Literature - Fiction--Fair And Foul - I. 1880-81

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_ I.

1.[37]

1. On the first mild--or, at least, the first bright--day of March, in this year, I walked through what was once a country lane, between the hostelry of the Half-moon at the bottom of Herne Hill, and the secluded College of Dulwich.

In my young days, Croxsted Lane was a green byroad traversable for some distance by carts; but rarely so traversed, and, for the most part, little else than a narrow strip of untilled field, separated by blackberry hedges from the better-cared-for meadows on each side of it: growing more weeds, therefore, than they, and perhaps in spring a primrose or two--white archangel--daisies plenty, and purple thistles in autumn. A slender rivulet, boasting little of its brightness, for there are no springs at Dulwich, yet fed purely enough by the rain and morning dew, here trickled--there loitered--through the long grass beneath the hedges, and expanded itself, where it might, into moderately clear and deep pools, in which, under their veils of duckweed, a fresh-water shell or two, sundry curious little skipping shrimps, any quantity of tadpoles in their time, and even sometimes a tittlebat, offered themselves to my boyhood's pleased, and not inaccurate, observation. There, my mother and I used to gather the first buds of the hawthorn; and there, in after years, I used to walk in the summer shadows, as in a place wilder and sweeter than our garden, to think over any passage I wanted to make better than usual in _Modern Painters_.

So, as aforesaid, on the first kindly day of this year, being thoughtful more than usual of those old times, I went to look again at the place.

2. Often, both in those days, and since, I have put myself hard to it, vainly, to find words wherewith to tell of beautiful things; but beauty has been in the world since the world was made, and human language can make a shift, somehow, to give account of it, whereas the peculiar forces of devastation induced by modern city life have only entered the world lately; and no existing terms of language known to me are enough to describe the forms of filth, and modes of ruin, that varied themselves along the course of Croxsted Lane. The fields on each side of it are now mostly dug up for building, or cut through into gaunt corners and nooks of blind ground by the wild crossings and concurrencies of three railroads. Half a dozen handfuls of new cottages, with Doric doors, are dropped about here and there among the gashed ground: the lane itself, now entirely grassless, is a deep-rutted, heavy-hillocked cart-road, diverging gatelessly into various brickfields or pieces of waste; and bordered on each side by heaps of--Hades only knows what!--mixed dust of every unclean thing that can crumble in drought, and mildew of every unclean thing that can rot or rust in damp: ashes and rags, beer-bottles and old shoes, battered pans, smashed crockery, shreds of nameless clothes, door-sweepings, floor-sweepings, kitchen garbage, back-garden sewage, old iron, rotten timber jagged with out-torn nails, cigar-ends, pipe-bowls, cinders, bones, and ordure, indescribable; and, variously kneaded into, sticking to, or fluttering foully here and there over all these,--remnants broadcast, of every manner of newspaper, advertisement or big-lettered bill, festering and flaunting out their last publicity in the pits of stinking dust and mortal slime.

3. The lane ends now where its prettiest windings once began; being cut off by a cross-road leading out of Dulwich to a minor railway station: and on the other side of this road, what was of old the daintiest intricacy of its solitude is changed into a straight, and evenly macadamized carriage drive between new houses of extreme respectability, with good attached gardens and offices--most of these tenements being larger--all more pretentious, and many, I imagine, held at greatly higher rent than my father's, tenanted for twenty years at Herne Hill. And it became matter of curious meditation to me what must here become of children resembling my poor little dreamy quondam self in temper, and thus brought up at the same distance from London, and in the same or better circumstances of worldly fortune; but with only Croxsted Lane in its present condition for their country walk. The trimly kept road before their doors, such as one used to see in the fashionable suburbs of Cheltenham or Leamington, presents nothing to their study but gravel, and gas-lamp posts; the modern addition of a vermilion letter-pillar contributing indeed to the splendor, but scarcely to the interest of the scene; and a child of any sense or fancy would hastily contrive escape from such a barren desert of politeness, and betake itself to investigation, such as might be feasible, of the natural history of Croxsted Lane.

4. But, for its sense or fancy, what food, or stimulus, can it find, in that foul causeway of its youthful pilgrimage? What would have happened to myself, so directed, I cannot clearly imagine. Possibly, I might have got interested in the old iron and wood-shavings; and become an engineer or a carpenter: but for the children of to-day, accustomed, from the instant they are out of their cradles, to the sight of this infinite nastiness, prevailing as a fixed condition of the universe, over the face of nature, and accompanying all the operations of industrious man, what is to be the scholastic issue? unless, indeed, the thrill of scientific vanity in the primary analysis of some unheard-of process of corruption--or the reward of microscopic research in the sight of worms with more legs, and acari of more curious generation than ever vivified the more simply smelling plasma of antiquity.

One result of such elementary education is, however, already certain; namely, that the pleasure which we may conceive taken by the children of the coming time, in the analysis of physical corruption, guides, into fields more dangerous and desolate, the expatiation of an imaginative literature: and that the reactions of moral disease upon itself, and the conditions of languidly monstrous character developed in an atmosphere of low vitality, have become the most valued material of modern fiction, and the most eagerly discussed texts of modern philosophy.

5. The many concurrent reasons for this mischief may, I believe, be massed under a few general heads.[38]

I. There is first the hot fermentation and unwholesome secrecy of the population crowded into large cities, each mote in the misery lighter, as an individual soul, than a dead leaf, but becoming oppressive and infectious each to his neighbor, in the smoking mass of decay. The resulting modes of mental ruin and distress are continually new; and in a certain sense, worth study in their monstrosity: they have accordingly developed a corresponding science of fiction, concerned mainly with the description of such forms of disease, like the botany of leaf-lichens.

In De Balzac's story of _Father Goriot_, a grocer makes a large fortune, of which he spends on himself as much as may keep him alive; and on his two daughters, all that can promote their pleasures or their pride. He marries them to men of rank, supplies their secret expenses, and provides for his favorite a separate and clandestine establishment with her lover. On his death-bed, he sends for this favorite daughter, who wishes to come, and hesitates for a quarter of an hour between doing so, and going to a ball at which it has been for the last month her chief ambition to be seen. She finally goes to the ball.

The story is, of course, one of which the violent contrasts and spectral catastrophe could only take place, or be conceived, in a large city. A village grocer cannot make a large fortune, cannot marry his daughters to titled squires, and cannot die without having his children brought to him, if in the neighborhood, by fear of village gossip, if for no better cause.

6. II. But a much more profound feeling than this mere curiosity of science in morbid phenomena is concerned in the production of the carefulest forms of modern fiction. The disgrace and grief resulting from the mere trampling pressure and electric friction of town life, become to the sufferers peculiarly mysterious in their undeservedness, and frightful in their inevitableness. The power of all surroundings over them for evil; the incapacity of their own minds to refuse the pollution, and of their own wills to oppose the weight, of the staggering mass that chokes and crushes them into perdition, brings every law of healthy existence into question with them, and every alleged method of help and hope into doubt. Indignation, without any calming faith in justice, and self-contempt, without any curative self-reproach, dull the intelligence, and degrade the conscience, into sullen incredulity of all sunshine outside the dunghill, or breeze beyond the wafting of its impurity; and at last a philosophy develops itself, partly satiric, partly consolatory, concerned only with the regenerative vigor of manure, and the necessary obscurities of fimetic Providence; showing how everybody's fault is somebody else's, how infection has no law, digestion no will, and profitable dirt no dishonor.

