What do you think Walter Scott says is the most poetical performance he has read for years? That account of the battle of Leipsic which Richard lent to us.
We went to Coolure and had a pleasant day. Waverley was in everybody's hands. The Admiral does not like it: the hero, he says, is such a shuffling fellow. While he was saying this I had in my pocket a letter from Miss Fanshawe, received that morning, saying it was delightful. Lady Crewe tells me that Madame d'Arblay cannot settle in England because the King of France has lately appointed M. d'Arblay to some high situation in consequence of his distinguished services.
Shall I tell you what they, my father and all of them, are doing at this moment? Sprawling on the floor looking at a new rat-trap. Two pounds of butter vanished the other night out of the dairy; they had been put in a shallow pan with water in it, and it is averred the rats ate it, and Peggy Tuite, the dairymaid, to make the thing more credible, gives the following reason for the rats' conduct. "Troth, ma'am, they were affronted at the new rat-trap, they only licked the milk off it, and that occasioned them to run off with the butter!"
Mr. and Mrs. Pollard have spent a day here, and brought with them Miss Napier. My father is charmed with her beauty, her voice, and her manners. We talked over Waverley with her. I am more delighted with it than I can tell you: it is a work of first-rate genius.
To the AUTHOR of "WAVERLEY."
EDGEWORTHSTOWN, Oct. 23, 1814.
Aut Scotus, Aut Diabolus!
We have this moment finished Waverley. It was read aloud to this large family, and I wish the author could have witnessed the impression it made—the strong hold it seized of the feelings both of young and old—the admiration raised by the beautiful descriptions of nature—by the new and bold delineations of character—the perfect manner in which character is ever sustained in every change of situation from first to last, without effort, without the affectation of making the persons speak in character—the ingenuity with which each person introduced in the drama is made useful and necessary to the end—the admirable art with which the story is constructed and with which the author keeps his own secrets till the proper moment when they should be revealed, whilst in the meantime, with the skill of Shakspear, the mind is prepared by unseen degrees for all the changes of feeling and fortune, so that nothing, however extraordinary, shocks us as improbable: and the interest is kept up to the last moment. We were so possessed with the belief that the whole story and every character in it was real, that we could not endure the occasional addresses from the author to the reader. They are like Fielding: but for that reason we cannot bear them, we cannot bear that an author of such high powers, of such original genius, should for a moment stoop to imitation. This is the only thing we dislike, these are the only passages we wish omitted in the whole work: and let the unqualified manner in which I say this, and the very vehemence of my expression of this disapprobation, be a sure pledge to the author of the sincerity of all the admiration I feel for his genius.
I have not yet said half we felt in reading the work. The characters are not only finely drawn as separate figures, but they are grouped with great skill, and contrasted so artfully, and yet so naturally as to produce the happiest dramatic effect, and at the same time to relieve the feelings and attention in the most agreeable manner. The novelty of the Highland world which is discovered to our view powerfully excites curiosity and interest: but though it is all new to us it does not embarrass or perplex, or strain the attention. We never are harassed by doubts of the probability of any of these modes of life: though we did not know them, we are quite certain they did exist exactly as they are represented. We are sensible that there is a peculiar merit in the work which is in a measure lost upon us, the dialects of the Highlanders, and the Lowlanders, etc. But there is another and a higher merit with which we are as much struck and as much delighted as any true-born Scotchman could be: the various gradations of Scotch feudal character, from the high-born chieftain and the military baron, to the noble-minded lieutenant Evan Dhu, the robber Bean Lean, and the savage Callum Beg. The Pre—the Chevalier, is beautifully drawn—
A prince: ay, every inch a prince!