Waverley; Or, 'Tis Sixty Years Since. Walter Scott
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had removed their quarters, he had another remarkable escape.
As he now ventured to his own house at night, and left it in the morning, he was espied during the dawn by a party of the enemy, who fired at and pursued him. The fugitive being fortunate enough to escape their search, they returned to the house, and charged the family with harbouring one of the proscribed traitors. An old woman had presence of mind enough to maintain that the man they had seen was the shepherd. 'Why did he not stop when we called to him?' said the soldier.—'He is as deaf, poor man, as a peat-stack,' answered the ready-witted domestic.—'Let him be sent for, directly.' The real shepherd accordingly was brought from the hill, and as there was time to tutor him by the way, he was as deaf when he made his appearance, as was necessary to sustain his character. Invernahyle was afterwards pardoned under the Act of Indemnity.
The Author knew him well, and has often heard these circumstances from his own mouth. He was a noble specimen of the old Highlander, far descended, gallant, courteous, and brave, even to chivalry. He had been OUT, I believe, in 1715 and 1745; was an active partaker in all the stirring scenes which passed in the Highlands betwixt these memorable eras; and, I have heard, was remarkable, among other exploits, for having fought a duel with the broadsword with the celebrated Rob Roy MacGregor, at the Clachan of Balquhidder.
Invernahyle chanced to be in Edinburgh when Paul Jones came into the Frith of Forth, and though then an old man, I saw him in arms, and heard him exult (to use his own words) in the prospect of 'drawing his claymore once more before he died.' In fact, on that memorable occasion, when the capital of Scotland was menaced by three trifling sloops or brigs, scarce fit to have sacked a fishing village, he was the only man who seemed to propose a plan of resistance. He offered to the magistrates, if broadswords and dirks could be obtained, to find as many Highlanders among the lower classes, as would cut off any boat's-crew who might be sent into a town full of narrow and winding passages, in which they were like to disperse in quest of plunder. I know not if his plan was attended to; I rather think it seemed too hazardous to the constituted authorities, who might not, even at that time, desire to see arms in Highland hands. A steady and powerful west wind settled the matter, by sweeping Paul Jones and his vessels out of the Frith.
If there is something degrading in this recollection, it is not unpleasant to compare it with those of the last war, when Edinburgh, besides regular forces and militia, furnished a volunteer brigade of cavalry, infantry, and artillery, to the amount of six thousand men and upwards, which was in readiness to meet and repel a force of a far more formidable description than was commanded by the adventurous American. Time and circumstances change the character of nations and the fate of cities; and it is some pride to a Scotchman to reflect, that the independent and manly character of a country willing to entrust its own protection to the arms of its children, after having been obscured for half a century, has, during the course of his own lifetime, recovered its lustre.
Other illustrations of Waverley will be found in the Notes at the foot of the pages to which they belong. [In this etext they are embedded in the text in square brackets.] Those which appeared too long to be so placed are given at the end of the volume.
WAVERLEY or 'TIS SIXTY YEARS SINCE
CHAPTER I
INTRODUCTORY
The title of this work has not been chosen without the grave and solid deliberation, which matters of importance demand from the prudent. Even its first, or general denomination, was the result of no common research or selection, although, according to the example of my predecessors, I had only to seize upon the most sounding and euphonic surname that English history or topography affords, and elect it at once as the title of my work, and the name of my hero. But, alas! what could my readers have expected from the chivalrous epithets of Howard, Mordaunt, Mortimer, or Stanley, or from the softer and more sentimental sounds of Belmour, Belville, Belfield, and Belgrave, but pages of inanity, similar to those which have been so christened for half a century past? I must modestly admit I am too diffident of my own merit to place it in unnecessary opposition to preconceived associations; I have, therefore, like a maiden knight with his white shield, assumed for my hero, WAVERLEY, an uncontaminated name, bearing with its sound little of good or evil, excepting what the reader shall hereafter be pleased to affix to it. But my second or supplemental title was a matter of much more difficult election, since that, short as it is, may be held as pledging the author to some special mode of laying his scene, drawing his characters, and managing his adventures. Had I, for example, announced in my frontispiece, 'Waverley, a Tale of other Days,' must not every novel reader have anticipated a castle scarce less than that of Udolpho, of which the eastern wing had long been uninhabited, and the keys either lost, or consigned to the care of some aged butler or housekeeper, whose trembling steps, about the middle of the second volume, were doomed to guide the hero, or heroine, to the ruinous precincts? Would not the owl have shrieked and the cricket cried in my very title-page? and could it have been possible for me, with a moderate attention to decorum, to introduce any scene more lively than might be produced by the jocularity of a clownish but faithful valet, or the garrulous narrative of the heroine's fille-de-chambre, when rehearsing the stories of blood and horror which she had heard in the servants' hall? Again, had my title borne 'Waverley, a Romance from the German,' what head so obtuse as not to image forth a profligate abbot, an oppressive duke, a secret and mysterious association of Rosycrucians and Illuminati, with all their properties of black cowls, caverns, daggers, electrical machines, trap-doors, and dark-lanterns? Or if I had rather chosen to call my work a 'Sentimental Tale,' would it not have been a sufficient presage of a heroine with a profusion of auburn hair, and a harp, the soft solace of her solitary hours, which she fortunately finds always the means of transporting from castle to cottage, although she herself be sometimes obliged to jump out of a two-pair-of-stairs window, and is more than once bewildered on her journey, alone and on foot, without any guide but a blowzy peasant girl, whose jargon she hardly can understand? Or again, if my WAVERLEY had been entitled 'A Tale of the Times,' wouldst thou not, gentle reader, have demanded from me a dashing sketch of the fashionable world, a few anecdotes of private scandal thinly veiled, and if lusciously painted, so much the better? a heroine from Grosvenor Square, and a hero from the Barouche Club or the Four-in-hand, with a set of subordinate characters from the elegantes of Queen Anne Street East, or the dashing heroes of the Bow Street Office? I could proceed in proving the importance of a title-page, and displaying at the same time my own intimate knowledge of the particular ingredients necessary to the composition of romances and novels of various descriptions: but it is enough, and I scorn to tyrannize longer over the impatience of my reader, who is doubtless already anxious to know the choice made by an author so profoundly versed in the different branches of his art.
By fixing, then, the date of my story Sixty Years before the present 1st November, 1805, I would have my readers understand, that they will meet in the following pages neither a romance of chivalry, nor a tale of modern manners; that my hero will neither have iron on his shoulders, as of yore, nor on the heels of his boots, as is the present fashion of Bond Street; and that my damsels will neither be clothed 'in purple and in pall,' like the Lady Alice of an old ballad, nor reduced to the primitive nakedness of a modern fashionable at a rout. From this my choice of an era the understanding critic may further presage, that the object of my tale is more a description of men than manners. A tale of manners, to be interesting, must either refer to antiquity so great as to have become venerable, or it must bear a vivid reflection of those scenes which are passing daily before our eyes, and are interesting from their novelty. Thus the coat-of-mail of our ancestors, and the triple-furred pelisse of our modern beaux, may, though for very different reasons, be equally fit