And thus an elaborate and ingenious scholasticism, in what may be called the Divinity of Decomposition, has established itself in connection with the more recent forms of romance, giving them at once a complacent tone of clerical dignity, and an agreeable dash of heretical impudence; while the inculcated doctrine has the double advantage of needing no laborious scholarship for its foundation, and no painful self-denial for its practice.

7. III. The monotony of life in the central streets of any great modern city, but especially in those of London, where every emotion intended to be derived by men from the sight of nature, or the sense of art, is forbidden forever, leaves the craving of the heart for a sincere, yet changeful, interest, to be fed from one source only. Under natural conditions the degree of mental excitement necessary to bodily health is provided by the course of the seasons, and the various skill and fortune of agriculture. In the country every morning of the year brings with it a new aspect of springing or fading nature; a new duty to be fulfilled upon earth, and a new promise or warning in heaven. No day is without its innocent hope, its special prudence, its kindly gift, and its sublime danger; and in every process of wise husbandry, and every effort of contending or remedial courage, the wholesome passions, pride, and bodily power of the laborer are excited and exerted in happiest unison. The companionship of domestic, the care of serviceable, animals, soften and enlarge his life with lowly charities, and discipline him in familiar wisdoms and unboastful fortitudes; while the divine laws of seedtime which cannot be recalled, harvest which cannot be hastened, and winter in which no man can work, compel the impatiences and coveting of his heart into labor too submissive to be anxious, and rest too sweet to be wanton. What thought can enough comprehend the contrast between such life, and that in streets where summer and winter are only alternations of heat and cold; where snow never fell white, nor sunshine clear; where the ground is only a pavement, and the sky no more than the glass roof of an arcade; where the utmost power of a storm is to choke the gutters, and the finest magic of spring, to change mud into dust: where--chief and most fatal difference in state--there is no interest of occupation for any of the inhabitants but the routine of counter or desk within doors, and the effort to pass each other without collision outside; so that from morning to evening the only possible variation of the monotony of the hours, and lightening of the penalty of existence, must be some kind of mischief, limited, unless by more than ordinary godsend of fatality, to the fall of a horse, or the slitting of a pocket?

8. I said that under these laws of inanition, the craving of the human heart for some kind of excitement could be supplied from _one_ source only. It might have been thought by any other than a sternly tentative philosopher, that the denial of their natural food to human feelings would have provoked a reactionary desire for it; and that the dreariness of the street would have been gilded by dreams of pastoral felicity. Experience has shown the fact to be otherwise; the thoroughly trained Londoner can enjoy no other excitement than that to which he has been accustomed, but asks for _that_ in continually more ardent or more virulent concentration; and the ultimate power of fiction to entertain him is by varying to his fancy the modes, and defining for his dullness the horrors, of Death. In the single novel of "Bleak House" there are nine deaths (or left for death's, in the drop scene) carefully wrought out or led up to, either by way of pleasing surprise, as the baby's at the brick-maker's, or finished in their threatenings and sufferings, with as much enjoyment as can be contrived in the anticipation, and as much pathology as can be concentrated in the description. Under the following varieties of method:--

  One by assassination               Mr. Tulkinghorn.
  One by starvation, with phthisis   Joe.
  One by chagrin                     Richard.
  One by spontaneous combustion      Mr. Krook.
  One by sorrow                      Lady Dedlock's lover.
  One by remorse                     Lady Dedlock.
  One by insanity                    Miss Flite.
  One by paralysis                   Sir Leicester.

Besides the baby, by fever, and a lively young Frenchwoman left to be hanged.

And all this, observe, not in a tragic, adventurous, or military story, but merely as the further enlivenment of a narrative intended to be amusing; and as a properly representative average of the statistics of civilian mortality in the center of London.

9. Observe further, and chiefly. It is not the mere number of deaths (which, if we count the odd troopers in the last scene, is exceeded in "Old Mortality," and reached, within one or two, both in "Waverley" and "Guy Mannering") that marks the peculiar tone of the modern novel. It is the fact that all these deaths, but one, are of inoffensive, or at least in the world's estimate, respectable persons; and that they are all grotesquely either violent or miserable, purporting thus to illustrate the modern theology that the appointed destiny of a large average of our population is to die like rats in a drain, either by trap or poison. Not, indeed, that a lawyer in full practice can be usually supposed as faultless in the eye of Heaven as a dove or a woodcock; but it is not, in former divinities, thought the will of Providence that he should be dropped by a shot from a client behind his fire-screen, and retrieved in the morning by his housemaid under the chandelier. Neither is Lady Dedlock less reprehensible in her conduct than many women of fashion have been and will be: but it would not therefore have been thought poetically just, in old-fashioned morality, that she should be found by her daughter lying dead, with her face in the mud of a St. Giles's churchyard.

10. In the work of the great masters death is always either heroic, deserved, or quiet and natural (unless their purpose be totally and deeply tragic, when collateral meaner death is permitted, like that of Polonius or Roderigo). In "Old Mortality," four of the deaths, Bothwell's, Ensign Grahame's, Macbriar's, and Evandale's, are magnificently heroic; Burley's and Oliphant's long deserved, and swift; the troopers', met in the discharge of their military duty, and the old miser's as gentle as the passing of a cloud, and almost beautiful in its last words of--now unselfish--care.

* * * * *

"Ailie" (he aye ca'd me Ailie, we were auld acquaintance), "Ailie, take ye care and hand the gear weel thegither; for the name of Morton of Milnwood's gane out like the last sough of an auld sang." And sae he fell out o' ae dwam into another, and ne'er spak a word mair, unless it something we you'dna mak out, about a dipped candle being gude eneugh to see to dee wi'. He cou'd ne'er bide to see a molded ane, and there was ane, by ill luck, on the table.

* * * * *

In "Guy Mannering," the murder, though unpremeditated, of a single person, (himself not entirely innocent, but at least by heartlessness in a cruel function earning his fate,) is avenged to the uttermost on all the men conscious of the crime; Mr. Bertram's death, like that of his wife, brief in pain, and each told in the space of half a dozen lines; and that of the heroine of the tale, self-devoted, heroic in the highest, and happy.

Nor is it ever to be forgotten, in the comparison of Scott's with inferior work, that his own splendid powers were, even in early life, tainted, and in his latter years destroyed, by modern conditions of commercial excitement, then first, but rapidly, developing themselves. There are parts even in his best novels colored to meet tastes which he despised; and many pages written in his later ones to lengthen his article for the indiscriminate market.

