Walter Scott - The Pirate

Gow the Pirate , betrothed to a Miss Gordon,”—so here are the germs of Norna, Cleveland, and Minna, all sown in good ground, to bear fruit in seven years (1814-1821). Triptolemus Yellowley is entirely derived from the Diary, and is an anachronism. The Lowland Scots factors and ploughs were only coming in while Scott was in the isles. He himself saw the absurd little mills (vol. i. ch. xi.), and the one stilted plough which needed two women to open the furrows, a feebler plough than the Virgilian specimens which one still remarks in Tuscany. “When this precious machine was in motion, it was dragged by four little bullocks, yoked abreast, and as many ponies harnessed, or rather strung, to the plough by ropes and thongs of raw hide.... An antiquary might be of opinion that this was the very model of the original plough invented by Triptolemus,” son of the Eleusinian king, who sheltered Demeter in her wanderings. The sword-dance was not danced for Scott’s entertainment, but he heard of the Pupa dancers, and got a copy of the accompanying chant, and was presented with examples of the flint and bronze Celts which Norna treasured. All over the world, as in Zetland, they were regarded as “thunder stones.” (Diary; Lockhart, iv. 220.) The bridal of Norna, by clasping of hands through Odin’s stone ring, was still practised as a form of betrothal. (Lockhart, iv. 252.) Some island people were despised, as by Magnus Troil, as “poor sneaks” who ate limpets, “the last of human meannesses.” The “wells,” or smooth wave-currents, were also noted, and the Garland of the whalers often alluded to in the tale. The Stones of Stennis were visited, and the Dwarfie Stone of Hoy, where Norna, like some Eskimo Angekok, met her familiar demon. Scott held that the stone “probably was meant as the temple of some northern edition of the dii Manes . They conceive that the dwarf may be seen sometimes sitting at the door of his abode, but he vanishes on a nearer approach.” The dwelling of Norna, a Pict’s house, with an overhanging story, “shaped like a dice-box,” is the ancient Castle of Mousa.[4] The strange incantation of Norna, the dropping of molten lead into water, is also described. Usually the lead was poured through the wards of a key. In affections of the heart, like Minna’s, a triangular stone, probably a neolithic arrow-head, was usually employed as an amulet. (Lockhart, iv. 208.) Even the story of the pirate’s insolent answer to the Provost is adapted from a recent occurrence. Two whalers were accused of stealing a sheep. The first denied the charge, but said he had seen the animal carried off by “a fellow with a red nose and a black wig. Don’t you think he was like his honour, Tom?” “By God, Jack, I believe it was the very man.” (Diary; Lockhart, iv. 222; “The Pirate,” vol. ii. ch. xiv.) The goldless Northern Ophir was also visited—in brief, Scott scarcely made a remark on his tour which he did not manage to transmute into the rare metal of his romance. It is no wonder that the Orcadians at once detected his authorship. A trifling anecdote of the cruise has recently been published. Scott presented a lady in the isles with a piano, which, it seems, is still capable of producing a melancholy jingling tune.[5]

Lockhart says, as to the reception of “The Pirate” (Dec. 1821): “The wild freshness of the atmosphere of this splendid romance, the beautiful contrast of Minna and Brenda, and the exquisitely drawn character of Captain Cleveland, found the reception which they deserved.” “The wild freshness of the atmosphere” is indeed magically transfused, and breathes across the pages as it blows over the Fitful Head, the skerries, the desolate moors, the plain of the Standing Stones of Stennis. The air is keen and salt and fragrant of the sea. Yet Sydney Smith was greatly disappointed. “I am afraid this novel will depend upon the former reputation of the author, and will add nothing to it. It may sell, and another may half sell, but that is all, unless he comes out with something vigorous, and redeems himself. I do not blame him for writing himself out, if he knows he is doing so, and has done his best , and his all . If the native land of Scotland will supply no more scenes and characters, for he is always best in Scotland, though he was very good in England the (time) he was there; but pray, wherever the scene is laid, no more Meg Merrilies and Dominie Sampsons—very good the first and second times, but now quite worn out, and always recurring.” (“Archibald Constable,” iii. 69.)

