He took up any topic by chance, and played with it at will, like a juggler with his cups and balls. He generally ranged himself on the losing side; and had rather an ill-natured delight in contradiction, and in perplexing the understandings of others, without leaving them any clue to guide them out of the labyrinth into which he had led them. He understood, in its perfection, the great art of throwing the onus probandi on his adversary; and so could maintain almost any opinion, however absurd or fantastical, with fearless impunity. I have heard a sensible and well-informed man say, that he never was in company with Mr. Tooke without being delighted and surprised, or without feeling the conversation of every other person to be flat in the comparison; but that he did not recollect having ever heard him make a remark that struck him as a sound and true one, or that he himself appeared to think so. He used to plague Fuseli by asking him after the origin of the Teutonic dialects, and Dr. Parr, by wishing to know the meaning of the common copulative, Is. Once at G——‘s, he defended Pitt from a charge of verbiage, and endeavoured to prove him superior to Fox. Some one imitated Pitt’s manner, to show that it was monotonous, and he imitated him also, to show that it was not. He maintained (what would he not maintain?) that young Betty’s acting was finer than John Kemble’s, and recited a passage from Douglas in the manner of each, to justify the preference he gave to the former. The mentioning of this will please the living; it cannot hurt the dead. He argued on the same occasion and in the same breath, that Addison’s style was without modulation, and that it was physically impossible for any one to write well, who was habitually silent in company. He sat like a king at his own table, and gave law to his guests—and to the world! No man knew better how to manage his immediate circle, to foil or bring them out. A professed orator, beginning to address some observations to Mr. Tooke with a voluminous apology for his youth and inexperience, he said, ‘Speak up, young man!’—and by taking him at his word, cut short the flower of orations. Porson was the only person of whom he stood in some degree of awe, on account of his prodigious memory and knowledge of his favourite subject, Languages. Sheridan, it has been remarked, said more good things, but had not an equal flow of pleasantry. As an instance of Mr. Horne Tooke’s extreme coolness and command of nerve, it has been mentioned that once at a public dinner when he had got on the table to return thanks for his health being drank with a glass of wine in his hand, and when there was a great clamour and opposition for some time, after it had subsided, he pointed to the glass to show that it was still full. Mr. Holcroft (the author of the Road to Ruin) was one of the most violent and fiery-spirited of all that motley crew of persons, who attended the Sunday meetings at Wimbledon. One day he was so enraged by some paradox or raillery of his host, that he indignantly rose from his chair, and said, ‘Mr. Tooke, you are a scoundrel!’ His opponent without manifesting the least emotion, replied, ‘Mr. Holcroft, when is it that I am to dine with you? shall it be next Thursday?’—‘If you please, Mr. Tooke!’ answered the angry philosopher, and sat down again.—It was delightful to see him sometimes turn from these waspish or ludicrous altercations with over-weening antagonists to some old friend and veteran politician seated at his elbow; to hear him recal the time of Wilkes and Liberty, the conversation mellowing like the wine with the smack of age; assenting to all the old man said, bringing out his pleasant traits, and pampering him into childish self-importance, and sending him away thirty years younger than he came!

