Sir Walter Scott. Saintsbury George
of the great poetical periods, an alteration of metrical etiquette (as we may call it) plays a great part. Scott had not yet heard that recitation of Christabel which had so great an effect on his work, and through it on the work of others. But he had mastered for himself, and by study of the originals, the secret of the Christabel metre, that is to say, the wide licence of equivalence in trisyllabic and dissyllabic feet,8 of metre catalectic or not, as need was, of anacrusis and the rest. As is natural to a novice, he rather exaggerates his liberties, especially in the cases where the internal rhyme seduces him. It is necessary not merely to slur, but to gabble, in order to get some of these into proper rhythm, while in other places the mistake is made of using so many anapæsts that the metre becomes, not as it should be, iambic, with anapæsts for variation, but anapæstic without even a single iamb. But these are 'sma' sums, sma' sums,' as saith his own Bailie Jarvie, and on the whole the required effect of vigour and variety, of narrative giving place to terror and terror to narrative is capitally achieved. Above all, in neither piece, in the less no more than in the more successful, do we find anything of what the poet has so well characterised in one of his early reviews as the 'spurious style of tawdry and affected simplicity which trickles through the legendary ditties' of the eighteenth century. 'The hunt is up' in earnest; and we are chasing the tall deer in the open hills, not coursing rabbits with toy terriers on a bowling-green.
The writing of these pieces had, however, been preceded by the publication of Scott's second volume, the translation of Goetz von Berlichingen, for which Lewis had arranged with a London bookseller, so that this time the author was not defrauded of his hire. He received twenty-five guineas, and was to have as much more for a second edition, which the short date of copyright forestalled. The book appeared in February 1799, and received more attention than the ballads, though, as Lockhart saw, it was in fact belated, the brief English interest in German Sturm und Drang having ceased directly, though indirectly it gave Byron much of his hold on the public a dozen years later. At about the same time Scott executed, but did not publish, an original, or partly original, dramatic work of the same kind, The House of Aspen, which he contributed thirty years later to The Keepsake. Few good words have ever been said for this, and perhaps not many persons have ever cared much for the Goetz, either in the original or in the translation. Goethe did not, in drama at least, understand adventurous matter, and Scott had no grasp of dramatic form.9
It has been said that there was considerable delay in the publication of the Tales of Wonder; and some have discussed what direct influence this delay had on Scott's further and further advance into the waters of literature. It is certain that he at one time thought of publishing his contributions independently, and that he did actually print a few copies of them privately; and it is extremely probable that his little experiments in publication, mere hors-d'œuvre as they were, had whetted his appetite. Even the accident of his friend Ballantyne's having taken to publishing a newspaper, and having room at his press for what I believe printers profanely call 'job-work,' may not have been without influence. What is certain is that the project of editing a few Border ballads – a selection of his collection which might make 'a neat little volume of four or five shillings' – was formed roughly in the late autumn of 1799, and had taken very definite shape by April 1800. Heber, the great bibliophile and brother of the Bishop, introduced Scott to that curious person Leyden, whose gifts, both original and erudite, are undoubted, although perhaps his exile and early death have not hurt their fame. And it so happened that Leyden was both an amateur of old ballads and (for the two things went together then, though they are sternly kept apart now) a skilful fabricator of new. The impetuous Borderer pooh-poohed a 'thin thing' such as a four or five shilling book, and Scott, nothing loath, extended his project. Most of his spare time during 1800 and 1801 was spent on it; and besides corresponding with the man who 'fished this murex up,' Bishop Percy, he entered into literary relations with Joseph Ritson. Even Ritson's waspish character seems to have been softened by Scott's courtesy, and perhaps even more by the joint facts that he had as yet attained no literary reputation, and neither at this nor at any other time gave himself literary airs. He also made the acquaintance of George Ellis, who became a warm and intimate friend. These were the three men of the day who, since Warton's death, knew most of early English poetry, and though Percy was too old to help, the others were not.
