Sir Walter Scott

The only fault or faults of which he has been accused with any plausibility are those which attend or proceed from a somewhat too high estimate of rank and of riches; – that is to say, a too great eagerness to obtain these things, and at the same time a too great deference for those who possessed them. From avarice, in any of the ordinary senses of the word, he was, indeed, entirely free. His generosity, if not absolutely and foolishly indiscriminate, was extraordinary, and as unostentatious as it was lavish. He certainly had no delight in hoarding money, and his personal tastes, except in so far as books, 'curios,' and so forth were concerned, were of the simplest possible. Yet, as we have seen, he was never quite content with an income which, after very early years, was always competent, and when he launched into commercial ventures, already, in prospect at least, considerable; while in the one article of spending money on house and lands he was admittedly excessive. So, too, he seems to have been really indifferent about his title, except as an adjunct to these possessions, and as something transmissible to, and serving to distinguish, the family he longed to found. Yet no instance of the slightest servility on his part to rank – much less to riches – has been produced. His address, no doubt, both in writing and conversation, was more ceremonious than would now be customary. But it must be remembered that this was then a point of good manners, and that 'your Lordship' and 'my noble friend,' even between persons intimate with each other and on the common footing of gentlemen, were then phrases as proper and usual in private as they still are in public life.[47 - So, in a still earlier generation, Johnson, after calling his step-daughter 'my dearest love,' and writing in the simplest way, will end, and quite properly, with, 'Madam, your obedient, humble servant.'] Attempts have been made to excuse his attitude, on the plea that it was inherited from his father (vide the scene between Saunders Fairford and Herries), that it was national, that it was this, that, and the other. For my own part, I have never read or heard of any instance of it which seemed to me to exceed the due application to etiquette of the rule of distributive justice, to give every man his own. Scott, I think, would have accepted the principle, though not the application, of the sentence of Timoléon de Cossé, Duke of Brissac – 'God has made thee a gentleman, and the king has made thee a duke.' And he honoured God and the king by behaving accordingly.

Of his infinite merits as a host and a guest, as a friend and as a relation, there is a superabundance of evidence. It does not appear that he ever lost an old friend; and though, like most men who have more talent for friendship than for acquaintance, he did not latterly make many new ones, the relations existing between himself and Lockhart are sufficient proof of his faculty of playing the most difficult of all parts, that of elder friend to younger. I have said above that, though in no sense touchy, he was a very dangerous person to take a liberty with; he adopted to the full the morality of his time about duelling, though he disapproved of it;[48 - He made, as is well known, preparations to 'meet' General Gourgaud, who was wroth about the Napoleon, but who never actually challenged him.] he was in all respects a man of the world, yet without guile.

It is, moreover, quite certain that Scott, though never talking much about religion (as, indeed, he never talked much about any of the deeper feelings of the heart), was a man very sincerely religious. He was not a metaphysician in any way, and therefore had no special inclination towards that face or summit of metaphysics which is called theology. And it is pretty clear that he had towards disputed points of doctrine, ceremony, and discipline, a not sharply or decidedly formulated attitude. But there is no doubt whatever that he was a thoroughly and sincerely orthodox Christian, and there are some slight escapes of confession unawares in his private writings, which show in what thorough conformity with his death his life had been. Few men have ever so well observed the one-half of the apostle's doctrine as to pure religion; and if he did not keep himself (in the matter of the secret partnership and others) altogether unspotted from the world, the sufferings of his last seven years may surely be taken as a more than sufficient purification. More blameless morally, I think, few men have been; fewer still better equipped with the positive virtues. And, above all, we must recognise in Scott (if we have any power of such recognition) what has been already called a certain nobleness, a certain natural inclination towards all things high, and great, and pure, and of good report, which is rarer still than negative blamelessness or even than positive virtue.

