These are not precisely the themes which enjoy unshaken popularity to-day,—“the poet of battles fares ill in modern England,” says Sir Francis Doyle,—and as a consequence there are many people who speak slightingly of Scott’s poetry, and who appear to claim for themselves some inscrutable superiority by so doing. They give you to understand, without putting it too coarsely into words, that they are beyond that sort of thing, but that they liked it very well as children, and are pleased if you enjoy it still. There is even a class of unfortunates who, through no apparent fault of their own, have ceased to take delight in Scott’s novels, and who manifest a curious indignation because the characters in them go ahead and do things, instead of thinking and talking about them, which is the present approved fashion of evolving fiction. Why, what time have the good people in “Quentin Durward” for speculation and chatter? The rush of events carries them irresistibly into action. They plot, and fight, and run away, and scour the country, and meet with so many adventures, and perform so many brave and cruel deeds, that they have no chance for introspection and the joys of analysis. Naturally, those writers who pride themselves upon making a story out of nothing, and who are more concerned with excluding material than with telling their tales, have scant liking for Sir Walter, who thought little and prated not at all about the “art of fiction,” but used the subjects which came to hand with the instinctive and unhesitating skill of a great artist. The battles in “Quentin Durward” and “Old Mortality” are, I think, as fine in their way as the battle of Flodden; and Flodden, says Mr. Lang, is the finest fight on record,—“better even than the stand of Aias by the ships in the Iliad, better than the slaying of the Wooers in the Odyssey.”
The ability to carry us whither he would, to show us whatever he pleased, and to stir our hearts’ blood with the story of
“old, unhappy, far-off things,
And battles long ago,”
was the especial gift of Scott,—of the man whose sympathies were as deep as life itself, whose outlook was as wide as the broad bosom of the earth he trod on. He believed in action, and he delighted in describing it. “The thinker’s voluntary death in life” was not, for him, the power that moves the world, but rather deeds,—deeds that make history and that sing themselves forever. He honestly felt himself to be a much smaller man than Wellington. He stood abashed in the presence of the soldier who had led large issues and controlled the fate of nations. He would have been sincerely amused to learn from “Robert Elsmere”—what a delicious thing it is to contemplate Sir Walter reading “Robert Elsmere”!—that “the decisive events of the world take place in the intellect.” The decisive events of the world, Scott held to take place in the field of action; on the plains of Marathon and Waterloo rather than in the brain tissues of William Godwin. He knew what befell Athens when she could put forward no surer defense against Philip of Macedon than the most brilliant orations ever written in praise of freedom. It was better, he probably thought, to argue as the English did, “in platoons.” The schoolboy who fought with the heroic “Green-Breeks” in the streets of Edinburgh; the student who led the Tory youths in their gallant struggle with the riotous Irishmen, and drove them with stout cudgeling out of the theatre they had disgraced; the man who, broken in health and spirit, was yet blithe and ready to back his quarrel with Gourgaud by giving that gentleman any satisfaction he desired, was consistent throughout with the simple principles of a bygone generation. “It is clear to me,” he writes in his journal, “that what is least forgiven in a man of any mark or likelihood is want of that article blackguardly called pluck. All the fine qualities of genius cannot make amends for it. We are told the genius of poets especially is irreconcilable with this species of grenadier accomplishment. If so, quel chien de génie!”
Quel chien de génie indeed, and far beyond the compass of Scott, who, amid the growing sordidness and seriousness of an industrial and discontented age, struck a single resonant note that rings in our hearts to-day like the echo of good and joyous things:—
“Sound, sound the clarion, fill the fife!
To all the sensual world proclaim,
One crowded hour of glorious life
Is worth an age without a name.”