John Galt - Ringan Gilhaize, or, The Covenanters

There have, of course, been many men of genius who have united with great laxity and waywardness in their lives a high and perfect respect for their art; but instances of the directly contrary practice are much rarer, and among these there is probably none more prominent than that of the author of Ringan Gilhaize . Gifted by nature with a faculty which was at once brilliant, powerful and genial, he led an industrious life, the upright and generally exemplary character of which has never for a moment been called in question. But, in the sphere of his art, it is as undeniable as unaccountable that he cared little or nothing to do his best. The haps or whims of the moment seem, indeed, to have governed his production with an influence as of stars malign or fortunate. Furthermore, we know that the profession of authorship – that most distinguished of all professions, as, speaking in sober sadness without arrogance, we cannot but be bold to call it – that profession from which he was himself so well equipt to derive honour – was held by him in low esteem. So that, speaking of the time of his residence in Upper Canada, he thinks no shame to observe that he did then consider himself qualified to do something more useful than "stringing blethers 1 1 Scots expletives, signifying different varieties of nonsense. into rhyme," or "writing 'clishmaclavers' in a closet." And again says he, "to tell the truth, I have sometimes felt a little shamefaced in thinking myself so much an author, in consequence of the estimation in which I view the profession of book-making in general. A mere literary man – an author by profession – stands low in my opinion." Such remarks as these from a man of commanding literary talent are the reverse of pleasant reading. But let us deal with the speaker, as we would ourselves be dealt by – mercifully, and regard these petulant utterances as a mere expression of bitterness or perversity in one much tried and sorely disappointed. Even so, the fact remains that the sum of Galt's immense and varied production exhibits inequalities of execution for which only carelessness or contempt in the worker for his task can adequately account. We shall presently have occasion to speak of him in his relation to the great contemporary writer to whose life and work his own work and life present so many interesting points of similarity and diversity; but we may here note that, in the glaringly disparate character of his output, the author of The Provost is in absolute contrast to the author of The Antiquary . For, if Scott's work viewed as a whole be rarely of the very finest literary quality, its evenness within its own limits is on the other hand very striking indeed. For, of his twenty-seven novels, there are perhaps but three which fall perceptibly below the general level of excellence; whilst probably any one of at least as many as six or eight might by a quorum of competent judges be selected as the best of all. And hence, where in the case of other authors we are called on to read this masterpiece or those specimens, and, having done so, are held to have acquitted ourselves, in the case of Scott we cannot feel that we have done our duty till we have read through the Waverley Novels. How entirely different is it with Galt – where we find The Omen occupying one shelf with The Radical , The Annals of the Parish catalogued with Lawrie Todd , and The Spaewife side by side with The Covenanters ! And obviously it is in this inequality in its author's work – in the magnitude, that is, of the rubbish-heap in which he chose to secrete his jewels – that the explanation of the neglect, if not rather oblivion, into which the work last-named has fallen can alone be sought and found. For, once in the threescore years of his busy life, Galt did his best, consistently and on a large scale, with the pen; and that once was in the novel of Ringan Gilhaize, or the Covenanters . What is more – however lamentably he may appear in general to lack the faculty of self-criticism – he knew when he had done his best, and among all his books this one remained his favourite. But a man has to pay for artistic as he has for moral delinquencies, and it would seem that the penalty of many a careless tome has been exacted in the obscuration of one of the finest and truest of historical romances in our language. 2 2 Dismissed in the Dictionary of National Biography , sub voce Galt, as one of "three forgotten novels." A word or two as to the genesis and character of the book which we have ventured thus to describe may not be out of place as preface to our endeavour to obtain for it a second hearing.

It was in the year 1822 or 1823 that Galt, aged then about forty-three, and having already seen much of life in various countries and capacities, settled at Esk Grove, Musselburgh, to apply himself to writing historical fiction. He was for the moment elated – carried away, perhaps, for his temper was enthusiastic even to a fault – by the recent and deserved success of his novels of Scottish manners, Sir Andrew Wylie and The Entail ; and the soaring idea appears to have entered his head of deliberately attempting to rival Scott in the very field which "the Wizard" had made peculiarly his own. From the point of view of prudence, though not from that of art or of sport, this enterprise was a mistake. For an author, serving as he does the public, shows no more than common sense if he endeavour to study, in the proper degree, the idiosyncrasies of that employer on whose favour his reputation, nay, perhaps the payment of his butcher's bill, depends. And it has long been observed that when the public has once made up its mind that one man is supreme in his own line, it has generally little attention to spare for those who seek to have it reconsider its decision. (This, by the way, was amply illustrated in the sequel of the very case now under discussion.) But the names of Galt and Prudence do not naturally go together: indeed, the two were never well or for any length of time acquainted. At Esk Grove, either in earnest, or, as seems more likely, in banter of the architectural incongruities of Abbotsford, Galt announced his intention of building a "veritable fortress," exactly in the fashion of the oldest times of rude warfare. En attendant , he worked hard with his pen, the first fruits of his industry appearing in the novel which is here reprinted after some six-and-seventy years.

What of the merits of this first attempt in a line that was new to him? In the first place, he had at least been guided in his choice of subject by an unerring historical instinct. For, surpassingly rich as is Scottish history in the elements both of picturesque and romantic incident and of wild and fascinating character, it is none the less a fact that there is but one period during which that history rises to the dignity of a really wide and permanent interest. And that period is of course the century, or century and a half, of the national struggle for religious liberty. It is not necessary to remind the reader that upon that struggle, and on those who maintained it, much has been written as well in the terms of undiscriminating eulogy as in those of uncomprehending condemnation. Nor is it more to the purpose to add that the truth lies neither entirely on one side nor the other. For – as in the earlier struggle for political independence, and, indeed, more or less in all other great national movements – the motives of most of those who took part were mixed, and varied with the individual. Thus it is undeniable that in the breast of many a reforming Scottish laird of the sixteenth century, mistrust of Rome was a subordinate feeling to the covetousness excited by the sight of extensive and well-cultivated Church lands; whilst, again, there are, on the other hand, probably few persons now in existence who would be prepared to justify the intolerance embodied even by the martyr Guthrie in his celebrated Remonstrance – to say nothing of that which made the mere hearing of the mass, under certain circumstances, a capital offence.