To speak of Scott's politics is a little difficult and perhaps a little dangerous; yet they played so large a part in his life and work that the subject can hardly be omitted, especially as it comes just between those aspects of him which we have already discussed, and those to which we are coming. It has sometimes been disputed whether his Toryism was much more than mere sentiment; and of course there were not wanting in his own day fellows of the baser sort who endeavoured to represent it as mere self-interest. But no impartial person nowadays, I suppose, doubts, however meanly he may think of Scott's political creed, that that creed was part, not of his interests, not even of his mere crotchets and crazes, literary and other, but of his inmost heart and soul. That reverence for the past, that distaste for the vulgar, that sense of continuity, of mystery, of something beyond interest and calculation, which the worst foes of Toryism would, I suppose, allow to be its nobler parts, were the blood of Scott's veins, the breath of his nostrils, the marrow of his bones. My friend Mr. Lang thinks that Scott's Toryism is dead, that no successor has arisen on its ruins, that it was, in fact, almost a private structure, of which he was the architect, a tree fated to fall with its planter. Perhaps; but perhaps also

'The Little Tower with no such ease
Is won';

and there are enough still to keep watch and ward of it.

But we have of course here to look even more to his mental character than to his moral, to do with him rather as a man of genius than as a 'man of good,' though it is impossible to overlook, and difficult to overestimate, his singular eminence as both combined. Of his actual literary accomplishment, something like a detailed view has been given in this little book, and of some of its separate departments estimates have been attempted.[49 - Most injustice has perforce been done to his miscellaneous verse lying outside the great poems, and not all of it included in the novels. It would be impossible to dwell on all the good things, from Helvellyn and The Norman Horseshoe onward; and useless to select a few. Some of his best things are among them: few are without force, and fire, and unstudied melody. The song-scraps, like the mottoes, in his novels are often really marvellous snatches of improvisation.] But we may, or rather must, gather all these up here. Nor can we proceed better than by the old way of inquiry – first, What were the peculiar characteristics of his thought? and, secondly, What distinguished his expression of this thought?

As to the first point, it has been pretty generally admitted – though the admissions have in some cases been carried almost too far – that we are not to look for certain things in Scott. We are not to look for any elaborately or at least scholastically minute faculty or practice of analysis or of argument. But to proceed from this to a general denial of 'philosophy' to him – that is to say, to allow him a merely superficial knowledge of human nature – is an utter mistake. I have quoted elsewhere, but the book from which the quotation is made is so rare that I may well quote here again, some remarkable words on this subject from M. Milsand, Mr. Browning's friend, and the recipient of the Dedication of the reprint of Sordello.[50 - Il y a plus de philosophie dans ses écrits … que dans bon nombre de romans philosophiques.] It is certain that this praise might be supported with a large anthology of passages in the novels and even the poems – passages indicating an anthropological science as intimate as it is unpretentiously expressed. To some good folk in our days, who think that nothing can be profound which is naturally and simply spoken, and who demand that a human philosopher shall speak gibberish and wear his boots on his brows, the fact may be strange, but it is a fact. And it may be added that even if chapter and verse could not thus be produced, a sufficient proof, the most sufficient possible, could be otherwise provided. Scott, by the confession of all competent judges, save a very few, has created almost more men and women, undoubtedly real and lifelike, than any other prose novelist. Now you cannot create a man or a woman without knowing whereof a man and a woman are made, though the converse proposition is unfortunately by no means so universally predicable. He was content, as a rule, to put this great science of his into practice rather than to expound it in theory, to demonstrate it rather than to lecture on it, but that is all.

In the second place, we are not to look to him for any great intensity of delineation of passion, especially in the sense to which that word is more commonly confined. He has nowhere left us (as some other men of letters have) any hint that he abstained from doing this because the passion would have been so tremendous that it was on the whole best for mankind that they should not be exposed to it. The qualities of humour and of taste which were always present with Scott would have prevented this. But I should doubt whether he felt any temptation to unbosom himself, or any need to do so. The slight hints given at the time of the combined action of his misfortunes and the agitation arising from his renewed communications with Lady Jane Stuart, are almost all the indications that we have on the subject, and they are too slight to found any theory upon. It is evident that this was not his vein, or that, if the vein was there, he did not choose to work it.