As a public or at least as a parliamentary speaker, Mr. Tooke did not answer the expectations that had been conceived of him, or probably that he had conceived of himself. It is natural for men who have felt a superiority over all those whom they happen to have encountered, to fancy that this superiority will continue, and that it will extend from individuals to public bodies. There is no rule in the case; or rather, the probability lies the contrary way. That which constitutes the excellence of conversation is of little use in addressing large assemblies of people; while other qualities are required that are hardly to be looked for in one and the same capacity. The way to move great masses of men is to show that you yourself are moved. In a private circle, a ready repartee, a shrewd cross-question, ridicule and banter, a caustic remark or an amusing anecdote, whatever sets off the individual to advantage, or gratifies the curiosity or piques the self-love of the hearers, keeps attention alive, and secures the triumph of the speaker—it is a personal contest, and depends on personal and momentary advantages. But in appealing to the public, no one triumphs but in the triumph of some public cause, or by showing a sympathy with the general and predominant feelings of mankind. In a private room, a satirist, a sophist may provoke admiration by expressing his contempt for each of his adversaries in turn, and by setting their opinion at defiance—but when men are congregated together on a great public question and for a weighty object, they must be treated with more respect; they are touched with what affects themselves or the general weal, not with what flatters the vanity of the speaker; they must be moved altogether, if they are moved at all; they are impressed with gratitude for a luminous exposition of their claims or for zeal in their cause; and the lightning of generous indignation at bad men and bad measures is followed by thunders of applause—even in the House of Commons. But a man may sneer and cavil and puzzle and fly-blow every question that comes before him—be despised and feared by others, and admired by no one but himself. He who thinks first of himself, either in the world or in a popular assembly, will be sure to turn attention away from his claims, instead of fixing it there. He must make common cause with his hearers. To lead, he must follow the general bias. Mr. Tooke did not therefore succeed as a speaker in parliament. He stood aloof, he played antics, he exhibited his peculiar talent—while he was on his legs, the question before the House stood still; the only point at issue respected Mr. Tooke himself, his personal address and adroitness of intellect. Were there to be no more places and pensions, because Mr. Tooke’s style was terse and epigrammatic? Were the Opposition benches to be inflamed to an unusual pitch of ‘sacred vehemence,’ because he gave them plainly to understand there was not a pin to choose between Ministers and Opposition? Would the House let him remain among them, because, if they turned him out on account of his black coat, Lord Camelford had threatened to send his black servant in his place? This was a good joke, but not a practical one. Would he gain the affections of the people out of doors, by scouting the question of reform? Would the King ever relish the old associate of Wilkes? What interest, then, what party did he represent? He represented nobody but himself. He was an example of an ingenious man, a clever talker, but he was out of his place in the House of Commons; where people did not come (as in his own house) to admire or break a lance with him, but to get through the business of the day, and so adjourn! He wanted effect and momentum. Each of his sentences told very well in itself, but they did not altogether make a speech. He left off where he began. His eloquence was a succession of drops, not a stream. His arguments, though subtle and new, did not affect the main body of the question. The coldness and pettiness of his manner did not warm the hearts or expand the understandings of his hearers. Instead of encouraging, he checked the ardour of his friends; and teazed, instead of overpowering his antagonists. The only palpable hit he ever made, while he remained there, was the comparing his own situation in being rejected by the House, on account of the supposed purity of his clerical character, to the story of the girl at the Magdalen, who was told ‘she must turn out and qualify.’[[41]] This met with laughter and loud applause. It was a home thrust, and the House (to do them justice) are obliged to any one who, by a smart blow, relieves them of the load of grave responsibility, which sits heavy on their shoulders.—At the hustings, or as an election-candidate, Mr. Tooke did better. There was no great question to move or carry—it was an affair of political sparring between himself and the other candidates. He took it in a very cool and leisurely manner—watched his competitors with a wary, sarcastic eye; picked up the mistakes or absurdities that fell from them, and retorted them on their heads; told a story to the mob; and smiled and took snuff with a gentlemanly and becoming air, as if he was already seated in the House. But a Court of Law was the place where Mr. Tooke made the best figure in public. He might assuredly be said to be ‘native and endued unto that element.’ He had here to stand merely on the defensive—not to advance himself, but to block up the way—not to impress others, but to be himself impenetrable. All he wanted was negative success; and to this no one was better qualified to aspire. Cross purposes, moot-points, pleas, demurrers, flaws in the indictment, double meanings, cases, inconsequentialities, these were the playthings, the darlings of Mr. Tooke’s mind; and with these he baffled the Judge, dumb-founded the Counsel, and outwitted the Jury. The report of his trial before Lord Kenyon is a masterpiece of acuteness, dexterity, modest assurance, and legal effect. It is much like his examination before the Commissioners of the Income-Tax—nothing could be got out of him in either case!

