Waverley; Or, 'Tis Sixty Years Since. Walter Scott
and when Scott returned from his cruise in the northern islands he found society ringing with his unacknowledged triumph. Byron, especially, proclaimed his pleasure in “Waverley.” It may be curious to recall some of the published reviews of the moment. Probably no author ever lived so indifferent to published criticism as Scott. Miss Edgeworth, in one of her letters, reminds him how they had both agreed that writers who cared for the dignity and serenity of their characters should abstain from “that authors' bane-stuff.” “As to the herd of critics,” Scott wrote to Miss Seward, after publishing “The Lay,” “many of those gentlemen appear to me to be a set of tinkers, who, unable to make pots and pans, set up for menders of them.” It is probable, therefore, that he was quite unconcerned about the few remarks which Mr. Gifford, in the “Quarterly Review” (vol. xl., 1814), interspersed among a multitude of extracts, in a notice of “Waverley” manufactured with scissors and paste. The “Quarterly” recognized “a Scotch Castle Rackrent,” but in “a much higher strain.” The tale was admitted to possess all the accuracy of history, and all the vivacity of romance. Scott's second novel, “Guy Mannering,” was attacked with some viciousness in the periodical of which he was practically the founder, and already the critic was anxious to repeat what Scott, talking of Pope's censors, calls “the cuckoo cry of written out'!” The notice of “Waverley” in the “Edinburgh Review” by Mr. Jeffrey was not so slight and so unworthy of the topic. The novel was declared, and not unjustly, to be “very hastily, and in many places very unskilfully, written.” The Scotch was decried as “unintelligible” dialect by the very reviewer who had accused “Marmion” of not being Scotch enough. But the “Edinburgh” applauded “the extraordinary fidelity and felicity” with which all the inferior agents in the story are represented. “Fastidious readers” might find Callum Beg and Mrs. Nosebag and the Cumberland peasants “coarse and disgusting,” said the reviewer, who must have had in his imagination readers extremely superfine. He objected to the earlier chapters as uninteresting, and—with justice—to the passages where the author speaks in “the smart and flippant style of modern makers of paragraphs.” “These form a strange and humiliating contrast with the force and freedom of his manner when engaged in those dramatic and picturesque representations to which his genius so decidedly inclines.” He spoke severely of the places where Scott explains the circumstances of Waverley's adventures before he reaches Edinburgh; and Scott himself, in his essay on Mrs. Radcliffe, regrets that explanatory chapters had ever been invented. The reviewer broadly hints his belief that Scott is the author; and on the whole, except for a cautious lack of enthusiasm, the notice is fair and kindly. The “Monthly Review” differed not much from the Blue and Yellow (the “Edinburgh Review”).
“It is not one of the least merits of this very uncommon production that all the subordinate characters are touched with the same discriminating force which so strongly marks their principals; and that in this manner almost every variety of station and interest, such as existed at the period under review, is successively brought before the mind of the reader in colours vivid as the original.
“A few oversights, we think, we have detected in the conduct of the story which ought not to remain unnoticed. For example, the age of Stanley and Lady Emily does not seem well to accord with the circumstances of their union, as related in the commencement of the work; and we are not quite satisfied that Edward should have been so easily reconciled to the barbarous and stubborn prejudices which precluded even the office of intercession for his gallant friend and companion-in-arms.
“The pieces of poetry which are not very profusely scattered through these volumes can scarcely fail to be ascribed to Mr. Scott, whatever may be judged of the body of the work. In point of comparative merit, we should class them neither with the highest nor with the meanest effusions of his lyric minstrelsy.”
Lord Byron's “Grandmother's Review, the British,” was also friendly and sagacious, in its elderly way.
“We request permission, therefore, to introduce 'Waverley,' a publication which has already excited considerable interest in the sister kingdom, to the literary world on this side the Tweed.
“A very short time has elapsed since this publication made its appearance in Edinburgh, and though it came into the world in the modest garb of anonymous obscurity, the Northern literati are unanimous, we understand, in ascribing part of it, at, least, to the pen of W. Scott.
“We are unwilling to consider this publication in the light of a common novel whose fate it is to be devoured with rapidity for a day, and afterwards forgotten forever, but as a vehicle of curious and accurate information upon a subject which must at all times demand our attention—the history and manners of a very large and renowned portion of the inhabitants of these islands. We would recommend this tale as faithfully embodying the lives, the manners, and the opinions of this departed race, and as affording those features of ancient days which no man probably, besides its author, has had the means to collect, the desire to preserve, or the power to portray.
“Although there are characters sufficient to awaken the attention and to diversify the scenes, yet they are not in sufficient number to perplex the memory or to confuse the incidents. Their spirit is well kept up till the very last, and they relieve one another with so much art that the reader will not find himself wearied even with the pedantic jargon of the old Baron of Bradwardine.
“Of Waverley himself we shall say but little, as his character is far too common to need a comment; we can only say that his wanderings are not gratuitous, nor is he wavering and indecisive only because the author chooses to make him so. Every feature in his character is formed by education, and it is to this first source that we are constantly referred for a just and sufficient cause of all the wandering passions as they arise in his mind.
“The secondary personages are drawn with much spirit and fidelity, and with a very striking knowledge of the peculiarities of the Scotch temper and disposition. The incidents are all founded on fact, and the historical parts are related with much accuracy. The livelier scenes which are displayed are of the most amusing species, because they flow so naturally from the personages before us that the characters, not the author, appear to speak. A strong vein of very original humour marks the whole: in most instances it is indeed of a local and particular nature, but in many cases it assumes a more general appearance.
“Of the more serious portions we can speak with unqualified approbation; the very few pathetic scenes which occur are short, dignifed, and affecting. The love-scenes are sufficiently contracted to produce that very uncommon sensation in the mind—a wish that they were longer.
“The religious opinions expressed in the course of the tale are few, but of those few we fully approve.
“The humorous and happy adaptation of legal terns shows no moderate acquaintance with the arcana of the law, and a perpetual allusion to the English and Latin classics no common share of scholarship and taste.”
The “Scots Magazine” illustrated the admirable unanimity of reviewers when they are unanimous. The “Anti-Jacobin” objected that no Chateau-Margaux sent in the wood from Bordeaux to Dundee in 1713 could have been drinkable in 1741. “Claret two-and-thirty years old! It almost gives us the gripes to think of it.” Indeed, Sir Walter, as Lochhart assures us, was so far from being a judge of claret that he could not tell when it was “corked.” One or two points equally important amused the reviewer, who, like most of his class, detected the hand of Scott. There was hardly a possibility, as Mr. Morritt told Sir Walter, “that the poems in 'Waverley' could fail to suggest their author. No man who ever heard you tell a story over a table but must recognize you at once.” To his praise of “Waverley” Mr. Morritt hardly added any adverse criticism, beyond doubting the merit of the early chapters, and denouncing the word “sombre” as one which had lately “kept bad company among the slipshod English of the sentimental school.” Scott, in defence, informed Mr. Morritt that he had “left the story to flag in the first volume on purpose. … I wished (with what success Heaven knows) to avoid the ordinary error of novelists, whose first volume is usually their best.”
It must be admitted that if Scott wished to make “Waverley” “flag” in the beginning, he succeeded extremely well—too well for many modern readers, accustomed to a leap into the