To pass from negations to positives, the region in which Scott's power of conception and expression did lie, and which he ruled with wondrous range and rarely equalled power, was a strangely united kingdom of common-sense fact and fanciful or traditional romance. No writer who has had such a sense of the past, of tradition, of romantic literature, has had such a grasp of the actual working motives and conduct of mankind; none who has had the latter has even come near to his command of the former. We may take Spenser and Fielding as the princes of these separate principalities in English literature, and though each had gifts that Scott had not, – though Scott had gifts possessed by neither, – yet if we could conceive Spenser and Fielding blended, the blend would, I think, come nearer to Scott's idiosyncrasy than anything else that can be imagined. He had advanced (or rather returned) from that one-sided eighteenth-century conception of nature which was content to know human nature pretty thoroughly up to a certain point, and to dismiss 'prospects,' in Johnson's scornful language to Thrale, as one just like the other. But he had retained the eighteenth-century grasp of man himself, while recovering the path to the Idle Lake and the Cave of Despair, to the many-treed wood through which Una and her knight journeyed, and the Rich Strand where all the treasures of antiquity lay. We may think – apparently some of us do think – that we have improved on him in the recovery, and even in the retaining grasp. The fact of the improvement on him will take a great deal of proving, I am inclined to think; of the fact of his achievement there is no doubt.

If I must select Scott's special literary characteristic, next to that really magical faculty of placing scenes and peopling them with characters in the memory of his readers which I have noticed before, I should certainly fix on his humour. It is a good old scholastic doctrine, that the greatest merit of anything is to be excellent in the special excellence of its kind. And in that quality which so gloriously differentiates English literature from all others, Scott is never wanting, and is almost always pre-eminent. If his patriotism, intense as it is, is never grotesque or offensive, as patriotism too often is to readers who do not share it; if his pathos never touches the maudlin; if his romantic sentiment is always saved by the sense of solid fact, – and we may assert these things without hesitation or qualification, – it is due to his humour. For this humour, never merely local, never bases its appeal on small private sympathies and understandings and pass-words which leave the world at large cold, or mystified, or even disgusted. Nor is it perhaps uncritical to set down that pre-eminently happy use, without abuse, of dialect, which has attracted the admiration of almost all good judges, to this same humour, warning him alike against the undisciplined profusion and the injudicious selection which have not been and are not unknown in some followers of his. And, further, his universal quality is free from some accompanying drawbacks which must be acknowledged in the humour of some of the other very great humorists. It is not coarse – a defect which has made prigs at all times, and especially at this time, affect horror at Aristophanes; it is not grim, like that of Swift; it is free from any very strong evidences of its owner having lived at a particular date, such as may be detected by the Devil's Advocate even in Fielding, even in Thackeray. No tricks or grimaces, no mere elaboration, no lingering to bespeak applause; but a moment of life and nature subjected to the humour-stamp and left recorded and transformed for ever – there is Scott.

That the necessary counterpart and companion of this breadth of humour should be depth of feeling can be no surprise to those who accept the only sound distinction between humour and wit. Scott himself never wore his heart on his sleeve; but to those who looked a little farther than the sleeve its beatings were sufficiently evident. The Scott who made that memorable exclamation on the Mound, and ejaculated 'No, by – !' at the discovery of the Regalia,[51 - When some tactless person tried to play tricks with the Crown.] who wrote Jeanie's speech to Queen Caroline and Habakkuk Mucklewrath's to Claverhouse, had no need ever to affect emotion, because it was always present, though repressed when it had no business to exhibit itself. And his romantic imagination was as sincere as his pathos or his indignation. He never lost the clue to 'the shores of old romance'; and, at least, great part of the secret which made him such a magician to his readers was that the spell was on himself – that the regions of fancy were as open, as familiar as Princes Street or the Parliament Square to this solid practical Clerk of Session, who avowed that no food could to his taste equal Scotch broth, and in everything but the one fatal delusion was as sound a man of business as ever partook of that nourishing concoction.

