Thierry, were Scott's professed disciples. The latter confesses, in a well-known passage, that "Ivanhoe" was the inspirer of his "Conquête d'Angleterre," and styles the novelist "le plus grand maître qu'il y ait jamais eu en fait de divination historique." [45]
Scott apprehended the Middle Ages on their spectacular, and more particularly, their military side. He exhibits their large, showy aspects: battles, processions, hunts, feasts in hall, tourneys,[46] sieges, and the like. The motley mediaeval world swarms in his pages, from the king on his throne down to the jester with his cap and bells. But it was the outside of it that he saw; the noise, bustle, colour, stirring action that delighted him. Into its spiritualities he did not penetrate far; its scholasticisms, strange casuistries, shuddering faiths, grotesque distortions of soul, its religious mysticisms, asceticisms, agonies; the ecstactic reveries of the cloister, terrors of hell, and visions of paradise. It was the literature of the knight, not of the monk, that appealed to him. He felt the awfulness and the beauty of Gothic sacred architecture and of Catholic ritual. The externalities of the mediaeval church impressed him, whatever was picturesque in its ceremonies or august in its power. He pictured effectively such scenes as the pilgrimage to Melrose in the "Lay"; the immuring of the renegade nun in "Marmion"; the trial of Rebecca for sorcery by the Grand Master of the Temple in "Ivanhoe." Ecclesiastical figures abound in his pages, jolly friars, holy hermits, lordly prelates, grim inquisitors, abbots, priors, and priests of all descriptions, but all somewhat conventional and viewed ab extra. He could not draw a saint.[47] Significant, therefore, is his indifference to Dante, the poet par excellence of the Catholic Middle Age, the epitomizer of mediaeval thought. "The plan" of the "Divine Comedy," "appeared to him unhappy; the personal malignity and strange mode of revenge presumptuous and uninteresting." Scott's genius was antipathetic to Dante's; and he was as incapable of taking a lasting imprint from his intense, austere, and mystical spirit, as from the nebulous gloom of the Ossianic poetry. Though conservative, he was not reactionary after the fashion of the German "throne-and-altar" romanticists, but remained always a good Church of England man and an obstinate opponent of Catholic emancipation.[48] "Creeds are data in his novels," says Bagehot; "people have different creeds but each keeps his own."
Scott's interest in popular superstitions was constant. As a young man—in his German ballad period—they affected his imagination with a "pleasing horror." But as he grew older, they engaged him less as a poet than as a student of Cultur geschichte.
A wistful sense of the beauty of these old beliefs—a rational smile at their absurdity—such is the tone of his "Letters on Demonology and Witchcraft" (1830), a passage or two from which will give his attitude very precisely; an attitude, it will be seen, which is after all not so very different from Addison's, allowing for the distance in time and place, and for Scott's livelier imagination.[49] Scott had his laugh at Mrs. Radcliffe, and in his reviews of Hoffmann's "Tales" and Maturin's "Fatal Revenge" [50] he insists upon the delicacy with which the supernatural must be treated in an age of disbelief. His own management of such themes, however, though much superior to Walpole's or Mrs. Radcliffe's, has not the subtle art of Coleridge. The White Lady of Avenel, e.g., in "The Abbot," is a notorious failure. There was too much daylight in his imagination for spectres to be quite at home. "The shapes that haunt thought's wildernesses"; the "night side of things"; the real shudder are not there, as in Hawthorne or in Poe. Walter Pater[51] says that Meinhold's "Amber Witch" has more of the true romantic spirit than Tieck, who was its professional representative. On the contrary, it has less of the romantic spirit, but more of the mediaeval fact. It is a literal, realistic handling of the witch superstition, as Balzac's "Succube," in the "Contes Drolatiques" is a satirical version of similar material. But Tieck's "Märchen" are the shadows thrown by mediaeval beliefs across a sensitive, modern imagination, and are in result, therefore, romantic. Scott's dealing with subjects of the kind is midway between Meinhold and Tieck. He does not blink the ugly, childish, stupid, and cruel features of popular superstition, but throws the romantic glamour over them, precisely as he does over his "Charlie over the water" Jacobites.[52]
