the historian of the
+feud between the Shepherdsons and the Grangerfords, equal in tragedy to
+the themes of the _chansons de geste_: of _Raoul de Cambrai_ or _Garin
+le Loherain_. Mark Twain in the person of Huckleberry Finn is committed
+to the ideas of chivalry neither more nor less than Walter Scott in
+_Ivanhoe_ or _The Talisman_. I am told further--though this is perhaps
+unimportant--that Gothic ornament in America is not peculiarly the taste
+of the South, that even at Chicago there are imitations of Gothic towers
+and halls.
+
+Hazlitt, an unbeliever in most of Scott's political principles, is also
+the most fervent and expressive admirer of the novels, quite beyond the
+danger of modern progress, his judgment not corrupted at all by the
+incense of the cotton-factory or the charm of the locomotive. Hazlitt's
+praise of Scott is an immortal proof of Hazlitt's sincerity in
+criticism. Scott's friends were not Hazlitt's, and Scott and Hazlitt
+differed both in personal and public affairs as much as any men of their
+time. But Hazlitt has too much sense not to be taken with the Scotch
+novels, and too much honesty not to say so, and too much spirit not to
+put all his strength into praising, when once he begins. Hazlitt's
+critical theory of Scott's novels is curiously like his opinion about
+Scott's old friend, the poet Crabbe: whose name I cannot leave without a
+salute to the laborious and eloquent work of M. Huchon, his scholarly
+French interpreter.
+
+Hazlitt on Crabbe and Scott is a very interesting witness on account of
+the principles and presuppositions employed by him. In the last hundred
+years or so the problems of realism and naturalism have been canvassed
+almost too thoroughly between disputants who seem not always to know
+when they are wandering from the point or wearying their audience with
+verbiage and platitudes. But out of all the controversy there has
+emerged at least one plain probability--that there is no such thing as
+simple transference of external reality into artistic form. This is what
+Hazlitt seems to ignore very strangely in his judgment of Crabbe and
+Scott, and this is, I think, an interesting point in the history of
+criticism, especially when it is remembered that Hazlitt was a critic of
+painting, and himself a painter. He speaks almost as if realities passed
+direct into the verse of Crabbe; as if Scott's imagination in the novels
+were merely recollection and transcription of experience. Speaking of
+the difference between the genius of Shakespeare and Sir Walter Scott,
+he says:
+
+     'It is the difference between _originality_ and the want of
+     it, between writing and transcribing. Almost all the finest
+     scenes and touches, the great master-strokes in Shakespeare,
+     are such as must have belonged to the class of invention,
+     where the secret lay between him and his own heart, and the
+     power exerted is in adding to the given materials and working
+     something out of them: in the author of _Waverley_, not all,
+     but the principal and characteristic beauties are such as may
+     and do belong to the class of compilation--that is, consist in
+     bringing the materials together and leaving them to produce
+     their own effect....
+
+     'No one admires or delights in the Scotch Novels more than I
+     do, but at the same time, when I hear it asserted that his
+     mind is of the same class with Shakespeare, or that he
+     imitates nature in the same way, I confess I cannot assent to
+     it. No two things appear to me more different. Sir Walter is
+     an imitator of nature and nothing more; but I think
+     Shakespeare is infinitely more than this.... Sir Walter's mind
+     is full of information, but the "_o'er informing power_" is
+     not there. Shakespeare's spirit, like fire, shines through
+     him; Sir Walter's, like a stream, reflects surrounding
+     objects.'
+
+I may not at this time quote much more of Hazlitt's criticism, but the
+point of it would be misunderstood if it were construed as depreciation
+of Scott. What may be considered merely memory in contrast to
+Shakespeare's imagination is regarded by Hazlitt as a limitless source
+of visionary life when compared with the ideas of self-centred authors
+like Byron. This is what Hazlitt says in another essay of the same
+series:--
+
+     'Scott "does not 'spin his brains' but something much better."
+     He "has got hold of another clue--that of Nature and
+     history--and long may he spin it, 'even to the crack of
+     doom!'" Scott's success lies in not thinking of himself. "And
+     then again the catch that blind Willie and his wife and the
+     boy sing in the hollow of the heath--there is more mirth and
+     heart's ease in it than in all Lord Byron's _Don Juan_ or Mr.
+     Moore's _Lyrics_. And why? Because the author is thinking of
+     beggars and a beggar's brat, and not of himself, while he
+     writes it. He looks at Nature, sees it, hears it, feels it,
+     and believes that it exists before it is printed, hotpressed,
+     and labelled on the back _By the Author of 'Waverley.'_ He
+     does not fancy, nor would he for one moment have it supposed,
+     that his name and fame compose all that is worth a moment's
+     consideration in the universe. This is the great secret of his
+     writings--a perfect indifference to self."'
+
+Hazlitt appears to allow too little to the mind of the Author of
+_Waverley_--as though the author had nothing to do but let the contents
+of his mind arrange themselves on his pages. What this exactly may mean
+is doubtful. We are not disposed to accept the theory of the passive
+mind as a sufficient philosophical explanation of the Scotch novels. But
+Hazlitt is certainly right to make much of the store of reading and
+reminiscence they imply, and it is not erroneous or fallacious to think
+of all Scott's writings in verse or prose as peculiarly the fruits of
+his life and experience. His various modes of writing are suggested to
+him by the way, and he finds his art with no long practice when the
+proper time comes to use it. After all, is this not what was meant by
+Horace when he said that the subject rightly chosen will provide what is
+wanted in art and style?
+
+                   Cui lecta potenter erit res
+     Nec facundia deseret hunc nec lucidus ordo.
+
+It was chosen by Corneille as a motto for _Cinna_; it would do as a
+summary of all the writings of Scott.
+
+The Waverley Novels may be reckoned among the works of fiction that have
+had their origin in chance, and have turned out something different from
+what the author intended. Reading the life of Scott, we seem to be
+following a pilgrimage where the traveller meets with different
+temptations and escapes various dangers, and takes up a number of
+duties, and is led to do a number of fine things which he had not
+thought of till the time came for attempting them. The poet and the
+novelist are revealed in the historian and the collector of antiquities.
+Scott before _The Lay of the Last Minstrel_ looked like a young
+adventurer in the study of history and legend, who had it in him to do
+solid work on a large scale (like his edition of Dryden) if he chose to
+take it up. He is not a poet from the beginning like Wordsworth and
+Keats, devoted to that one service; he turns novelist late in life when
+the success of his poetry seems to be over. His early experiments in
+verse are queerly suggested and full of hazard. It needs a foreign
+language--German--to encourage him to rhyme. The fascination of Bürger's
+_Lenore_ is a reflection from English ballad poetry; the reflected image
+brought out what had been less remarkable in the original. The German
+devices of terror and wonder are a temptation to Scott; they hang about
+his path with their monotonous and mechanical jugglery, their horrors
+made all the more intolerable through the degraded verse of Lewis--a bad
+example which Scott instinctively refused to follow, though he most
+unaccountably praised Lewis's sense of rhythm. The close of the
+eighteenth century cannot be fully understood, nor the progress of
+poetry in the nineteenth, without some study of the plague of ghosts and
+skeletons which has left its mark on _The Ancient Mariner_, from which
+Goethe and Scott did not escape, which imposed on Shelley in his youth,
+to which Byron yielded his tribute of _The Vampire_. A tempting subject
+for expatiation, especially when one remembers--and who that has once
+read it can forget?--the most glorious passage in the _Memoirs_ of
+Alexandre Dumas describing his first conversation with the unknown
+gentleman who afterwards turned out to be Charles Nodier, in the theatre
+of the Porte Saint-Martin where the play was the _Vampire_: from which
+theatre Charles Nodier was expelled for hissing the _Vampire_, himself
+being part-author of the marvellous drama. I hope it is not impertinent
+in a stranger to express his unbounded gratitude for that delightful and
+most humorous dialogue, in which the history of the Elzevir Press
+(starting from _Le Pastissier françois_) and the tragedy of the rotifer
+are so adroitly interwoven with the theatrical scene of Fingal's Cave
+and its unusual visitors, the whole adventure ending in the happiest
+laughter over the expulsion of the dramatist. I may not have any right
+to say so, but I throw myself on the mercy of my hearers: I remember
+nothing in any chronicle so mercurial or jovial in its high spirits as
+this story of the first encounter and the beginning of friendship
+between Charles Nodier and Alexandre Dumas.
+
+The Vampire of Staffa may seem rather far from the range of Scott's
+imagination; but his contributions to Lewis's _Tales of Wonder_ show the
+risk that he ran, while the White Lady of Avenel in _The Monastery_
+proves that even in his best years he was exposed to the hazards of
+conventional magic.
+
+Lockhart has given the history of _The Lay of the Last Minstrel_, how
+the story developed and took shape. It is not so much an example of
+Scott's mode of writing poetry as an explanation of his whole literary
+life. _The Lay of the Last Minstrel_ was his first original piece of any
+length and his first great popular success. And, as Lockhart has
+sufficiently shown, it was impossible for Scott to get to it except
+through the years of exploration and editing, the collection of the
+Border ballads, the study of the old metrical romance of _Sir Tristrem_.
+The story of the Goblin Page was at first reckoned enough simply for one
+of the additions to the Border Minstrelsy on the scale of a ballad.
+Scott had tried another sort of imitation in the stanzas composed in old
+English and in the metre of the original to supply the missing
+conclusion of _Sir Tristrem_. It was not within his scope to write an
+original romance in the old language, but Coleridge's _Christabel_ was
+recited to him, and gave him a modern rhythm fit for a long story. So
+the intended ballad became the _Lay_, taking in, with the legend of
+Gilpin Horner for a foundation, all the spirit of Scott's knowledge of
+his own country.
+
+Here I must pause to express my admiration for Lockhart's criticism of
+Scott, and particularly for his description of the way in which the
+_Lay_ came to be written. It is really wonderful, Lockhart's sensible,
+unpretentious, thorough interpretation of the half-unconscious processes
+by which Scott's reading and recollections were turned into his poems
+and novels. Of course, it is all founded on Scott's own notes and
+introductions.
+
+What happened with the _Lay_ is repeated a few years afterwards in
+_Waverley_. The _Lay_, a rhyming romance; _Waverley_ an historical
+novel; what, it may be asked, is so very remarkable about their origins?
+Was it not open to any one to write romances in verse or prose? Perhaps;
+but the singularity of Scott's first romances in verse and prose is that
+they do not begin as literary experiments, but as means of expressing
+their author's knowledge, memory and treasured sentiment. Hazlitt is
+right; Scott's experience is shaped into the Waverley Novels, though one
+can distinguish later between those stories that belong properly to
+Scott's life and those that are invented in repetition of a pattern.
+
+Scott's own alleged reason for giving up the writing of tales in verse
+was that Byron beat him. But there must have been something besides
+this: it is plain that the pattern of rhyming romance was growing stale.
+The _Lay_ needs no apology; _Marmion_ includes the great tragedy of
+Scotland in the Battle of Flodden:--
+
+     The stubborn spearmen still made good
+     Their dark impenetrable wood,
+     Each stepping where his comrade stood,
+         The instant that he fell.