In his execution both in prose and verse, but especially, or at least more obviously, in the latter there are certain peculiarities, in the nature (at least partly) of defect, which strike every critical eye at once. At no time, and in no case, was Scott of the order of the careful, anxious miniaturists of work, who repaint every stroke a hundred times, adjust every detail of composition over and over again, and can never have done with rehandling and perfecting. Nor did he belong to that very rare class whose work seems to be, at any rate after a slight apprenticeship, faultless from the first, to whom inelegancies of style, incorrect rhymes, licences of metre – not deliberate and intended to produce the effect they achieve, but the effect of carelessness or of momentary inability to do what is wanted – are by nature or education impossible. His nature did not give him this endowment, and his education was of the very last sort to procure it for him. He himself, not out of pique or conceit, things utterly alien from his nature, still less out of laziness, but, I believe, as a genuine, and, what is more, a correct self-criticism, has left in his private writings repeated expressions of his belief that revision and correction in his case not only did not improve the work, but were in most cases likely to do it positive harm, that the spoon was made or the horn spoiled (to adapt his country proverb) at the first draft, and once for all. I think that this was a correct judgment, and I do not see that it implies any inferiority on his part. It is not as if he ever aimed at the methods of the precisians and failed, as if it was his desire to be a 'correct' writer, a careful observer of proportion and construction, a producer of artful felicities in metre, rhythm, rhyme, phrase. We may yield to no one in the delight of tracing the exact correspondence of strophe and antistrophe in a Greek chorus, the subtle vowel-music of a Latin hymn or a passage of Rossetti's. But I cannot see why, because we rejoice in these things, we should demand them of all poetry, or why, because we rejoice in the faultless construction of Fielding or the exquisite finish of Jane Austen as novelists, we should despise the looser handling and more sweeping touch of Scott in prose fiction. It is extremely probable that, as Mr. Balfour suggested the other day in unveiling the Westminster Abbey monument, this breadth of touch obtained him his popularity abroad, nor need it impair his fame at home.

Unquestionably, though he had many minor gifts and graces, including that of incomparable lyric snatch, from the drums and fifes of 'Lochinvar' and 'Bonnie Dundee' to the elfin music of 'Proud Maisie,' his faculty of weaving a story in prose or in verse, with varied decorations of dialogue and description and character, rather than on a cunning canvas of plot, was Scott's main forte. If it is in verse – and admirable as it is here, I think we must allow it to be – less pre-eminent than in prose, it is, first, because minor formal defects are more felt in verse than in prose; secondly, because the scope of the medium is less; and thirdly, because the medium itself was in reality not what he wanted. The verse romance of Scott is a great achievement and a delightful possession: it has had extraordinary influence on English literature, from the work of Byron, which it directly produced, and which pretty certainly would never have been produced without it, to that of Mr. William Morris, which may not impossibly have been its last echo – transformed and refreshed, but still an echo – for some time to come. But there was a little of the falsetto in it, and the interludes, of which the introductions to Marmion and to the Bridal are the most considerable, show that it gave no outlets, or outlets only awkward, for much of what he wanted to say. He defines his own general literary object admirably in a letter to Morritt. 'I have tried to induce the public to relax some of the rules of criticism, and to be amused with that medley of tragic and comic with which life presents us, not only in the same course of action, but in the same character.' The detailed remarks which have been given in earlier chapters make it unnecessary to bring out the application of this to all his work, both verse and prose. And it need but be pointed out in passing how much more satisfactorily the form of prose fiction lent itself, than the form of verse romance, to the expression of a creed which, as it had been that of Shakespeare, so it was the creed of Scott.

But a few words must be added in reference to the complaint which is often openly made, and which, I understand, is still more often secretly entertained, or taken for proved, by the younger generation – to wit, the complaint that Scott is 'commonplace' and 'conventional,' not merely in thought, but in expression. As to the thought, that is best met by the reply churlish, if not even by the reproof valiant. Scott's thought is never commonplace, and never merely conventional: it can only seem so to those who have given their own judgments in bondage to a conventional and temporary cant of unconventionality. In respect of expression, the complaint will admit of some argument which may best take the form of example. It is perfectly true that Scott's expression is not 'quintessenced' – that it has to a hasty eye an air of lacking what is called distinction; and, especially, that it has no very definite savour of any particular time. At present, as at other periods during the recorded story of literature, there is a marked preference for all these things which it is not; and so Scott is, with certain persons, in disfavour accordingly. But it so happens that the study of this now long record of literature is itself sufficient to convince anyone how treacherous the tests thus suggested are. There never, for instance, was an English writer fuller of all the marks which these, our younger critics, desiderate in Scott, and admire in some authors of our own day, than John Lyly, the author of Euphues, of a large handful of very charming and interesting court dramas, and of some delightful lyrics. Those who have to teach literature impress the importance, and try to impress the interest, of Lyly on students and readers, and they do right. For he was a man not merely of talent, but (with respect to my friend Mr. Courthope, who thinks differently), I think, of genius. He had a poetical fancy, a keen and biting wit, a fairly exact proficiency in the scholarship of his time. He eschewed the obvious, the commonplace in thought, and still more in style, as passionately as any man ever has eschewed it, and, having not merely will and delicacy, but power, he not only achieved an immense temporary popularity, but even influenced the English language permanently. Yet – and those who thus praise him know it – he, the apostle of ornate prose, the model of a whole generation of the greatest wits that England has seen, the master of Shakespeare in more things than one, including romantic comedy, the originator of the English analytic novel, the 'raiser' (as I think they call it) 'of his native language to a higher power,' is dead. We shall never get anybody outside the necessarily small number of those who have cultivated the historic as well as the æsthetic sense in literature, to read him except as a curiosity or a task, because he not merely cultivated art, but neglected nature for it; because he fooled the time to the top of its bent, and let the time fool him in return; because, instead of making the common as though it were not common, he aimed and strained at the uncommon in and per se.

