M. G. Lewis—Seeks out Scott—The Monk—Translation by Scott of Goetz—Anecdote of Lewis—James Ballantyne—Prints Apology for Tales of Terror—William Laidlaw—James Hogg—Character and Talents.

Scott's connection with M. G. Lewis, author of The Monk, was brought about through William Erskine's having shown him Scott's translations from the German. Lewis was eager to get Scott enlisted as a contributor to his projected Tales of Wonder. He came to Edinburgh in the autumn of 1798, and Scott long afterwards told Allan Cunningham that he had never felt such elation as when the 'Monk' invited him to dine with him for the first time at his hotel. Lewis indeed was the literary lion of the time. Charles Fox had crossed the floor of the House of Commons to congratulate him on his book. The London literary world was for the time classified into the adherents and the detractors of The Monk. Scott and he now met frequently, and it should not be forgotten, in justice to the small man, that the great one, roused by the ringing lines of 'Alonzo the Brave' and such resounding ware, was by him first set upon trying his hand at original verse, 'for' (Scott adds) 'I had passed the early part of my life with a set of clever, rattling, drinking fellows, whose thoughts and talents lay wholly out of the region of poetry.' Lewis was very small in person, and looked always like a schoolboy. Moreover, for all his cleverness, he was a decided bore in society; but all the same he was, as Scott always maintained, a good and generous man, who did good by stealth. Soon after this, he took the trouble to arrange for Scott the publication of his translation of Goethe's Goetz von Berlichingen, bargaining with Bell the publisher for twenty-five guineas for the copyright, and another twenty-five guineas in case of a second edition, which, however, was not called for till long after the copyright had expired. The Goetz came out in February 1799. Lewis also did his best to get another half-translated, half-original dramatic piece of Scott's, The House of Aspen, produced on the stage, but without success. Scott has an anecdote of Lewis in his Journal which is rather amusing:—'I remember a picture of him being handed about at Dalkeith House. It was a miniature, I think by Saunders, who had contrived to muffle Lewis's person in a cloak, and placed some poignard or dark lanthorn appurtenance (I think) in his hand, so as to give the picture the cast of a bravo. It passed from hand to hand into that of Henry, Duke of Buccleuch, who, hearing the general voice affirm that it was very like, said aloud, "That like Matt Lewis? Why, that picture's like a Man!" Imagine the effect! Lewis was at his elbow.'

Towards the end of the year 1799 occurred an incident, trifling enough in itself, which was destined by the sport of Fate to bring disaster and sorrow upon the life of Scott. He had paid a short visit to Rosebank, his uncle's house at Kelso, and was preparing to return to Edinburgh for the winter, when an old acquaintance, James Ballantyne, the eldest son of a Kelso shopkeeper, called to see him. James, having failed to establish himself as a solicitor, was now the printer and editor of a weekly newspaper in Kelso. The writing of a short legal article by Scott for the Kelso Mail led to Ballantyne's printing twelve copies of a few of Scott's ballads under the title of Apology for Tales of Terror—1799. Very soon after this Scott appears to have been planning that fatal scheme of partnership which brought Ballantyne to town and all his woe.

In Edinburgh Scott still continued his attendance at the Bar. But all the time he could spare beyond this and his sheriff's duties, was devoted during the years 1800 and 1801 to his labours on the Minstrelsy. In fact, he combined to some extent his double aims, and the sheriff's visits to Ettrick Forest often resulted in large additions to the ballad-editor's stores. In one of these excursions he was hospitably entertained at the farm of Blackhouse, on the Douglas burn. There he found another zealous assistant in ballad-hunting, William Laidlaw, the son of his kindly host. Of this ever-memorable and most faithful friend of Scott, Lockhart says: 'He was then a very young man, but the extent of his acquirements was already as noticeable as the vigour and originality of his mind: and their correspondence, where "Sir" passes at a few bounds, through "Dear Sir" and "Dear Mr. Laidlaw," to "Dear Willie," shows how speedily this new acquaintance had warmed into a very tender affection. Laidlaw's zeal about the ballads was repaid by Scott's anxious endeavours to get him removed from a sphere for which, he writes, "it is no flattery to say that you are much too good." It was then, and always continued to be, his opinion, that his friend was particularly qualified for entering with advantage on the study of the medical profession; but such designs, if Laidlaw himself ever took them up seriously, were not ultimately persevered in; and I question whether any worldly success could, after all, have overbalanced the retrospect of an honourable life spent happily in the open air of nature, amidst scenes the most captivating to the eye of genius, and in the intimate confidence of, perhaps, the greatest of contemporary minds.'