+     No thought was there of dastard flight;
+     Link'd in the serried phalanx tight,
+     Groom fought like noble, squire like knight,
+         As fearlessly and well;
+     Till utter darkness closed her wing
+     O'er their thin host and wounded king.
+
+And _The Lady of the Lake_ is all that the Highlands meant for Scott at
+that time. But _Rokeby_ has little substance, though it includes more
+than one of Scott's finest songs. _The Lord of the Isles_, though its
+battle is not too far below _Marmion_, and though its hero is Robert the
+Bruce, yet wants the original force of the earlier romances. When Scott
+changed his hand from verse to prose for story-telling and wrote
+_Waverley_, he not only gained in freedom and got room for a kind of
+dialogue that was impossible in rhyme, but he came back to the same sort
+of experience and the same strength of tradition as had given life to
+the _Lay_. The time of _Waverley_ was no more than sixty years since,
+when Scott began to write it and mislaid and forgot the opening chapters
+in 1805; he got his ideas of the Forty-five from an old Highland
+gentleman who had been out with the Highland clans, following the lead
+of Prince Charles Edward, the Young Chevalier. The clans in that
+adventure belonged to a world more ancient than that of _Ivanhoe_ or
+_The Talisman_; they also belonged so nearly to Scott's own time that he
+heard their story from one of themselves. He had spoken and listened to
+another gentleman who had known Rob Roy. _The Bride of Lammermoor_ came
+to him as the Icelandic family histories came to the historians of
+Gunnar or Kjartan Olafsson. He had known the story all his life, and he
+wrote it from tradition. The time of _The Heart of Midlothian_ is
+earlier than _Waverley_, but it is more of a modern novel than an
+historical romance, and even _Old Mortality_, which is earlier still, is
+modern also; Cuddie Headrigg is no more antique than Dandie Dinmont or
+the Ettrick Shepherd himself, and even his mother and her Covenanting
+friends are not far from the fashion of some enthusiasts of Scott's own
+time--e.g. Hogg's religious uncle who could not be brought to repeat his
+old ballads for thinking of 'covenants broken, burned and buried.' _Guy
+Mannering_ and _The Antiquary_ are both modern stories: it is not till
+_Ivanhoe_ that Scott definitely starts on the regular historical novel
+in the manner that was found so easy to imitate.
+
+If _Rob Roy_ is not the very best of them all--and on problems of that
+sort perhaps the right word may be the Irish phrase _Naboclish!_ ('don't
+trouble about that!') which Scott picked up when he was visiting Miss
+Edgeworth in Ireland--_Rob Roy_ shows well enough what Scott could do,
+in romance of adventure and in humorous dialogue. The plots of his
+novels are sometimes thought to be loose and ill-defined, and he tells
+us himself that he seldom knew where his story was carrying him. His
+young heroes are sometimes reckoned rather feeble and featureless.
+Francis Osbaldistone, like Edward Waverley and Henry Morton, drifts into
+trouble and has his destiny shaped for him by other people and
+accidents. But is this anything of a reproach to the author of the
+story? Then it must tell against some novelists who seem to work more
+conscientiously and carefully than Scott on the frame of their
+story--against George Meredith in Evan Harrington and Richard Feverel
+and Harry Richmond, all of whom are driven by circumstances and see
+their way no more clearly than Scott's young men. Is it not really the
+strength, not the weakness, of Scott's imagination that engages us in
+the perplexities of Waverley and Henry Morton even to the verge of
+tragedy--keeping out of tragedy because it is not his business, and
+would spoil his looser, larger, more varied web of a story? Francis
+Osbaldistone is less severely tried. His story sets him travelling, and
+may we not admire the skill of the author who uses the old device of a
+wandering hero with such good effect? The story is not a mere string of
+adventures--it is adventures with a bearing on the main issue, with
+complications that all tell in the end; chief among them, of course, the
+successive appearances of Mr. Campbell and the counsels of Diana Vernon.
+The scenes that bring out Scott's genius most completely--so they have
+always seemed to me--are those of Francis Osbaldistone's stay in
+Glasgow. Seldom has any novelist managed so easily so many different
+modes of interest. There is the place--in different lights--the streets,
+the river, the bridge, the Cathedral, the prison, seen through the
+suspense of the hero's mind, rendered in the talk of Bailie Nicol Jarvie
+and Andrew Fairservice; made alive, as the saying is, through successive
+anxieties and dangers; thrilling with romance, yet at the same time
+never beyond the range of ordinary common sense. Is it not a triumph, at
+the very lowest reckoning, of dexterous narrative to bring together in a
+vivid dramatic scene the humorous character of the Glasgow citizen and
+the equal and opposite humour of his cousin, the cateran, the Highland
+loon, Mr. Campbell disclosed as Rob Roy--with the Dougal creature
+helping him?
+
+Scott's comedy is like that of Cervantes in _Don Quixote_--humorous
+dialogue independent of any definite comic plot and mixed up with all
+sorts of other business. Might not Falstaff himself be taken into
+comparison too? Scott's humorous characters are nowhere and never
+characters in a comedy--and Falstaff, the greatest comic character in
+Shakespeare, is not great in comedy.
+
+Some of the rich idiomatic Scottish dialogue in the novels might be
+possibly disparaged (like Ben Jonson) as 'mere humours and observation.'
+Novelists of lower rank than Scott--Galt in _The Ayrshire Legatees_ and
+_Annals of the Parish_ and _The Entail_--have nearly rivalled Scott in
+reporting conversation. But the Bailie at any rate has his part to play
+in the story of _Rob Roy_--and so has Andrew Fairservice. Scott never
+did anything more ingenious than his contrast of those two
+characters--so much alike in language, and to some extent in cast of
+mind, with the same conceit and self-confidence, the same garrulous
+Westland security in their own judgment, both attentive to their own
+interests, yet clearly and absolutely distinct in spirit, the Bailie a
+match in courage for Rob Roy himself.
+
+Give me leave, before I end, to read one example of Scott's language:
+from the scene in _Guy Mannering_ where Dandie Dinmont explains his case
+to Mr. Pleydell the advocate. It is true to life: memory and imagination
+here indistinguishable:--
+
+     Dinmont, who had pushed after Mannering into the room, began
+     with a scrape of his foot and a scratch of his head in unison.
+     'I am Dandie Dinmont, sir, of the Charlies-hope--the
+     Liddesdale lad--ye'll mind me? It was for me you won yon
+     grand plea.'
+
+     'What plea, you loggerhead?' said the lawyer; 'd'ye think I
+     can remember all the fools that come to plague me?'
+
+     'Lord, sir, it was the grand plea about the grazing o' the
+     Langtae-head,' said the farmer.
+
+     'Well, curse thee, never mind;--give me the memorial, and come
+     to me on Monday at ten,' replied the learned counsel.
+
+     'But, sir, I haena got ony distinct memorial.'
+
+     'No memorial, man?' said Pleydell.
+
+     'Na, sir, nae memorial,' answered Dandie; 'for your honour
+     said before, Mr. Pleydell, ye'll mind, that ye liked best to
+     hear us hill-folk tell our ane tale by word o' mouth.'
+
+     'Beshrew my tongue that said so!' answered the counsellor; 'it
+     will cost my ears a dinning.--Well, say in two words what
+     you've got to say--you see the gentleman waits.'
+
+     'Ou, sir, if the gentleman likes he may play his ain spring
+     first; it's a' ane to Dandie.'
+
+     'Now, you looby,' said the lawyer, 'cannot you conceive that
+     your business can be nothing to Colonel Mannering, but that he
+     may not choose to have these great ears of thine regaled with
+     his matters?'
+
+     'Aweel, sir, just as you and he like, so ye see to my
+     business,' said Dandie, not a whit disconcerted by the
+     roughness of this reception. 'We're at the auld wark o' the
+     marches again, Jock o' Dawston Cleugh and me. Ye see we march
+     on the tap o' Touthoprigg after we pass the Pomoragrains; for
+     the Pomoragrains, and Slackenspool, and Bloodylaws, they come
+     in there, and they belang to the Peel; but after ye pass
+     Pomoragrains at a muckle great saucer-headed cutlugged stane,
+     that they ca' Charlie's Chuckie, there Dawston Cleugh and
+     Charlies-hope they march. Now, I say, the march rins on the
+     tap o' the hill where the wind and water shears; but Jock o'
+     Dawston Cleugh again, he contravenes that, and says that it
+     hauds down by the auld drove-road that gaes awa by the Knot o'
+     the Gate ower to Keeldar-ward--and that makes an unco
+     difference.'
+
+     'And what difference does it make, friend?' said Pleydell.
+     'How many sheep will it feed?'
+
+     'Ou, no mony,' said Dandie, scratching his head; 'it's lying
+     high and exposed--it may feed a hog, or aiblins twa in a good
+     year.'
+
+     'And for this grazing, which may be worth about five shillings
+     a-year, you are willing to throw away a hundred pound or two?'
+
+     'Na, sir, it's no for the value of the grass,' replied
+     Dinmont; 'it's for justice.'
+
+Do we at home in Scotland make too much of Scott's life and associations
+when we think of his poetry and his novels? Possibly few Scotsmen are
+impartial here. As Dr. Johnson said, they are not a fair people, and
+when they think of the Waverley Novels they perhaps do not always see
+quite clearly. Edinburgh and the Eildon Hills, Aberfoyle and Stirling,
+come between their minds and the printed page:--
+
+     A mist of memory broods and floats,
+       The Border waters flow,
+     The air is full of ballad notes
+       Borne out of long ago.
+
+It might be prudent and more critical to take each book on its own
+merits in a dry light. But it is not easy to think of a great writer
+thus discreetly. Is Balzac often judged accurately and coldly, piece by
+piece, here a line and there a line? Are not the best judges those who
+think of his whole achievement altogether--the whole amazing world of
+his creation--_La Comédie Humaine_? By the same sort of rule Scott may
+be judged, and the whole of his work, his vast industry, and all that
+made the fabric of his life, be allowed to tell on the mind of the
+reader.
+
+I wish this discourse had been more worthy of its theme, and of this
+audience, and of this year of heroic memories and lofty hopes. But if,
+later in the summer, I should find my way back to Ettrick and Yarrow and
+the Eildon Hills, it will be a pleasure to remember there the honour
+you have done me in allowing me to speak in Paris, however unworthily,
+of the greatness of Sir Walter Scott.
+
+
+
+
+Glasgow: Printed at the University Press by Robert MacLehose and Co. Ltd.
