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souls are quite unknown to us. If there is an exception, it is Edgar Ravenswood. But if we look closely, we may observe that the notion which we obtain of his character, unusually broad as it is, is not a notion of him in his capacity of hero, but in his capacity of distressed peer. His proud poverty gives a distinctness which otherwise his lineaments would not have. We think little of his love; we think much of his narrow circumstances and compressed haughtiness.

The same exterior delineation of character shows itself in its treatment of men's religious nature. A novelist is scarcely, in the notion of ordinary readers, bound to deal with this at all; if he does, it will be one of his great difficulties to indicate it graphically, yet without dwelling

on it. Men who purchase a novel do not wish a stone or a sermon. All lengthened reflections must be omitted ; the whole armory of pulpit eloquence. But no delineation of human nature can be considered complete which omits to deal with man in relation to the questions which occupy him as man, with his convictions as to the theory of the universe and his own destiny; the human heart throbs on few subjects with a passion so intense, so peculiar, and so typical. From an artistic view, it is a blunder to omit an element which is so characteristic of human life, which contributes so much to its animation, and which is so picturesque. A reader of a more simple mind, little apt to indulge in such criticism, feels 'a want of depth,' as he would speak, in delineations from which so large an element of his own most passionate and deepest nature is omitted. It can hardly be said that there is an omission of the religious nature in Scott. But at the same time there is no adequate delineation of it. If we refer to the facts of his life, and the view of his character which we collect from thence, we shall find that his religion was of a qualified and double sort. He was a genial man of the world, and had the casy faith in the kindly Dieu des bons gens which is natural to such a person; and he had also a half-poetic principle of superstition in his nature, inclining him to believe in ghosts, legends, fairies, and elfs, which did not affect his daily life, or possibly his superficial belief, but was nevertheless very constantly present to his fancy, and affected, as is the constitution of human nature, by that frequency, the indefined, half-expressed, inexpressible feelings which are at the root of that belief. Superstition was a kind of Jacobitism in his religion ; as a sort of absurd reliance on the hereditary principle modified insensibly his leanings in the practical world, so a belief in the existence of unevidenced, and often absurd, supernatural beings, qualifies his commonest speculations on the higher world. Both these elements may be thought to enter into the highest religion; there is a principle of cheerfulness which will justify in

its measure a genial enjoyment, and also a principle of fear which those who think only of that enjoyment will deem superstition, and which will really become superstition in the overanxious and credulous acceptor of it. But in a true religion these two elements will be combined. The character of God images itself very imperfectly in any human soul; but in the highest it images itself as a whole; it leaves an abiding impression which will justify anxiety and allow of happiness. The highest aim of the religious novelist would be to show how this operates in human character; to exhibit in their curious modification our religious love, and also our religious fear. In the novels of Scott the two elements appear in a state of separation, as they did in his own mind. We have the superstition of the peasantry in the Antiquary, in Guy Mannering, every where almost; we have likewise a pervading tone of genial easy reflection characteristic of the man of the world who produced, and agreeable to the people of the world who read, these works. But we have no picture of the two in combination. We are scarcely led to think on the subject at all, so much do other subjects distract our interest; but if we do think, we are puzzled at the contrast. We do not know which is true, the uneasy belief of superstition, or the

satisfaction of the world; we waver between the two, and have no suggestion even hinted to us of the possibility of a reconciliation. The character of the Puritans certainly did not in general embody such a reconciliation, but it might have been made by a sympathising artist the vehicle for a delineation of a struggle after it. The two elements of love and fear ranked side by side in their minds with an intensity which is rare even in minds that feel only one of them. The delineation of Scott is amusing, but superficial. He caught the ludicrous traits which tempt the mirthful imagination, but no other side of the character pleased him. The man of the world was displeased with their obstinate interfering zeal; their intensity of faith was an opposition force in the old Scotch polity, of which he liked to fancy the harmonious working. They were superstitious enough ; but nobody likes other people's superstitions. Scott's were of a wholly different kind. He made no difficulty as to the observance of Christmas-day, and would have eaten potatoes without the faintest scruple, although their name does not occur in Scripture. Doubtless also his residence in the land of Puritanism did not incline him to give any thing except a satirical representation of that belief. You must not expect from a Dissenter a faithful appreciation of the creed from which he dissents. You cannot be impartial on the religion of the place in which you live; you may believe it, or you may dislike it; it crosses your path in too many forms for you to be able to look at it with equanimity.



Scott had rather a rigid form of Puritanism forced upon him in his infancy; it is asking too much to expect bim to be partial to it. The aspect of religion which Scott delineates best is that which appears in griefs, especially in the grief of strong characters. His strong natural nature felt the power of death. He has given us many pictures of rude and simple men subdued, if only for a moment, into devotion by its presence.

On the whole, and speaking roughly, these defects in the delineation which Scott has given us of human life are but two. He omits to give us a delineation of the soul. We have mind, manners, animation, but it is the stir of this world. We miss the consecrating power; and we miss it not only in its own peculiar sphere, which, from the difficulty of introducing the deepest elements into a novel, would have been scarcely matter for a harsh criticism, but in the place in which a novelist might most be expected to delineate it. There are perhaps such things as the love-affairs of immortal beings, but no one would learn it from Scott. His heroes and heroines are well dressed for this world, but not for another; there is nothing even in their love which is suitable for immortality. As has been noticed, Scott also omits any delineation of the abstract unworldly intellect. This too might not have been so severe a reproach, considering its undramatic, unanimated nature, if it had stood alone ; but taken in connection with the omission which we have just spoken of, it is most important.

