We may as well admit frankly that even the best of these poems is not first-class; that it shows careless workmanship, and is lacking in the finer elements of beauty and imagination. But Scott did not aim to create a work of beauty; his purpose was to tell a good story, and in that he succeeded. His Lady of the Lake, for example, has at least two virtues: it holds the reader's attention; and it fulfills the first law of poetry, which is to give pleasure.
[Sidenote: QUALITY OF THE POEMS]
Another charm of the poems, for young readers especially, is that they are simple, vigorous, easily understood. Their rapid action and flying verse show hardly a trace of conscious effort. Reading them is like sweeping downstream with a good current, no labor required save for steering, and attention free for what awaits us around the next bend. When the bend is passed, Scott has always something new and interesting: charming scenery, heroic adventure, picturesque incidents (such as the flight of the Fiery Cross to summon the clans), interesting fragments of folklore, and occasionally a ballad like "Lochinvar," or a song like "Bonnie Dundee," which stays with us as a happy memory long after the poem is forgotten.
A secondary reason for the success of these poems was that they satisfied a fashion, very popular in Scott's day, which we have not yet outgrown. That fashion was to attribute chivalrous virtues to outlaws and other merry men, who in their own day and generation were imprisoned or hanged, and who deserved their fate. Robin Hood's gang, for example, or the Raiders of the Border, were in fact a tough lot of thieves and cutthroats; but when they appeared in romantic literature they must of course appeal to ladies; so Scott made them fine, dashing, manly fellows, sacrificing to the fashion of the hour the truth of history and humanity. As Andrew Lang says:
"In their own days the Border Riders were regarded as public nuisances by statesmen, who attempted to educate them by means of the gibbet. But now they were the delight of fine ladies, contending who should be most extravagant in encomium. A blessing on such fine ladies, who know what is good when they see it!" [Footnote: Quoted in Nicoll and Seccombe, A History of English Literature, Vol. Ill, p. 957.]
SCOTT'S NOVELS. To appreciate the value of Scott's work one should read some of the novels that were fashionable in his day,—silly, sentimental novels, portraying the "sensibilities" of imaginary ladies. [Footnote: In America, Cooper's first romance, Precaution (1820), was of this artificial type. After Scott's outdoor romances appeared, Cooper discovered his talent, and wrote The Spy and the Leather-Stocking tales. Maria Edgeworth and Jane Austen began to improve or naturalize the English novel before Scott attempted it.] That Scott was influenced by this inane fashion appears plainly in some of his characters, his fine ladies especially, who pose and sentimentalize till we are mortally weary of them; but this influence passed when he discovered his real power, which was to portray men and women in vigorous action. Waverley, Rob Roy, Ivanhoe, Redgauntlet,—such stories of brave adventure were like the winds of the North, bringing to novel-readers the tang of the sea and the earth and the heather. They braced their readers for life, made them feel their kinship with nature and humanity. Incidentally, they announced that two new types of fiction, the outdoor romance and the historical novel, had appeared with power to influence the work of Cooper, Thackeray, Dickens and a host of minor novelists.
[Illustration: THE GREAT WINDOW (MELROSE ABBEY)]
[Sidenote: GROUPS OF STORIES]
The most convenient way of dealing with Scott's works is to arrange them in three groups. In the first are the novels of Scotland: Waverley, dealing with the loyalty of the clans to the Pretender; Old Mortality, with the faith and struggles of the Covenanters; Redgauntlet, with the plots of the Jacobites; The Abbot and The Monastery, with the traditions concerning Mary Queen of Scots; Guy Mannering, The Antiquary and The Heart of Midlothian, with private life and humble Scottish characters.
In the second group are the novels which reveal the romance of English history: Ivanhoe, dealing with Saxon and Norman in the stormy days when Richard Lionheart returned to his kingdom; Kenilworth, with the intrigues of Elizabeth's Court; The Fortunes of Nigel, with London life in the days of Charles First; Woodstock, with Cromwell's iron age; Peveril of the Peak, with the conflict between Puritan and Cavalier during the Restoration period.