The scheme grew and grew, especially by the inclusion in it of the publication not merely of ballads, but of the romance of Sir Tristrem (of the authorship of which by someone else than Thomas the Rhymer, Scott never would be convinced), till the neat four or five shilling volume was quite out of the question. When at last the two volumes of the first (Kelso) edition appeared in 1802, not merely was Sir Tristrem omitted, but much else which, still without 'the knight who fought for England,' subsequently appeared in a third. The earliest form of the Minstrelsy of the Scottish Border is a very pretty book; it deservedly established the fame of Ballantyne as a printer, and as it was not printed in the huge numbers which have reduced the money value of Sir Walter's later books, it is rather surprising that it is not more sought after than it is at present. My copy – I do not know whether by exception or not – wears the rather unusual livery of pink boards instead of the common blue, grey, or drab. The paper and type are excellent; the printing (with a few slips in the Latin quotations such as concedunt for comedunt) is very accurate, and the frontispiece, a view of Hermitage Castle in the rain, has the interest of presenting what is said to have been a very faithful view of the actual state of Lord Soulis' stronghold and the place of the martyrdom of Ramsay, attained by the curious stages of (1) a drawing by Scott, who could not draw at all; (2) a rifacimento by Clerk, who had never seen the place; and (3) an engraving by an artist who was equally innocent of local knowledge.
The book, however, which brought in the modest profit of rather less than eighty pounds, would have been of equal moment under whatever guise it had pleased to assume. The shock of Percy's Reliques was renewed, and in a far more favourable atmosphere, before a far better prepared audience. The public indeed had not yet been 'ground-baited' up to the consummation of thousands of copies of poetry as they were later by Scott himself and Byron; but an edition of eight hundred copies went off in the course of the year, and a second, with the additional volume, was at once called for. It contained, indeed, not much original verse, though 'Glenfinlas' and 'The Eve,' with Leyden's 'Cout of Keeldar,' 'Lord Soulis,' etc., appeared in it after a fashion which Percy had set and Evans had continued. But the ballads, familiar as they have become since, not merely in the Minstrelsy itself, but in a hundred fresh collections, selections, and what not, could never be mistaken by anyone fitted to appreciate them. 'The Outlaw Murray,' with its rub-a-dub of e rhymes throughout, opens the book very cunningly, with something not of the best, but good enough to excite expectation, – an expectation surely not to be disappointed by the immortal agony (dashed with one stroke of magnificent wrath) of 'Helen of Kirkconnell,' the bustle, frolic, and battle-joy of the Border pieces proper, the solemn notes of 'The Lyke-Wake Dirge,' the eeriness of 'Clerk Saunders' and 'The Wife of Usher's Well.'
Even Percy had not been lucky enough to hit upon anything so characteristic of the average ballad style at its best as the opening stanza of 'Fause Foodrage' —
'King Easter courted her for her lands,
King Wester for her fee,
King Honour for her comely face
And for her fair bodie';
and Percy would no doubt have been tempted to 'polish' such more than average touches as Margaret's 'turning,' without waking, in the arms of her lover as he receives his deathblow, or as the incomparable stanza in 'The Wife of Usher's Well' which tells how —
'By the gates of Paradise
That birk grew fair enough.'
Those who study literature in what they are pleased to call a scientific manner have, as was to be expected, found fault (mildly or not, according to their degree of sense and taste) with Scott, for the manner in which he edited these ballads. It may be admitted that the practice of mixing imitations with originals is a questionable one; and that in some other cases, Scott, though he was far from the illegitimate and tasteless fashion of alteration, of which in their different ways Allan
For an interesting passage showing how slow contemporary ears were to admit this, see Southey's excellent defence of his own practice to Wynn (
His attempts at the kind may best be despatched in a note here. Their want of merit contrasts strangely with the admirable quality of the 'Old Play' fragments scattered about the novels.