John Lord - Beacon Lights of History, Volume 13 - Great Writers

It is not known why Scott published this strikingly original work anonymously; perhaps it was because of his unusual modesty, and the fear that he might lose the popularity he had already enjoyed as a poet. But it immediately placed him on a higher literary elevation, since it was generally suspected that he was the author. He could not altogether disguise himself from the keen eyes of Jeffrey and other critics.

The book was received as a revelation. The first volume is not particularly interesting, but the story continually increases in interest to its close. It is not a dissection of the human heart; it is not even much of a love-story, but a most vivid narrative, without startling situations or adventures. Its great charm is its quiet humor,–not strained into witty expressions which provoke laughter, but a sort of amiable delineation of the character of a born gentleman, with his weaknesses and prejudices, all leaning to virtue's side. It is a description of manners peculiar to the Scottish gentry in the middle of the eighteenth century, especially among the Jacobite families then passing away.

Of course the popularity of this novel, at that time, was chiefly confined to the upper classes. In the first place the people could not afford to pay the price of the book; and, secondly, it was outside their sympathies and knowledge. Indeed, I doubt if any commonplace person, without culture or extended knowledge, can enjoy so refined a work, with so many learned allusions, and such exquisite humor, which appeals to a knowledge of the world in its higher aspects. It is one of the last books that an ignorant young lady brought up on the trash of ordinary fiction would relish or comprehend. Whoever turns uninterested from "Waverley" is probably unable to see its excellencies or enjoy its peculiar charms. It is not a book for a modern school-boy or school-girl, but for a man or woman in the highest maturity of mind, with a poetic or imaginative nature, and with a leaning perhaps to aristocratic sentiments. It is a rebuke to vulgarity and ignorance, which the minute and exaggerated descriptions of low life in the pages of Dickens certainly are not.

In February, 1815, "Guy Mannering" was published, the second in the series of the Waverley Novels, and was received by the intelligent reading classes with even more éclat than "Waverley," to which it is superior in many respects. It plunges at once in medias res , without the long and labored introductory chapters of its predecessor. It is interesting from first to last, and is an elaborate and well-told tale, written con amore , when Scott was in the maturity of his powers. It is full of incident and is delightful in humor. Its chief excellence is in the loftiness of its sentiments,–being one of the healthiest and wholesomest novels ever written, appealing to the heart as well as to the intellect, to be read over and over again, like "The Vicar of Wakefield," without weariness. It may be too aristocratic in its tone to please everybody, but it portrays the sentiments of its age in reference to squires and Scottish lairds, who were more distinguished for uprightness and manly duties than for brains and culture.

The fascination with which Scott always depicts the virtues of hospitality and trust in humanity makes a strong impression on the imagination. His heroes and heroines are not remarkable for genius, but shine in the higher glories of domestic affection and fidelity to trusts. Two characters in particular are original creations,–"Dominie Sampson" and "Meg Merrilies," whom no reader can forget,–the one, ludicrous for his simplicity; and the other a gypsy woman, weird and strange, more like a witch than a sibyl, but intensely human, and capable of the strongest attachment for those she loved.

"The easy and transparent flow of the style of this novel; its beautiful simplicity; the wild magnificence of its sketches of scenery; the rapid and ever brightening interest of the narrative; the unaffected kindness of feeling; the manly purity of thought, everywhere mingled with a gentle humor and homely sagacity,–but, above all, the rich variety and skilful contrast of character and manners, at once fresh in fiction, and stamped with the unforgeable seal of truth and nature, spoke to every heart and mind; and the few murmurs of pedantic criticism were lost in the voice of general delight which never fails to welcome the invention that introduces to the sympathy of the imagination a new group of immortal realities."

Scott received about £2000 for this favorite romance,–one entirely new in the realm of fiction,–which enabled him to pay off his most pressing debts, and indulge his taste for travel. He visited the Field of Waterloo, and became a social lion in both Paris and London. The Prince of Wales sent him a magnificent snuff-box set with diamonds, and entertained him with admiring cordiality at Carlton House,–for his authorship of "Waverley" was more than surmised, while his fame as a poet was second only to that of Byron. Then (in the spring of 1815) took place the first meeting of these two great bards, and their successive interviews were graced with mutual compliments. Scott did not think that Byron's reading was extensive either in poetry or history, in which opinion the industrious Scottish bard was mistaken; but he did justice ta Byron's transcendent genius, and with more charity than severity mourned over his departure from virtue. After a series of brilliant banquets at the houses of the great, both of rank and of fame, Scott returned to his native land to renew his varied and exhausting labors, having furnished his publishers with a volume of letters on the subjects which most interested him during his short tour. Everything he touched now brought him gold.

"Paul's Letters to his Kinsfolk," as he called this volume concerning his tour, was well received, but not with the enthusiasm which marked the publication of "Guy Mannering;" indeed, it had no special claim to distinction. "The Antiquary" followed in May of the next year, and though it lacked the romance of "Waverley" and the adventure of "Guy Mannering," it had even a larger sale. Scott himself regarded it as superior to both; but an author is not always the best judge of his own productions, and we do not accept his criticism. It probably cost him more labor; but it is an exhibition of his erudition rather than a revelation of himself or of Nature. It is certainly very learned; but learning does not make a book popular, nor is a work of fiction the place for a display of learning. If "The Antiquary" were published in these times, it would be pronounced pedantic. Readers are apt to skip names and learned allusions and scraps of Latin. As a story I think it inferior to "Guy Mannering," although it has great merits,–"a kind of simple, unsought charm,"–and is a transcript of actual Scottish life. It had a great success; Scott says in a letter to his friend Terry: "It is at press again, six thousand having been sold in six days." Before the novel was finished, the author had already projected his "Tales of My Landlord."

Scott was now at the flood-tide of his creative power, and his industry was as remarkable as his genius. There was but little doubt in the public mind as to the paternity of the Waverley Novels, and whatever Scott wrote was sure to have a large sale; so that every publisher of note was eager to have a hand in bringing his productions before the public. In 1816 appeared the "Edinburgh Annual Register," containing Scott's sketch of the year 1814, which, though very good, showed that the author was less happy in history than in fiction.

The first series of "Tales of My Landlord" was published by Murray, and not by Constable, who had brought out Scott's other works, and the book was received with unbounded enthusiasm. Many critics place "Old Mortality" in the highest niche of merit and fame. Frere of the Quarterly Review, Hallam, Boswell, Lamb, Lord Holland, all agreed that it surpassed his other novels. Bishop Heber said, "There are only two men in the world,–Walter Scott and Lord Byron." Lockhart regarded "Old Mortality" as the "Marmion" of Scott's novels; but the painting of the Covenanters gave offence to the more rigid of the Presbyterians. For myself, I have doubt as to the correctness of their criticisms. "Old Mortality," in contrast with the previous novels of Scott, has a place similar to the later productions of George Eliot as compared with her earlier ones. It is not so vivid a sketch of Scotch life as is given in "Guy Mannering." Like "The Antiquary," it is bookish rather than natural. From a literary point of view, it is more artistic than "Guy Mannering," and more learned. "The canvas is a broader one." Its characters are portrayed with great skill and power, but they lack the freshness which comes from actual contact with the people described, and with whom Scott was familiar as a youth in the course of his wanderings. It is more historical than realistic. In short, "Old Mortality" is another creation of its author's brain rather than a painting of real life. But it is justly famous, for it was the precursor of those brilliant historical romances from which so much is learned of great men already known to students. It was a new departure in literature.