+
+
+
+
+
+End of the Project Gutenberg EBook of Sir Walter Scott, by William Paton Ker
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+<pre>
+
+The Project Gutenberg EBook of Sir Walter Scott, by William Paton Ker
+
+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
+       A Lecture at the Sorbonne
+
+Author: William Paton Ker
+
+Release Date: April 29, 2007 [EBook #21250]
+
+Language: English
+
+Character set encoding: ISO-8859-1
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+*** START OF THIS PROJECT GUTENBERG EBOOK SIR WALTER SCOTT ***
+
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+Produced by Constanze Hofmann, Jeanette Jordan, Lori
+Scoggins, Norilan, McMartha, sassi, Siobhan Hillman, Tamise
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+
+
+
+<h1>SIR WALTER SCOTT</h1>
+
+<p class="center">A Lecture at the Sorbonne,<br />
+May 22, 1919, in the series of<br />
+<i>Conf&eacute;rences Louis Liard</i></p>
+
+<p class="padded"><span class="small">BY</span><br />
+<span class="large">WILLIAM PATON KER, LL.D.</span></p>
+
+<p class="padded">GLASGOW<br />
+<span class="large">MACLEHOSE, JACKSON AND CO.</span><br />
+<span class="small">PUBLISHERS TO THE UNIVERSITY</span><br />
+1919</p>
+
+<h2>NOTE</h2>
+
+
+<p class="note">This Essay appeared in the <i>Anglo-French
+Review</i>, August, 1919, and I am obliged to
+the Editor and Publisher for leave to reprint it.</p>
+
+<p>
+<span class="wpk">W. P. K.</span><br />
+</p>
+
+<h2><a name="Sir_Walter_Scott" id="Sir_Walter_Scott"></a>Sir Walter Scott</h2>
+
+
+<p>When I was asked to choose a subject for a
+lecture at the Sorbonne, there came into my
+mind somehow or other the incident of Scott's
+visit to Paris when he went to see <i>Ivanhoe</i> at
+the Od&eacute;on, and was amused to think how the
+story had travelled and made its fortune:&mdash;</p>
+
+<div class="blockquot"><p>'It was an opera, and, of course, the story sadly
+mangled and the dialogue in great part nonsense. Yet
+it was strange to hear anything like the words which
+(then in an agony of pain with spasms in my stomach)
+I dictated to William Laidlaw at Abbotsford, now
+recited in a foreign tongue, and for the amusement of
+a strange people. I little thought to have survived the
+completing of this novel.'</p></div>
+
+<p>It seemed to me that here I had a text for my
+sermon. The cruel circumstances of the composition
+of <i>Ivanhoe</i> might be neglected. The
+interesting point was in the contrast between
+the original home of Scott's imagination and<span class='pagenum'><a name="Page_2" id="Page_2">[2]</a></span>
+the widespread triumph of his works abroad&mdash;on
+the one hand, Edinburgh and Ashestiel, the
+traditions of the Scottish border and the Highlands,
+the humours of Edinburgh lawyers and
+Glasgow citizens, country lairds, farmers and
+ploughmen, the Presbyterian eloquence of the
+Covenanters and their descendants, the dialect
+hardly intelligible out of its own region, and
+not always clear even to natives of Scotland; on
+the other hand, the competition for Scott's novels
+in all the markets of Europe, as to which I take
+leave to quote the evidence of Stendhal:&mdash;</p>
+
+<div class="blockquot"><p>'Lord Byron, auteur de quelques h&eacute;ro&iuml;des sublimes,
+mais toujours les m&ecirc;mes, et de beaucoup de trag&eacute;dies
+mortellement ennuyeuses, n'est point du tout le chef
+des romantiques.</p>
+
+<p>'S'il se trouvait un homme que les traducteurs &agrave; la
+toise se disputassent &eacute;galement &agrave; Madrid, &agrave; Stuttgard,
+&agrave; Paris et &agrave; Vienne, l'on pourrait avancer que cet
+homme a devin&eacute; les tendances morales de son &eacute;poque.'</p></div>
+
+<p>If Stendhal proceeds to remark in a footnote
+that 'l'homme lui-m&ecirc;me est peu digne d'enthousiasme,'
+it is pleasant to remember that Lord
+Byron wrote to M. Henri Beyle to correct his
+low opinion of the character of Scott. This is
+by the way, though not, I hope, an irrelevant
+remark. For Scott is best revealed in his friend<span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span>ships;
+and the mutual regard of Scott and Byron
+is as pleasant to think of as the friendship between
+Scott and Wordsworth.</p>
+
+<p>As to the truth of Stendhal's opinion about
+the vogue of Scott's novels and his place as chief
+of the romantics, there is no end to the list of
+witnesses who might be summoned. Perhaps
+it may be enough to remember how the young
+Balzac was carried away by the novels as they
+came fresh from the translator, almost immediately
+after their first appearance at home.</p>
+
+<p>One distinguishes easily enough, at home in
+Scotland, between the novels, or the passages in
+the novels, that are idiomatic, native, homegrown,
+intended for his own people, and the
+novels not so limited, the romances of English or
+foreign history&mdash;<i>Ivanhoe</i>, <i>Kenilworth</i>, <i>Quentin
+Durward</i>. But as a matter of fact these latter,
+though possibly easier to understand and
+better suited to the general public, were not
+invariably preferred. The novels were 'the
+Scotch novels.' Although Thackeray, when he
+praises Scott, takes most of his examples from
+the less characteristic, what we may call the
+English group, on the other hand, Hazlitt
+dwells most willingly on the Scotch novels,
+though he did not like Scotsmen, and shared<span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span>
+some of the prejudice of Stendhal&mdash;'my friend
+Mr. Beyle,' as he calls him in one place&mdash;with
+regard to Scott himself. And Balzac has no
+invidious preferences: he recommends an English
+romance, <i>Kenilworth</i>, to his sister, and he
+also remembers David Deans, a person most
+intensely and peculiarly Scots.</p>
+
+<p>One may distinguish the Scotch novels, which
+only their author could have written, from
+novels like <i>Peveril of the Peak</i> or <i>Anne of
+Geierstein</i>, which may be thought to resemble
+rather too closely the imitations of Scott, the
+ordinary historical novel as it was written by
+Scott's successors. But though the formula of
+the conventional historical novel may have been
+drawn from the less idiomatic group, it was not
+this that chiefly made Scott's reputation. His
+fame and influence were achieved through the
+whole mass of his immense and varied work;
+and the Scots dialect and humours, which make
+so large a part of his resources when he is putting
+out all his power, though they have their
+difficulties for readers outside of Scotland, were
+no real hindrances in the way of the Scotch
+novels: Dandie Dinmont and Bailie Nicol
+Jarvie, Cuddie Headrigg and Andrew Fairservice
+were not ignored or forgotten, even where<span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span>
+<i>Ivanhoe</i> or <i>The Talisman</i> might have the preference
+as being more conformable to the general
+mind of novel readers.</p>
+
+<p>The paradox remains: that the most successful
+novelist of the whole world should have had
+his home and found his strength in a country
+with a language of its own, barely intelligible,
+frequently repulsive to its nearest neighbours, a
+language none the more likely to win favour
+when the manners or ideas of the country were
+taken into consideration as well.</p>
+
+<p>The critics who refuse to see much good in
+Scott, for the most part ignore the foundations
+of his work. Thus Stendhal, who acknowledges
+Scott's position as representative of his age, the
+one really great, universally popular, author of
+his day, does not recognise in Scott's imagination
+much more than trappings and tournaments,
+the furniture of the regular historical novel.
+He compares Scott's novels with <i>La Princesse
+de Cl&egrave;ves</i>, and asks which is more to be praised,
+the author who understands and reveals the
+human heart, or the descriptive historian who
+can fill pages with unessential details but is
+afraid of the passions.</p>
+
+<p>In which it seems to be assumed that Scott,
+when he gave his attention to the background<span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span>
+and the appropriate dresses, was neglecting the
+dramatic truth of his characters and their expression.
+Scott, it may be observed, had, in his
+own reflexions on the art of novel-writing, taken
+notice of different kinds of policy in dealing
+with the historical setting. In his lives of the
+novelists, reviewing <i>The Old English Baron</i>,
+he describes the earlier type of historical novel
+in which little or nothing is done for antiquarian
+decoration or for local colour; while in his criticism
+of Mrs. Radcliffe he uses the very term&mdash;'melodrama'&mdash;and
+the very distinction&mdash;melodrama
+as opposed to tragedy&mdash;which is the
+touchstone of the novelist. Whatever his success
+might be, there can be no doubt as to his
+intentions. He meant his novels, with their
+richer background and their larger measure of
+detail, to sacrifice nothing of dramatic truth.
+<i>La Princesse de Cl&egrave;ves</i>, a professedly historical
+novel with little 'local colour', may be in essentials
+finer and more sincere than Scott. This is
+a question which I ask leave to pass over. But
+it is not Scott's intention to put off the reader
+with details and decoration as a substitute for
+truth of character and sentiment. Here most
+obviously, with all their differences, Balzac and
+Scott are agreed: expensive both of them in<span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span>
+description, but neither of them inclined to let
+mere description (in Pope's phrase) take the
+place of sense&mdash;i.e. of the life which it is the
+business of the novelist to interpret. There is
+danger, no doubt, of overdoing it, but description
+in Balzac, however full and long, is never
+inanimate. He has explained his theory in a
+notice of Scott, or rather in a comparison of
+Scott and Fenimore Cooper (<i>Revue Parisienne</i>,
+1840), where the emptiness of Cooper's novels
+is compared with the variety of Scott's, the solitude
+of the American lakes and forests with the
+crowd of life commanded by the author of
+<i>Waverley</i>. Allowing Cooper one great success
+in the character of Leather-stocking and
+some merit in a few other personages, Balzac
+finds beyond these nothing like Scott's multitude
+of characters; their place is taken by the beauties
+of nature. But description cannot make up for
+want of life in a story.</p>
+
+<p>Balzac shows clearly that he understood the
+danger of description, and how impossible, how
+unreasonable, it is to make scenery do instead of
+story and characters. He does not seem to
+think that Scott has failed in this respect, while
+in his remarks on Scott's humour he proves how
+far he is from the critics who found in Scott<span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span>
+nothing but scenery and accoutrements and the
+rubbish of old chronicles. Scott's chivalry and
+romance are not what Balzac is thinking about.