Mr. Tooke, as a political leader, belonged to the class of trimmers; or at most, it was his delight to make mischief and spoil sport. He would rather be against himself than for any body else. He was neither a bold nor a safe leader. He enticed others into scrapes, and kept out of them himself. Provided he could say a clever or a spiteful thing, he did not care whether it served or injured the cause. Spleen or the exercise of intellectual power was the motive of his patriotism, rather than principle. He would talk treason with a saving clause; and instil sedition into the public mind, through the medium of a third (who was to be the responsible) party. He made Sir Francis Burdett his spokesman in the House and to the country, often venting his chagrin or singularity of sentiment at the expense of his friend; but what in the first was trick or reckless vanity, was in the last plain downright English honesty and singleness of heart. In the case of the State Trials, in 1794, Mr. Tooke rather compromised his friends to screen himself. He kept repeating that ‘others might have gone on to Windsor, but he had stopped at Hounslow,’ as if to go farther might have been dangerous and unwarrantable. It was not the question how far he or others had actually gone, but how far they had a right to go, according to the law. His conduct was not the limit of the law, nor did treasonable excess begin where prudence or principle taught him to stop short, though this was the oblique inference liable to be drawn from his line of defence. Mr. Tooke was uneasy and apprehensive for the issue of the Government-prosecution while in confinement, and said, in speaking of it to a friend, with a morbid feeling and an emphasis quite unusual with him—‘They want our blood—blood—blood!’ It was somewhat ridiculous to implicate Mr. Tooke in a charge of High Treason (and indeed the whole charge was built on the mistaken purport of an intercepted letter relating to an engagement for a private dinner-party)—his politics were not at all revolutionary. In this respect he was a mere pettifogger, full of chicane, and captious objections, and unmeaning discontent; but he had none of the grand whirling movements of the French Revolution, nor of the tumultuous glow of rebellion in his head or in his heart. His politics were cast in a different mould, or confined to the party distinctions and court intrigues and pittances of popular right, that made a noise in the time of Junius and Wilkes—and even if his understanding had gone along with more modern and unqualified principles, his cautious temper would have prevented his risking them in practice. Horne Tooke (though not of the same side in politics) had much of the tone of mind and more of the spirit of moral feeling of the celebrated philosopher of Malmesbury. The narrow scale and fine-drawn distinctions of his political creed made his conversation on such subjects infinitely amusing, particularly when contrasted with that of persons who dealt in the sounding common-places and sweeping clauses of abstract politics. He knew all the cabals and jealousies and heart-burnings in the beginning of the late reign, the changes of administration and the springs of secret influence, the characters of the leading men, Wilkes, Barre, Dunning, Chatham, Burke, the Marquis of Rockingham, North, Shelburne, Fox, Pitt, and all the vacillating events of the American war:—these formed a curious back-ground to the more prominent figures that occupied the present time, and Mr. Tooke worked out the minute details and touched in the evanescent traits with the pencil of a master. His conversation resembled a political camera obscura—as quaint as it was magical. To some pompous pretenders he might seem to narrate fabellas aniles (old wives’ fables)—but not to those who study human nature, and wish to know the materials of which it is composed. Mr. Tooke’s faculties might appear to have ripened and acquired a finer flavour with age. In a former period of his life he was hardly the man he was latterly; or else he had greater abilities to contend against. He no where makes so poor a figure as in his controversy with Junius. He has evidently the best of the argument, yet he makes nothing out of it. He tells a long story about himself, without wit or point in it; and whines and whimpers like a school-boy under the rod of his master. Junius, after bringing a hasty charge against him, has not a single fact to adduce in support of it; but keeps his ground and fairly beats his adversary out of the field by the mere force of style. One would think that ‘Parson Horne’ knew who Junius was, and was afraid of him. ‘Under him his genius is’ quite ‘rebuked.’ With the best cause to defend, he comes off more shabbily from the contest than any other person in the Letters, except Sir William Draper, who is the very hero of defeat.