James Hogg, the 'Ettrick Shepherd,' was at this time working in a neighbouring valley. Laidlaw told Scott of the humble shepherd who was so fond of the local songs and ballads, and whose aged mother was celebrated in the Ettrick dales for having by heart several notable ballads in a perfect form. 'The personal history of James Hogg' (says Lockhart) 'must have interested Scott even more than any acquisition of that sort which he owed to this acquaintance with, perhaps, the most remarkable man that ever wore the maud of a shepherd. Under the garb, aspect, and bearing of a rude peasant—and rude enough he was in most of these things, even after no inconsiderable experience of society—Scott found a brother poet, a true son of nature and genius, hardly conscious of his powers. He had taught himself to write by copying the letters of a printed book as he lay watching his flock on the hillside, and had probably reached the utmost pitch of his ambition, when he first found that his artless rhymes could touch the heart of the ewe-milker who partook the shelter of his mantle during the passing storm. As yet his naturally kind and simple character had not been exposed to any of the dangerous flatteries of the world; his heart was pure, his enthusiasm buoyant as that of a happy child; and well as Scott knew that reflection, sagacity, wit and wisdom, were scattered abundantly among the humblest rangers of these pastoral solitudes, there was here a depth and a brightness that filled him with wonder, combined with a quaintness of humour, and a thousand little touches of absurdity, which afforded him more entertainment, as I have often heard him say, than the best comedy that ever set the pit in a roar.'

Hogg, it should be mentioned, had been in the service of Mr. Laidlaw at Blackhouse from 1790 to 1799, and during that time had been treated with great sympathy and kindness. He enjoyed the run of all the books in the house, and was prompted and encouraged with his rhymes. Hogg was born in 1772, being thus a year younger than Scott.

CHAPTER XXXV

Failure of Lewis's Tales—Scott's Border Minstrelsy—Ballantyne's Printing—His Conceit—Removal of Chief Baron from Queensberry House—His odd Benevolence—Anecdote of Charles Hope—The Schoolmasters Act.

The long-deferred Tales of Wonder at length appeared in 1801. For various reasons the book was a failure. A vigorous parody held up the author's style and person to ridicule. On the whole, however, Scott's share in the unlucky venture did him no harm. His contributions, he says, were dismissed without much censure, and in some cases received praise from the critics. 'Like Lord Home at the battle of Flodden, I did so far well, that I was able to stand and save myself.'

The episode seems to have made him all the more eager to come forward on his own account with the Minstrelsy. Volumes I. and II. were published in January 1802 by Cadell and Davies, of the Strand. The edition was specially remarkable as being the first work printed by James Ballantyne from his press at Kelso. 'When the book came out, the imprint, Kelso, was read with wonder by amateurs of typography, who had never heard of such a place, and were astonished at the example of handsome printing which so obscure a town had produced.' (See 'Essay on Imitations of the Ancient Ballad.') We know from Lockhart that the editor's most sanguine expectations were exceeded by its success. The edition was exhausted in the course of the year, and Scott received £78, 10s., being half the net profits of the venture. Longman, it seems, came in person to Edinburgh, to make 'a very liberal offer' for the copyright, including the third volume, which was accepted. There is a letter to Scott from James Ballantyne, who had been in London, 'cultivating acquaintance with publishers,' in which he says, 'I shall ever think the printing the Scottish Minstrelsy one of the most fortunate circumstances of my life. I have gained, not lost by it, in a pecuniary light; and the prospects it has been the means of opening to me, may advantageously influence my future destiny. I can never be sufficiently grateful for the interest you unceasingly take in my welfare. One thing is clear—that Kelso cannot be my abiding place for aye.'