Apart from the tragedy of Clara, doubtless the better parts of “St. Ronan's Well” are the Scotch characters. Even our generation remembers many a Meg Dods, and he who writes has vividly in his recollection just such tartness, such goodness of heart, such ungoverned eloquence and vigour of rebuke as made Meg famous, successful on the stage, and welcome to her countrymen. These people, Mrs. Blower and Meg, are Shakspearean, they live with Dame Quickly and Shallow, in the hearts of Scots, but to the English general they are possibly caviare. In the gallant and irascible MacTurk we have the waning Highlander: he resembles the Captain of Knockdunder in “The Heart of Mid Lothian,” or an exaggerated and ill-educated Hector of “The Antiquary.” Concerning the women of the tale, it may be said that Lady Binks has great qualities, and appears to have been drawn “with an eye on the object,” as Wordsworth says, and from the life. Lady Penelope seems more exaggerated now than she probably did at the time, for the fashion of affectation changes. The Winterblossoms and Quacklebens are accurate enough in themselves, but are seen through a Blackwoodian atmosphere, as it were, through a mist of the temporary and boisterous Scotch humour of the day. The author occasionally stoops to a pun, and, like that which Hood made in the hearing of Thackeray, the pun is not good. Indeed the novel, in its view of the decay of the Border, the ruined Laird, the frivolous foolish society of the Well, taking the place of sturdy William of Deloraine, and farmers like Scott's grandfather, makes a picture of decadence as melancholy as “Redgauntlet.” “Not here, O Apollo, are haunts meet for thee!” Strangely enough, among the features of the time, Scott mentions reckless borrowings, “accommodation,” “Banks of Air.” His own business was based on a “Bank of Air,” “wind-capital,” as Cadell, Constable's partner, calls it, and the bubble was just about to burst, though Scott had no apprehension of financial ruin. A horrid power is visible in Scott's second picture of la mauvaise pauvre, the hag who despises and curses the givers of “handfuls of coals and of rice;” his first he drew in the witches of “The Bride of Lammermoor.” He has himself indicated his desire to press hard on the vice of gambling, as in “The Fortunes of Nigel.” Ruinous at all times and in every shape, gambling, in Scott's lifetime, during the Regency, had crippled or destroyed many an historical Scottish family. With this in his mind he drew the portrait of Mowbray of St. Ronan's. His picture of duelling is not more seductive; he himself had lost his friend, Sir Alexander Boswell, in a duel; on other occasions this institution had brought discomfort into his life, and though he was ready to fight General Gourgaud with Napoleon's pistols, he cannot have approved of the practices of the MacTurks and Bingo Binkses. A maniac, as his correspondence shows, challenged Sir Walter, insisting that he was pointed at and ridiculed in the character of MacTurk. (Abbotsford MSS.) It is interesting to have the picture of contemporary manners from Scott's hand – Meg Dods remains among his immortal portraits; but a novel in which the absurd will of fiction and the conventional Nabob are necessary machinery can never be ranked so high as even “The Monastery” and “Peveril.” In Scotland, however, it was infinitely more successful than its admirable successor “Redgauntlet.”
December 1893.
INTRODUCTION
TO
ST. RONAN'S WELL
The novel which follows is upon a plan different from any other that the author has ever written, although it is perhaps the most legitimate which relates to this kind of light literature.
It is intended, in a word —celebrare domestica facta– to give an imitation of the shifting manners of our own time, and paint scenes, the originals of which are daily passing round us, so that a minute's observation may compare the copies with the originals. It must be confessed that this style of composition was adopted by the author rather from the tempting circumstance of its offering some novelty in his compositions, and avoiding worn-out characters and positions, than from the hope of rivalling the many formidable competitors who have already won deserved honours in this department. The ladies, in particular, gifted by nature with keen powers of observation and light satire, have been so distinguished by these works of talent, that, reckoning from the authoress of Evelina to her of Marriage, a catalogue might be made, including the brilliant and talented names of Edgeworth, Austin, Charlotte Smith, and others, whose success seems to have appropriated this province of the novel as exclusively their own. It was therefore with a sense of temerity that the author intruded upon a species of composition which had been of late practised with such distinguished success. This consciousness was lost, however, under the necessity of seeking for novelty, without which, it was much to be apprehended, such repeated incursions on his part would nauseate the long indulgent public at the last.
The scene chosen for the author's little drama of modern life was a mineral spring, such as are to be found in both divisions of Britain, and which are supplied with the usual materials for redeeming health, or driving away care. The invalid often finds relief from his complaints, less from the healing virtues of the Spa itself, than because his system of ordinary life undergoes an entire change, in his being removed from his ledger and account-books – from his legal folios and progresses of title-deeds – from his counters and shelves, – from whatever else forms the main source of his constant anxiety at home, destroys his appetite, mars the custom of his exercise, deranges the digestive powers, and clogs up the springs of life. Thither, too, comes the saunterer, anxious to get rid of that wearisome attendant himself, and thither come both males and females, who, upon a different principle, desire to make themselves double.
The society of such places is regulated, by their very nature, upon a scheme much more indulgent than that which rules the world of fashion, and the narrow circles of rank in the metropolis. The titles of rank, birth, and fortune, are received at a watering-place without any very strict investigation, as adequate to the purpose for which they are preferred; and as the situation infers a certain degree of intimacy and sociability for the time, so to whatever heights it may have been carried, it is not understood to imply any duration beyond the length of the season. No intimacy can be supposed more close for the time, and more transitory in its endurance, than that which is attached to a watering-place acquaintance. The novelist, therefore, who fixes upon such a scene for his tale, endeavours to display a species of society, where the strongest contrast of humorous characters and manners may be brought to bear on and illustrate each other with less violation of probability, than could be supposed to attend the same miscellaneous assemblage in any other situation.
In such scenes, too, are frequently mingled characters, not merely ridiculous, but dangerous and hateful. The unprincipled gamester, the heartless fortune-hunter, all those who eke out their means of subsistence by pandering to the vices and follies of the rich and gay, who drive, by their various arts, foibles into crimes, and imprudence into acts of ruinous madness, are to be found where their victims naturally resort, with the same certainty that eagles are gathered together at the place of slaughter. By this the author takes a great advantage for the management of his story, particularly in its darker and more melancholy passages. The impostor, the gambler, all who live loose upon the skirts of society, or, like vermin, thrive by its corruptions, are to be found at such retreats, when they easily, and