The great thing which Mr. Horne Tooke has done, and which he has left behind him to posterity, is his work on Grammar, oddly enough entitled The Diversions of Purley. Many people have taken it up as a description of a game—others supposing it to be a novel. It is, in truth, one of the few philosophical works on Grammar that were ever written. The essence of it (and, indeed, almost all that is really valuable in it) is contained in his Letter to Dunning, published about the year 1775. Mr. Tooke’s work is truly elementary. Dr. Lowth described Mr. Harris’s Hermes as ‘the finest specimen of analysis since the days of Aristotle’—a work in which there is no analysis at all, for analysis consists in reducing things to their principles, and not in endless details and subdivisions. Mr. Harris multiplies distinctions, and confounds his readers. Mr. Tooke clears away the rubbish of school-boy technicalities, and strikes at the root of his subject. In accomplishing his arduous task, he was, perhaps, aided not more by the strength and resources of his mind than by its limits and defects. There is a web of old associations wound round language, that is a kind of veil over its natural features; and custom puts on the mask of ignorance. But this veil, this mask the author of The Diversions of Purley threw aside and penetrated to the naked truth of things, by the literal, matter-of-fact, unimaginative nature of his understanding, and because he was not subject to prejudices or illusions of any kind. Words may be said to ‘bear a charmed life, that must not yield to one of woman born’—with womanish weaknesses and confused apprehensions. But this charm was broken in the case of Mr. Tooke, whose mind was the reverse of effeminate—hard, unbending, concrete, physical, half-savage—and who saw language stripped of the clothing of habit or sentiment, or the disguises of doting pedantry, naked in its cradle, and in its primitive state. Our author tells us that he found his discovery on Grammar among a number of papers on other subjects, which he had thrown aside and forgotten. Is this an idle boast? Or had he made other discoveries of equal importance, which he did not think it worth his while to communicate to the world, but chose to die the churl of knowledge? The whole of his reasoning turns upon showing that the Conjunction That is the pronoun That, which is itself the participle of a verb, and in like manner that all the other mystical and hitherto unintelligible parts of speech are derived from the only two intelligible ones, the Verb and Noun. ‘I affirm that gold is yellow,’ that is, ‘I affirm that fact, or that proposition, viz. gold is yellow.’ The secret of the Conjunction on which so many fine heads had split, on which so many learned definitions were thrown away, as if it was its peculiar province and inborn virtue to announce oracles and formal propositions, and nothing else, like a Doctor of Laws, is here at once accounted for, inasmuch as it is clearly nothing but another part of speech, the pronoun, that, with a third part of speech, the noun, thing, understood. This is getting at a solution of words into their component parts, not glossing over one difficulty by bringing another to parallel it, nor like saying with Mr. Harris, when it is asked, ‘what a Conjunction is?’ that there are conjunctions copulative, conjunctions disjunctive, and as many other frivolous varieties of the species as any one chooses to hunt out ‘with laborious foolery.’ Our author hit upon his parent-discovery in the course of a lawsuit, while he was examining, with jealous watchfulness, the meaning of words to prevent being entrapped by them; or rather, this circumstance might itself be traced to the habit of satisfying his own mind as to the precise sense in which he himself made use of words. Mr. Tooke, though he had no objection to puzzle others, was mightily averse to being puzzled or mystified himself. All was, to his determined mind, either complete light or complete darkness. There was no hazy, doubtful chiaro-scuro in his understanding. He wanted something ‘palpable to feeling as to sight.’ ‘What,’ he would say to himself, ‘do I mean when I use the conjunction that? Is it an anomaly, a class by itself, a word sealed against all inquisitive attempts? Is it enough to call it a copula, a bridge, a link, a word connecting sentences? That is undoubtedly its use, but what is its origin?’ Mr. Tooke thought he had answered this question satisfactorily, and loosened the Gordian knot of grammarians, ‘familiar as his garter,’ when he said, ‘It is the common pronoun, adjective, or participle, that, with the noun, thing or proposition, implied, and the particular example following it.’ So he thought, and so every reader has thought since, with the exception of teachers and writers upon Grammar. Mr. Windham, indeed, who was a sophist, but not a logician, charged him with having found ‘a mare’s-nest’; but it is not to be doubted that Mr. Tooke’s etymologies will stand the test, and last longer than Mr. Windham’s ingenious derivation of the practice of bull-baiting from the principles of humanity!