11. But there was one weakness of which his healthy mind remained incapable to the last. In modern stories prepared for more refined or fastidious audiences than those of Dickens, the funereal excitement is obtained, for the most part, not by the infliction of violent or disgusting death; but in the suspense, the pathos, and the more or less by all felt, and recognized, mortal phenomena of the sick-room. The temptation, to weak writers, of this order of subject is especially great, because the study of it from the living--or dying--model is so easy, and to many has been the most impressive part of their own personal experience; while, if the description be given even with mediocre accuracy, a very large section of readers will admire its truth, and cherish its melancholy. Few authors of second or third rate genius can either record or invent a probable conversation in ordinary life; but few, on the other hand, are so destitute of observant faculty as to be unable to chronicle the broken syllables and languid movements of an invalid. The easily rendered, and too surely recognized, image of familiar suffering is felt at once to be real where all else had been false; and the historian of the gestures of fever and words of delirium can count on the applause of a gratified audience as surely as the dramatist who introduces on the stage of his flagging action a carriage that can be driven or a fountain that will flow. But the masters of strong imagination disdain such work, and those of deep sensibility shrink from it.[39] Only under conditions of personal weakness, presently to be noted, would Scott comply with the cravings of his lower audience in scenes of terror like the death of Front-de-Boeuf. But he never once withdrew the sacred curtain of the sick-chamber, nor permitted the disgrace of wanton tears round the humiliation of strength, or the wreck of beauty.

12. IV. No exception to this law of reverence will be found in the scenes in Coeur de Lion's illness introductory to the principal incident in the "Talisman." An inferior writer would have made the king charge in imagination at the head of his chivalry, or wander in dreams by the brooks of Aquitaine; but Scott allows us to learn no more startling symptoms of the king's malady than that he was restless and impatient, and could not wear his armor. Nor is any bodily weakness, or crisis of danger, permitted to disturb for an instant the royalty of intelligence and heart in which he examines, trusts and obeys the physician whom his attendants fear.

Yet the choice of the main subject in this story and its companion--the trial, to a point of utter torture, of knightly faith, and several passages in the conduct of both, more especially the exaggerated scenes in the House of Baldringham, and hermitage of Engedi, are signs of the gradual decline in force of intellect and soul which those who love Scott best have done him the worst injustice in their endeavors to disguise or deny. The mean anxieties, moral humiliations, and mercilessly demanded brain-toil, which killed him, show their sepulchral grasp for many and many a year before their final victory; and the states of more or less dulled, distorted, and polluted imagination which culminate in "Castle Dangerous" cast a Stygian hue over "St. Ronan's Well," "The Fair Maid of Perth," and "Anne of Geierstein," which lowers them, the first altogether, the other two at frequent intervals, into fellowship with the normal disease which festers throughout the whole body of our lower fictitious literature.

13. Fictitious! I use the ambiguous word deliberately; for it is impossible to distinguish in these tales of the prison-house how far their vice and gloom are thrown into their manufacture only to meet a vile demand, and how far they are an integral condition of thought in the minds of men trained from their youth up in the knowledge of Londinian and Parisian misery. The speciality of the plague is a delight in the exposition of the relations between guilt and decrepitude; and I call the results of it literature "of the prison-house," because the thwarted habits of body and mind, which are the punishment of reckless crowding in cities, become, in the issue of that punishment, frightful subjects of exclusive interest to themselves; and the art of fiction in which they finally delight is only the more studied arrangement and illustration, by colored fire-lights, of the daily bulletins of their own wretchedness, in the prison calendar, the police news, and the hospital report.

14. The reader will perhaps be surprised at my separating the greatest work of Dickens, "Oliver Twist," with honor, from the loathsome mass to which it typically belongs. That book is an earnest and uncaricatured record of states of criminal life, written with didactic purpose, full of the gravest instruction, nor destitute of pathetic studies of noble passion. Even the "Mysteries of Paris" and Gaboriau's "Crime d'Orcival" are raised, by their definiteness of historical intention and forewarning anxiety, far above the level of their order, and may be accepted as photographic evidence of an otherwise incredible civilization, corrupted in the infernal fact of it, down to the genesis of such figures as the Vicomte d'Orcival, the Stabber,[40] the Skeleton, and the She-wolf. But the effectual head of the whole cretinous school is the renowned novel in which the hunchbacked lover watches the execution of his mistress from the tower of Notre-Dame; and its strength passes gradually away into the anatomical preparations, for the general market, of novels like "Poor Miss Finch," in which the heroine is blind, the hero epileptic, and the obnoxious brother is found dead with his hands dropped off, in the Arctic regions.[41]

15. This literature of the Prison-house, understanding by the word not only the cell of Newgate, but also and even more definitely the cell of the Hotel-Dieu, the Hopital des Fous, and the grated corridor with the dripping slabs of the Morgue, having its central root thus in the Ile de Paris--or historically and pre-eminently the "Cite de Paris"--is, when understood deeply, the precise counter-corruption of the religion of the Sainte Chapelle, just as the worst forms of bodily and mental ruin are the corruption of love. I have therefore called it "Fiction mecroyante," with literal accuracy and precision: according to the explanation of the word, which the reader may find in any good French dictionary,[42] and round its Arctic pole in the Morgue, he may gather into one Caina of gelid putrescence the entire product of modern infidel imagination, amusing itself with destruction of the body, and busying itself with aberration of the mind.

16. Aberration, palsy, or plague, observe, as distinguished from normal evil, just as the venom of rabies or cholera differs from that of a wasp or a viper. The life of the insect and serpent deserves, or at least permits, our thoughts; not so the stages of agony in the fury-driven hound. There is some excuse, indeed, for the pathologic labor of the modern novelist in the fact that he cannot easily, in a city population, find a healthy mind to vivisect: but the greater part of such amateur surgery is the struggle, in an epoch of wild literary competition, to obtain novelty of material. The varieties of aspect and color in healthy fruit, be it sweet or sour, may be within certain limits described exhaustively. Not so the blotches of its conceivable blight: and while the symmetries of integral human character can only be traced by harmonious and tender skill, like the branches of a living tree, the faults and gaps of one gnawed away by corroding accident can be shuffled into senseless change like the wards of a Chubb lock.

17. V. It is needless to insist on the vast field for this dice-cast or card-dealt calamity which opens itself in the ignorance, money-interest, and mean passion, of city marriage. Peasants know each other as children--meet, as they grow up in testing labor; and if a stout farmer's son marries a handless girl, it is his own fault. Also in the patrician families of the field, the young people know what they are doing, and marry a neighboring estate, or a covetable title, with some conception of the responsibilities they undertake. But even among these, their season in the confused metropolis creates licentious and fortuitous temptation before unknown; and in the lower middle orders, an entirely new kingdom of discomfort and disgrace has been preached to them in the doctrines of unbridled pleasure which are merely an apology for their peculiar forms of ill-breeding. It is quite curious how often the catastrophe, or the leading interest, of a modern novel, turns upon the want, both in maid and bachelor, of the common self-command which was taught to their grandmothers and grandfathers as the first element of ordinarily decent behavior. Rashly inquiring the other day the plot of a modern story[43] from a female friend, I elicited, after some hesitation, that it hinged mainly on the young people's "forgetting themselves in a boat;" and I perceive it to be accepted as nearly an axiom in the code of modern civic chivalry that the strength of amiable sentiment is proved by our incapacity on proper occasions to express, and on improper ones to control it. The pride of a gentleman of the old school used to be in his power of saying what he meant, and being silent when he ought (not to speak of the higher nobleness which bestowed love where it was honorable, and reverence where it was due); but the automatic amours and involuntary proposals of recent romance acknowledge little further law of morality than the instinct of an insect, or the effervescence of a chemical mixture.