+Balzac is considering Scott's imagination in
+general, his faculty in narrative and dialogue,
+wherever his scene may be, from whatever
+period the facts of his story may be drawn.</p>
+
+<p>Scott's superiority to his American rival comes
+out, says Balzac, chiefly in his secondary personages
+and in his talent for comedy. The American
+makes careful mechanical provision for
+laughter: Balzac takes this all to pieces, and
+leaves Scott unchallenged and inexhaustible.</p>
+
+<p>Scott's reputation has suffered a little through
+suspicion of his politics, and, strangely enough,
+of his religion. He has been made responsible
+for movements in Churches about which opinions
+naturally differ, but of which it is certain Scott
+never dreamed. Those who suspect and blame
+his work because it is reactionary, illiberal, and
+offensive to modern ideas of progress, are, of
+course, mainly such persons as believe in 'the
+march of intellect,' and think meanly of each
+successive stage as soon as it is left behind. The
+spokesman of this party is Mark Twain, who
+wrote a burlesque of the Holy Grail, and who
+in his <i>Life on the Mississippi</i> makes Scott<span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span>
+responsible for the vanities and superstitions of
+the Southern States of America:&mdash;</p>
+
+<div class="blockquot"><p>'The South has not yet recovered from the debilitating
+influence of his books. Admiration of his
+fantastic heroes and their grotesque "chivalry" doings
+and romantic juvenilities still survives here, in an atmosphere
+in which is already perceptible the wholesome
+and practical nineteenth century smell of cotton-factories
+and locomotives.'</p></div>
+
+<p>It is useless to moralise on this, and the purport
+and significance of it may be left for private
+meditation to enucleate and enjoy. But it
+cannot be fully appreciated, unless one remembers
+that the author of this and other charges
+against chivalry is also the historian of the feud
+between the Shepherdsons and the Grangerfords,
+equal in tragedy to the themes of the <i>chansons
+de geste</i>: of <i>Raoul de Cambrai</i> or <i>Garin le
+Loherain</i>. Mark Twain in the person of
+Huckleberry Finn is committed to the ideas
+of chivalry neither more nor less than Walter
+Scott in <i>Ivanhoe</i> or <i>The Talisman</i>. I am told
+further&mdash;though this is perhaps unimportant&mdash;that
+Gothic ornament in America is not peculiarly
+the taste of the South, that even at Chicago
+there are imitations of Gothic towers and halls.</p>
+
+<p>Hazlitt, an unbeliever in most of Scott's<span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span>
+political principles, is also the most fervent and
+expressive admirer of the novels, quite beyond
+the danger of modern progress, his judgment
+not corrupted at all by the incense of the cotton-factory
+or the charm of the locomotive. Hazlitt's
+praise of Scott is an immortal proof of
+Hazlitt's sincerity in criticism. Scott's friends
+were not Hazlitt's, and Scott and Hazlitt differed
+both in personal and public affairs as much
+as any men of their time. But Hazlitt has too
+much sense not to be taken with the Scotch novels,
+and too much honesty not to say so, and too much
+spirit not to put all his strength into praising,
+when once he begins. Hazlitt's critical theory of
+Scott's novels is curiously like his opinion about
+Scott's old friend, the poet Crabbe: whose name
+I cannot leave without a salute to the laborious
+and eloquent work of M. Huchon, his scholarly
+French interpreter.</p>
+
+<p>Hazlitt on Crabbe and Scott is a very interesting
+witness on account of the principles and
+presuppositions employed by him. In the last
+hundred years or so the problems of realism
+and naturalism have been canvassed almost
+too thoroughly between disputants who seem
+not always to know when they are wandering
+from the point or wearying their audience with<span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span>
+verbiage and platitudes. But out of all the controversy
+there has emerged at least one plain
+probability&mdash;that there is no such thing as
+simple transference of external reality into
+artistic form. This is what Hazlitt seems to
+ignore very strangely in his judgment of Crabbe
+and Scott, and this is, I think, an interesting
+point in the history of criticism, especially when
+it is remembered that Hazlitt was a critic of
+painting, and himself a painter. He speaks
+almost as if realities passed direct into the verse
+of Crabbe; as if Scott's imagination in the novels
+were merely recollection and transcription of experience.
+Speaking of the difference between
+the genius of Shakespeare and Sir Walter Scott,
+he says:</p>
+
+<div class="blockquot"><p>'It is the difference between <i>originality</i> and the want
+of it, between writing and transcribing. Almost all
+the finest scenes and touches, the great master-strokes
+in Shakespeare, are such as must have belonged to the
+class of invention, where the secret lay between him
+and his own heart, and the power exerted is in adding
+to the given materials and working something out of
+them: in the author of <i>Waverley</i>, not all, but the
+principal and characteristic beauties are such as may
+and do belong to the class of compilation&mdash;that is,
+consist in bringing the materials together and leaving
+them to produce their own effect....<span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span></p>
+
+<p>'No one admires or delights in the Scotch Novels
+more than I do, but at the same time, when I hear it
+asserted that his mind is of the same class with Shakespeare,
+or that he imitates nature in the same way, I
+confess I cannot assent to it. No two things appear
+to me more different. Sir Walter is an imitator of
+nature and nothing more; but I think Shakespeare
+is infinitely more than this.... Sir Walter's mind is
+full of information, but the "<i>o'er informing power</i>" is
+not there. Shakespeare's spirit, like fire, shines through
+him; Sir Walter's, like a stream, reflects surrounding
+objects.'</p></div>
+
+<p>I may not at this time quote much more of
+Hazlitt's criticism, but the point of it would be
+misunderstood if it were construed as depreciation
+of Scott. What may be considered merely
+memory in contrast to Shakespeare's imagination
+is regarded by Hazlitt as a limitless source
+of visionary life when compared with the ideas
+of self-centred authors like Byron. This is
+what Hazlitt says in another essay of the same
+series:&mdash;</p>
+
+<div class="blockquot"><p>'Scott "does not 'spin his brains' but something
+much better." He "has got hold of another clue&mdash;that
+of Nature and history&mdash;and long may he spin it,
+'even to the crack of doom!'" Scott's success lies in
+not thinking of himself. "And then again the catch
+that blind Willie and his wife and the boy sing in the<span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span>
+hollow of the heath&mdash;there is more mirth and heart's
+ease in it than in all Lord Byron's <i>Don Juan</i> or
+Mr. Moore's <i>Lyrics</i>. And why? Because the author
+is thinking of beggars and a beggar's brat, and not of
+himself, while he writes it. He looks at Nature, sees
+it, hears it, feels it, and believes that it exists before it
+is printed, hotpressed, and labelled on the back <i>By the
+Author of</i> '<i>Waverley</i>.' He does not fancy, nor would
+he for one moment have it supposed, that his name
+and fame compose all that is worth a moment's consideration
+in the universe. This is the great secret of
+his writings&mdash;a perfect indifference to self."'</p></div>
+
+<p>Hazlitt appears to allow too little to the mind
+of the Author of <i>Waverley</i>&mdash;as though the
+author had nothing to do but let the contents
+of his mind arrange themselves on his pages.
+What this exactly may mean is doubtful. We
+are not disposed to accept the theory of the passive
+mind as a sufficient philosophical explanation
+of the Scotch novels. But Hazlitt is
+certainly right to make much of the store of
+reading and reminiscence they imply, and it is
+not erroneous or fallacious to think of all Scott's
+writings in verse or prose as peculiarly the fruits
+of his life and experience. His various modes
+of writing are suggested to him by the way, and
+he finds his art with no long practice when the
+proper time comes to use it. After all, is this<span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span>
+not what was meant by Horace when he said
+that the subject rightly chosen will provide what
+is wanted in art and style?</p>
+
+<p class="poem"><span class="indented">Cui lecta potenter erit res</span><br />
+Nec facundia deseret hunc nec lucidus ordo.</p>
+
+<p>It was chosen by Corneille as a motto for
+<i>Cinna</i>; it would do as a summary of all the
+writings of Scott.</p>
+
+<p>The Waverley Novels may be reckoned
+among the works of fiction that have had their
+origin in chance, and have turned out something
+different from what the author intended. Reading
+the life of Scott, we seem to be following a
+pilgrimage where the traveller meets with different
+temptations and escapes various dangers,
+and takes up a number of duties, and is led to
+do a number of fine things which he had not
+thought of till the time came for attempting
+them. The poet and the novelist are revealed
+in the historian and the collector of antiquities.
+Scott before <i>The Lay of the Last Minstrel</i> looked
+like a young adventurer in the study of history
+and legend, who had it in him to do solid work
+on a large scale (like his edition of Dryden) if
+he chose to take it up. He is not a poet from
+the beginning like Wordsworth and Keats,<span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span>
+devoted to that one service; he turns novelist
+late in life when the success of his poetry seems
+to be over. His early experiments in verse are
+queerly suggested and full of hazard. It needs
+a foreign language&mdash;German&mdash;to encourage him
+to rhyme. The fascination of B&uuml;rger's <i>Lenore</i>
+is a reflection from English ballad poetry; the
+reflected image brought out what had been less
+remarkable in the original. The German devices
+of terror and wonder are a temptation to
+Scott; they hang about his path with their
+monotonous and mechanical jugglery, their
+horrors made all the more intolerable through
+the degraded verse of Lewis&mdash;a bad example
+which Scott instinctively refused to follow,
+though he most unaccountably praised Lewis's
+sense of rhythm. The close of the eighteenth
+century cannot be fully understood, nor the
+progress of poetry in the nineteenth, without
+some study of the plague of ghosts and
+skeletons which has left its mark on <i>The Ancient
+Mariner</i>, from which Goethe and Scott did not
+escape, which imposed on Shelley in his youth,
+to which Byron yielded his tribute of <i>The Vampire</i>.
+A tempting subject for expatiation,
+especially when one remembers&mdash;and who that
+has once read it can forget?&mdash;the most glorious<span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span>
+passage in the <i>Memoirs</i> of Alexandre Dumas
+describing his first conversation with the unknown
+gentleman who afterwards turned out to
+be Charles Nodier, in the theatre of the Porte
+Saint-Martin where the play was the <i>Vampire</i>:
+from which theatre Charles Nodier was expelled
+for hissing the <i>Vampire</i>, himself being part-author
+of the marvellous drama. I hope it is
+not impertinent in a stranger to express his
+unbounded gratitude for that delightful and
+most humorous dialogue, in which the history of
+the Elzevir Press (starting from <i>Le Pastissier
+fran&ccedil;ois</i>) and the tragedy of the rotifer are so
+adroitly interwoven with the theatrical scene of
+Fingal's Cave and its unusual visitors, the whole
+adventure ending in the happiest laughter over
+the expulsion of the dramatist. I may not have
+any right to say so, but I throw myself on the
+mercy of my hearers: I remember nothing in
+any chronicle so mercurial or jovial in its high
+spirits as this story of the first encounter and
+the beginning of friendship between Charles
+Nodier and Alexandre Dumas.</p>
+
+<p>The Vampire of Staffa may seem rather far
+from the range of Scott's imagination; but his
+contributions to Lewis's <i>Tales of Wonder</i> show
+the risk that he ran, while the White Lady of<span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span>
+Avenel in <i>The Monastery</i> proves that even in
+his best years he was exposed to the hazards of
+conventional magic.</p>
+
+<p>Lockhart has given the history of <i>The Lay of
+the Last Minstrel</i>, how the story developed and
+took shape. It is not so much an example of
+Scott's mode of writing poetry as an explanation
+of his whole literary life. <i>The Lay of the Last
+Minstrel</i> was his first original piece of any
+length and his first great popular success. And,
+as Lockhart has sufficiently shown, it was impossible
+for Scott to get to it except through the
+years of exploration and editing, the collection
+of the Border ballads, the study of the old
+metrical romance of <i>Sir Tristrem</i>. The story
+of the Goblin Page was at first reckoned enough
+simply for one of the additions to the Border
+Minstrelsy on the scale of a ballad. Scott had
+tried another sort of imitation in the stanzas
+composed in old English and in the metre of the
+original to supply the missing conclusion of <i>Sir
+Tristrem</i>. It was not within his scope to write
+an original romance in the old language, but Coleridge's
+<i>Christabel</i> was recited to him, and gave
+him a modern rhythm fit for a long story. So
+the intended ballad became the <i>Lay</i>, taking in,
+with the legend of Gilpin Horner for a founda<span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span>tion,
+all the spirit of Scott's knowledge of his
+own country.</p>
+
+<p>Here I must pause to express my admiration
+for Lockhart's criticism of Scott, and particularly
+for his description of the way in which the <i>Lay</i>
+came to be written. It is really wonderful,
+Lockhart's sensible, unpretentious, thorough
+interpretation of the half-unconscious processes
+by which Scott's reading and recollections were
+turned into his poems and novels. Of course,
+it is all founded on Scott's own notes and introductions.</p>
+
+<p>What happened with the <i>Lay</i> is repeated a
+few years afterwards in <i>Waverley</i>. The <i>Lay</i>,
+a rhyming romance; <i>Waverley</i> an historical
+novel; what, it may be asked, is so very remarkable
+about their origins? Was it not open to
+any one to write romances in verse or prose?