Having thus laid the corner-stone, he proceeded to apply the same method of reasoning to other undecyphered and impracticable terms. Thus the word, And, he explained clearly enough to be the verb add, or a corruption of the old Saxon, anandad. ‘Two and two make four,’ that is, ‘two add two make four.’ Mr. Tooke, in fact, treated words as the chemists do substances; he separated those which are compounded of others from those which are not decompoundable. He did not explain the obscure by the more obscure, but the difficult by the plain, the complex by the simple. This alone is proceeding upon the true principles of science: the rest is pedantry and petit-maîtreship. Our philosophical writer distinguished all words into names of things, and directions added for joining them together, or originally into nouns and verbs. It is a pity that he has left this matter short, by omitting to define the Verb. After enumerating sixteen different definitions (all of which he dismisses with scorn and contumely) at the end of two quarto volumes, he refers the reader for the true solution to a third volume, which he did not live to finish. This extraordinary man was in the habit of tantalizing his guests on a Sunday afternoon with sundry abstruse speculations, and putting them off to the following week for a satisfaction of their doubts; but why should he treat posterity in the same scurvy manner, or leave the world without quitting scores with it? I question whether Mr. Tooke was himself in possession of his pretended nostrum, and whether, after trying hard at a definition of the verb as a distinct part of speech, as a terrier-dog mumbles a hedge-hog, he did not find it too much for him, and leave it to its fate. It is also a pity that Mr. Tooke spun out his great work with prolix and dogmatical dissertations on irrelevant matters; and after denying the old metaphysical theories of language, should attempt to found a metaphysical theory of his own on the nature and mechanism of language. The nature of words, he contended (it was the basis of his whole system) had no connection with the nature of things or the objects of thought; yet he afterwards strove to limit the nature of things and of the human mind by the technical structure of language. Thus he endeavours to show that there are no abstract ideas, by enumerating two thousand instances of words, expressing abstract ideas, that are the past participles of certain verbs. It is difficult to know what he means by this. On the other hand, he maintains that ‘a complex idea is as great an absurdity as a complex star,’ and that words only are complex. He also makes out a triumphant list of metaphysical and moral non-entities, proved to be so on the pure principle that the names of these non-entities are participles, not nouns, or names of things. That is strange in so close a reasoner, and in one who maintained that all language was a masquerade of words, and that the class to which they grammatically belonged had nothing to do with the class of ideas they represented.

It is now above twenty years since the two quarto volumes of the Diversions of Purley were published, and fifty since the same theory was promulgated in the celebrated Letter to Dunning. Yet it is a curious example of the Spirit of the Age that Mr. Lindley Murray’s Grammar (a work out of which Mr. C*** helps himself to English, and Mr. M*** to style[[42]]) has proceeded to the thirtieth edition in complete defiance of all the facts and arguments there laid down. He defines a noun to be the name of a thing. Is quackery a thing, i.e. a substance? He defines a verb to be a word signifying to be, to do, or to suffer. Are being, action, suffering, verbs? He defines an adjective to be the name of a quality. Are not wooden, golden, substantial adjectives? He maintains that there are six cases in English nouns, that is, six various terminations without any change of termination at all,[[43]] and that English verbs have all the moods, tenses, and persons that the Latin ones have. This is an extraordinary stretch of blindness and obstinacy. He very formally translates the Latin Grammar into English, (as so many had done before him) and fancies he has written an English Grammar; and divines applaud, and schoolmasters usher him into the polite world, and English scholars carry on the jest, while Horne Tooke’s genuine anatomy of our native tongue is laid on the shelf. Can it be that our politicians smell a rat in the Member for Old Sarum? That our clergy do not relish Parson Horne? That the world at large are alarmed at acuteness and originality greater than their own? What has all this to do with the formation of the English language or with the first conditions and necessary foundation of speech itself? Is there nothing beyond the reach of prejudice and party-spirit? It seems in this, as in so many other instances, as if there was a patent for absurdity in the natural bias of the human mind, and that folly should be stereotyped!