18. There is a pretty little story of Alfred de Musset's--"La Mouche," which, if the reader cares to glance at it, will save me further trouble in explaining the disciplinarian authority of mere old-fashioned politeness, as in some sort protective of higher things. It describes, with much grace and precision, a state of society by no means pre-eminently virtuous, or enthusiastically heroic; in which many people do extremely wrong, and none sublimely right. But as there are heights of which the achievement is unattempted, there are abysses to which fall is barred; neither accident nor temptation will make any of the principal personages swerve from an adopted resolution, or violate an accepted principle of honor; people are expected as a matter of course to speak with propriety on occasion, and to wait with patience when they are bid: those who do wrong, admit it; those who do right don't boast of it; everybody knows his own mind, and everybody has good manners.

19. Nor must it be forgotten that in the worst days of the self-indulgence which destroyed the aristocracies of Europe, their vices, however licentious, were never, in the fatal modern sense, "unprincipled." The vainest believed in virtue; the vilest respected it. "Chaque chose avait son nom,"[44] and the severest of English moralists recognizes the accurate wit, the lofty intellect, and the unfretted benevolence, which redeemed from vitiated surroundings the circle of d'Alembert and Marmontel.[45]

I have said, with too slight praise, that the vainest, in those days, "believed" in virtue. Beautiful and heroic examples of it were always before them; nor was it without the secret significance attaching to what may seem the least accidents in the work of a master, that Scott gave to both his heroines of the age of revolution in England the name of the queen of the highest order of English chivalry.[46]

20. It is to say little for the types of youth and maid which alone Scott felt it a joy to imagine, or thought it honorable to portray, that they act and feel in a sphere where they are never for an instant liable to any of the weaknesses which disturb the calm, or shake the resolution, of chastity and courage in a modern novel. Scott lived in a country and time, when, from highest to lowest, but chiefly in that dignified and nobly severe[47] middle class to which he himself belonged, a habit of serene and stainless thought was as natural to the people as their mountain air. Women like Rose Bradwardine and Ailie Dinmont were the grace and guard of almost every household (God be praised that the race of them is not yet extinct, for all that Mall or Boulevard can do), and it has perhaps escaped the notice of even attentive readers that the comparatively uninteresting character of Sir Walter's heroes had always been studied among a class of youths who were simply incapable of doing anything seriously wrong; and could only be embarrassed by the consequences of their levity or imprudence.

21. But there is another difference in the woof of a Waverley novel from the cobweb of a modern one, which depends on Scott's larger view of human life. Marriage is by no means, in his conception of man and woman, the most important business of their existence;[48] nor love the only reward to be proposed to their virtue or exertion. It is not in his reading of the laws of Providence a necessity that virtue should, either by love or any other external blessing, be rewarded at all;[49] and marriage is in all cases thought of as a constituent of the happiness of life, but not as its only interest, still less its only aim. And upon analyzing with some care the motives of his principal stories, we shall often find that the love in them is merely a light by which the sterner features of character are to be irradiated, and that the marriage of the hero is as subordinate to the main bent of the story as Henry the Fifth's courtship of Katherine is to the battle of Agincourt. Nay, the fortunes of the person who is nominally the subject of the tale are often little more than a background on which grander figures are to be drawn, and deeper fates forthshadowed. The judgments between the faith and chivalry of Scotland at Drumclog and Bothwell Bridge owe little of their interest in the mind of a sensible reader to the fact that the captain of the Popinjay is carried a prisoner to one battle, and returns a prisoner from the other: and Scott himself, while he watches the white sail that bears Queen Mary for the last time from her native land, very nearly forgets to finish his novel, or to tell us--and with small sense of any consolation to be had out of that minor circumstance,--that "Roland and Catherine were united, spite of their differing faiths."

22. Neither let it be thought for an instant that the slight, and sometimes scornful, glance with which Scott passes over scenes which a novelist of our own day would have analyzed with the airs of a philosopher, and painted with the curiosity of a gossip, indicates any absence in his heart of sympathy with the great and sacred elements of personal happiness. An era like ours, which has with diligence and ostentation swept its heart clear of all the passions once known as loyalty, patriotism, and piety, necessarily magnifies the apparent force of the one remaining sentiment which sighs through the barren chambers, or clings inextricably round the chasms of ruin; nor can it but regard with awe the unconquerable spirit which still tempts or betrays the sagacities of selfishness into error or frenzy which is believed to be love.

That Scott was never himself, in the sense of the phrase as employed by lovers of the Parisian school, "ivre d'amour," may be admitted without prejudice to his sensibility,[50] and that he never knew "l'amor che move 'l sol e l'altre stelle," was the chief, though unrecognized, calamity of his deeply checkered life. But the reader of honor and feeling will not therefore suppose that the love which Miss Vernon sacrifices, stooping for an instant from her horse, is of less noble stamp, or less enduring faith, than that which troubles and degrades the whole existence of Consuelo; or that the affection of Jeanie Deans for the companion of her childhood, drawn like a field of soft blue heaven beyond the cloudy wrack of her sorrow, is less fully in possession of her soul than the hesitating and self-reproachful impulses under which a modern heroine forgets herself in a boat, or compromises herself in the cool of the evening.

23. I do not wish to return over the waste ground we have traversed, comparing, point by point, Scott's manner with those of Bermondsey and the Faubourgs; but it may be, perhaps, interesting at this moment to examine, with illustration from those Waverley novels which have so lately _re_tracted the attention of a fair and gentle public,[51] the universal conditions of "style," rightly so called, which are in all ages, and above all local currents or wavering tides of temporary manners, pillars of what is forever strong, and models of what is forever fair.

But I must first define, and that within strict horizon, the works of Scott, in which his perfect mind may be known, and his chosen ways understood.

His great works of prose fiction, excepting only the first half-volume of "Waverley," were all written in twelve years, 1814-26 (of his own age forty-three to fifty-five), the actual time employed in their composition being not more than a couple of months out of each year; and during that time only the morning hours and spare minutes during the professional day. "Though the first volume of 'Waverley' was begun long ago, and actually lost for a time, yet the other two were begun and finished between the 4th of June and the 1st of July, during all which I attended my duty in court, and proceeded without loss of time or hindrance of business."[52]

Few of the maxims for the enforcement of which, in "Modern Painters," long ago, I got the general character of a lover of paradox, are more singular, or more sure, than the statement, apparently so encouraging to the idle, that if a great thing can be done at all, it can be done easily. But it is that kind of ease with which a tree blossoms after long years of gathered strength, and all Scott's great writings were the recreations of a mind confirmed in dutiful labor, and rich with organic gathering of boundless resource.

Omitting from our count the two minor and ill-finished sketches of the "Black Dwarf" and "Legend of Montrose," and, for a reason presently to be noticed, the unhappy "St. Ronan's," the memorable romances of Scott are eighteen, falling into three distinct groups, containing six each.

24. The first group is distinguished from the other two by characters of strength and felicity which never more appeared after Scott was struck down by his terrific illness in 1819. It includes "Waverley," "Guy Mannering," "The Antiquary," "Rob Roy," "Old Mortality," and "The Heart of Midlothian."