As the union of sense and romance makes the world of Scott so characteristically agreeable,-a fascinating picture of this world in the light in which we like best to dwell in it, so the deficiency in the attenuated, striving intellect, as well as in the supernatural soul, gives to the “world” of Scott the cumbrousness and temporality, in short, the materialism, which is characteristic of the world.

We have dwelt so much on what we think are the characteristic features of Scott's imaginative representations, that we have left ourselves no room to criticise the two most natural points of criticism in a novelist-plot and style. This is not, however, so important in Scott's case as it would commonly be. He used to say, “It was of no use having a plot; you could not keep to it." He modified and changed his thread of story from day to day, sometimes even from bookselling reasons, and on the suggestion of others. An elaborate work of narrative art could not be produced in this way, every one will concede; the highest imagination, able to look far over the work, is necessary for that task. But the plots produced, so to say, by the pen of the writer as he passes over the events are likely to have a freshness and a suitableness to those events, which is not possessed by the inferior writers who make up a mechanical plot before they commence.

The procedure of the highest genius doubtless is scarcely a procedure : the view of the whole story comes at once upon its imagination like the delicate end and the distinct beginning of some long vista. But all minds do not possess the highest mode of conception; and among lower modes, it is doubtless better to possess the vigorous fancy which creates each separate scene in succession as it goes, than the pedantic intellect which designs every thing long before it is wanted. There is a play in unconscious creation which no voluntary elaboration and preconceived fitting of distinct ideas can ever hope to produce. If the whole cannot be created by one bounding effort, it is better that each part should be created separately and in detail.

The style of Scott would deserve the highest praise if M. Thiers could establish his theory of narrative language. He maintains that an historian's language approaches perfection in proportion as it aptly communicates what is meant to be narrated without drawing any attention to itself. Scott's style fulfils this condition. Nobody rises from his works without a most vivid idea of what is related, and no one is able to quote a single phrase in which it has been narrated. We are inclined, however, to differ from the great French historian, and to oppose to him a theory derived from a very different writer. Coleridge used to maintain that all good poetry was untranslatable into words of the same language without injury to the sense : the meaning was, in his view, to be so inseparably intertwined even with the shades of the language, that the change of a single expression would make a difference in the accompanying feeling, if not in the bare signification : consequently, all good poetry must be remembered exactly,—to change a word is to modify the essence. Rigidly this theory can only be applied to a few kinds of poetry, or special passages in which the imagination is exerting itself to the utmost, and collecting from the whole range of associated language the very expressions which it requires. The highest excitation of feeling is necessary to this peculiar felicity of choice. In calmer moments the mind has either a less choice, or less acuteness of selective power. Accordingly, in prose it would be absurd to expect any such nicety. Still, on great occasions in imaginative fiction, there should be passages in which the words seem to cleave to the matter. The excitement is as great as in poetry. The words should become part of the sense. They should attract our attention, as this is necessary to impress them on the memory; but they should not in so doing distract attention from the meaning conveyed. On the contrary, it is their inseparability from their meaning which gives them their charm and their power. In truth, Scott's language, like his sense, was such as became a bold sagacious man of the world.


He used the first sufficient words which came uppermost, and seems hardly to have been sensible, even in the works of others, of that exquisite accuracy and inexplicable appropriateness of which we have been speaking.

To analyse in detail the faults and merits of even a few of the greatest of the Waverley Novels would be impossible in the space at our command on the present occasion. We have only attempted a general account of a few main characteristics. Every critic must, however, regret to have to leave topics so tempting to remark as many of Scott's stories, and a yet greater number of his characters.


La Presse, 20e Fevrier. Paris.

Count Walenski's Despatch, Jan. 20th. Parliamentary Paper. In the lives of most men, and especially of those who navigate the troubled waters of political ambition, there occur critical conjunctures at once conclusive as to their real character, and decisive of their future course. Many actions will bear two interpretations; and, according as we read them in a charitable or a censorious spirit, may be held to indicate either a virtue, or the vice which is its closest analogue and counterfeit. Deeds of unquestionable severity may be either stern justice or savage cruelty ; mild and gentle proceedings may proclaim either culpable weakness or wise leniency; and only by the light of after events can we determine in which category to place them. Acts of lawless despotism may have been forced on a reluctant ruler by the terrible necessities of an abnormal time, or they may be the congenial resources of an arbitrary and self-seeking temper; and it is by the conduct pursued when the exceptional crisis has given place to ordinary life that we can judge which interpretation must be put upon the past. Again: the day comes in every questionable career, when the man who has long coquetted with two mistresses must decide which he will cleave to and which he will abandon ; when the upward or the downward course must be taken consciously, avowedly, and for ever; when it is no longer possible to hold the language appropriate to one set of doctrines, and at the same time to pursue the line of action obviously dictated by another; when by some step which cannot be retraced, by some deed which cannot be undone, we break with an uncertain past, and are committed to an inevitable future ; and when the fearful fiat goes forth,

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