SIR WALTER SCOTT

Sir Walter Scott is undoubtedly the most popular writer of the age—the ‘lord of the ascendant’ for the time being. He is just half what the human intellect is capable of being: if you take the universe, and divide it into two parts, he knows all that it has been; all that it is to be is nothing to him. His is a mind brooding over antiquity—scorning ‘the present ignorant time.’ He is ‘laudator temporis acti’—a ‘prophesier of things past.’ The old world is to him a crowded map; the new one a dull, hateful blank. He dotes on all well-authenticated superstitions; he shudders at the shadow of innovation. His retentiveness of memory, his accumulated weight of interested prejudice or romantic association have overlaid his other faculties. The cells of his memory are vast, various, full even to bursting with life and motion; his speculative understanding is empty, flaccid, poor, and dead. His mind receives and treasures up every thing brought to it by tradition or custom—it does not project itself beyond this into the world unknown, but mechanically shrinks back as from the edge of a precipice. The land of pure reason is to his apprehension like Van Dieman’s Land;—barren, miserable, distant, a place of exile, the dreary abode of savages, convicts, and adventurers. Sir Walter would make a bad hand of a description of the Millennium, unless he could lay the scene in Scotland five hundred years ago, and then he would want facts and worm-eaten parchments to support his drooping style. Our historical novelist firmly thinks that nothing is but what has been—that the moral world stands still, as the material one was supposed to do of old—and that we can never get beyond the point where we actually are without utter destruction, though every thing changes and will change from what it was three hundred years ago to what it is now,—from what it is now to all that the bigoted admirer of the good old times most dreads and hates!

It is long since we read, and long since we thought of our author’s poetry. It would probably have gone out of date with the immediate occasion, even if he himself had not contrived to banish it from our recollection. It is not to be denied that it had great merit, both of an obvious and intrinsic kind. It abounded in vivid descriptions, in spirited action, in smooth and flowing versification. But it wanted character. It was ‘poetry of no mark or likelihood.’ It slid out of the mind as soon as read, like a river; and would have been forgotten, but that the public curiosity was fed with ever new supplies from the same teeming liquid source. It is not every man that can write six quarto volumes in verse, that are caught up with avidity, even by fastidious judges. But what a difference between their popularity and that of the Scotch Novels! It is true, the public read and admired the Lay of the last Minstrel, Marmion, and so on, and each individual was contented to read and admire because the public did so: but with regard to the prose-works of the same (supposed) author, it is quite another-guess sort of thing. Here every one stands forward to applaud on his own ground, would be thought to go before the public opinion, is eager to extol his favourite characters louder, to understand them better than every body else, and has his own scale of comparative excellence for each work, supported by nothing but his own enthusiastic and fearless convictions. It must be amusing to the Author of Waverley to hear his readers and admirers (and are not these the same thing?[[44]]) quarrelling which of his novels is the best, opposing character to character, quoting passage against passage, striving to surpass each other in the extravagance of their encomiums, and yet unable to settle the precedence, or to do the author’s writings justice—so various, so equal, so transcendant are their merits! His volumes of poetry were received as fashionable and well-dressed acquaintances: we are ready to tear the others in pieces as old friends. There was something meretricious in Sir Walter’s ballad-rhymes; and like those who keep opera figurantes, we were willing to have our admiration shared, and our taste confirmed by the town: but the Novels are like the betrothed of our hearts, bone of our bone, and flesh of our flesh, and we are jealous that any one should be as much delighted or as thoroughly acquainted with their beauties as ourselves. For which of his poetical heroines would the reader break a lance so soon as for Jeanie Deans? What Lady of the Lake can compare with the beautiful Rebecca? We believe the late Mr. John Scott went to his death-bed (though a painful and premature one) with some degree of satisfaction, inasmuch as he had penned the most elaborate panegyric on the Scotch Novels that had as yet appeared!