home returning, filled the hall
With revel, wassail-rout and brawl."—"Marmion." Introduction
to Canto Third. See Lockhart for a description of the view from
Smailholme, à propos of the stanza in "The Eve of St. John":
"That lady sat in mournful mood;
Looked over hill and vale:
O'ver Tweed's fair flood, and Mertoun's wood,
And all down Teviot dale."
[27] See vol. i., pp. 394–395.
[28] Scott's verse "is touched both with the facile redundance of the mediaeval romances in which he was steeped, and with the meretricious phraseology of the later eighteenth century, which he was too genuine a literary Tory wholly to put aside."—"The Age of Wordsworth," C. H. Herford, London. 1897.
[29] "The Gray Brother" in vol. iii. of the "Minstrelsy."
[30] "And goblin brats, of Gilpin Horner's brood,
Decoy young border-nobles through the wood,
And skip at every step, Lord knows how high,
And frighten foolish babes, the Lord knows why."
[31] "Now leave we Margaret and her knight
To tell you of the approaching fight."—Canto Fifth, xiii.
[32] Landor says oddly of Warton that he "had lost his ear by laying it down on low swampy places, on ballads and sonnets."
[33] Does not the quarrel of Richard and Philip in "The Talisman" remind one irresistibly of Achilles and Agamemnon in the "Iliad"?
[34] For a review of English historical fiction before Scott, consult Professor Cross' "Development of the English Novel," pp. 110–114.
[35] "Familiar Studies of Men and Books," by R. L. Stevenson. Article, "Victor Hugo's Romances."
[36] "Le Roman Historique à l'Epoque Romantique." Essai sur l'influence de Walter Scott. Par Louis Maigron. Paris (Hachette). 1898, p. 331, note. And ibid., p. 330: "Au lieu que les classiques s'efforçaient toujours, à travers les modifications que les pays, les temps et les circonstances peuvent apporter aux sentiments et aux passions des hommes, d'atteindre à ce que ces passions et ces sentiments conservent de permanent, d'immuable et d'éternel, c'est au contraire à l'expression de l'accidentel et du relatif que les novateurs devaient les efforts de leur art. Plus simplement, à la place de la vérité humaine, ils devaient mettre la vérité locale." Professor Herford says that what Scott "has in common with the Romantic temper is simply the feeling for the picturesque, for colour, for contrast." "Age of Wordsworth," p. 121.
[37] De Quincey defines picturesque as "the characteristic pushed into a sensible excess." The word began to excite discussion in the last quarter of the eighteenth century. See vol. i., p. 185, for Gilpin's "Observations on Picturesque Beauty." See also Uvedale Price, "Essays on the Picturesque as Compared with the Sublime and the Beautiful," three vols., 1794–96. Price finds the character of the picturesque to consist in roughness, irregularity, intricacy, and sudden variation. Gothic buildings are more picturesque than Grecian, and a ruin than an entire building. Hovels, cottages, mills, interiors of old barns are picturesque. "In mills particularly, such is the extreme intricacy of the wheels and the wood work: such is the singular variety of forms and of lights and shadows, of mosses and weather stains from the constant moisture, of plants springing from the rough joints of the stones—that, even without the addition of water, an old mill has the greatest charm for a painter" (i., 55). He mentions, as a striking example of picturesque beauty, a hollow lane or by-road with broken banks, thickets, old neglected pollards, fantastic roots bared by the winter torrents, tangled trailers and wild plants, and infinite variety of tints and shades (i., 23–29). He denounces the improvements of Capability Brown (see "Romanticism," vol. i., p. 124): especially the clump, the belt and regular serpentine walks with smooth turf edges, the made water with uniformly sloping banks—all as insipidly formal, in their way, as the old Italian gardens which Brown's landscapes displaced.
[38] "Essay on Walter Scott."
