"Here was poetic impulse given
By the green hill and clear blue heaven."
The Cow-bailie blew a particular note on his whistle, which signified to the maid-servants in the house below when the little boy wished to be carried home again. He told his friend, Mr. Skene of Rubislaw, when spending a summer day in his old age among these well-remembered crags, that he delighted to roll about on the grass all day long in the midst of the flock, and that "the sort of fellowship he thus formed with the sheep and lambs had impressed his mind with a degree of affectionate feeling towards them which had lasted throughout life." There is a story of his having been forgotten one day among the knolls when a thunderstorm came on; and his aunt, suddenly recollecting his situation, and running out to bring him home, is said to have found him lying on his back, clapping his hands at the lightning, and crying out, "Bonny! bonny!" at every flash.
I find the following marginal note on his copy of Allan Ramsay's Tea-Table Miscellany (edition 1724): "This book belonged to my grandfather, Robert Scott, and out of it I was taught Hardiknute by heart before I could read the ballad myself. It was the first poem I ever learnt—the last I shall ever forget." According to Tibby Hunter, he was not particularly fond of his book, embracing every pretext for joining his friend the Cow-bailie out of doors; but "Miss Jenny was a grand hand at keeping him to the bit, and by degrees he came to read brawly."[44] An early acquaintance of a higher class, Mrs. Duncan, the wife of the present excellent minister of Mertoun, informs me, that though she was younger than Sir Walter, she has a dim remembrance of the interior of Sandy-Knowe—"Old Mrs. Scott sitting, with her spinning-wheel, at one side of the fire, in a clean clean parlor; the grandfather, a good deal failed, in his elbow-chair opposite; and the little boy lying on the carpet, at the old man's feet, listening to the Bible, or whatever good book Miss Jenny was reading to them."[45]
Robert Scott died before his grandson was four years of age; and I heard him mention when he was an old man that he distinctly remembered the writing and sealing of the funeral letters, and all the ceremonial of the melancholy procession as it left Sandy-Knowe. I shall conclude my notices of the residence at Sandy-Knowe with observing that in Sir Walter's account of the friendly clergyman who so often sat at his grandfather's fireside, we cannot fail to trace many features of the secluded divine in the novel of St. Ronan's Well.
I have nothing to add to what he has told us of that excursion to England which interrupted his residence at Sandy-Knowe for about a twelvemonth, except that I had often been astonished, long before I read his autobiographic fragment, with the minute recollection he seemed to possess of all the striking features of the city of Bath, which he had never seen again since he quitted it before he was six years of age. He has himself alluded, in his Memoir, to the lively recollection he retained of his first visit to the theatre, to which his Uncle Robert carried him to witness a representation of As You Like It. In his reviewal of the Life of John Kemble, written in 1826, he has recorded that impression more fully, and in terms so striking, that I must copy them in this place:—
"There are few things which those gifted with any degree of imagination recollect with a sense of more anxious and mysterious delight than the first dramatic representation which they have witnessed. The unusual form of the house, filled with such groups of crowded spectators, themselves forming an extraordinary spectacle to the eye which has never witnessed it before, yet all intent upon that wide and mystic curtain, whose dusky undulations permit us now and then to discern the momentary glitter of some gaudy form, or the spangles of some sandalled foot, which trips lightly within: Then the light, brilliant as that of day; then the music, which, in itself a treat sufficient in every other situation, our inexperience mistakes for the very play we came to witness; then the slow rise of the shadowy curtain, disclosing, as if by actual magic, a new land, with woods, and mountains, and lakes, lighted, it seems to us, by another sun, and inhabited by a race of beings different from ourselves, whose language is poetry,—whose dress, demeanor, and sentiments seem something supernatural,—and whose whole actions and discourse are calculated not for the ordinary tone of every-day life, but to excite the stronger and more powerful faculties—to melt with sorrow, overpower with terror, astonish with the marvellous, or convulse with irresistible laughter:—all these wonders stamp indelible impressions on the memory. Those mixed feelings, also, which perplex us between a sense that the scene is but a plaything, and an interest which ever and anon surprises us into a transient belief that that which so strongly affects us cannot be fictitious; those mixed and puzzling feelings, also, are exciting in the highest degree. Then there are the bursts of applause, like distant thunder, and the permission afforded to clap our little hands, and add our own scream of delight to a sound so commanding. All this, and much, much more, is fresh in our memory, although, when we felt these sensations, we looked on the stage which Garrick had not yet left. It is now a long while since; yet we have not passed many hours of such unmixed delight, and we still remember the sinking lights, the dispersing crowd, with the vain longings which we felt that the music would again sound, the magic curtain once more arise, and the enchanting dream recommence; and the astonishment with which we looked upon the apathy of the elder part of our company, who, having the means, did not spend every evening in the theatre."[46]
