The need for pity soon increased. It has been stated that Galt's health had suffered from his confinement, it was about this time further affected by the first of a long series of shocks, which are described as of a nature 'analogous to paralysis.' This sufficed to destroy such hopes of active employment as remained to him—and he had been, as usual, hard at work weaving schemes with all his former ingenuity—and in process of time reduced him to a wreck. Still he clung to his pen, adding to the already lengthy list of his works the novel of Stanley Buxton, or The Schoolfellows, as well as two political satires entitled The Member and The Radical. Mrs Thomson, authoress of 'Recollections of Literary Characters,' an old friend, who visited him when he was growing ever more and more disabled, has left a touching account of his helplessness. Galt received her without rising from his seat, gave her his left hand, and pointing to his right, said, 'with a little quickness, "Perhaps you have heard of my attack? It has fallen upon my limbs; my head is clear."' Alas! though clear, his mental powers were by no means what they had been. But, if on some former occasions he had shown himself too much a prey to moral sensibility, where physical suffering was concerned his behaviour was that of a stoic. Whilst the progress of the disease deprived him of the use of one limb after another, he continued, uncomplaining, to make the most of such powers as yet remained. Indeed, during the three or four years immediately following his first seizure, his annual literary output in the departments of editing, book-making, and story-writing, seems if anything larger than usual. But among all these undertakings, it is sufficient here to name the novels of Eben Erskine, or The Traveller, and The Stolen Child, with the three volumes of tales collected under the title of Stories of the Study, and the Autobiography and Literary Life and Miscellanies. The lax composition of the latter works is probably a symptom of mental decay in the author. The book last named was dedicated by permission to William the Fourth, who in acknowledgment of the compliment sent Galt £200, which money, together with £50 obtained for him from the Literary Fund, may be said to represent the sum of official, or quasi-official, recognition which he received. For his claims against Government for 'brokerage,' or commission, on the sale of lands to the Canada Company were refused, whilst a pension said to have been promised him by the Company was never paid. The last years of his life were spent in dependence, but it is pleasing to note that the Autobiography closes with an expression of satisfaction over the payment of secured debts. He had in the meantime been removed to the house of a sister at Greenock, where he died on the 11th April 1839, not having yet completed his sixtieth year.
In summing up Galt's position, it may be said that he remains the most unequal of all writers possessing equal claims to distinction—the man who could produce The Provost and Ringan Gilhaize and who did produce The Spaewife and The Literary Life. For it is not enough to say, as has been said, that in him there were two men, the man of letters and the man of affairs: there were two literary men in him, the creative artist and the book-maker. And the fact that, of these two, the latter had things too much his own way was due to Galt's defective appreciation of his high calling. 'My literary propensities,' he writes, 'were suspended during my residence in Upper Canada, not from resolution, but because I had more interesting pastime. I did then think myself qualified to do something more useful than "stringing blethers into rhyme," or writing clishmaclavers in a closet.' And again: 'At no time, as I frankly confess, have I been a great admirer of mere literary character; to tell the truth, I have sometimes felt a little shamefaced in thinking myself so much an author, in consequence of the estimation in which I view the profession of book-making in general. A mere literary man—an author by profession—stands low in my opinion.' The petulance and perversity of the first statement, and the sheer vulgarity of the second, may be palliated by the fact that the author was in low spirits and bad health when he made them. It remains none the less true that these opinions ruled his practice. But they carried their punishment with them. For who will doubt that Galt would have been a happier man had he been truer to his vocation, had he resisted the temptation to fly off at a tangent in pursuit of every commercial will-o'-the-wisp that might chance to catch his eye, and devoted his great powers with something more of steadiness and of seriousness to doing his best at what he was best qualified to do?