The composition of these occupied the mornings of his happiest days, between the ages of forty-three and forty-eight. On the 8th of April, 1819 (he was forty-eight on the preceding 15th of August), he began for the first time to dictate--being unable for the exertion of writing--"The Bride of Lammermuir," "the affectionate Laidlaw beseeching him to stop dictating when his audible suffering filled every pause. 'Nay, Willie,' he answered, 'only see that the doors are fast. I would fain keep all the cry as well as all the wool to ourselves; but as for giving over work, that can only be when I am in woolen.'"[53] From this time forward the brightness of joy and sincerity of inevitable humor, which perfected the imagery of the earlier novels, are wholly absent, except in the two short intervals of health unaccountably restored, in which he wrote "Redgauntlet" and "Nigel."

It is strange, but only a part of the general simplicity of Scott's genius, that these revivals of earlier power were unconscious, and that the time of extreme weakness in which he wrote "St. Ronan's Well," was that in which he first asserted his own restoration.

25. It is also a deeply interesting characteristic of his noble nature that he never gains anything by sickness; the whole man breathes or faints as one creature: the ache that stiffens a limb chills his heart, and every pang of his stomach paralyzes the brain. It is not so with inferior minds, in the workings of which it is often impossible to distinguish native from narcotic fancy, and the throbs of conscience from those of indigestion. Whether in exaltation or languor, the colors of mind are always morbid which gleam on the sea for the "Ancient Mariner," and through the casements on "St. Agnes' Eve"; but Scott is at once blinded and stultified by sickness; never has a fit of the cramp without spoiling a chapter, and is perhaps the only author of vivid imagination who never wrote a foolish word but when he was ill.

It remains only to be noticed on this point that any strong natural excitement, affecting the deeper springs of his heart, would at once restore his intellectual powers to their fullness, and that, far towards their sunset: but that the strong will on which he prided himself, though it could trample upon pain, silence grief, and compel industry, never could warm his imagination, or clear the judgment in his darker hours.

I believe that this power of the heart over the intellect is common to all great men: but what the special character of emotion was, that alone could lift Scott above the power of death, I am about to ask the reader, in a little while, to observe with joyful care.

26. The first series of romances then, above-named, are all that exhibit the emphasis of his unharmed faculties. The second group, composed in the three years subsequent to illness all but mortal, bear every one of them more or less the seal of it.

They consist of the "Bride of Lammermuir," "Ivanhoe," the "Monastery," the "Abbot," "Kenilworth," and the "Pirate."[54] The marks of broken health on all these are essentially twofold--prevailing melancholy, and fantastic improbability. Three of the tales are agonizingly tragic, the "Abbot" scarcely less so in its main event, and "Ivanhoe" deeply wounded through all its bright panoply; while even in that most powerful of the series the impossible archeries and ax-strokes, the incredibly opportune appearances of Locksley, the death of Ulrica, and the resuscitation of Athelstane, are partly boyish, partly feverish. Caleb in the "Bride," Triptolemus and Halcro in the "Pirate," are all laborious, and the first incongruous; half a volume of the "Abbot" is spent in extremely dull detail of Roland's relations with his fellow-servants and his mistress, which have nothing whatever to do with the future story; and the lady of Avenel herself disappears after the first volume, "like a snaw-wreath when it's thaw, Jeanie." The public has for itself pronounced on the "Monastery," though as much too harshly as it has foolishly praised the horrors of "Ravenswood" and the nonsense of "Ivanhoe"; because the modern public finds in the torture and adventure of these, the kind of excitement which it seeks at an opera, while it has no sympathy whatever with the pastoral happiness of Glendearg, or with the lingering simplicities of superstition which give historical likelihood to the legend of the White Lady.

But both this despised tale and its sequel have Scott's heart in them. The first was begun to refresh himself in the intervals of artificial labor on "Ivanhoe." "It was a relief," he said, "to interlay the scenery most familiar to me[55] with the strange world for which I had to draw so much on imagination." Through all the closing scenes of the second he is raised to his own true level by his love for the queen. And within the code of Scott's work to which I am about to appeal for illustration of his essential powers, I accept the "Monastery" and "Abbot," and reject from it the remaining four of this group.

27. The last series contains two quite noble ones, "Redgauntlet" and "Nigel"; two of very high value, "Durward" and "Woodstock"; the slovenly and diffuse "Peveril," written for the trade;[56] the sickly "Tales of the Crusaders," and the entirely broken and diseased "St. Ronan's Well." This last I throw out of count altogether, and of the rest, accept only the four first named as sound work; so that the list of the novels in which I propose to examine his methods and ideal standards, reduces itself to these following twelve (named in order of production): "Waverley," "Guy Mannering," the "Antiquary," "Rob Roy," "Old Mortality," the "Heart of Midlothian," the "Monastery," the "Abbot," "Redgauntlet," the "Fortunes of Nigel," "Quentin Durward," and "Woodstock."[57]

28. It is, however, too late to enter on my subject in this article, which I may fitly close by pointing out some of the merely verbal characteristics of his style, illustrative in little ways of the questions we have been examining, and chiefly of the one which may be most embarrassing to many readers, the difference, namely, between character and disease.

One quite distinctive charm in the Waverleys is their modified use of the Scottish dialect; but it has not generally been observed, either by their imitators, or the authors of different taste who have written for a later public, that there is a difference between the dialect of a language, and its corruption.

A dialect is formed in any district where there are persons of intelligence enough to use the language itself in all its fineness and force, but under the particular conditions of life, climate, and temper, which introduce words peculiar to the scenery, forms of word and idioms of sentence peculiar to the race, and pronunciations indicative of their character and disposition.

Thus "burn" (of a streamlet) is a word possible only in a country where there are brightly running waters, "lassie," a word possible only where girls are as free as the rivulets, and "auld," a form of the southern "old," adopted by a race of finer musical ear than the English.

On the contrary, mere deteriorations, or coarse, stridulent, and, in the ordinary sense of the phrase, "broad" forms of utterance, are not dialects at all, having nothing dialectic in them; and all phrases developed in states of rude employment, and restricted intercourse, are injurious to the tone and narrowing to the power of the language they affect. Mere breadth of accent does not spoil a dialect as long as the speakers are men of varied idea and good intelligence; but the moment the life is contracted by mining, millwork, or any oppressive and monotonous labor, the accents and phrases become debased. It is part of the popular folly of the day to find pleasure in trying to write and spell these abortive, crippled, and more or less brutal forms of human speech.

29. Abortive, crippled, or brutal, are however not necessarily "corrupted" dialects. Corrupt language is that gathered by ignorance, invented by vice, misused by insensibility, or minced and mouthed by affectation, especially in the attempt to deal with words of which only half the meaning is understood or half the sound heard. Mrs. Gamp's "aperiently so"--and the "underminded" with primal sense of undermine, of--I forget which gossip, in the "Mill on the Floss," are master-and mistress-pieces in this latter kind. Mrs. Malaprop's "allegories on the banks of the Nile" are in somewhat higher order of mistake: Mrs. Tabitha Bramble's ignorance is vulgarized by her selfishness, and Winifred Jenkins' by her conceit. The "wot" of Noah Claypole, and the other degradations of cockneyism (Sam Weller and his father are in nothing more admirable than in the power of heart and sense that can purify even these); the "trewth" of Mr. Chadband, and "natur" of Mr. Squeers, are examples of the corruption of words by insensibility: the use of the word "bloody" in modern low English is a deeper corruption, not altering the form of the word, but defiling the thought in it.

