Sir Walter’s Diary, read in company with “The Pirate,” offers a most curious study of his art in composition. It may be said that he scarcely noted a natural feature, a monument, a custom, a superstition, or a legend in Zetland and Orkney which he did not weave into the magic web of his romance. In the Diary all those matters appear as very ordinary; in “The Pirate” they are transfigured in the light of fancy. History gives Scott the career of Gow and his betrothal to an island lady: observation gives him a few headlands, Picts’ houses, ruined towers, and old stone monuments, and his characters gather about these, in rhythmic array, like the dancers in the sword-dance. We may conceive that Cleveland, like Gow, was originally meant to die, and that Minna, like Margaret in the ballad of Clerk Saunders, was to recover her troth from the hand of her dead lover. But, if Scott intended this, he was good-natured, and relented.
Taking the incidents in the Diary in company with the novel, we find, in the very first page of “The Pirate,” mention of the roost, or rost, of Sumburgh, the running current of tidal water, which he hated so, because it made him so sea-sick. “All the landsmen sicker than sick, and our Viceroy, Stevenson, qualmish. It is proposed to have a light on Sumburgh Head. Fitful Head is higher, but is to the west, from which quarter few vessels come.” As for Sumburgh Head, Scott climbed it, rolled down a rock from the summit, and found it “a fine situation to compose an ode to the Genius of Sumburgh Head, or an Elegy upon a Cormorant—or to have written or spoken madness of any kind in prose or poetry. But I gave vent to my excited feelings in a more simple way, and, sitting gently down on the steep green slope which led to the beach, I e’en slid down a few hundred feet, and found the exercise quite an adequate vent to my enthusiasm.”
Sir Walter was certainly not what he found Mrs. Hemans, “too poetical.”
In the first chapter, his Giffords, Scotts (of Scotstarvet, the Fifeshire house, not of the Border clan), and Mouats are the very gentry who entertained him on his tour. His “plantie cruives,” in the novel, had been noted in the Diary (Lockhart, iv. 193). “Pate Stewart,” the oppressive Earl, is chronicled at length in “the Diary.” “His huge tower remains wild and desolate—its chambers filled with sand, and its rifted walls and dismantled battlements giving unrestrained access to the roaring sea-blast.” So Scott wrote in his last review for the “Quarterly,” a criticism of Pitcairn’s “Scotch Criminal Trials” (1831). The Trows, or Drows, the fairy dwarfs he studied on the spot, and connects the name with Dwerg, though Trolls seem rather to be their spiritual and linguistic ancestors. The affair of the clergyman who was taken for a Pecht, or Pict, actually occurred during the tour, and Mr. Stevenson, who had met the poor Pecht before, was able to clear his character.[3] In the same place the Kraken is mentioned: he had been visible for nearly a fortnight, but no sailor dared go near him.
He lay in the offing a fortnight or more,
But the devil a Zetlander put from the shore.
If your Grace thinks I’m writing the thing that is not,
You may ask at a namesake of ours, Mr. Scott,
Sir Walter wrote to the Duke of Buccleugh. He paid a visit to an old lady, who, like Norna, and Æolus in the Odyssey, kept the winds in a bag, and could sell a fair breeze. “She was a miserable figure, upwards of ninety, she told me, and dried up like a mummy. A sort of clay-coloured cloak, folded over her head, corresponded in colour to her corpse-like complexion. Fine light-blue eyes, and nose and chin that almost met, and a ghastly expression of cunning gave her quite the effect of Hecate. She told us she remembered Gow the Pirate, betrothed to a Miss Gordon,”—so here are the germs of Norna, Cleveland, and Minna, all sown in good ground, to bear fruit in seven years (1814-1821). Triptolemus Yellowley is entirely derived from the Diary, and is an anachronism. The Lowland Scots factors and ploughs were only coming in while Scott was in the isles. He himself saw the absurd little mills (vol. i. ch. xi.), and the one stilted plough which needed two women to open the furrows, a feebler plough than the Virgilian specimens which one still remarks in Tuscany. “When this precious machine was in motion, it was dragged by four little bullocks, yoked abreast, and as many ponies harnessed, or rather strung, to the plough by ropes and thongs of raw hide.... An antiquary might be of opinion that this was the very model of the original plough invented by Triptolemus,” son of the Eleusinian king, who sheltered Demeter in her wanderings. The sword-dance was not danced for Scott’s entertainment, but he heard of the Pupa dancers, and got a copy of the accompanying chant, and was presented with examples of the flint and bronze Celts which Norna treasured. All over the world, as in