[39] Andrew Lang reminds us that, after all, only three of the Waverley Novels are "chivalry romances." The following are the only numbers of the series that have to do with the Middle Ages: "Count Robert of Paris," circa 1090 A.D.; "The Betrothed," 1187; "The Talisman," 1193; "Ivanhoe," 1194; "The Fair Maid of Perth," 1402; "Quentin Durward," 1470; "Anne of Geierstein," 1474–77.
[40] "The Romantic School in Germany," p. 187. Cf. Stendhal, "Walter Scott et la Princesse de Clèves." "Mes reflexions seront mal accueilles. Une immense troupe de littérateurs est intéressée à porter aux nues Sir Walter Scott et sa maniere. L'habit et le collier de cuivre d'un serf du moyen âge sont plus facile à décrire que les mouvements du coeur humain. … N'oublions pas un autre avantage de l'école de Sir Walter Scott: la description d'un costume et la pose d'un personnage … prennent au moins deux pages. Les mouvements de l'âme fourniraient à peine quelques lignes. Ouvrez au hazard un cies volumes de la 'Princesse de Clèves,' prenez dix pages au hasard, et ensuite comparez les aux dix pages d'Ivanhoe' ou de 'Quentin Durward': ces derniers ouvrages ont un mérite historique. Ils apprennent quelques petites choses sur l'histoire aux gens qui l'ignorent ou qui le savent mal. Ce mérite historique a causé un grand plaisir: je ne le nie pas, mais c'est ce mérite historique qui se fanera le premier. … Dans 146 ans, Sir Walter Scott ne sera pas à la hauteur où Corneille nous apparait 146 ans après sa mort." "To write a modern romance of chivalry." says Jeffrey, in his review of "Marmion" in the Edinburgh, "seems to be much such a phantasy as to build a modern abbey or an English pagoda. … [Scott's] genius, seconded by the omnipotence of fashion, has brought chivalry again into temporary favor. Fine ladies and gentlemen now talk, indeed, of donjons, keeps, tabards, 'scutcheons, tressures, caps of maintenance, portcullises, wimples, and we know not what besides; just as they did, in the days of Dr. Darwin's popularity, of gnomes, sylphs, oxygen, gossamer, polygynia, and polyandria. That fashion, however, passed rapidly away, and Mr. Scott should take care that a different sort of pedantry," etc.
[41] For an exhaustive review of Scott's influence on the evolution of historical fiction in France, consult Maigron, "Le Roman Historique," etc. A longish passage from this work will be found at the end of the present chapter. For English imitators and successors of the Waverley Novels, see Cross, "Development of the English Novel," pp. 136–48. See also De Quincey's "Literary Reminiscences," vol. iii., for an amusing account of "Walladmor" (1824), a pretended German translation of a non-existent Waverley novel.
[42] "Racine et Shakespeare."
[43] "Don Quixote."
[44] "Sir Walter Scott."
[45] "Dix ans d'études historiques": preface.
[46] Walter Bagehot says that "Ivanhoe" "describes the Middle Ages as we should have wished them to be," ignoring their discomforts and harsh barbarism. "Every boy has heard of tournaments and has a firm persuasion that in an age of tournaments life was thoroughly well understood. A martial society where men fought hand to hand on good horses with large lances," etc. ("The Waverley Novels").
[47] "Of enthusiasm in religion Scott always spoke very severely. … I do not think there is a single study in all his romances of what may be fairly called a pre-eminently spiritual character" (R. H. Hutton: "Sir Walter Scott," p. 126).
[48] "Unopposed, the Catholic superstition may sink to dust, with all its absurd ritual and solemnities. Still it is an awful risk. The world is in fact as silly as ever, and a good competence of nonsense will always find believers." ("Diary" for 1829).
[49] See vol. i., p. 42. "We almost envy the credulity of those who in the gentle moonlight of a summer night in England, amid the tangled glades of a deep forest, or the turfy swell of her romantic commons, could fancy they saw the fairies tracing their sportive ring. But it is in vain to regret illusions which, however engaging, must of necessity yield their place before the increase of knowledge, like shadows at the advance of morn." ("Demonology." p. 183). "Tales of ghosts and demonology