—The Epics are not poems, so much as metrical romances. There is a glittering veil of verse thrown over the features of nature and of old romance. The deep incisions into character are ‘skinned and filmed over’—the details are lost or shaped into flimsy and insipid decorum; and the truth of feeling and of circumstance is translated into a tinkling sound, a tinsel common-place. It must be owned, there is a power in true poetry that lifts the mind from the ground of reality to a higher sphere, that penetrates the inert, scattered, incoherent materials presented to it, and by a force and inspiration of its own, melts and moulds them into sublimity and beauty. But Sir Walter (we contend, under correction) has not this creative impulse, this plastic power, this capacity of reacting on his first impressions. He is a learned, a literal, a matter-of-fact expounder of truth or fable:[[45]] he does not soar above and look down upon his subject, imparting his own lofty views and feelings to his descriptions of nature—he relies upon it, is raised by it, is one with it, or he is nothing. A poet is essentially a maker; that is, he must atone for what he loses in individuality and local resemblance by the energies and resources of his own mind. The writer of whom we speak is deficient in these last. He has either not the faculty or not the will to impregnate his subject by an effort of pure invention. The execution also is much upon a par with the more ephemeral effusions of the press. It is light, agreeable, effeminate, diffuse. Sir Walter’s Muse is a Modern Antique. The smooth, glossy texture of his verse contrasts happily with the quaint, uncouth, rugged materials of which it is composed; and takes away any appearance of heaviness or harshness from the body of local traditions and obsolete costume. We see grim knights and iron armour; but then they are woven in silk with a careless, delicate hand, and have the softness of flowers. The poet’s figures might be compared to old tapestries copied on the finest velvet:—they are not like Raphael’s Cartoons, but they are very like Mr. Westall’s drawings, which accompany, and are intended to illustrate them. This facility and grace of execution is the more remarkable, as a story goes that not long before the appearance of the Lay of the Last Minstrel Sir Walter (then Mr.) Scott, having, in the company of a friend, to cross the Frith of Forth in a ferry-boat, they proposed to beguile the time by writing a number of verses on a given subject, and that at the end of an hour’s hard study, they found they had produced only six lines between them. ‘It is plain,’ said the unconscious author to his fellow-labourer, ‘that you and I need never think of getting our living by writing poetry!’ In a year or so after this, he set to work, and poured out quarto upon quarto, as if they had been drops of water. As to the rest, and compared with true and great poets, our Scottish Minstrel is but ‘a metre ballad-monger.’ We would rather have written one song of Burns, or a single passage in Lord Byron’s Heaven and Earth, or one of Wordsworth’s ‘fancies and good-nights,’ than all his epics. What is he to Spenser, over whose immortal, ever-amiable verse beauty hovers and trembles, and who has shed the purple light of Fancy, from his ambrosial wings, over all nature? What is there of the might of Milton, whose head is canopied in the blue serene, and who takes us to sit with him there? What is there (in his ambling rhymes) of the deep pathos of Chaucer? Or of the o’er-informing power of Shakespear, whose eye, watching alike the minutest traces of characters and the strongest movements of passion, ‘glances from heaven to earth, from earth to heaven,’ and with the lambent flame of genius, playing round each object, lights up the universe in a robe of its own radiance? Sir Walter has no voluntary power of combination: all his associations (as we said before) are those of habit or of tradition. He is a mere narrative and descriptive poet, garrulous of the old time. The definition of his poetry is a pleasing superficiality.

