In both pieces the author fell back upon his earlier scheme of metre, the Christabel blend of iambic with anapæstic passages, instead of the nearly pure iambs of his middle poems. The Bridal, partly to encourage the Erskine notion, it would seem, is hampered by an intermixed outline-story, told in the introductions, of the wooing and winning of a certain Lucy by a certain Arthur, both of whom may be very heartily wished away. But the actual poem is more thoroughly a Romance of Adventure than even the Lay, has much more central interest than that poem, and is adorned by passages of hardly less beauty than the best of the earlier piece. It is astonishing how anyone of the slightest penetration could have entertained the slightest doubt about the authorship of
'Come hither, come hither, Henry my page,
Whom I saved from the sack of Hermitage';
still more of that of the well-known opening of the Third Canto, one of the triumphs of that 'science of names' in which Scott was such a proficient—
'Bewcastle now must keep the Hold,
Speir-Adam's steeds must bide in stall,
Of Hartley-burn the bowmen bold
Must only shoot from battled wall;
And Liddesdale may buckle spur,
And Teviot now may belt the brand,
Tarras and Ewes keep nightly stir,
And Eskdale foray Cumberland!'
But these are only the most unmistakable, not the best. The opening specification of the Bride; the admirable 'Lyulph's Tale,' with the first appearance of the castle, and the stanza (suggested no doubt by a famous picture) of the damsels dragging Arthur's war-gear; the courtship, and Guendolen's wiles to retain Arthur, and the parting; the picture of the King's court; the tournament; all these are good enough. But I am not sure that the description of Sir Roland's tantalised vigil in the Vale of St. John, with the moonlit valley (itself a worthy pendant even to the Melrose), and the sudden and successful revelation of the magic hold when the knight flings his battle-axe, does not even surpass the Tale. Nor do I think that the actual adventures of this Childe Roland in the dark towers are inferior. The trials and temptations are of stock material, but all the best matter is stock, and this is handled with a rush and dash which more than saves it. I hope the tiger was only a magic tiger, and went home comfortably with the damsels of Zaharak. It seems unfair that he should be actually killed. But this is the only thing that disquiets me; and it is impossible to praise too much De Vaux's ingenious compromise between tasteless asceticism and dangerous indulgence in the matter of 'Asia's willing maids.'
Harold the Dauntless is much slighter, as indeed might be expected, considering that it was finished in a hurry, long after the author had given up poetry as a main occupation. But the half burlesque Spenserians of the overture are very good; the contrasted songs, 'Dweller of the Cairn' and 'A Danish Maid for Me,' are happy. Harold's interview with the Chapter is a famous bit of bravura; and all concerning the Castle of the Seven Shields, from the ballad introducing it, through the description of its actual appearance (in which, by the way, Scott shows almost a better grasp of the serious Spenserian stanza than anywhere else) to the final battle of Odin and Harold, is of the very best Romantic quality. Perhaps, indeed, it is because (as the Critical Review, the Abdiel of 'classical' orthodoxy among the reviews of the time, scornfully said), 'both poems are romantic enough to satisfy all the parlour-boarders of all the ladies' schools in England,' that they are so pleasant. It is something, in one's grey and critical age, to feel genuine sympathy with the parlour-boarder.
The chapter has already stretched to nearly the utmost proportions compatible with the scale of this little book, and we must not indulge in very many critical remarks on the general character of the compositions discussed in it. But I have never carried out the plan (which I think indispensable) of reading over again whatever work, however well known, one has to write about, with more satisfaction. The main defects lie on the surface. Despite great felicities of a certain kind, these poems have no claim to formal perfection, and occasionally sin by very great carelessness, if not by something worse. The poet frankly shows himself as one whose appeal is not that of 'jewels five words long,' set and arranged in phrases of that magical and unending beauty which the very greatest poets of the world command. His effect, even in description, is rather of mass than of detail. He does not attempt analysis in character, and only skirts passion. Although prodigal enough of incident, he is very careless of connected plot. But his great and abiding glory is that he revived the art, lost for centuries in England, of telling an interesting story in verse, of riveting the attention through thousands of lines of poetry neither didactic nor argumentative. And of his separate passages, his patches of description and incident, when the worst has been said of them, it will remain true that, in their own way and for their own purpose, they cannot be surpassed. The already noticed comparison of any of Scott's best verse-tales with Christabel, which they formally imitated to some extent, and with the White Doe of Rylstone, which followed them, will no doubt show that Coleridge and Wordsworth had access to mansions in the house of poetry where Scott is never seen. But in some respects even their best passages are not superior to his; and as tales, as romances, his are altogether superior to theirs.
CHAPTER IV
THE NOVELS, FROM WAVERLEY TO REDGAUNTLET
In the opening introduction to the collected edition of the novels, Scott has given a very full account of the genesis of Waverley. These introductions, written before the final inroad had been made on his powers by the united strength of physical and moral misfortune, animated at once by the last glow of those powers, and by the indefinable charm of a fond retrospection, displaying every faculty in autumn luxuriance, are so delightful that they sometimes seem to be the very cream and essence of his literary work in prose. Indeed, I have always wondered why they have not been published separately as a History of the Waverley Novels by their author. Yet the public, I believe, with what I fear must be called its usual lack of judgment in some such matters, seems never to have read them very widely. An exception, however, may possibly have been made in the case of this first one, opening as it has long done every new issue of the whole set of novels. At anyrate, in one way or another, it is probably known, at least to those who take an interest in Scott, that he had begun Waverley and thrown it aside some ten years before its actual appearance, at a time when he was yet a novice in literature. He had also attempted one or two other things,—a completion of Strutt's Queenhoo Hall, the beginning of a tale about Thomas the Rhymer, etc., which are now appended to the introduction itself,—and he had once, in 1810, resumed Waverley, and again thrown it aside. At last, when his supremacy as a popular poet was threatened by Byron, and when, perhaps, he himself was a little wearying of the verse tale, he discovered the fragment while searching for fishing-tackle in the old desk where he had put it, and after a time resolved to make a new and anonymous attempt on public favour.