Scott did just the contrary. He never tried to be unlike somebody else; if he hit, as he did hit, upon great new styles of literature, – absolutely new in the case of the historical novel, revived after long trance in the case of the verse tale, – it was from no desire to innovate, but because his genius called him. Though in ordinary ways he was very much a man of his time, he did not contort himself in any fashion by way of expressing a (then) modern spirit, a Georgian idiosyncrasy, or anything of that sort; he was content with the language of the best writers and the thoughts of the best men. He was no amateur of the topsy-turvy, and had not the very slightest desire to show how a literary head could grow beneath the shoulders. He was satisfied that his genius should flow naturally. And the consequence is that it was never checked, that it flows still for us with all its spontaneous charm, and that it will flow in omne volubilis ævum. Among many instances of the strength which accompanied this absence of strain one already alluded to may be mentioned again. Scott is one of the most literary of all writers. He was saturated with reading; nothing could happen but it brought some felicitous quotation, some quaint parallel to his mind from the great wits, or the small, of old. Yet no writer is less bookish than he; none insults his readers less with any parade, with any apparent consciousness of erudition; and he wears his learning so lightly that pedants have even accused him of lacking it because he lacks pedantry. His stream, to resume the simile, carries in solution more reading as well as more wit, more knowledge of life and nature, more gifts of almost all kinds than would suffice for twenty men of letters, yet the very power of its solvent force, as well as the vigour of its current, makes these things comparatively invisible.

In dealing with an author so voluminous and so various in his kinds and subjects of composition, it is a hard matter to say what has to be said within prescribed limits such as these, just as it is still harder to select from so copious a store of biographical information details which may be sufficient, and not more than sufficient, to give a firm and distinct picture of his life. Yet it may perhaps be questioned whether very elaborate handling is necessary for Scott. No man probably, certainly no man of letters, is more of a piece than he. As he has been subjected to an almost unparalleled trial in the revelation of his private thoughts, so his literary powers and performances extend over a range which is unusual, if not absolutely singular, in men of letters of the first rank. Yet he is the same throughout, in romance as in review, in novel as in note-writing. Except his dramatic work, a department for which he seems to have been almost totally unfitted (despite the felicity of his 'Old Play' fragments), nothing of his can be neglected by those who wish to enjoy him to the full. Yet though there is no monotony, there is a uniformity which is all the more delightfully brought out by the minor variations of subject and kind. The last as the first word about Scott should perhaps be, 'Read him. And, as far as may be, read all of him.'

When, in comparatively early days of his acquaintance with Lockhart, Scott, thinking himself near death in the paroxysms of his cramps, bequeathed to his future son-in-law, in the words of the ballad, 'the vanguard of the three,' the duty of burying him and continuing his work, if possible, he had himself limited the heritage to the defence of ancient faith and loyalty – a great one enough. But his is, in fact, a greater. From generation to generation, whosoever determines, in so far as fate and the gods allow, to hold these things fast, and, moreover, to love all good literature, to temper erudition with common sense, to let humour wait always upon fancy, and duty upon romance; whosoever at least tries to be true to the past, to show a bold front to the present, and to let the future be as it may; whosoever 'spurns the vulgar' while endeavouring to be just to individuals, and faces 'the Secret' with neither bravado nor cringing, – he may take, if not the vanguard, yet a place according to his worth and merit, in the legion which this great captain led. Of the frequent parallels or contrasts drawn between him and Shakespeare it is not the least noteworthy that he is, of all men of letters, that one of whom we have the most intimate and the fullest revelation, while of Shakespeare we have the least. There need be very little doubt that if we knew everything about Shakespeare, he would come, as a man of mould might, scathless from the test. But we do know everything, or almost everything, about Scott, and he comes out nearly as well as anyone but a faultless monster could. For all the works of the Lord in literature, as in other things, let us give thanks – for Blake and for Beddoes as well as for Shelley and for Swift. But let everyone who by himself, or by his fathers, claims origin between Tol-Pedn-Penwith and Dunnet Head give thanks, with more energy and more confidence than in any other case save one, for the fact that his is the race and his the language of Sir Walter Scott.