He expected that fuller appreciation would come to him after death, and perhaps this expectation, so fallacious in ninety-nine cases out of every hundred, was in his case not without plausible grounds. For, from a literary point of view, Galt, like De Stendhal, was in advance of his time. Employing the word in its specialised sense, he was more 'modern' than the greatest among his contemporaries. For example, as has been already indicated, when most himself he had more of what we are pleased to consider the characteristically modern qualities of sensitiveness and imaginative intensity than had Scott. In illustration of this, perhaps we cannot do better than cite the already quoted Omen, with its sombre and lurid effects, the sense of bated breath, suspense, impending tragedy, which pervades its every page. Nothing of all this, as I need hardly say, was in Scott's line; even in the finest and most imaginative of his shorter pieces, in My Aunt Margaret's Mirror, the tension is eased by characteristic diffuseness of manner. And Galt's superior—some will call it morbid—sensitiveness extended also to his style: his use of words, when he is at his best, is much more interesting than Scott's. It might possibly even be argued that his Scotch, if perhaps less abundant, is more remarkable for nice appropriateness of word and phrase than Sir Walter's. [And, by the way, the failure of Galt's reputation to cross the Tweed may, perhaps, be partly explained by the fact that, whereas in Scott's novels the dialogue alone is Scotch, in some of Galt's best books the entire narrative is interspersed with dialect words. One can fancy, for instance, the puzzled condition of a southern reader who is informed by the author himself that 'Mrs Malcolm herself was this winter brought to death's door by a terrible host that came on her in the kirk,' or that a certain clock 'was a mortification to the parish from the Lady Breadland.'] But, to continue our argument, besides the above, Galt has more of the modern pictorial quality than Scott: there is more in his descriptive work which is addressed directly to the eye. Once more, he repeatedly gratifies a modern taste by choosing for his theme what is fantastic, or occult, or what lies off the beaten track. In stating all this, we would, of course, guard against being understood to imply that all these characteristics are points of advantage possessed by Galt over Scott. On the contrary, some of them may even be symptoms of an age of literary decadence; what we do maintain is that, in virtue of these characteristics, his chance of appealing to a late nineteenth-century audience is improved. As a final word under this heading, Galt may be called the forerunner of the Realistic movement in Scottish fiction. The Provost and The Annals might almost belong to the age of Tourguenieff and Mr Henry James, and in this respect his works have been more studied than they have been praised, their influence has been greater than their reputation. Generally, and in conclusion, Galt may be credited with having done to some extent for Glasgow and the West of Scotland what Scott triumphantly accomplished for the Borders and the Highlands, and for the trading and professional classes of his country what Scott did for its gentry and peasantry.
D. M. MOIR
'DELTA'
'After all, how precarious a thing is literary fame! Things to which I have bent the whole force of my mind, and which are worth remembering—if any things that I have done are at all worth remembering—have attracted but a very doubtful share of applause from critics; whilst things dashed off like Mansie Wauch, as mere sportive freaks, and which for years and years I have hesitated to acknowledge, have been out of sight my most popular productions.' Thus wrote Moir, under date of April 12th, 1845—six years before his life's labours closed—to his friend and biographer, Thomas Aird, author of The Devil's Dream. And in this instance posterity has taken its cue from contemporary popularity; for it is upon the homely and genial Mansie Wauch, and on that alone, that the once considerable literary reputation of 'the amiable Delta' rests to-day.
David Macbeth Moir, born on the 5th January 1798, was the son of Robert Moir and Elizabeth Macbeth, whom Aird describes simply as 'respectable citizens.' His birthplace was Musselburgh, and to Musselburgh he remained faithful through life. Indeed, though lives of men-of-letters—from Shakespeare to Thomas Hardy—afford plenty of instances of local attachment, there can be few instances I should suppose of lives more closely associated with a single place. In Musselburgh Moir's life was spent; Musselburgh he served faithfully, both in his profession and as a public servant; and in the neighbourhood of Musselburgh he placed the scene of his most popular work. Gratifying is it, therefore, to know that Musselburgh has recognised him as her poet—a minor writer certainly, yet exclusively her own.
Having received his schooling in his native town, at the age of thirteen young Moir was bound apprentice to a physician in practice there. His apprenticeship lasted four years, during the latter part of which, as also during the year following, he studied medicine in the Edinburgh University. In 1816 he obtained his surgeon's diploma. In the following year he lost his father, and being then eighteen, became the partner of a Dr Brown of Musselburgh, whose practice kept him so occupied that for more than ten years to come he is said not to have spent a single night out of the town.