Not so of his Novels and Romances. There we turn over a new leaf—another and the same—the same in matter, but in form, in power how different! The author of Waverley has got rid of the tagging of rhymes, the eking out of syllables, the supplying of epithets, the colours of style, the grouping of his characters, and the regular march of events, and comes to the point at once, and strikes at the heart of his subject, without dismay and without disguise. His poetry was a lady’s waiting-maid, dressed out in cast-off finery: his prose is a beautiful, rustic nymph, that, like Dorothea in Don Quixote, when she is surprised with dishevelled tresses bathing her naked feet in the brook, looks round her, abashed at the admiration her charms have excited! The grand secret of the author’s success in these latter productions is that he has completely got rid of the trammels of authorship; and torn off at one rent (as Lord Peter got rid of so many yards of lace in the Tale of a Tub) all the ornaments of fine writing and worn-out sentimentality. All is fresh, as from the hand of nature: by going a century or two back and laying the scene in a remote and uncultivated district, all becomes new and startling in the present advanced period.—Highland manners, characters, scenery, superstitions, Northern dialect and costume, the wars, the religion, and politics of the sixteenth and seventeenth centuries, give a charming and wholesome relief to the fastidious refinement and ‘over-laboured lassitude’ of modern readers, like the effect of plunging a nervous valetudinarian into a cold-bath. The Scotch Novels, for this reason, are not so much admired in Scotland as in England. The contrast, the transition is less striking. From the top of the Calton Hill, the inhabitants of ‘Auld Reekie’ can descry, or fancy they descry the peaks of Ben Lomond and the waving outline of Rob Roy’s country: we who live at the southern extremity of the island can only catch a glimpse of the billowy scene in the descriptions of the Author of Waverley. The mountain air is most bracing to our languid nerves, and it is brought us in ship-loads from the neighbourhood of Abbot’s Ford. There is another circumstance to be taken into the account. In Edinburgh there is a little opposition and something of the spirit of cabal between the partisans of works proceeding from Mr. Constable’s and Mr. Blackwood’s shops. Mr. Constable gives the highest prices; but being the Whig bookseller, it is grudged that he should do so. An attempt is therefore made to transfer a certain share of popularity to the second-rate Scotch novels, ‘the embryo fry, the little airy of ricketty children,’ issuing through Mr. Blackwood’s shop-door. This operates a diversion, which does not affect us here. The Author of Waverley wears the palm of legendary lore alone. Sir Walter may, indeed, surfeit us: his imitators make us sick! It may be asked, it has been asked, ‘Have we no materials for romance in England? Must we look to Scotland for a supply of whatever is original and striking in this kind?’ And we answer—‘Yes!’ Every foot of soil is with us worked up: nearly every movement of the social machine is calculable. We have no room left for violent catastrophes; for grotesque quaintnesses; for wizard spells. The last skirts of ignorance and barbarism are seen hovering (in Sir Walter’s pages) over the Border. We have, it is true, gipsies in this country as well as at the Cairn of Derncleugh: but they live under clipped hedges, and repose in camp-beds, and do not perch on crags, like eagles, or take shelter, like sea-mews, in basaltic subterranean caverns. We have heaths with rude heaps of stones upon them: but no existing superstition converts them into the Geese of Micklestane-Moor, or sees a Black Dwarf groping among them. We have sects in religion: but the only thing sublime or ridiculous in that way is Mr. Irving, the Caledonian preacher, who ‘comes like a satyr staring from the woods, and yet speaks like an orator!’ We had a Parson Adams not quite a hundred years ago—a Sir Roger de Coverley rather more than a hundred! Even Sir Walter is ordinarily obliged to pitch his angle (strong as the hook is) a hundred miles to the North of the ‘Modern Athens’ or a century back. His last work,[[46]] indeed, is mystical, is romantic in nothing but the title-page. Instead of ‘a holy-water sprinkle dipped in dew,’ he has given us a fashionable watering-place—and we see what he has made of it. He must not come down from his fastnesses in traditional barbarism and native rusticity; the level, the littleness, the frippery of modern civilization will undo him as it has undone us!