Thus much being understood, I shall proceed to examine thoroughly a fragment of Scott's Lowland Scottish dialect; not choosing it of the most beautiful kind; on the contrary, it shall be a piece reaching as low down as he ever allows Scotch to go--it is perhaps the only unfair patriotism in him, that if ever he wants a word or two of really villainous slang, he gives it in English or Dutch--not Scotch.

I had intended in the close of this paper to analyze and compare the characters of Andrew Fairservice and Richie Moniplies, for examples, the former of innate evil, unaffected by external influences, and undiseased, but distinct from natural goodness as a nettle is distinct from balm or lavender; and the latter of innate goodness, contracted and pinched by circumstance, but still undiseased, as an oak-leaf crisped by frost, not by the worm. This, with much else in my mind, I must put off; but the careful study of one sentence of Andrew's will give us a good deal to think of.

30. I take his account of the rescue of Glasgow Cathedral at the time of the Reformation.

Ah! it's a brave kirk--nane o' yere whigmaleeries an curliewurlies and opensteek hems about it--a' solid, weel-jointed mason-wark, that will stand as lang as the warld, keep hands and gunpowther aff it. It had amaist a douncome lang syne at the Reformation, when they pu'd doun the kirks of St. Andrews and Perth, and thereawa', to cleanse them o' Papery, and idolatry, and image-worship, and surplices, and sic-like rags o' the muckle hure that sitteth on seven hills, as if ane wasna braid eneugh for her auld hinder end. Sae the commons o' Renfrew, and o' the Barony, and the Gorbals, and a' about, they behoved to come into Glasgow ae fair morning, to try their hand on purging the High Kirk o' Popish nicknackets. But the townsmen o' Glasgow, they were feared their auld edifice might slip the girths in gaun through siccan rough physic, sae they rang the common bell, and assembled the train-bands wi' took o' drum. By good luck, the worthy James Rabat was Dean o' Guild that year--(and a gude mason he was himsell, made him the keener to keep up the auld bigging), and the trades assembled, and offered downright battle to the commons, rather than their kirk should coup the crans, as others had done elsewhere. It wasna for luve o' Paperie--na, na!--nane could ever say that o' the trades o' Glasgow--Sae they sune came to an agreement to take a' the idolatrous statues of sants (sorrow be on them!) out o' their neuks--And sae the bits o' stane idols were broken in pieces by Scripture warrant, and flung into the Molendinar burn, and the auld kirk stood as crouse as a cat when the flaes are kaimed aff her, and a'body was alike pleased. And I hae heard wise folk say, that if the same had been done in ilka kirk in Scotland, the Reform wad just hae been as pure as it is e'en now, and we wad hae mair Christianlike kirks; for I hae been sae lang in England, that naething will drived out o' my head, that the dog-kennel at Osbaldistone-Hall is better than mony a house o' God in Scotland.

31. Now this sentence is in the first place a piece of Scottish history of quite inestimable and concentrated value. Andrew's temperament is the type of a vast class of Scottish--shall we call it "_sow_-thistlian"--mind, which necessarily takes the view of either Pope or saint that the thistle in Lebanon took of the cedar or lilies in Lebanon; and the entire force of the passions which, in the Scottish revolution, foretold and forearmed the French one, is told in this one paragraph; the coarseness of it, observe, being admitted, not for the sake of the laugh, any more than an onion in broth merely for its flavor, but for the meat of it; the inherent constancy of that coarseness being a fact in this order of mind, and an essential part of the history to be told.

Secondly, observe that this speech, in the religious passion of it, such as there may be, is entirely sincere. Andrew is a thief, a liar, a coward, and, in the Fair service from which he takes his name, a hypocrite; but in the form of prejudice, which is all that his mind is capable of in the place of religion, he is entirely sincere. He does not in the least pretend detestation of image worship to please his master, or anyone else; he honestly scorns the "carnal morality[58] as dowd and fusionless as rue-leaves at Yule" of the sermon in the upper cathedral; and when wrapt in critical attention to the "real savor o' doctrine" in the crypt, so completely forgets the hypocrisy of his fair service as to return his master's attempt to disturb him with hard punches of the elbow.

Thirdly. He is a man of no mean sagacity, quite up to the average standard of Scottish common sense, not a low one; and, though incapable of understanding any manner of lofty thought or passion, is a shrewd measurer of weaknesses, and not without a spark or two of kindly feeling. See first his sketch of his master's character to Mr. Hammorgaw, beginning: "He's no a'thegither sae void o' sense, neither"; and then the close of the dialogue: "But the lad's no a bad lad after a', and he needs some careful body to look after him."

Fourthly. He is a good workman; knows his own business well, and can judge of other craft, if sound, or otherwise.

All these four qualities of him must be known before we can understand this single speech. Keeping them in mind, I take it up, word by word.

32. You observe, in the outset, Scott makes no attempt whatever to indicate accents or modes of pronunciation by changed spelling, unless the word becomes a quite definitely new, and securely writable one. The Scottish way of pronouncing "James," for instance, is entirely peculiar, and extremely pleasant to the ear. But it is so, just because it does _not_ change the word into Jeems, nor into Jims, nor into Jawms. A modern writer of dialects would think it amusing to use one or other of these ugly spellings. But Scott writes the name in pure English, knowing that a Scots reader will speak it rightly, and an English one be wise in letting it alone. On the other hand he writes "weel" for "well," because that word is complete in its change, and may be very closely expressed by the double _e_. The ambiguous _u_'s in "gude" and "sune" are admitted, because far liker the sound than the double _o_ would be, and that in "hure," for grace' sake, to soften the word; so also "flaes" for "fleas." "Mony" for "many" is again positively right in sound, and "neuk" differs from our "nook" in sense, and is not the same word at all, as we shall presently see.

Secondly, observe, not a word is corrupted in any indecent haste, slowness, slovenliness, or incapacity of pronunciation. There is no lisping, drawling, slobbering, or snuffling: the speech is as clear as a bell and as keen as an arrow: and its elisions and contractions are either melodious, ("na," for "not,"--"pu'd," for "pulled,") or as normal as in a Latin verse. The long words are delivered without the slightest bungling; and "bigging" finished to its last _g_.

33. I take the important words now in their places.

_Brave._ The old English sense of the word in "to go brave," retained, expressing Andrew's sincere and respectful admiration. Had he meant to insinuate a hint of the church's being too fine, he would have said "braw."

_Kirk._ This is of course just as pure and unprovincial a word as "Kirche," or "eglise."

_Whigmaleerie._ I cannot get at the root of this word, but it is one showing that the speaker is not bound by classic rules, but will use any syllables that will enrich his meaning. "Nipperty-tipperty" (of his master's "poetry-nonsense") is another word of the same class. "Curliewurlie" is of course just as pure as Shakespeare's "Hurlyburly." But see first suggestion of the idea to Scott at Blair-Adam (L. vi. 264).

_Opensteek hems._ More description, or better, of the later Gothic cannot be put into four syllables. "Steek," melodious for stitch, has a combined sense of closing or fastening. And note that the later Gothic being precisely what Scott knew best (in Melrose) and liked best, it is, here as elsewhere, quite as much himself[59] as Frank, that he is laughing at, when he laughs _with_ Andrew, whose "opensteek hems" are only a ruder metaphor for his own "willow-wreaths changed to stone."

_Gunpowther._ "-Ther" is a lingering vestige of the French "-dre."