It was Smith’s grammar that gave out, and produced no apodosis to his phrase. Scott could not write himself out, before his brain was affected by disease. Had his age been miraculously prolonged, with health, it could never be said that “all the stories have been told,” and he would have delighted mankind unceasingly.

Scott himself was a little nettled by the criticisms of Norna as a replica of Meg Merrilies. She is, indeed, “something distinct from the Dumfriesshire gipsy”—in truth, she rather resembles the Ulrica of “Ivanhoe.” Like her, she is haunted by the memory of an awful crime, an insane version of a mere accident; like her, she is a votaress of the dead gods of the older world, Thor and Odin, and the spirits of the tempest. Scott’s imagination lived so much in the past that the ancient creeds never ceased to allure him: like Heine, he felt the fascination of the banished deities, not of Greece, but of the North. Thus Norna, crazed by her terrible mischance, dwells among them, worships the Red Beard, as outlying descendants of the Aztecs yet retain some faith in their old monstrous Pantheon. Even Minna keeps, in her girlish enthusiasm, some touch of Freydis in the saga of Eric the Red: for her the old gods and the old years are not wholly exiled and impotent. All this is most characteristic of the antiquary and the poet in Scott, who lingers fondly over what has been, and stirs the last faint embers of fallen fires. It is of a piece with the harmless Jacobitism of his festivals, when they sang

In the singularly feeble and provincial vulgarities which Borrow launches, in the appendix to “Lavengro,” against the memory of Scott, the charge of reviving Catholicism is the most bitter. That rowdy evangelist might as well have charged Scott with a desire to restore the worship of Odin, and to sacrifice human victims on the stone altar of Stennis. He saw in Orkney the ruined fanes of the Norse deities, as at Melrose of the Virgin, and his loyal heart could feel for all that was old and lost, for all into which men had put their hearts and faiths, had made, and had unmade, in the secular quest for the divine. Like a later poet, he might have said:—

And surely no creed is more savage, cruel, and worthy of death than Borrow’s belief in a God who “knew where to strike,” and deliberately struck Scott by inducing Robinson to speculate in hops, and so bring down his Edinburgh associate, Constable, and with him Sir Walter! Such was the religion which Borrow expressed in the style of a writer in a fourth-rate country newspaper. We might prefer the frank Heathenism of the Red Beard to the religion of the author of “The Bible in Spain.”

There is no denying that Scott had in his imagination a certain mould of romance, into which his ideas, when he wrote most naturally, and most for his own pleasure, were apt to run. It is one of the charms of “The Pirate” that here he is manifestly writing for his own pleasure, with a certain boyish eagerness. Had we but the plot of one of the tales which he told, as a lad, to his friend Irving, we might find that it turned on a romantic mystery, a clue in the hands of some witch or wise woman, of some one who was always appearing in the nick of time, was always round the corner when anything was to be heard. This is a standing characteristic of the tales: now it is Edie Ochiltree, now Flibbertigibbet, now Meg Merrilies, now Norna, who holds the thread of the plot, but these characters are all well differentiated. Again, he had types, especially the pedantic type, which attracted him, but they vary as much as Yellowley and Dugald Dalgetty, the Antiquary, and Dominie Sampson. Yellowley is rather more repressed than some of Scott’s bores; but then he is not the only bore, for Claud Halcro, with all his merits, is a professed proser. Swift had exactly described the character, the episodical narrator, in a passage parallel to one in Theophrastus. In writing to Morritt, Scott says (November 1818): “I sympathise with you for the dole you are dreeing under the inflictions of your honest proser. Of all the boring machines ever devised, your regular and determined story-teller is the most peremptory and powerful in his operations.”

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