Вальтер Скотт - Chronicles of the Canongate, 1st Series

The preceding volume of this Collection concluded the last of the pieces originally published under the NOMINIS UMBRA of The Author of Waverley; and the circumstances which rendered it impossible for the writer to continue longer in the possession of his incognito were communicated in 1827, in the Introduction to the first series of Chronicles of the Canongate, consisting (besides a biographical sketch of the imaginary chronicler) of three tales, entitled “The Highland Widow,” “The Two Drovers,” and “The Surgeon’s Daughter.” In the present volume the two first named of these pieces are included, together with three detached stories which appeared the year after, in the elegant compilation called “The Keepsake.” “The Surgeon’s Daughter” it is thought better to defer until a succeeding volume, than to

“Begin, and break off in the middle.”

I have, perhaps, said enough on former occasions of the misfortunes which led to the dropping of that mask under which I had, for a long series of years, enjoyed so large a portion of public favour. Through the success of those literary efforts, I had been enabled to indulge most of the tastes which a retired person of my station might be supposed to entertain. In the pen of this nameless romancer, I seemed to possess something like the secret fountain of coined gold and pearls vouchsafed to the traveller of the Eastern Tale; and no doubt believed that I might venture, without silly imprudence, to extend my personal expenditure considerably beyond what I should have thought of, had my means been limited to the competence which I derived from inheritance, with the moderate income of a professional situation. I bought, and built, and planted, and was considered by myself, as by the rest of the world, in the safe possession of an easy fortune. My riches, however, like the other riches of this world, were liable to accidents, under which they were ultimately destined to make unto themselves wings, and fly away. The year 1825, so disastrous to many branches of industry and commerce, did not spare the market of literature; and the sudden ruin that fell on so many of the booksellers could scarcely have been expected to leave unscathed one whose career had of necessity connected him deeply and extensively with the pecuniary transactions of that profession. In a word, almost without one note of premonition, I found myself involved in the sweeping catastrophe of the unhappy time, and called on to meet the demands of creditors upon commercial establishments with which my fortunes had long been bound up, to the extent of no less a sum than one hundred and twenty thousand pounds.

The author having, however rashly, committed his pledges thus largely to the hazards of trading companies, it behoved him, of course, to abide the consequences of his conduct, and, with whatever feelings, he surrendered on the instant every shred of property which he had been accustomed to call his own. It became vested in the hands of gentlemen whose integrity, prudence, and intelligence were combined with all possible liberality and kindness of disposition, and who readily afforded every assistance towards the execution of plans, in the success of which the author contemplated the possibility of his ultimate extrication, and which were of such a nature that, had assistance of this sort been withheld, he could have had little prospect of carrying them into effect. Among other resources which occurred was the project of that complete and corrected edition of his Novels and Romances (whose real parentage had of necessity been disclosed at the moment of the commercial convulsions alluded to), which has now advanced with unprecedented favour nearly to its close; but as he purposed also to continue, for the behoof of those to whom he was indebted, the exercise of his pen in the same path of literature, so long as the taste of his countrymen should seem to approve of his efforts, it appeared to him that it would have been an idle piece of affectation to attempt getting up a new incognito, after his original visor had been thus dashed from his brow. Hence the personal narrative prefixed to the first work of fiction which he put forth after the paternity of the “Waverley Novels” had come to be publicly ascertained; and though many of the particulars originally avowed in that Notice have been unavoidably adverted to in the Prefaces and Notes to some of the preceding volumes of the present collection, it is now reprinted as it stood at the time, because some interest is generally attached to a coin or medal struck on a special occasion, as expressing, perhaps, more faithfully than the same artist could have afterwards conveyed, the feelings of the moment that gave it birth. The Introduction to the first series of Chronicles of the Canongate ran, then, in these words: —

All who are acquainted with the early history of the Italian stage are aware that Arlecchino is not, in his original conception, a mere worker of marvels with his wooden sword, a jumper in and out of windows, as upon our theatre, but, as his party-coloured jacket implies, a buffoon or clown, whose mouth, far from being eternally closed, as amongst us, is filled, like that of Touchstone, with quips, and cranks, and witty devices, very often delivered extempore. It is not easy to trace how he became possessed of his black vizard, which was anciently made in the resemblance of the face of a cat; but it seems that the mask was essential to the performance of the character, as will appear from the following theatrical anecdote: —

An actor on the Italian stage permitted at the Foire du St. Germain, in Paris, was renowned for the wild, venturous, and extravagant wit, the brilliant sallies and fortunate repartees, with which he prodigally seasoned the character of the party-coloured jester. Some critics, whose good-will towards a favourite performer was stronger than their judgment, took occasion to remonstrate with the successful actor on the subject of the grotesque vizard. They went wilily to their purpose, observing that his classical and Attic wit, his delicate vein of humour, his happy turn for dialogue, were rendered burlesque and ludicrous by this unmeaning and bizarre disguise, and that those attributes would become far more impressive if aided by the spirit of his eye and the expression of his natural features. The actor’s vanity was easily so far engaged as to induce him to make the experiment. He played Harlequin barefaced, but was considered on all hands as having made a total failure. He had lost the audacity which a sense of incognito bestowed, and with it all the reckless play of raillery which gave vivacity to his original acting. He cursed his advisers, and resumed his grotesque vizard, but, it is said, without ever being able to regain the careless and successful levity which the consciousness of the disguise had formerly bestowed.

Perhaps the Author of Waverley is now about to incur a risk of the same kind, and endanger his popularity by having laid aside his incognito. It is certainly not a voluntary experiment, like that of Harlequin; for it was my original intention never to have avowed these works during my lifetime, and the original manuscripts were carefully preserved (though by the care of others rather than mine), with the purpose of supplying the necessary evidence of the truth when the period of announcing it should arrive. [These manuscripts are at present (August 1831) advertised for public sale, which is an addition, though a small one, to other annoyances.] But the affairs of my publishers having, unfortunately, passed into a management different from their own, I had no right any longer to rely upon secrecy in that quarter; and thus my mask, like my Aunt Dinah’s in “Tristram Shandy,” having begun to wax a little threadbare about the chin, it became time to lay it aside with a good grace, unless I desired it should fall in pieces from my face, which was now become likely.