+Perhaps; but the singularity of Scott's first
+romances in verse and prose is that they do not
+begin as literary experiments, but as means of
+expressing their author's knowledge, memory
+and treasured sentiment. Hazlitt is right;
+Scott's experience is shaped into the Waverley
+Novels, though one can distinguish later between
+those stories that belong properly to Scott's life and
+those that are invented in repetition of a pattern.<span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span></p>
+
+<p>Scott's own alleged reason for giving up the
+writing of tales in verse was that Byron beat
+him. But there must have been something
+besides this: it is plain that the pattern of
+rhyming romance was growing stale. The <i>Lay</i>
+needs no apology; <i>Marmion</i> includes the great
+tragedy of Scotland in the Battle of Flodden:&mdash;</p>
+
+<p class="poem">The stubborn spearmen still made good<br />
+Their dark impenetrable wood,<br />
+Each stepping where his comrade stood,<br />
+<span class="flodden">The instant that he fell.</span><br />
+No thought was there of dastard flight;<br />
+Link'd in the serried phalanx tight,<br />
+Groom fought like noble, squire like knight,<br />
+<span class="flodden">As fearlessly and well;</span><br />
+Till utter darkness closed her wing<br />
+O'er their thin host and wounded king.</p>
+
+<p>And <i>The Lady of the Lake</i> is all that the Highlands
+meant for Scott at that time. But <i>Rokeby</i>
+has little substance, though it includes more than
+one of Scott's finest songs. <i>The Lord of the
+Isles</i>, though its battle is not too far below <i>Marmion</i>,
+and though its hero is Robert the Bruce,
+yet wants the original force of the earlier
+romances. When Scott changed his hand from
+verse to prose for story-telling and wrote
+<i>Waverley</i>, he not only gained in freedom and<span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span>
+got room for a kind of dialogue that was impossible
+in rhyme, but he came back to the same
+sort of experience and the same strength of
+tradition as had given life to the <i>Lay</i>. The
+time of <i>Waverley</i> was no more than sixty
+years since, when Scott began to write it and
+mislaid and forgot the opening chapters in 1805;
+he got his ideas of the Forty-five from an old
+Highland gentleman who had been out with the
+Highland clans, following the lead of Prince
+Charles Edward, the Young Chevalier. The
+clans in that adventure belonged to a world more
+ancient than that of <i>Ivanhoe</i> or <i>The Talisman</i>;
+they also belonged so nearly to Scott's
+own time that he heard their story from one of
+themselves. He had spoken and listened to
+another gentleman who had known Rob Roy.
+<i>The Bride of Lammermoor</i> came to him as
+the Icelandic family histories came to the historians
+of Gunnar or Kjartan Olafsson. He
+had known the story all his life, and he wrote it
+from tradition. The time of <i>The Heart of
+Midlothian</i> is earlier than <i>Waverley</i>, but it is
+more of a modern novel than an historical
+romance, and even <i>Old Mortality</i>, which is
+earlier still, is modern also; Cuddie Headrigg
+is no more antique than Dandie Dinmont or the<span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span>
+Ettrick Shepherd himself, and even his mother
+and her Covenanting friends are not far from the
+fashion of some enthusiasts of Scott's own time&mdash;e.g.
+Hogg's religious uncle who could not be
+brought to repeat his old ballads for thinking
+of 'covenants broken, burned and buried.'
+<i>Guy Mannering</i> and <i>The Antiquary</i> are both
+modern stories: it is not till <i>Ivanhoe</i> that
+Scott definitely starts on the regular historical
+novel in the manner that was found so easy to
+imitate.</p>
+
+<p>If <i>Rob Roy</i> is not the very best of them all&mdash;and
+on problems of that sort perhaps the right
+word may be the Irish phrase <i>Naboclish!</i> ('don't
+trouble about that!') which Scott picked up
+when he was visiting Miss Edgeworth in Ireland&mdash;<i>Rob
+Roy</i> shows well enough what Scott
+could do, in romance of adventure and in
+humorous dialogue. The plots of his novels
+are sometimes thought to be loose and ill-defined,
+and he tells us himself that he seldom
+knew where his story was carrying him. His
+young heroes are sometimes reckoned rather
+feeble and featureless. Francis Osbaldistone,
+like Edward Waverley and Henry Morton,
+drifts into trouble and has his destiny shaped for
+him by other people and accidents. But is this<span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span>
+anything of a reproach to the author of the
+story? Then it must tell against some novelists
+who seem to work more conscientiously and
+carefully than Scott on the frame of their story&mdash;against
+George Meredith in Evan Harrington
+and Richard Feverel and Harry Richmond,
+all of whom are driven by circumstances and see
+their way no more clearly than Scott's young
+men. Is it not really the strength, not the weakness,
+of Scott's imagination that engages us in
+the perplexities of Waverley and Henry Morton
+even to the verge of tragedy&mdash;keeping out of
+tragedy because it is not his business, and would
+spoil his looser, larger, more varied web of a
+story? Francis Osbaldistone is less severely
+tried. His story sets him travelling, and may
+we not admire the skill of the author who uses
+the old device of a wandering hero with such
+good effect? The story is not a mere string of
+adventures&mdash;it is adventures with a bearing on
+the main issue, with complications that all tell in
+the end; chief among them, of course, the successive
+appearances of Mr. Campbell and the
+counsels of Diana Vernon. The scenes that
+bring out Scott's genius most completely&mdash;so
+they have always seemed to me&mdash;are those of
+Francis Osbaldistone's stay in Glasgow. Seldom<span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span>
+has any novelist managed so easily so many different
+modes of interest. There is the place&mdash;in
+different lights&mdash;the streets, the river, the
+bridge, the Cathedral, the prison, seen through
+the suspense of the hero's mind, rendered in the
+talk of Bailie Nicol Jarvie and Andrew Fairservice;
+made alive, as the saying is, through
+successive anxieties and dangers; thrilling with
+romance, yet at the same time never beyond the
+range of ordinary common sense. Is it not a
+triumph, at the very lowest reckoning, of dexterous
+narrative to bring together in a vivid
+dramatic scene the humorous character of the
+Glasgow citizen and the equal and opposite
+humour of his cousin, the cateran, the Highland
+loon, Mr. Campbell disclosed as Rob Roy&mdash;with
+the Dougal creature helping him?</p>
+
+<p>Scott's comedy is like that of Cervantes
+in <i>Don Quixote</i>&mdash;humorous dialogue independent
+of any definite comic plot and mixed up
+with all sorts of other business. Might not
+Falstaff himself be taken into comparison too?
+Scott's humorous characters are nowhere and
+never characters in a comedy&mdash;and Falstaff, the
+greatest comic character in Shakespeare, is not
+great in comedy.</p>
+
+<p>Some of the rich idiomatic Scottish dialogue<span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span>
+in the novels might be possibly disparaged (like
+Ben Jonson) as 'mere humours and observation.'
+Novelists of lower rank than Scott&mdash;Galt
+in <i>The Ayrshire Legatees</i> and <i>Annals
+of the Parish</i> and <i>The Entail</i>&mdash;have nearly
+rivalled Scott in reporting conversation. But
+the Bailie at any rate has his part to play in the
+story of <i>Rob Roy</i>&mdash;and so has Andrew Fairservice.
+Scott never did anything more ingenious
+than his contrast of those two characters&mdash;so
+much alike in language, and to some extent
+in cast of mind, with the same conceit and self-confidence,
+the same garrulous Westland
+security in their own judgment, both attentive
+to their own interests, yet clearly and absolutely
+distinct in spirit, the Bailie a match in courage
+for Rob Roy himself.</p>
+
+<p>Give me leave, before I end, to read one
+example of Scott's language: from the scene in
+<i>Guy Mannering</i> where Dandie Dinmont explains
+his case to Mr. Pleydell the advocate.
+It is true to life: memory and imagination here
+indistinguishable:&mdash;</p>
+
+<div class="blockquot"><p>Dinmont, who had pushed after Mannering into
+the room, began with a scrape of his foot and a
+scratch of his head in unison. 'I am Dandie
+Dinmont, sir, of the Charlies-hope&mdash;the Liddesdale<span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span>
+lad&mdash;ye'll mind me? It was for me you won yon
+grand plea.'</p>
+
+<p>'What plea, you loggerhead?' said the lawyer; 'd'ye
+think I can remember all the fools that come to
+plague me?'</p>
+
+<p>'Lord, sir, it was the grand plea about the grazing o'
+the Langtae-head,' said the farmer.</p>
+
+<p>'Well, curse thee, never mind;&mdash;give me the
+memorial, and come to me on Monday at ten,' replied
+the learned counsel.</p>
+
+<p>'But, sir, I haena got ony distinct memorial.'</p>
+
+<p>'No memorial, man?' said Pleydell.</p>
+
+<p>'Na, sir, nae memorial,' answered Dandie; 'for your
+honour said before, Mr. Pleydell, ye'll mind, that ye
+liked best to hear us hill-folk tell our ane tale by word
+o' mouth.'</p>
+
+<p>'Beshrew my tongue that said so!' answered the
+counsellor; 'it will cost my ears a dinning.&mdash;Well, say
+in two words what you've got to say&mdash;you see the
+gentleman waits.'</p>
+
+<p>'Ou, sir, if the gentleman likes he may play his ain
+spring first; it's a' ane to Dandie.'</p>
+
+<p>'Now, you looby,' said the lawyer, 'cannot you conceive
+that your business can be nothing to Colonel
+Mannering, but that he may not choose to have these
+great ears of thine regaled with his matters?'</p>
+
+<p>'Aweel, sir, just as you and he like, so ye see to
+my business,' said Dandie, not a whit disconcerted by
+the roughness of this reception. 'We're at the auld
+wark o' the marches again, Jock o' Dawston Cleugh<span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span>
+and me. Ye see we march on the tap o' Touthoprigg
+after we pass the Pomoragrains; for the Pomoragrains,
+and Slackenspool, and Bloodylaws, they come
+in there, and they belang to the Peel; but after ye
+pass Pomoragrains at a muckle great saucer-headed
+cutlugged stane, that they ca' Charlie's Chuckie, there
+Dawston Cleugh and Charlies-hope they march.