Zetland, they were regarded as “thunder stones.” (Diary; Lockhart, iv. 220.) The bridal of Norna, by clasping of hands through Odin’s stone ring, was still practised as a form of betrothal. (Lockhart, iv. 252.) Some island people were despised, as by Magnus Troil, as “poor sneaks” who ate limpets, “the last of human meannesses.” The “wells,” or smooth wave-currents, were also noted, and the Garland of the whalers often alluded to in the tale. The Stones of Stennis were visited, and the Dwarfie Stone of Hoy, where Norna, like some Eskimo Angekok, met her familiar demon. Scott held that the stone “probably was meant as the temple of some northern edition of the dii Manes. They conceive that the dwarf may be seen sometimes sitting at the door of his abode, but he vanishes on a nearer approach.” The dwelling of Norna, a Pict’s house, with an overhanging story, “shaped like a dice-box,” is the ancient Castle of Mousa.[4] The strange incantation of Norna, the dropping of molten lead into water, is also described. Usually the lead was poured through the wards of a key. In affections of the heart, like Minna’s, a triangular stone, probably a neolithic arrow-head, was usually employed as an amulet. (Lockhart, iv. 208.) Even the story of the pirate’s insolent answer to the Provost is adapted from a recent occurrence. Two whalers were accused of stealing a sheep. The first denied the charge, but said he had seen the animal carried off by “a fellow with a red nose and a black wig. Don’t you think he was like his honour, Tom?” “By God, Jack, I believe it was the very man.” (Diary; Lockhart, iv. 222; “The Pirate,” vol. ii. ch. xiv.) The goldless Northern Ophir was also visited—in brief, Scott scarcely made a remark on his tour which he did not manage to transmute into the rare metal of his romance. It is no wonder that the Orcadians at once detected his authorship. A trifling anecdote of the cruise has recently been published. Scott presented a lady in the isles with a piano, which, it seems, is still capable of producing a melancholy jingling tune.[5]
Lockhart says, as to the reception of “The Pirate” (Dec. 1821): “The wild freshness of the atmosphere of this splendid romance, the beautiful contrast of Minna and Brenda, and the exquisitely drawn character of Captain Cleveland, found the reception which they deserved.” “The wild freshness of the atmosphere” is indeed magically transfused, and breathes across the pages as it blows over the Fitful Head, the skerries, the desolate moors, the plain of the Standing Stones of Stennis. The air is keen and salt and fragrant of the sea. Yet Sydney Smith was greatly disappointed. “I am afraid this novel will depend upon the former reputation of the author, and will add nothing to it. It may sell, and another may half sell, but that is all, unless he comes out with something vigorous, and redeems himself. I do not blame him for writing himself out, if he knows he is doing so, and has done his best, and his all. If the native land of Scotland will supply no more scenes and characters, for he is always best in Scotland, though he was very good in England the (time) he was there; but pray, wherever the scene is laid, no more Meg Merrilies and Dominie Sampsons—very good the first and second times, but now quite worn out, and always recurring.” (“Archibald Constable,” iii. 69.)
It was Smith’s grammar that gave out, and produced no apodosis to his phrase. Scott could not write himself out, before his brain was affected by disease. Had his age been miraculously prolonged, with health, it could never be said that “all the stories have been told,” and he would have delighted mankind unceasingly.
Scott himself was a little nettled by the criticisms of Norna as a replica of Meg Merrilies. She is, indeed, “something distinct from the Dumfriesshire gipsy”—in truth, she rather resembles the Ulrica of “Ivanhoe.” Like her, she is haunted by the memory of an awful crime, an insane version of a mere accident; like her, she is a votaress of the dead gods of the older world, Thor and Odin, and the spirits of the tempest. Scott’s imagination lived so much in the past that the ancient creeds never ceased to allure him: like Heine, he felt the fascination of the banished deities, not of Greece, but of the North. Thus Norna, crazed by her terrible mischance, dwells among them, worships the Red Beard, as outlying descendants of the Aztecs yet retain some faith in their old monstrous Pantheon. Even Minna keeps, in her girlish enthusiasm, some touch of Freydis in the saga of Eric the Red: for her the old gods and the old years are not wholly exiled and impotent. All this is most characteristic of the antiquary and the poet in Scott, who lingers fondly over what has been, and stirs the last faint embers of fallen fires. It is of a piece with the harmless Jacobitism of his festivals, when they sang
Here’s to the King, boys!
Ye ken wha I mean, boys.