Yours truly,
W. S.
Both Mr. Murray, and Longman's partner, Mr. Rees, were in Scotland about this time; and the former at least paid Scott a visit at Abbotsford. Of course, however, whatever propositions they may have made were received by one or other of the Ballantynes. The result was, that the house of Longman undertook Guy Mannering on the terms dictated by Scott—namely, granting bills for £1500, and relieving John Ballantyne and Company of stock to the extent of £500 more; and Constable's first information of the transaction was from Messrs. Longman themselves, when they, in compliance with Scott's wish, as signified in the letter last quoted, offered him a share in the edition which they had purchased. With one or two exceptions, originating in circumstances nearly similar, the house of Constable published all the subsequent series of the Waverley Novels.
I must not, however, forget that The Lord of the Isles was published a month before Guy Mannering. The poem was received with an interest much heightened by the recent and growing success of the mysterious Waverley. Its appearance, so rapidly following that novel, and accompanied with the announcement of another prose tale, just about to be published, by the same hand, puzzled and confounded the mob of dulness.[7] The more sagacious few said to themselves—Scott is making one serious effort more in his old line, and by this it will be determined whether he does or does not altogether renounce that for his new one.
The Edinburgh Review on The Lord of the Isles begins with,—
"Here is another genuine Lay of the Great Minstrel, with all his characteristic faults, beauties, and irregularities. The same glow of coloring—the same energy of narration—the same amplitude of description are conspicuous—with the same still more characteristic disdain of puny graces and small originalities—the true poetical hardihood, in the strength of which he urges on his Pegasus fearlessly through dense and rare, and aiming gallantly at the great ends of truth and effect, stoops but rarely to study the means by which they are to be attained; avails himself without scruple of common sentiments and common images wherever they seem fitted for his purpose; and is original by the very boldness of his borrowing, and impressive by his disregard of epigram and emphasis."
The conclusion of the contemporaneous article in the Quarterly Review is as follows:—
"The many beautiful passages which we have extracted from the poem, combined with the brief remarks subjoined to each canto, will sufficiently show, that although The Lord of the Isles is not likely to add very much to the reputation of Mr. Scott, yet this must be imputed rather to the greatness of his previous reputation, than to the absolute inferiority of the poem itself. Unfortunately, its merits are merely incidental, while its defects are mixed up with the very elements of the poem. But it is not in the power of Mr. Scott to write with tameness; be the subject what it will (and he could not easily have chosen one more impracticable), he impresses upon whatever scenes he describes so much movement and activity,—he infuses into his narrative such a flow of life, and, if we may so express ourselves, of animal spirits, that without satisfying the judgment, or moving the feelings, or elevating the mind, or even very greatly interesting the curiosity, he is able to seize upon, and, as it were, exhilarate the imagination of his readers, in a manner which is often truly unaccountable. This quality Mr. Scott possesses in an admirable degree; and supposing that he had no other object in view than to convince the world of the great poetical powers with which he is gifted, the poem before us would be quite sufficient for his purpose. But this is of very inferior importance to the public; what they want is a good poem, and, as experience has shown, this can only be constructed upon a solid foundation of taste, and judgment, and meditation."
These passages appear to me to condense the result of deliberate and candid reflection, and I have therefore quoted them. The most important remarks of either Essayist on the details of the plot and execution are annexed to the last edition of the poem; and show such an exact coincidence of judgment in two masters of their calling, as had not hitherto been exemplified in the professional criticism of his metrical romances. The defects which both point out are, I presume, but too completely explained by the preceding statement of the rapidity with which this, the last of those great performances, had been thrown off; nor do I see that either Reviewer has failed to do sufficient justice to the beauties which redeem the imperfections of The Lord of the Isles—except as regards the whole character of Bruce, its real hero, and the picture of the battle of Bannockburn, which, now that one can compare these works from something like the same point of view, does not appear to me in the slightest particular inferior to the Flodden of Marmion.
This poem is now, I believe, about as popular as Rokeby; but it has never reached the same station in general favor with the Lay, Marmion, or The Lady of the Lake. The first edition of 1800 copies in quarto was, however, rapidly disposed of, and the separate editions in 8vo, which ensued before his poetical works were collected, amounted together to 12,250 copies. This, in the case of almost any other author, would have been splendid success; but as compared with what he had previously experienced, even in his Rokeby, and still more so as compared with the enormous circulation at once attained by Lord Byron's early tales, which were then following each other in almost breathless succession, the falling off was decided. One evening, some days after the poem had been published, Scott requested James Ballantyne to call on him, and the printer found him alone in his library, working at the third volume of Guy Mannering. I give what follows from Ballantyne's Memoranda:—
"'Well, James,' he said, 'I have given you a week—what are people saying about The Lord of the Isles?' I hesitated a little, after the fashion of Gil Blas, but he speedily brought the matter to a point. 'Come,' he said, 'speak out, my good fellow; what has put it into your head to be on so much ceremony with me all of a sudden? But, I see how it is, the result is given in one word—Disappointment.' My silence admitted his inference to the fullest extent. His countenance certainly did look rather blank for a few seconds; in truth, he had been wholly unprepared for the event; for it is a singular fact, that before the public, or rather the booksellers, had given their decision, he no more knew whether he had written well or ill, than whether a die thrown out of a box was to turn up a size or an ace. However, he instantly resumed his spirits, and expressed his wonder rather that his poetical popularity should have lasted so long, than that it should have now at last given way. At length he said, with perfect cheerfulness, 'Well, well, James, so be it—but you know we must not droop, for we can't afford to give over. Since one line has failed, we must just stick to something else:'—and so he dismissed me and resumed his novel."