Again Scott's apprehension of the spirit of chivalry, though less imperfect than his apprehension of the spirit of mediaeval Catholicism, was but partial. Of the themes which Ariosto sang—
"Le donne, i cavalier, l'arme, gli amori,
Le cortesie, l'audaci imprese io canto"—
the northern Ariosto sang bravely the arme and the audaci imprese; less confidently the amori and the cortesie. He could sympathise with the knight-errant's high sense of honour and his love of bold emprise; not so well with his service of dames. Mediaeval courtship or "love-drurye," the trembling self-abasement of the lover before his lady, the fantastic refinements and excesses of gallantry, were alien to Scott's manly and eminently practical turn of mind. It is hardly possible to fancy him reading the "Roman de la Rose" with patience—he thought "Troilus and Creseyde" tedious, which Rossetti pronounces the finest of English love poems; or selecting for treatment the story of Heloise or Tristram and Iseult, or of "Le Chevalier de la Charette"; or such a typical mediaeval life as that of Ulrich von Liechtenstein.[53] These were quite as truly beyond his sphere as a church legend like the life of Saint Margaret or the quest of the Sangreal. In the "Talisman" he praises in terms only less eloquent than Burke's famous words, "that wild spirit of chivalry which, amid its most extravagant and fantastic nights, was still pure from all selfish alloy—generous, devoted, and perhaps only thus far censurable, that it proposed objects and courses of action inconsistent with the frailties and imperfections of man." In "Ivanhoe," too, there is something like a dithyrambic lament over the decay of knighthood—"The 'scutcheons have long mouldered from the walls," etc.; but even here, enthusiasm is tempered by good sense, and Richard of the Lion Heart is described as an example of the "brilliant but useless character of a knight of romance." All this is but to say that the picture of the Middle Age which Scott painted was not complete. Still it was more nearly complete than has yet been given by any other hand; and the artist remains, in Stevenson's phrase, "the king of the Romantics."
APPENDIX A.
"Jamais homme de génie n'a eu l'honneur et le bonheur d'être imité par plus d'hommes de genié, si tous les grands écrivains de l'époque romantique depuis Victor Hugo jusqu'à Balzac et depuis Alfred de Vigny jusqu'à Mérimée, lui doivent tous et se sont tous glorifiés de lui devoir quelque chose. … Il doit nous suffire pour l'instant d'affirmer que l'influence de Walter Scott est à la racine même des grandes oeuvres qui ont donné au nouveau genre tant d'éclat dans notre littérature; que c'est elle qui les a inspirées, suscitées, fait éclore; que sans lui nous n'aurions ni 'Hans d'Islande,' ni 'Cinq-Mars,' ni 'Les Chouans,' ni la 'Chronique de Charles IX.,' ni 'Notre Dame de Paris,' … Ce n'est rien moins que le romantisme lui-même dont elle a hâté l'incubation, facilité l'eclosion, aidé le développement."—MAIGRON, "Le Roman Historique," p. 143.
"Il nous faut d'abord constater que c'est véritablement de Walter Scott, et de Walter Scott seul, que commence cette fureur des choses du moyen âge, cette manie de couleur locale qui sévit avec tant d'intensité quelque temps avant et longtemps après 1830, et donc qu'il reste, au moins pour ce qui est de la description, le principal initiateur de la génération nouvelle. Sans doute et de toute part, cette résurrection du moyen âge était des long-temps préparée. Le 'Génie du Christianisme,' le 'Cours de litterature dramatique' de Schlegel, l''Allemagne' de Mme. de Staël avaient fait des moeurs chrétiennes et chevaleresques le fondement et la condition de renouvellement de l'art français. Et, en effet, dès 1802, le moyen âge était découvert, la cathédrale gothique restaurée, l'art chretien remis à la place éminente d'où il aurait fallu ne jamais le laisser choir. Mais où sont les oeuvres exécutées d'après ce modèle et ces principes? S'il est facile d'apercevoir et de déterminer la cathédrale religieuse de Chateaubriand, est il donc si aisé de distinguer sa cathédrale poétique? … Un courant vigoureux, que le 'Genie du Christianisme' et les 'Martyrs' ont puissamment contribué à detérminer, fait dériver les imaginations vers les choses gothiques; volontiers, l'esprit français se retourne alors vers le passé comme vers la seule source de poésie; et