MEMORIES AND PORTRAITS by Robert Louis Stevenson
An Extract from ‘Memories and Portraits’
Walter Scott is out and away the king of the romantics. “The Lady of the Lake” has no indisputable claim to be a poem beyond the inherent fitness and desirability of the tale. It is just such a story as a man would make up for himself, walking, in the best health and temper, through just such scenes as it is laid in. Hence it is that a charm dwells undefinable among these slovenly verses, as the unseen cuckoo fills the mountains with his note; hence, even after we have flung the book aside, the scenery and adventures remain present to the mind, a new and green possession, not unworthy of that beautiful name, “The Lady of the Lake,” or that direct, romantic opening — one of the most spirited and poetical in literature — ”The stag at eve had drunk his fill.” The same strength and the same weaknesses adorn and disfigure the novels. In that ill-written, ragged book, “The Pirate,” the figure of Cleveland — cast up by the sea on the resounding foreland of Dunrossness — moving, with the blood on his hands and the Spanish words on his tongue, among the simple islanders — singing a serenade under the window of his Shetland mistress — is conceived in the very highest manner of romantic invention. The words of his song, “Through groves of palm,” sung in such a scene and by such a lover, clinch, as in a nutshell, the emphatic contrast upon which the tale is built. In “Guy Mannering,” again, every incident is delightful to the imagination; and the scene when Harry Bertram lands at Ellangowan is a model instance of romantic method.
“’I remember the tune well,’ he says,’though I cannot guess what should at present so strongly recall it to my memory.’ He took his flageolet from his pocket and played a simple melody. Apparently the tune awoke 146 the corresponding associations of a damsel…. She immediately took up the song —
“’Are these the links of Forth, she said;
Or are they the crooks of Dee,
Or the bonny woods of Warroch Head
That I so fain would see?’
“‘By heaven!’ said Bertram, ‘it is the very ballad.’”
On this quotation two remarks fall to be made. First, as an instance of modern feeling for romance, this famous touch of the flageolet and the old song is selected by Miss Braddon for omission. Miss Braddon’s idea of a story, like Mrs. Todgers’s idea of a wooden leg, were something strange to have expounded. As a matter of personal experience, Meg’s appearance to old Mr. Bertram on the road, the ruins of Derncleugh, the scene of the flageolet, and the Dominie’s recognition of Harry, are the four strong notes that continue to ring in the mind after the book is laid aside. The second point is still more curious. The reader will observe a mark of excision in the passage as quoted by me. Well, here is how it runs in the original: “a damsel, who, close behind a fine spring about halfway down the descent and which had once supplied the castle with water, was engaged in bleaching linen.” A man who gave in such copy would be discharged from the staff of a daily paper. Scott has forgotten to prepare the reader for the presence of the “damsel”; he has forgotten to mention the spring and its relation to the ruin; and now, face to face with his omission, instead of trying back and starting fair, crams all this matter, tail foremost, into a single shambling sentence. It is not merely bad English, or bad style; it is abominably bad narrative besides.
Certainly the contrast is remarkable; and it is one that throws a strong light upon the subject of this paper. For here we have a man of the finest creative instinct touching with perfect certainty and charm the romantic junctures of his story: and we find him utterly careless, almost, it would seem, incapable, in the technical matter 147 of style, and not only frequently weak, but frequently wrong in points of drama. In character parts, indeed, and particularly in the Scots, he was delicate, strong, and truthful; but the trite, obliterated features of too many of his heroes have already wearied three generations of readers. At times his characters will speak with something far beyond propriety — with a true heroic note; but on the next page they will be wading wearily forward with an ungrammatical and undramatic rigmarole of words. The man who could conceive and write the character of Elspeth of the Craigburnfoot, as Scott has conceived and written it, had not only splendid romantic but splendid tragic gifts. How comes it, then, that he could so often fob us off with languid, inarticulate twaddle? It seems to me that the explanation is to be found in the very quality of his surprising merits. As his books are play to the reader, so were they play to him. He was a great daydreamer, a seer of fit and beautiful and humorous visions, but hardly a great artist. He conjured up the romantic with delight, but had hardly patience to describe it. Of the pleasures of his art he tasted fully; but of its cares and scruples and distresses never man knew less.
SCOTT AND HIS PUBLISHERS by Charles Dickens
I
[March 31, 1839]
When the Refutation, to which this pamphlet1 is a reply, was put forth, we took occasion to examine into the nature of the charges of misstatement and misrepresentation which were therein brought against Mr. Lockhart, to point out how very slight and unimportant they appeared to be, even upon the refuter’s own showing, and to express our opinion that the refutation originated in the overweening vanity of the Ballantyne family, who, confounding their own importance with that of the great man who condescended (to his cost) to patronise them, sought to magnify and exalt themselves with a degree of presumption and conceit which leaves the fly on the wheel, the organ bellows-blower, and the aspiring frog of the fable, all at an immeasurable distance behind.
1 The Ballantyne Humbug Handled; in a letter to Sir Adam Fergusson. By the Author of Memoirs of the Life of Sir Walter Scott. Cadell, Edinburgh; Murray, London.
Much as we may wonder, after an attentive perusal of the pamphlet before us, how the lad, James Ballantyne’s son, can have been permitted by those who must have known from the commencement what facts were in reserve, to force on this exposure of the most culpable negligence and recklessness on the part of the men who have been paraded as the victims of erring and ambitious genius, it is impossible to regard the circumstance in any other light than as a most fortunate and happy one for the memory of Sir Walter Scott. If ever engineer were ‘hoist with his own petard,’ if ever accusations recoiled upon the heads of those who made them, if ever the parties in the witness-box and the dock changed places, it is in this case of the Ballantynes and Sir Walter Scott. And the proof, be it remembered, is to be found — not in the unsupported assertions of Mr. Lockhart or his ingenious reasoning from assumed facts, but in the letters, accounts, and statements of the Ballantynes themselves.
Premising that Mr. Lockhart, in glancing at the ‘ unanswerable
refutation’ and ‘the overwhelming exposure’ notices of the Ballantyne pamphlet in other journals, might fairly and justly have noticed this journal as an exception (in whose columns more than one head of his reply was anticipated long ago), we will proceed to quote — first, Mr. Lockhart’s statement of his reasons for introducing in the biography detailed descriptions of the habits and manners of the Ballantynes, which we take to have been the head and front of his offence; and secondly, such scraps of evidence bearing upon the allegation that the Ballantynes were ruined by the improvidence and lavish expenditure of Scott, as we can afford space for, in a very brief analysis of the whole.
With regard to the first point, Mr. Lockhart writes thus: — ‘The most curious problem in the life of Scott could receive no fair attempt at solution, unless the inquirer were made acquainted,