notes

1

His friend Shortreed's well-known expression for the results of the later Liddesdale 'raids.'

2

See General Preface to the Novels, or Lockhart, i. 136.

3

He attributes to Lady Balcarres the credit of being his earliest patroness, and of giving him, when a mere shy boy, the run of her drawing-room and of her box at the theatre.

4

He himself, in his entries of his children's births, always gives the order of the names as Margaret Charlotte.

5

The Boar of the Forest seems, not unnaturally, to have had a rather less warm 'cradle' in Lady Scott's feelings. She thought he took liberties; and though he meant no harm, he certainly did.

6

Lockhart, i. 270. I quote, as is usual, the second or ten-volume edition. But, for reading, some may prefer the first, in which the number of the volumes coincides with their real division, which has the memories of the death of Sophia Scott and others connected with its course, and to which the second made fewer positive additions than may be thought. – [It has been pointed out to me in reference to the word 'whomle' on the opposite page that Fergusson has 'whumble' in 'The Rising of the Session.' But if Scott had quoted, would he have altered the spelling? The Grassmarket story, moreover, exactly corresponds to his words, 'as a gudewife would whomle a bowie.']

7

Not many years before, Johnson had denied that it was possible for a working man of letters to earn even six guineas a sheet (the Edinburgh began at ten and proceeded to a minimum of sixteen), 'communibus sheetibus,' as he put it jocularly to Boswell. Southey, in the year of Scott's marriage, seems to have thought about ten shillings (certainly not more) 'not amiss' for a morning's work in reviewing.

8

For an interesting passage showing how slow contemporary ears were to admit this, see Southey's excellent defence of his own practice to Wynn (Letters, i. 69).

9

His attempts at the kind may best be despatched in a note here. Their want of merit contrasts strangely with the admirable quality of the 'Old Play' fragments scattered about the novels. Halidon Hill (1822), in the subject of which Scott had an ancestral interest from his Swinton blood, reminds one much more of Joanna Baillie than of its author. Macduff's Cross (1823), a very brief thing, is still more like Joanna, was dedicated to her, and appeared in a miscellany which she edited for a charitable purpose. The Doom of Devorgoil, written for Terry in the first 'cramp' attack of 1817, but not published till 1830, has a fine supernatural subject, but hardly any other merit. Auchindrane, the last, is by far the best.

10

It is quite possible that Mrs. Brown's illiterate authority, or one of his predecessors in title, took 'fee' in the third sense of 'cattle.'

11

He wrote for his corps the 'War Song of the Edinburgh Light Dragoons,' which appeared in the Scots Magazine for 1802, but was written earlier. It is good, but not so good as it would have been a few years later.

12

It is fair to him to say that he made no public complaints, and that when some gutter-scribbler in 1810 made charges of plagiarism from him against Scott, he furnished Southey with the means of clearing him from all share in the matter (Lockhart, iii. 293; Southey's Life and Correspondence, iii. 291). But there is a suspicion of fretfulness even in the Preface to Christabel; and the references to Scott's poetry (not to himself) in the Table Talk, etc., are almost uniformly disparaging. It is true that these last are not strictly evidence.

13

The objection taken to this word by precisians seems to ignore a useful distinction. The antiquary is a collector; the antiquarian a student or writer. The same person may be both; but he may not.

14

Waverley, chap. vi. It owes a little to Smollett's Introduction to Humphry Clinker, but as usual improves the loan greatly.

15

Inasmuch as he himself was secretary to the Commission which did away with it.