Probably it was this performance that first tempted him to open the page of Shakespeare. Before he returned to Sandy-Knowe, assuredly, notwithstanding the modest language of his autobiography, the progress which had been made in his intellectual education was extraordinary; and it is impossible to doubt that his hitherto almost sole tutoress, Miss Jenny Scott, must have been a woman of tastes and acquirements very far above what could have been often found among Scotch ladies, of any but the highest class at least, in that day. In the winter of 1777, she and her charge spent some few weeks—not happy weeks, the Memoir hints them to have been—in George's Square, Edinburgh; and it so happened, that during this little interval, Mr. and Mrs. Scott received in their domestic circle a guest capable of appreciating, and, fortunately for us, of recording in a very striking manner the remarkable development of young Walter's faculties. Mrs. Cockburn, mentioned by him in his Memoir as the authoress of the modern Flowers of the Forest, born a Rutherford, of Fairnalie, in Selkirkshire, was distantly related to the poet's mother, with whom she had through life been in habits of intimate friendship. This accomplished woman was staying at Ravelston, in the vicinity of Edinburgh, a seat of the Keiths of Dunnottar, nearly related to Mrs. Scott, and to herself. With some of that family she spent an evening in George's Square. She chanced to be writing next day to Dr. Douglas, the well-known and much respected minister of her native parish, Galashiels; and her letter, of which the Doctor's son has kindly given me a copy, contains the following passage:—
"Edinburgh, Saturday night, 15th of 'the gloomy month when the people of England hang and drown themselves.'
... "I last night supped in Mr. Walter Scott's. He has the most extraordinary genius of a boy I ever saw. He was reading a poem to his mother when I went in. I made him read on; it was the description of a shipwreck. His passion rose with the storm. He lifted his eyes and hands. 'There's the mast gone,' says he; 'crash it goes!—they will all perish!' After his agitation, he turns to me. 'That is too melancholy,' says he; 'I had better read you something more amusing.' I preferred a little chat, and asked his opinion of Milton and other books he was reading, which he gave me wonderfully. One of his observations was, 'How strange it is that Adam, just new come into the world, should know everything—that must be the poet's fancy,' says he. But when he was told he was created perfect by God, he instantly yielded. When taken to bed last night, he told his aunt he liked that lady. 'What lady?' says she. 'Why, Mrs. Cockburn; for I think she is a virtuoso like myself.' 'Dear Walter,' says Aunt Jenny, 'what is a virtuoso?' 'Don't ye know? Why, it's one who wishes and will know everything.'[47]—Now, sir, you will think this a very silly story. Pray, what age do you suppose this boy to be? Name it now, before I tell you. Why, twelve or fourteen. No such thing; he is not quite six years old.[48] He has a lame leg, for which he was a year at Bath, and has acquired the perfect English accent, which he has not lost since he came, and he reads like a Garrick. You will allow this an uncommon exotic."
Some particulars in Mrs. Cockburn's account appear considerably at variance with what Sir Walter has told us respecting his own boyish proficiency—especially in the article of pronunciation. On that last head, however, Mrs. Cockburn was not, probably, a very accurate judge; all that can be said is, that if at this early period he had acquired anything which could be justly described as an English accent, he soon lost, and never again recovered, what he had thus gained from his short residence at Bath. In after-life his pronunciation of words, considered separately, was seldom much different from that of a well-educated Englishman of his time; but he used many words in a sense which belonged to Scotland, not to England, and the tone and accent remained broadly Scotch, though, unless in the burr, which no doubt smacked of the country bordering on Northumberland, there was no provincial peculiarity about his utterance. He had strong powers of mimicry—could talk with a peasant quite in his own style, and frequently in general society introduced rustic patois, northern, southern, or midland, with great truth and effect; but these things were inlaid dramatically, or playfully, upon his narrative. His exquisite taste in this matter was not less remarkable in his conversation than in the prose of his Scotch novels.