Meantime, having a facile pen (too facile it has proved!) he had begun to compose as far back as 1812, about which year he sent two essays to a Haddington publication entitled The Cheap Magazine. In 1816 he contributed to the Scots Magazine, and, further, commemorated the exploit of Lord Exmouth by publishing anonymously The Bombardment of Algiers, and Other Poems. Despite pressure of work, he did not give up literature on entering the medical profession, but in time became a contributor to Constable's and Blackwood's Magazine—to the latter of which, over the signature 'Δ,' he came regularly to furnish not only jeux d'esprit but essays and serious verse as well, his contributions in all amounting to the large total of nearly four hundred. In this manner he became acquainted with John Wilson, for whose showy poetry he entertained an admiration which was doubtless less uncommon then than it would be now. Other periodicals to which he contributed were Fraser's Magazine and the Edinburgh Literary Gazette. Between medicine and literature, his life now went on busily but uneventfully. In the end of 1824 or the commencement of the next year, he published, under his pseudonym, a volume of verse to which he gave the title of the Legend of Genevieve, which he dedicated to the veteran author of the Man of Feeling. The titular poem is a sentimental story written in the manner of Byron's Tales, the remaining pieces being on miscellaneous subjects. About the same time the first instalments of Mansie Wauch made their appearance in Blackwood's Magazine, the completed story, with additions, being published as a book in 1828. Moir was a man of an intensely domestic disposition, and having become affianced in this year, in the following summer he took to himself a wife in the person of Miss Catherine Bell of Leith, whom he espoused in the Church of Carham in Northumberland, celebrating the occasion by a series of Sonnets on the Scenery of the Tweed. By this lady he eventually became the father of eleven children. His literary reputation was now established, and in 1829 Mr Blackwood made him an offer of the editorship of the Quarterly Journal of Agriculture, which, however, he declined. In remaining constant to the medical profession, he has been credited with purely philanthropic motives; but, without bating a jot of my respect for the man, the following (his own) explanation of the case seems to me the more reasonable one. 'In early youth,' says he, in a letter to David Vedder, the sailor poet of Orkney, 'I had many aspiring feelings to dedicate my life to literature, and to literature alone; but I thank God—seeing what I have seen in Galt, in Hogg, in Hood, and other friends—that I had resolution to resolve on a profession, and to make poetry my crutch and not my staff. I have, in consequence, lost the name which, probably, with due exertion, I might have acquired; but I have gained many domestic blessings which more than counter-balance it, and I can yet turn to my pen, in my short intervals of occasional relaxation, with as much zest as in my days of romantic adolescence.' This is the utterance of a sensible man who, having his way to make in the world, decides on the expediency of a certain course and adheres to it. Possibly Moir's estimate of his own powers was a juster one than that of many of his friends; at any-rate it is satisfactory to learn that, 'in spite of the common distrust of the literary character,' he succeeded in making his way as a doctor even in that place where proverbially a prophet is apt to lack honour. Mr Blackwood and others of his friends also urged him to leave Musselburgh and to set up in practice in Edinburgh, offering to use their interest in obtaining patients for him. But these offers he likewise declined. His next publication (1831) consisted of Outlines of the Ancient History of Medicine, and was intended as the first instalment of a complete history of the subject, although increased pressure of professional duties, occasioned first by the events of the next year and then by the retirement of his partner in the year following, prevented his further execution of the design.
The period at which we have now arrived is one of those which have been rendered terribly memorable by a visitation of cholera, and in the commencement of 1832 the town of Musselburgh was attacked with special severity by the epidemic. So great was the terror prevailing throughout the country that many physicians are said to have fled from their posts, but now, as also during a later outbreak, was the time when Moir's character shone out with peculiar lustre. Rising to the height of the emergency, he was to be found night and day at his post, endeavouring both to lessen the sufferings of the sick by his medical skill, and to comfort the dying with the consolations of religion. His humane exertions on behalf of the poor were, in particular, remarkable. This is a period regarding which one would gladly supply further facts, for it is, no doubt, the most interesting in Moir's life, and it is consequently with regret that we find it passed over in a few lines in the accredited biography. When that was written, circumstantial details of his faithful labours might still have been collected, and these would have brought the man nearer to us than anything else could do. But Aird has given us nothing but generalities. During the outbreak, Moir held the post of Secretary to the Board of Health of Musselburgh, and it was as an answer to numberless enquiries addressed to him in this capacity that he now wrote and published a pamphlet, entitled 'Practical Observations on Malignant Cholera,' which, says Aird, flew like wild-fire through the country, and which he shortly supplemented by 'Proofs of the Contagion of Malignant Cholera.'