"Patterdale. Met a young sheep dog.—One leg tied up to prevent his scampering after the sheep too far—dog education; not beat young dogs, it breaks their spirits and spoils them. May this hint apply to the education of two-legged cubs? Beautiful and fertile valleys running up into so many gorges of the mountains.... Musty egg at breakfast. Irishman swearing not a hen in all England that laid fresh eggs.... Kirkstone pass. Savage sublimity of the road. Kirkstone like the gable end of a house peeping above. Saxifraga Nivalis.... High moor between the lakes and Kendal. Grand view of Langdale Pikes twenty miles off, like immense buttresses or towers, supporting a long line of rocks." Of all the beautiful objects in that district none excited Mr. Roby's admiration as those two magnificent rocks. His enthusiasm for them was unbounded.
The first series of the Traditions of Lancashire appeared in 1829, in two volumes, illustrated by plates engraved by Finden, from drawings by Pickering; and wood-cuts by Williams, after designs by Frank Howard. The matter, the embellishments, and the spirited publishers, Messrs Longman and Co., were alike worthy of each other. The reception of the work equalled Mr. Roby's most sanguine expectations; for though the price, demy 8vo., 2l. 2s., royal 8vo., with proofs and etchings, 4l. 4s., made it rather a book for a gentleman's library than for general circulation, a second edition was called for within twelve months. The following note from Sir Francis Palgrave, no incompetent judge, was a gratifying estimate of the work as forming part of our national literature:—
"26, Duke-street, Westminster,
26th October, 1829.
"Sir,
"I am greatly obliged to you for the very interesting volumes which you have had the kindness to send me.
"As compositions, the extreme beauty of your style, and the skill which you have shown in working up the rude materials, must entitle them to the highest rank in the class of works to which they belong.
"Are there any peculiar traditions in or about Cartmel, where, as you probably know, the Britons continued till a comparatively late period? You have made such a valuable addition, not only to English literature, but to English topography by your collection—for these popular traditions form, or ought to form, an important feature in topographical history—that it is to be hoped you will not stop with the present volumes.
"I have the honor to remain,
Sir,
With great respect,
Your obedient and faithful servant,
"Francis Palgrave."
The second series, consisting also of two volumes, uniform with the first, was published in 1831, and met with similar success. Both series were reviewed in the most cordial manner by the leading periodicals of the day; more than once quoted, and characterized by Sir Walter Scott, himself a host, as an elegant work. (See Introduction to the Betrothed.)
When composing, Mr. Roby usually wrote with his family around him; the only restraint he laid upon them, was the prohibition of whispering; from conversation carried on in the ordinary tone he could wholly abstract himself. Seated in a favourite rocking-chair, that common northern luxury, wrapped in a loose study-gown, he wrote for hours with rapidity and pleasure. When invention flagged, and he had to seek an idea, he would fold his arms, and gently rock for a few minutes, then with the air of a person who had found what he sought, return to the page with renewed spirit. Though undisturbed by familiar sounds, which, indeed, he appeared not to perceive, so completely was he absorbed in his ideal world, he yet required all things in order around him before he commenced; objects indiscriminately scattered conveying disturbance through the eye, or even an open door, would so effectually dissipate his thoughts, as to prevent him from writing. His practice was to make himself master of the historical ground-work of the tale, and as far as possible of the manners and customs of the period, and then to commence composition, with Fosbroke's "Encyclopedia of Antiquities" at hand, for accuracy of costume, &c. He always gave the credit of his style, which the Westminster Review termed "a very model of good Saxon," to his native country, the force and energy of whose dialect arises mainly from the prevalence of the Teutonic element. "The thought digs out the word," was a favourite saying, when the exact expression he wanted did not at once occur. To his fine ear for musical sound he was much indebted for the flowing ease of his diction.