_Syne._ One of the melodious and mysterious Scottish words which have partly the sound of wind and stream in them, and partly the range of softened idea which is like a distance of blue hills over border land ("far in the distant Cheviot's blue"). Perhaps even the least sympathetic "Englisher" might recognize this, if he heard "Old Long Since" vocally substituted for the Scottish words to the air. I do not know the root; but the word's proper meaning is not "since," but before or after an interval of some duration, "as weel sune as syne." "But first on Sawnie gies a ca', Syne, bauldly in she enters."

_Behoved_ (_to come_). A rich word, with peculiar idiom, always used more or less ironically of anything done under a partly mistaken and partly pretended notion of duty.

_Siccan._ Far prettier, and fuller in meaning than "such." It contains an added sense of wonder; and means properly "so great" or "so unusual."

_Took_ (_o' drum_). Classical "tuck" from Italian "toccata," the preluding "touch" or flourish, on any instrument (but see Johnson under word "tucket," quoting "Othello"). The deeper Scottish vowels are used here to mark the deeper sound of the bass drum, as in more solemn warning.

_Bigging._ The only word in all the sentence of which the Scottish form is less melodious than the English, "and what for no," seeing that Scottish architecture is mostly little beyond Bessie Bell's and Mary Gray's? "They biggit a bow're by yon burnside, and theekit it ow're wi' rashes." But it is pure Anglo-Saxon in roots; see glossary to Fairbairn's edition of the Douglas "Virgil," 1710.

_Coup._ Another of the much-embracing words; short for "upset," but with a sense of awkwardness as the inherent cause of fall; compare Richie Moniplies (also for sense of "behoved"): "Ae auld hirplin deevil of a potter behoved just to step in my way, and offer me a pig (earthen pot--etym. dub.), as he said 'just to put my Scotch ointment in'; and I gave him a push, as but natural, and the tottering deevil coupit owre amang his own pigs, and damaged a score of them." So also Dandie Dinmont in the postchaise: "'Od! I hope they'll no coup us."

_The Crans._ Idiomatic; root unknown to me, but it means in this use, fall total, and without recovery.[60]

_Molendinar._ From "molendinum," the grinding-place. I do not know if actually the local name,[61] or Scott's invention. Compare Sir Piercie's "Molinaras." But at all events used here with by-sense of degradation of the formerly idle saints to grind at the mill.

_Crouse._ Courageous, softened with a sense of comfort.

_Ilka._ Again a word with azure distance, including the whole sense of "each" and "every." The reader must carefully and reverently distinguish these comprehensive words, which gather two or more perfectly understood meanings into one _chord_ of meaning, and are harmonies more than words, from the above-noted blunders between two half-hit meanings, struck as a bad piano-player strikes the edge of another note. In English we have fewer of these combined thoughts; so that Shakespeare rather plays with the distinct lights of his words, than melts them into one. So again Bishop Douglas spells, and doubtless spoke, the word "rose," differently, according to his purpose; if as the chief or governing ruler of flowers, "rois," but if only in her own beauty, rose.

_Christianlike._ The sense of the decency and order proper to Christianity is stronger in Scotland than in any other country, and the word "Christian" more distinctly opposed to "beast." Hence the back-handed cut at the English for their over-pious care of dogs.

34. I am a little surprised myself at the length to which this examination of one small piece of Sir Walter's first-rate work has carried us, but here I must end for this time, trusting, if the Editor of the _Nineteenth Century_ permit me, yet to trespass, perhaps more than once, on his readers' patience; but, at all events, to examine in a following paper the technical characteristics of Scott's own style, both in prose and verse, together with Byron's, as opposed to our fashionably recent dialects and rhythms; the essential virtues of language, in both the masters of the old school, hinging ultimately, little as it might be thought, on certain unalterable views of theirs concerning the code called "of the Ten Commandments," wholly at variance with the dogmas of automatic morality which, summed again by the witches' line, "Fair is foul, and foul is fair," hover through the fog and filthy air of our prosperous England.

FOOTNOTES:

[Footnote 37: _Nineteenth Century_, June, 1880.]

[Footnote 38: See _Time and Tide_, Sec. 72.--ED.]

[Footnote 39: Nell, in the "Old Curiosity Shop," was simply killed for the market, as a butcher kills a lamb (see Forster's "Life,") and Paul was written under the same conditions of illness which affected Scott--a part of the ominous palsies, grasping alike author and subject both in "Dombey" and "Little Dorrit."]

[Footnote 40: "Chourineur" not striking with dagger-point, but ripping with knife-edge. Yet I do him, and La Louve, injustice in classing them with the two others; they are put together only as parts in the same phantasm. Compare with La Louve, the strength of wild virtue in the "Louvecienne" (Lucienne) of Gaboriau--she, province-born and bred; and opposed to Parisian civilization in the character of her seamstress friend. "De ce Paris, ou elle etait nee, elle savait tout--elle connaissait tout. Rien ne l'etonnait, nul ne l'intimidait. Sa science des details materiels de l'existence etait inconcevable. Impossible de la duper!--Eh bien! cette fille si laborieuse et si econome n'avait meme pas la plus vague notion des sentiments qui sont l'honneur de la femme. Je n'avais pas idee d'une si complete absence de sens moral; d'une si inconscience depravation, d'une impudence si effrontement naive."--"L'Argent des autres," vol. i. p. 358.]

[Footnote 41: The reader who cares to seek it may easily find medical evidence of the physical effects of certain states of brain disease in producing especially images of truncated and Hermes-like deformity, complicated with grossness. Horace, in the "Epodes," scoffs at it, but not without horror. Luca Signorelli and Raphael in their arabesques are deeply struck by it: Duerer, defying and playing with it alternately, is almost beaten down again and again in the distorted faces, hewing halberts, and suspended satyrs of his arabesques round the polyglot Lord's Prayer; it takes entire possession of Balzac in the "Contes Drolatiques"; it struck Scott in the earliest days of his childish "visions" intensified by the ax-stroke murder of his grand aunt (L. i. 142, and see close of this note). It chose for him the subject of the "Heart of Midlothian," and produced afterwards all the recurrent ideas of executions, tainting "Nigel," almost spoiling "Quentin Durward"--utterly the "Fair Maid of Perth": and culminating in "Bizarro" (L. x. 149). It suggested all the deaths by falling, or sinking, as in delirious sleep--Kennedy, Eveline Neville (nearly repeated in Clara Mowbray), Amy Robsart, the Master of Ravenswood in the quicksand, Morris, and Corporal Grace-be-here--compare the dream of Gride, in "Nicholas Nickleby," and Dickens's own last words, _on the ground_ (so also, in my own inflammation of the brain, two years ago, I dreamed that I fell through the earth and came out on the other side). In its grotesque and distorting power, it produced all the figures of the Lay Goblin, Pacolet, Flibbertigibbet, Cockledemoy, Geoffrey Hudson, Fenella, and Nectabanus; in Dickens it in like manner gives Quilp, Krook, Smike, Smallweed, Miss Mowcher, and the dwarfs and wax-work of Nell's caravan; and runs entirely wild in "Barnaby Budge," where, with a corps de drame composed of one idiot, two madmen, a gentleman-fool who is also a villain, a shop-boy fool who is also a blackguard, a hangman, a shriveled virago, and a doll in ribbons--carrying this company through riot and fire, till he hangs the hangman, one of the madmen, his mother, and the idiot, runs the gentleman-fool through in a bloody duel, and burns and crushes the shop-boy fool into shapelessness, he cannot yet be content without shooting the spare lover's leg off, and marrying him to the doll in a wooden one; the shapeless shop-boy being finally also married in _two_ wooden ones. It is this mutilation, observe, which is the very sign manual of the plague; joined, in the artistic forms of it, with a love of thorniness--(in their mystic root, the truncation of the limbless serpent and the spines of the dragon's wing. Compare "Modern Painters," vol. iv., "Chapter on the Mountain Gloom," s. 19); and in _all_ forms of it, with petrifaction or loss of power by cold in the blood, whence the last Darwinian process of the witches' charm--"cool it with a baboon's _blood, then_ the charm is firm and good." The two frescoes in the colossal handbills which have lately decorated the streets of London (the baboon with the mirror, and the Maskelyne and Cooke decapitation) are the final English forms of Raphael's arabesque under this influence; and it is well worth while to get the number for the week ending April 3, 1880, of "Young Folks--a magazine of instructive and entertaining literature for boys and girls of all ages," containing "A Sequel to Desdichado" (the modern development of Ivanhoe), in which a quite monumental example of the kind of art in question will be found as a leading illustration of this characteristic sentence, "See, good Cerberus," said Sir Rupert, "_my hand has been struck off. You must make me a hand of iron, one with springs in it, so that I can make it grasp a dagger_." The text is also, as it professes to be, instructive; being the ultimate degeneration of what I have above called the "folly" of "Ivanhoe"; for the folly begets folly down, and down; and whatever Scott and Turner did wrong has thousands of imitators--their wisdom none will so much as hear, how much less follow!