+Now, I say, the march rins on the tap o' the hill
+where the wind and water shears; but Jock o' Dawston
+Cleugh again, he contravenes that, and says that it
+hauds down by the auld drove-road that gaes awa by
+the Knot o' the Gate ower to Keeldar-ward&mdash;and that
+makes an unco difference.'</p>
+
+<p>'And what difference does it make, friend?' said
+Pleydell. 'How many sheep will it feed?'</p>
+
+<p>'Ou, no mony,' said Dandie, scratching his head;
+'it's lying high and exposed&mdash;it may feed a hog, or
+aiblins twa in a good year.'</p>
+
+<p>'And for this grazing, which may be worth about
+five shillings a-year, you are willing to throw away
+a hundred pound or two?'</p>
+
+<p>'Na, sir, it's no for the value of the grass,' replied
+Dinmont; 'it's for justice.'</p></div>
+
+<p>Do we at home in Scotland make too much
+of Scott's life and associations when we think
+of his poetry and his novels? Possibly few
+Scotsmen are impartial here. As Dr. Johnson
+said, they are not a fair people, and when they
+think of the Waverley Novels they perhaps do<span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span>
+not always see quite clearly. Edinburgh and
+the Eildon Hills, Aberfoyle and Stirling, come
+between their minds and the printed page:&mdash;</p>
+
+<p class="poem">A mist of memory broods and floats,<br />
+<span class="eildon">The Border waters flow,</span><br />
+The air is full of ballad notes<br />
+<span class="eildon">Borne out of long ago.</span></p>
+
+<p>It might be prudent and more critical to take
+each book on its own merits in a dry light. But
+it is not easy to think of a great writer thus
+discreetly. Is Balzac often judged accurately
+and coldly, piece by piece, here a line and there
+a line? Are not the best judges those who
+think of his whole achievement altogether&mdash;the
+whole amazing world of his creation&mdash;<i>La
+Com&eacute;die Humaine</i>? By the same sort of rule
+Scott may be judged, and the whole of his work,
+his vast industry, and all that made the fabric of
+his life, be allowed to tell on the mind of the
+reader.</p>
+
+<p>I wish this discourse had been more worthy
+of its theme, and of this audience, and of this
+year of heroic memories and lofty hopes. But
+if, later in the summer, I should find my way
+back to Ettrick and Yarrow and the Eildon
+Hills, it will be a pleasure to remember there<span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span>
+the honour you have done me in allowing me
+to speak in Paris, however unworthily, of the
+greatness of Sir Walter Scott.</p>
+
+<p class="printer">Glasgow: Printed at the University Press by Robert MacLehose and Co. Ltd.</p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Sir Walter Scott, by William Paton Ker
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@@ -0,0 +1,1028 @@
+The Project Gutenberg EBook of Sir Walter Scott, by William Paton Ker
+
+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
+       A Lecture at the Sorbonne
+
+Author: William Paton Ker
+
+Release Date: April 29, 2007 [EBook #21250]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK SIR WALTER SCOTT ***
+
+
+
+
+Produced by Constanze Hofmann, Jeanette Jordan, Lori
+Scoggins, Norilan, McMartha, sassi, Siobhan Hillman, Tamise
+Totterdell, Zara Baxter, Janet Blenkinship and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+  SIR WALTER SCOTT
+
+  A Lecture at the Sorbonne,
+  May 22, 1919, in the series of
+  _Conferences Louis Liard_
+
+  BY
+
+  WILLIAM PATON KER, LL.D.
+
+  GLASGOW
+
+  MACLEHOSE, JACKSON AND CO.
+
+  PUBLISHERS TO THE UNIVERSITY
+
+  1919
+
+
+
+
+NOTE
+
+
+This Essay appeared in the _Anglo-French Review_, August, 1919, and
+I am obliged to the Editor and Publisher for leave to reprint it.
+
+                                           W. P. K.
+
+
+
+
+Sir Walter Scott
+
+
+When I was asked to choose a subject for a lecture at the Sorbonne,
+there came into my mind somehow or other the incident of Scott's visit
+to Paris when he went to see _Ivanhoe_ at the Odeon, and was amused to
+think how the story had travelled and made its fortune:--
+
+     'It was an opera, and, of course, the story sadly mangled and
+     the dialogue in great part nonsense. Yet it was strange to
+     hear anything like the words which (then in an agony of pain
+     with spasms in my stomach) I dictated to William Laidlaw at
+     Abbotsford, now recited in a foreign tongue, and for the
+     amusement of a strange people. I little thought to have
+     survived the completing of this novel.'
+
+It seemed to me that here I had a text for my sermon. The cruel
+circumstances of the composition of _Ivanhoe_ might be neglected. The
+interesting point was in the contrast between the original home of
+Scott's imagination and the widespread triumph of his works abroad--on
+the one hand, Edinburgh and Ashestiel, the traditions of the Scottish
+border and the Highlands, the humours of Edinburgh lawyers and Glasgow
+citizens, country lairds, farmers and ploughmen, the Presbyterian
+eloquence of the Covenanters and their descendants, the dialect hardly
+intelligible out of its own region, and not always clear even to natives
+of Scotland; on the other hand, the competition for Scott's novels in
+all the markets of Europe, as to which I take leave to quote the
+evidence of Stendhal:--
+
+     'Lord Byron, auteur de quelques heroides sublimes, mais
+     toujours les memes, et de beaucoup de tragedies mortellement
+     ennuyeuses, n'est point du tout le chef des romantiques.
+
+     'S'il se trouvait un homme que les traducteurs a la toise se
+     disputassent egalement a Madrid, a Stuttgard, a Paris et a
+     Vienne, l'on pourrait avancer que cet homme a devine les
+     tendances morales de son epoque.'
+
+If Stendhal proceeds to remark in a footnote that 'l'homme lui-meme est
+peu digne d'enthousiasme,' it is pleasant to remember that Lord Byron
+wrote to M. Henri Beyle to correct his low opinion of the character of
+Scott. This is by the way, though not, I hope, an irrelevant remark. For
+Scott is best revealed in his friendships; and the mutual regard of
+Scott and Byron is as pleasant to think of as the friendship between
+Scott and Wordsworth.
+
+As to the truth of Stendhal's opinion about the vogue of Scott's novels
+and his place as chief of the romantics, there is no end to the list of
+witnesses who might be summoned. Perhaps it may be enough to remember
+how the young Balzac was carried away by the novels as they came fresh
+from the translator, almost immediately after their first appearance at
+home.
+
+One distinguishes easily enough, at home in Scotland, between the
+novels, or the passages in the novels, that are idiomatic, native,
+homegrown, intended for his own people, and the novels not so limited,
+the romances of English or foreign history--_Ivanhoe_, _Kenilworth_,
+_Quentin Durward_. But as a matter of fact these latter, though possibly
+easier to understand and better suited to the general public, were not
+invariably preferred. The novels were 'the Scotch novels.' Although
+Thackeray, when he praises Scott, takes most of his examples from the
+less characteristic, what we may call the English group, on the other
+hand, Hazlitt dwells most willingly on the Scotch novels, though he did
+not like Scotsmen, and shared some of the prejudice of Stendhal--'my
+friend Mr. Beyle,' as he calls him in one place--with regard to Scott
+himself. And Balzac has no invidious preferences: he recommends an
+English romance, _Kenilworth_, to his sister, and he also remembers
+David Deans, a person most intensely and peculiarly Scots.
+
+One may distinguish the Scotch novels, which only their author could
+have written, from novels like _Peveril of the Peak_ or _Anne of
+Geierstein_, which may be thought to resemble rather too closely the
+imitations of Scott, the ordinary historical novel as it was written by
+Scott's successors. But though the formula of the conventional
+historical novel may have been drawn from the less idiomatic group, it
+was not this that chiefly made Scott's reputation. His fame and
+influence were achieved through the whole mass of his immense and varied
+work; and the Scots dialect and humours, which make so large a part of
+his resources when he is putting out all his power, though they have
+their difficulties for readers outside of Scotland, were no real
+hindrances in the way of the Scotch novels: Dandie Dinmont and Bailie
+Nicol Jarvie, Cuddie Headrigg and Andrew Fairservice were not ignored or
+forgotten, even where _Ivanhoe_ or _The Talisman_ might have the
+preference as being more conformable to the general mind of novel
+readers.
+
+The paradox remains: that the most successful novelist of the whole
+world should have had his home and found his strength in a country with
+a language of its own, barely intelligible, frequently repulsive to its
+nearest neighbours, a language none the more likely to win favour when
+the manners or ideas of the country were taken into consideration as
+well.
+
+The critics who refuse to see much good in Scott, for the most part
+ignore the foundations of his work. Thus Stendhal, who acknowledges
+Scott's position as representative of his age, the one really great,
+universally popular, author of his day, does not recognise in Scott's
+imagination much more than trappings and tournaments, the furniture of
+the regular historical novel. He compares Scott's novels with _La
+Princesse de Cleves_, and asks which is more to be praised, the author
+who understands and reveals the human heart, or the descriptive
+historian who can fill pages with unessential details but is afraid of
+the passions.
+
+In which it seems to be assumed that Scott, when he gave his attention
+to the background and the appropriate dresses, was neglecting the
+dramatic truth of his characters and their expression. Scott, it may be
+observed, had, in his own reflexions on the art of novel-writing, taken
+notice of different kinds of policy in dealing with the historical
+setting. In his lives of the novelists, reviewing _The Old English
+Baron_, he describes the earlier type of historical novel in which
+little or nothing is done for antiquarian decoration or for local
+colour; while in his criticism of Mrs. Radcliffe he uses the very
+term--'melodrama'--and the very distinction--melodrama as opposed to
+tragedy--which is the touchstone of the novelist. Whatever his success
+might be, there can be no doubt as to his intentions. He meant his
+novels, with their richer background and their larger measure of detail,
+to sacrifice nothing of dramatic truth. _La Princesse de Cleves_, a
+professedly historical novel with little 'local colour', may be in
+essentials finer and more sincere than Scott. This is a question which I
+ask leave to pass over. But it is not Scott's intention to put off the
+reader with details and decoration as a substitute for truth of
+character and sentiment. Here most obviously, with all their
+differences, Balzac and Scott are agreed: expensive both of them in
+description, but neither of them inclined to let mere description (in
+Pope's phrase) take the place of sense--i.e. of the life which it is the
+business of the novelist to interpret. There is danger, no doubt, of
+overdoing it, but description in Balzac, however full and long, is never
+inanimate. He has explained his theory in a notice of Scott, or rather
+in a comparison of Scott and Fenimore Cooper (_Revue Parisienne_, 1840),
+where the emptiness of Cooper's novels is compared with the variety of
+Scott's, the solitude of the American lakes and forests with the crowd
+of life commanded by the author of _Waverley_. Allowing Cooper one great
+success in the character of Leather-stocking and some merit in a few
+other personages, Balzac finds beyond these nothing like Scott's
+multitude of characters; their place is taken by the beauties of nature.
+But description cannot make up for want of life in a story.
+
+Balzac shows clearly that he understood the danger of description, and
+how impossible, how unreasonable, it is to make scenery do instead of
+story and characters. He does not seem to think that Scott has failed in
+this respect, while in his remarks on Scott's humour he proves how far
+he is from the critics who found in Scott nothing but scenery and
+accoutrements and the rubbish of old chronicles. Scott's chivalry and
+romance are not what Balzac is thinking about. Balzac is considering
+Scott's imagination in general, his faculty in narrative and dialogue,
+wherever his scene may be, from whatever period the facts of his story
+may be drawn.
+
+Scott's superiority to his American rival comes out, says Balzac,
+chiefly in his secondary personages and in his talent for comedy. The
+American makes careful mechanical provision for laughter: Balzac takes
+this all to pieces, and leaves Scott unchallenged and inexhaustible.
+
+Scott's reputation has suffered a little through suspicion of his
+politics, and, strangely enough, of his religion. He has been made
+responsible for movements in Churches about which opinions naturally
+differ, but of which it is certain Scott never dreamed. Those who
+suspect and blame his work because it is reactionary, illiberal, and
+offensive to modern ideas of progress, are, of course, mainly such
+persons as believe in 'the march of intellect,' and think meanly of each
+successive stage as soon as it is left behind. The spokesman of this
+party is Mark Twain, who wrote a burlesque of the Holy Grail, and who in
+his _Life on the Mississippi_ makes Scott responsible for the vanities
+and superstitions of the Southern States of America:--
+
+     'The South has not yet recovered from the debilitating
+     influence of his books. Admiration of his fantastic heroes and
+     their grotesque "chivalry" doings and romantic juvenilities
+     still survives here, in an atmosphere in which is already
+     perceptible the wholesome and practical nineteenth century
+     smell of cotton-factories and locomotives.'
+
+It is useless to moralise on this, and the purport and significance of
+it may be left for private meditation to enucleate and enjoy. But it
+cannot be fully appreciated, unless one remembers that the author of
+this and other charges against chivalry is also the historian of the
+feud between the Shepherdsons and the Grangerfords, equal in tragedy to
+the themes of the _chansons de geste_: of _Raoul de Cambrai_ or _Garin
+le Loherain_. Mark Twain in the person of Huckleberry Finn is committed
+to the ideas of chivalry neither more nor less than Walter Scott in
+_Ivanhoe_ or _The Talisman_. I am told further--though this is perhaps
+unimportant--that Gothic ornament in America is not peculiarly the taste
+of the South, that even at Chicago there are imitations of Gothic towers
+and halls.
+
+Hazlitt, an unbeliever in most of Scott's political principles, is also
+the most fervent and expressive admirer of the novels, quite beyond the
+danger of modern progress, his judgment not corrupted at all by the
+incense of the cotton-factory or the charm of the locomotive. Hazlitt's
+praise of Scott is an immortal proof of Hazlitt's sincerity in
+criticism. Scott's friends were not Hazlitt's, and Scott and Hazlitt
+differed both in personal and public affairs as much as any men of their
+time. But Hazlitt has too much sense not to be taken with the Scotch
+novels, and too much honesty not to say so, and too much spirit not to
+put all his strength into praising, when once he begins. Hazlitt's
+critical theory of Scott's novels is curiously like his opinion about
+Scott's old friend, the poet Crabbe: whose name I cannot leave without a
+salute to the laborious and eloquent work of M. Huchon, his scholarly
+French interpreter.
+
+Hazlitt on Crabbe and Scott is a very interesting witness on account of
+the principles and presuppositions employed by him. In the last hundred
+years or so the problems of realism and naturalism have been canvassed
+almost too thoroughly between disputants who seem not always to know
+when they are wandering from the point or wearying their audience with
+verbiage and platitudes. But out of all the controversy there has
+emerged at least one plain probability--that there is no such thing as
+simple transference of external reality into artistic form. This is what
+Hazlitt seems to ignore very strangely in his judgment of Crabbe and
+Scott, and this is, I think, an interesting point in the history of
+criticism, especially when it is remembered that Hazlitt was a critic of
+painting, and himself a painter. He speaks almost as if realities passed
+direct into the verse of Crabbe; as if Scott's imagination in the novels
+were merely recollection and transcription of experience. Speaking of
+the difference between the genius of Shakespeare and Sir Walter Scott,
+he says:
+
+     'It is the difference between _originality_ and the want of
+     it, between writing and transcribing. Almost all the finest
+     scenes and touches, the great master-strokes in Shakespeare,
+     are such as must have belonged to the class of invention,
+     where the secret lay between him and his own heart, and the
+     power exerted is in adding to the given materials and working
+     something out of them: in the author of _Waverley_, not all,
+     but the principal and characteristic beauties are such as may
+     and do belong to the class of compilation--that is, consist in
+     bringing the materials together and leaving them to produce
+     their own effect....
+
+     'No one admires or delights in the Scotch Novels more than I
+     do, but at the same time, when I hear it asserted that his
+     mind is of the same class with Shakespeare, or that he
+     imitates nature in the same way, I confess I cannot assent to
+     it. No two things appear to me more different. Sir Walter is
+     an imitator of nature and nothing more; but I think
+     Shakespeare is infinitely more than this.... Sir Walter's mind
+     is full of information, but the "_o'er informing power_" is
+     not there. Shakespeare's spirit, like fire, shines through
+     him; Sir Walter's, like a stream, reflects surrounding
+     objects.'
+
+I may not at this time quote much more of Hazlitt's criticism, but the
+point of it would be misunderstood if it were construed as depreciation
+of Scott. What may be considered merely memory in contrast to
+Shakespeare's imagination is regarded by Hazlitt as a limitless source
+of visionary life when compared with the ideas of self-centred authors
+like Byron. This is what Hazlitt says in another essay of the same
+series:--
+
+     'Scott "does not 'spin his brains' but something much better."
+     He "has got hold of another clue--that of Nature and
+     history--and long may he spin it, 'even to the crack of
+     doom!'" Scott's success lies in not thinking of himself. "And
+     then again the catch that blind Willie and his wife and the
+     boy sing in the hollow of the heath--there is more mirth and
+     heart's ease in it than in all Lord Byron's _Don Juan_ or Mr.
+     Moore's _Lyrics_. And why? Because the author is thinking of
+     beggars and a beggar's brat, and not of himself, while he
+     writes it. He looks at Nature, sees it, hears it, feels it,
+     and believes that it exists before it is printed, hotpressed,
+     and labelled on the back _By the Author of 'Waverley.'_ He
+     does not fancy, nor would he for one moment have it supposed,
+     that his name and fame compose all that is worth a moment's
+     consideration in the universe. This is the great secret of his
+     writings--a perfect indifference to self."'
+
+Hazlitt appears to allow too little to the mind of the Author of
+_Waverley_--as though the author had nothing to do but let the contents
+of his mind arrange themselves on his pages. What this exactly may mean
+is doubtful. We are not disposed to accept the theory of the passive
+mind as a sufficient philosophical explanation of the Scotch novels. But
+Hazlitt is certainly right to make much of the store of reading and
+reminiscence they imply, and it is not erroneous or fallacious to think
+of all Scott's writings in verse or prose as peculiarly the fruits of
+his life and experience. His various modes of writing are suggested to
+him by the way, and he finds his art with no long practice when the
+proper time comes to use it. After all, is this not what was meant by
+Horace when he said that the subject rightly chosen will provide what is
+wanted in art and style?
+
+                   Cui lecta potenter erit res
+     Nec facundia deseret hunc nec lucidus ordo.
+
+It was chosen by Corneille as a motto for _Cinna_; it would do as a
+summary of all the writings of Scott.
+
+The Waverley Novels may be reckoned among the works of fiction that have
+had their origin in chance, and have turned out something different from
+what the author intended. Reading the life of Scott, we seem to be
+following a pilgrimage where the traveller meets with different
+temptations and escapes various dangers, and takes up a number of
+duties, and is led to do a number of fine things which he had not
+thought of till the time came for attempting them. The poet and the
+novelist are revealed in the historian and the collector of antiquities.
+Scott before _The Lay of the Last Minstrel_ looked like a young
+adventurer in the study of history and legend, who had it in him to do
+solid work on a large scale (like his edition of Dryden) if he chose to
+take it up. He is not a poet from the beginning like Wordsworth and
+Keats, devoted to that one service; he turns novelist late in life when
+the success of his poetry seems to be over. His early experiments in
+verse are queerly suggested and full of hazard. It needs a foreign
+language--German--to encourage him to rhyme. The fascination of Buerger's
+_Lenore_ is a reflection from English ballad poetry; the reflected image
+brought out what had been less remarkable in the original. The German
+devices of terror and wonder are a temptation to Scott; they hang about
+his path with their monotonous and mechanical jugglery, their horrors
+made all the more intolerable through the degraded verse of Lewis--a bad
+example which Scott instinctively refused to follow, though he most
+unaccountably praised Lewis's sense of rhythm. The close of the
+eighteenth century cannot be fully understood, nor the progress of
+poetry in the nineteenth, without some study of the plague of ghosts and
+skeletons which has left its mark on _The Ancient Mariner_, from which
+Goethe and Scott did not escape, which imposed on Shelley in his youth,
+to which Byron yielded his tribute of _The Vampire_. A tempting subject
+for expatiation, especially when one remembers--and who that has once
+read it can forget?--the most glorious passage in the _Memoirs_ of
+Alexandre Dumas describing his first conversation with the unknown
+gentleman who afterwards turned out to be Charles Nodier, in the theatre
+of the Porte Saint-Martin where the play was the _Vampire_: from which
+theatre Charles Nodier was expelled for hissing the _Vampire_, himself
+being part-author of the marvellous drama. I hope it is not impertinent
+in a stranger to express his unbounded gratitude for that delightful and
+most humorous dialogue, in which the history of the Elzevir Press
+(starting from _Le Pastissier francois_) and the tragedy of the rotifer
+are so adroitly interwoven with the theatrical scene of Fingal's Cave
+and its unusual visitors, the whole adventure ending in the happiest
+laughter over the expulsion of the dramatist. I may not have any right
+to say so, but I throw myself on the mercy of my hearers: I remember
+nothing in any chronicle so mercurial or jovial in its high spirits as
+this story of the first encounter and the beginning of friendship
+between Charles Nodier and Alexandre Dumas.
+
+The Vampire of Staffa may seem rather far from the range of Scott's
+imagination; but his contributions to Lewis's _Tales of Wonder_ show the
+risk that he ran, while the White Lady of Avenel in _The Monastery_
+proves that even in his best years he was exposed to the hazards of
+conventional magic.
+
+Lockhart has given the history of _The Lay of the Last Minstrel_, how
+the story developed and took shape. It is not so much an example of
+Scott's mode of writing poetry as an explanation of his whole literary
+life. _The Lay of the Last Minstrel_ was his first original piece of any
+length and his first great popular success. And, as Lockhart has
+sufficiently shown, it was impossible for Scott to get to it except
+through the years of exploration and editing, the collection of the
+Border ballads, the study of the old metrical romance of _Sir Tristrem_.
+The story of the Goblin Page was at first reckoned enough simply for one
+of the additions to the Border Minstrelsy on the scale of a ballad.
+Scott had tried another sort of imitation in the stanzas composed in old
+English and in the metre of the original to supply the missing
+conclusion of _Sir Tristrem_. It was not within his scope to write an
+original romance in the old language, but Coleridge's _Christabel_ was
+recited to him, and gave him a modern rhythm fit for a long story. So
+the intended ballad became the _Lay_, taking in, with the legend of
+Gilpin Horner for a foundation, all the spirit of Scott's knowledge of
+his own country.
+
+Here I must pause to express my admiration for Lockhart's criticism of
+Scott, and particularly for his description of the way in which the
+_Lay_ came to be written. It is really wonderful, Lockhart's sensible,
+unpretentious, thorough interpretation of the half-unconscious processes
+by which Scott's reading and recollections were turned into his poems
+and novels. Of course, it is all founded on Scott's own notes and
+introductions.
+
+What happened with the _Lay_ is repeated a few years afterwards in
+_Waverley_. The _Lay_, a rhyming romance; _Waverley_ an historical
+novel; what, it may be asked, is so very remarkable about their origins?