In both of the Masters, it is always to be remembered that the evil and good are alike conditions of literal _vision_: and therefore also, inseparably connected with the state of the health. I believe the first elements of all Scott's errors were in the milk of his consumptive nurse, which all but killed him as an infant (L. i. 19)--and was without doubt the cause of the teething fever that ended in his lameness (L. i. 20). Then came (if the reader cares to know what I mean by "Fors," let him read the page carefully) the fearful accidents to his only sister, and her death (L. i. 17); then the madness of his nurse, who planned his own murder (21), then the stories continually told him of the executions at Carlisle (24), his aunt's husband having seen them; issuing, he himself scarcely knows how, in the unaccountable terror that came upon him at the sight of statuary (31)--especially Jacob's ladder; then the murder of Mrs. Swinton, and finally the nearly fatal bursting of the blood vessel at Kelso, with the succeeding nervous illness (65-67)--solaced, while he was being "bled and blistered till he had scarcely a pulse left," by that history of the Knights of Malta--fondly dwelt on and realized by actual modeling of their fortress, which returned to his mind for the theme of its last effort in passing away.]

[Footnote 42: "Se dit par denigrement, d'un chretien qui ne croit pas les dogmes de sa religion."--Fleming, vol. ii. p. 659.]

[Footnote 43: The novel alluded to is "The Mill on the Floss." See below, p. 272, Sec. 108.--ED.]

[Footnote 44: "A son nom," properly. The sentence is one of Victor Cherbuliez's, in "Prosper Randoce," which is full of other valuable ones. See the old nurse's "ici bas les choses vont de travers, comme un chien qui va a vepres," p. 93; and compare Prosper's treasures, "la petite Venus, et le petit Christ d'ivoire," p. 121; also Madame Brehanne's request for the divertissement of "quelque belle batterie a coups de couteau" with Didier's answer. "Helas! madame, vous jouez de malheur, ici dans la Drome, l'on se massacre aussi peu que possible," p. 33.]

[Footnote 45: Edgeworth's "Tales," (Hunter, 1827), "Harrington and Ormond," vol. iii. p. 260.]

[Footnote 46: Alice of Salisbury, Alice Lee, Alice Bridgnorth.]

[Footnote 47: Scott's father was habitually ascetic. "I have heard his son tell that it was common with him, if any one observed that the soup was good, to taste it again, and say, 'Yes--it is too good, bairns,' and dash a tumbler of cold water into his plate."--Lockhart's "Life" (Black, Edinburgh, 1869), vol. i. p. 312. In other places I refer to this book in the simple form of "L."]

[Footnote 48: A young lady sang to me, just before I copied out this page for press, a Miss Somebody's "great song," "Live, and Love, and Die." Had it been written for nothing better than silkworms, it should at least have added--Spin.]

[Footnote 49: See passage of introduction to "Ivanhoe," wisely quoted in L. vi. 106.]

[Footnote 50: See below, note, p. 199, on the conclusion of "Woodstock."]

[Footnote 51: The reference is to a series of "Waverley Tableaux" given in London shortly before the publication of this paper.--ED.]

[Footnote 52: L. iv. 177.]

[Footnote 53: L. vi. 67.]

[Footnote 54: "One other such novel, and there's an end; but who can last forever? who ever lasted so long?"--Sydney Smith (of the _Pirate_) to Jeffrey, December 30, 1821. (_Letters_, vol. ii. p. 223.)]

[Footnote 55: L. vi. p. 188. Compare the description of Fairy Dean, vii. 192.]

[Footnote 56: All, alas! were now in a great measure so written. "Ivanhoe," "The Monastery," "The Abbot," and "Kenilworth" were all published between December 1819 and January 1821, Constable & Co. giving five thousand guineas for the remaining copyright of them, Scott clearing ten thousand before the bargain was completed; and before the "Fortunes of Nigel" issued from the press Scott had exchanged instruments and received his bookseller's bills for no less than four "works of fiction," not one of them otherwise described in the deeds of agreement, to be produced in unbroken succession, _each of them to fill up at least three volumes, but with proper saving clauses as to increase of copy money in case any of them should run to four_; and within two years all this anticipation had been wiped off by "Peveril of the Peak," "Quentin Durward," "St. Ronan's Well," and "Redgauntlet."]

[Footnote 57: "Woodstock" was finished 26th March, 1826. He knew then of his ruin; and wrote in bitterness, but not in weakness. The closing pages are the most beautiful of the book. But a month afterwards Lady Scott died; and he never wrote glad word more.]

[Footnote 58: Compare Mr. Spurgeon's not unfrequent orations on the same subject.]

[Footnote 59: There are three definite and intentional portraits of himself, in the novels, each giving a separate part of himself: Mr. Oldbuck, Frank Osbaldistone, and Alan Fairford.]

[Footnote 60: See note, p. 224.--ED.]

[Footnote 61: Andrew knows Latin, and might have coined the word in his conceit; but, writing to a kind friend in Glasgow, I find the brook was called "Molyndona" even before the building of the Subdean Mill in 1446. See also account of the locality in Mr. George's admirable volume, "Old Glasgow," pp. 129, 149, etc. The Protestantism of Glasgow, since throwing that powder of saints into her brook Kidron, has presented it with other pious offerings; and my friend goes on to say that the brook, once famed for the purity of its waters (much used for bleaching), "has for nearly a hundred years been a crawling stream of loathsomeness. It is now bricked over, and a carriage-way made on the top of it; underneath the foul mess still passes through the heart of the city, till it falls into the Clyde close to the harbor."] _

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