+Was it not open to any one to write romances in verse or prose? Perhaps;
+but the singularity of Scott's first romances in verse and prose is that
+they do not begin as literary experiments, but as means of expressing
+their author's knowledge, memory and treasured sentiment. Hazlitt is
+right; Scott's experience is shaped into the Waverley Novels, though one
+can distinguish later between those stories that belong properly to
+Scott's life and those that are invented in repetition of a pattern.
+
+Scott's own alleged reason for giving up the writing of tales in verse
+was that Byron beat him. But there must have been something besides
+this: it is plain that the pattern of rhyming romance was growing stale.
+The _Lay_ needs no apology; _Marmion_ includes the great tragedy of
+Scotland in the Battle of Flodden:--
+
+     The stubborn spearmen still made good
+     Their dark impenetrable wood,
+     Each stepping where his comrade stood,
+         The instant that he fell.
+     No thought was there of dastard flight;
+     Link'd in the serried phalanx tight,
+     Groom fought like noble, squire like knight,
+         As fearlessly and well;
+     Till utter darkness closed her wing
+     O'er their thin host and wounded king.
+
+And _The Lady of the Lake_ is all that the Highlands meant for Scott at
+that time. But _Rokeby_ has little substance, though it includes more
+than one of Scott's finest songs. _The Lord of the Isles_, though its
+battle is not too far below _Marmion_, and though its hero is Robert the
+Bruce, yet wants the original force of the earlier romances. When Scott
+changed his hand from verse to prose for story-telling and wrote
+_Waverley_, he not only gained in freedom and got room for a kind of
+dialogue that was impossible in rhyme, but he came back to the same sort
+of experience and the same strength of tradition as had given life to
+the _Lay_. The time of _Waverley_ was no more than sixty years since,
+when Scott began to write it and mislaid and forgot the opening chapters
+in 1805; he got his ideas of the Forty-five from an old Highland
+gentleman who had been out with the Highland clans, following the lead
+of Prince Charles Edward, the Young Chevalier. The clans in that
+adventure belonged to a world more ancient than that of _Ivanhoe_ or
+_The Talisman_; they also belonged so nearly to Scott's own time that he
+heard their story from one of themselves. He had spoken and listened to
+another gentleman who had known Rob Roy. _The Bride of Lammermoor_ came
+to him as the Icelandic family histories came to the historians of
+Gunnar or Kjartan Olafsson. He had known the story all his life, and he
+wrote it from tradition. The time of _The Heart of Midlothian_ is
+earlier than _Waverley_, but it is more of a modern novel than an
+historical romance, and even _Old Mortality_, which is earlier still, is
+modern also; Cuddie Headrigg is no more antique than Dandie Dinmont or
+the Ettrick Shepherd himself, and even his mother and her Covenanting
+friends are not far from the fashion of some enthusiasts of Scott's own
+time--e.g. Hogg's religious uncle who could not be brought to repeat his
+old ballads for thinking of 'covenants broken, burned and buried.' _Guy
+Mannering_ and _The Antiquary_ are both modern stories: it is not till
+_Ivanhoe_ that Scott definitely starts on the regular historical novel
+in the manner that was found so easy to imitate.
+
+If _Rob Roy_ is not the very best of them all--and on problems of that
+sort perhaps the right word may be the Irish phrase _Naboclish!_ ('don't
+trouble about that!') which Scott picked up when he was visiting Miss
+Edgeworth in Ireland--_Rob Roy_ shows well enough what Scott could do,
+in romance of adventure and in humorous dialogue. The plots of his
+novels are sometimes thought to be loose and ill-defined, and he tells
+us himself that he seldom knew where his story was carrying him. His
+young heroes are sometimes reckoned rather feeble and featureless.
+Francis Osbaldistone, like Edward Waverley and Henry Morton, drifts into
+trouble and has his destiny shaped for him by other people and
+accidents. But is this anything of a reproach to the author of the
+story? Then it must tell against some novelists who seem to work more
+conscientiously and carefully than Scott on the frame of their
+story--against George Meredith in Evan Harrington and Richard Feverel
+and Harry Richmond, all of whom are driven by circumstances and see
+their way no more clearly than Scott's young men. Is it not really the
+strength, not the weakness, of Scott's imagination that engages us in
+the perplexities of Waverley and Henry Morton even to the verge of
+tragedy--keeping out of tragedy because it is not his business, and
+would spoil his looser, larger, more varied web of a story? Francis
+Osbaldistone is less severely tried. His story sets him travelling, and
+may we not admire the skill of the author who uses the old device of a
+wandering hero with such good effect? The story is not a mere string of
+adventures--it is adventures with a bearing on the main issue, with
+complications that all tell in the end; chief among them, of course, the
+successive appearances of Mr. Campbell and the counsels of Diana Vernon.
+The scenes that bring out Scott's genius most completely--so they have
+always seemed to me--are those of Francis Osbaldistone's stay in
+Glasgow. Seldom has any novelist managed so easily so many different
+modes of interest. There is the place--in different lights--the streets,
+the river, the bridge, the Cathedral, the prison, seen through the
+suspense of the hero's mind, rendered in the talk of Bailie Nicol Jarvie
+and Andrew Fairservice; made alive, as the saying is, through successive
+anxieties and dangers; thrilling with romance, yet at the same time
+never beyond the range of ordinary common sense. Is it not a triumph, at
+the very lowest reckoning, of dexterous narrative to bring together in a
+vivid dramatic scene the humorous character of the Glasgow citizen and
+the equal and opposite humour of his cousin, the cateran, the Highland
+loon, Mr. Campbell disclosed as Rob Roy--with the Dougal creature
+helping him?
+
+Scott's comedy is like that of Cervantes in _Don Quixote_--humorous
+dialogue independent of any definite comic plot and mixed up with all
+sorts of other business. Might not Falstaff himself be taken into
+comparison too? Scott's humorous characters are nowhere and never
+characters in a comedy--and Falstaff, the greatest comic character in
+Shakespeare, is not great in comedy.
+
+Some of the rich idiomatic Scottish dialogue in the novels might be
+possibly disparaged (like Ben Jonson) as 'mere humours and observation.'
+Novelists of lower rank than Scott--Galt in _The Ayrshire Legatees_ and
+_Annals of the Parish_ and _The Entail_--have nearly rivalled Scott in
+reporting conversation. But the Bailie at any rate has his part to play
+in the story of _Rob Roy_--and so has Andrew Fairservice. Scott never
+did anything more ingenious than his contrast of those two
+characters--so much alike in language, and to some extent in cast of
+mind, with the same conceit and self-confidence, the same garrulous
+Westland security in their own judgment, both attentive to their own
+interests, yet clearly and absolutely distinct in spirit, the Bailie a
+match in courage for Rob Roy himself.
+
+Give me leave, before I end, to read one example of Scott's language:
+from the scene in _Guy Mannering_ where Dandie Dinmont explains his case
+to Mr. Pleydell the advocate. It is true to life: memory and imagination
+here indistinguishable:--
+
+     Dinmont, who had pushed after Mannering into the room, began
+     with a scrape of his foot and a scratch of his head in unison.
+     'I am Dandie Dinmont, sir, of the Charlies-hope--the
+     Liddesdale lad--ye'll mind me? It was for me you won yon
+     grand plea.'
+
+     'What plea, you loggerhead?' said the lawyer; 'd'ye think I
+     can remember all the fools that come to plague me?'
+
+     'Lord, sir, it was the grand plea about the grazing o' the
+     Langtae-head,' said the farmer.
+
+     'Well, curse thee, never mind;--give me the memorial, and come
+     to me on Monday at ten,' replied the learned counsel.
+
+     'But, sir, I haena got ony distinct memorial.'
+
+     'No memorial, man?' said Pleydell.
+
+     'Na, sir, nae memorial,' answered Dandie; 'for your honour
+     said before, Mr. Pleydell, ye'll mind, that ye liked best to
+     hear us hill-folk tell our ane tale by word o' mouth.'
+
+     'Beshrew my tongue that said so!' answered the counsellor; 'it
+     will cost my ears a dinning.--Well, say in two words what
+     you've got to say--you see the gentleman waits.'
+
+     'Ou, sir, if the gentleman likes he may play his ain spring
+     first; it's a' ane to Dandie.'
+
+     'Now, you looby,' said the lawyer, 'cannot you conceive that
+     your business can be nothing to Colonel Mannering, but that he
+     may not choose to have these great ears of thine regaled with
+     his matters?'
+
+     'Aweel, sir, just as you and he like, so ye see to my
+     business,' said Dandie, not a whit disconcerted by the
+     roughness of this reception. 'We're at the auld wark o' the
+     marches again, Jock o' Dawston Cleugh and me. Ye see we march
+     on the tap o' Touthoprigg after we pass the Pomoragrains; for
+     the Pomoragrains, and Slackenspool, and Bloodylaws, they come
+     in there, and they belang to the Peel; but after ye pass
+     Pomoragrains at a muckle great saucer-headed cutlugged stane,
+     that they ca' Charlie's Chuckie, there Dawston Cleugh and
+     Charlies-hope they march. Now, I say, the march rins on the
+     tap o' the hill where the wind and water shears; but Jock o'
+     Dawston Cleugh again, he contravenes that, and says that it
+     hauds down by the auld drove-road that gaes awa by the Knot o'
+     the Gate ower to Keeldar-ward--and that makes an unco
+     difference.'
+
+     'And what difference does it make, friend?' said Pleydell.
+     'How many sheep will it feed?'
+
+     'Ou, no mony,' said Dandie, scratching his head; 'it's lying
+     high and exposed--it may feed a hog, or aiblins twa in a good
+     year.'
+
+     'And for this grazing, which may be worth about five shillings
+     a-year, you are willing to throw away a hundred pound or two?'
+
+     'Na, sir, it's no for the value of the grass,' replied
+     Dinmont; 'it's for justice.'
+
+Do we at home in Scotland make too much of Scott's life and associations
+when we think of his poetry and his novels? Possibly few Scotsmen are
+impartial here. As Dr. Johnson said, they are not a fair people, and
+when they think of the Waverley Novels they perhaps do not always see
+quite clearly. Edinburgh and the Eildon Hills, Aberfoyle and Stirling,
+come between their minds and the printed page:--
+
+     A mist of memory broods and floats,
+       The Border waters flow,
+     The air is full of ballad notes
+       Borne out of long ago.
+
+It might be prudent and more critical to take each book on its own
+merits in a dry light. But it is not easy to think of a great writer
+thus discreetly. Is Balzac often judged accurately and coldly, piece by
+piece, here a line and there a line? Are not the best judges those who
+think of his whole achievement altogether--the whole amazing world of
+his creation--_La Comedie Humaine_? By the same sort of rule Scott may
+be judged, and the whole of his work, his vast industry, and all that
+made the fabric of his life, be allowed to tell on the mind of the
+reader.
+
+I wish this discourse had been more worthy of its theme, and of this
+audience, and of this year of heroic memories and lofty hopes. But if,
+later in the summer, I should find my way back to Ettrick and Yarrow and
+the Eildon Hills, it will be a pleasure to remember there the honour
+you have done me in allowing me to speak in Paris, however unworthily,
+of the greatness of Sir Walter Scott.
+
+
+
+
+Glasgow: Printed at the University Press by Robert MacLehose and Co. Ltd.
+
+
+
+
+
+End of the Project Gutenberg EBook of Sir Walter Scott, by William Paton Ker
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