Waverley; Or, 'Tis Sixty Years Since. Walter Scott
Читать онлайн книгу.
fragment of 1805 or the unpublished “Siege of Malta” of 1832.
[A history of Scott's Manuscripts, with good fac-similes, will be found in the Catalogue of the Scott Exhibition, Edinburgh, 1872.]
The handwriting becomes closer and smaller; from thirty-eight lines to the page in “Waverley,” he advances to between fifty and sixty in “Ivanhoe.” The few alterations are usually additions. For example, a fresh pedantry of the Baron of Bradwardine's is occasionally set down on the opposite page. Nothing can be less like the method of Flaubert or the method of Mr. Ruskin, who tells us that “a sentence of 'Modern Painters' was often written four or five tunes over in my own hand, and tried in every word for perhaps an hour—perhaps a forenoon—before it was passed for the printer.” Each writer has his method; Scott was no stipples or niggler, but, as we shall see later, he often altered much in his proof-sheets.
[While speaking of correction, it may be noted that Scott, in his “Advertisement” prefixed to the issue of 1829, speaks of changes made in that collected edition. In “Waverley” these emendations are very rare, and are unimportant. A few callidae juncturae are added, a very few lines are deleted. The postscript of the first edition did not contain the anecdote about the hiding-place of the manuscript among the fishing tackle. The first line of Flora Macdonald's battle-song (chapter xxii.) originally ran, “Mist darkens the mountain, night darkens the vale,” in place of “There is mist on the mountain and mist on the vale.” For the rest, as Scott says, “where the tree falls it must lie.”]
As long as he was understood, he was almost reckless of well-constructed sentences, of the one best word for his meaning, of rounded periods. This indifference is not to be praised, but it is only a proof of his greatness that his style, never distinguished, and often lax, has not impaired the vitality of his prose. The heart which beats in his works, the knowledge of human nature, the dramatic vigour of his character, the nobility of his whole being win the day against the looseness of his manner, the negligence of his composition, against the haste of fatigue which set him, as Lady Louisa Stuart often told him, on “huddling up a conclusion anyhow, and so kicking the book out of his way.” In this matter of denouements he certainly was no more careful than Shakspeare or Moliere.
The permanence of Sir Walter's romances is proved, as we said, by their survival among all the changes of fashion in the art of fiction. When he took up his pen to begin “Waverley,” fiction had not absorbed, as it does to-day, almost all the best imaginative energy of English or foreign writers. Now we hear of “art” on every side, and every novelist must give the world his opinion about schools and methods. Scott, on the other hand, lived in the greatest poetical ago since that of Elizabeth. Poetry or the drama (in which, to be sure, few succeeded) occupied Wordsworth, Byron, Coleridge, Shelley, Crabbe, Campbell, and Keats. Then, as Joanna Baillie hyperbolically declared, “The Scotch novels put poetry out of fashion.”
[Abbotsford Manuscripts. Hogg averred that nobody either read or wrote poetry after Sir Walter took to prose.]
Till they appeared, novels seem to have been left to readers like the plaintive lady's-maid whom Scott met at Dalkeith, when he beheld “the fair one descend from the carriage with three half-bound volumes of a novel in her hand.” Mr. Morritt, writing to Scott in March, 1815, hopes he will “restore pure narrative to the dignity from which it gradually slipped before it dwindled into a manufactory for the circulating library.” “Waverley,” he asserted, “would prevail over people otherwise averse to blue-backed volumes.” Thus it was an unconsidered art which Scott took up and revived. Half a century had passed since Fielding gave us in “Tom Jones” his own and very different picture of life in the “'forty-five,”—of life with all the romance of the “Race to Derby” cut down to a sentence or two. Since the age of the great English novelists, Richardson and Fielding and Miss Burney, the art of fiction had been spasmodically alive in the hands of Mrs. Radcliffe, had been sentimental with Henry Mackenzie, and now was all but moribund, save for the humorous Irish sketches of Miss Edgeworth. As Scott always insisted, it was mainly “the extended and well-merited fame of Miss Edgeworth” which induced him to try his hand on a novel containing pictures of Scottish life and character. Nothing was more remarkable in his own novels than the blending of close and humorous observation of common life with pleasure in adventurous narratives about “what is not so, and was not so, and Heaven forbid that it ever should be so,” as the girl says in the nursery tale. Through his whole life he remained the dreamer of dreams and teller of wild legends, who had held the lads of the High School entranced round Luckie Brown's fireside, and had fleeted the summer days in interchange of romances with a schoolboy friend, Mr. Irving, among the hills that girdle Edinburgh. He ever had a passion for “knights and ladies and dragons and giants,” and “God only knows,” he says, “how delighted I was to find myself in such society.” But with all this delight, his imagination had other pleasures than the fantastic: the humours and passions of ordinary existence were as clearly visible to him as the battles, the castles, and the giants. True, he was more fastidious in his choice of novels of real life than in his romantic reading. “The whole Jemmy and Jessamy tribe I abhorred,” he said; “and it required the art of Burney or the feeling of Mackenzie to fix my attention upon a domestic tale.” But when the domestic tale was good and true, no man appreciated it more than he. None has more vigorously applauded Miss Austen than Scott, and it was thus that as the “Author of 'Waverley'” he addressed Miss Edgeworth, through James Ballantyne: “If I could but hit it, Miss Edgeworth's wonderful power of vivifying all her persons, and making there live as beings in your mind, I should not be afraid.” “Often,” Ballantyne goes on, “has the Author of 'Waverley' used such language to me; and I knew that I gratified him most when I could say, 'Positively, this is equal to Miss Edgeworth.'”
Thus Scott's own taste was catholic: and in this he was particularly unlike the modern novelists, who proclaim, from both sides of the Atlantic, that only in their own methods, and in sharing their own exclusive tastes, is literary salvation. The prince of Romance was no one-sided romanticiste; his ear was open to all fiction good in its kind. His generosity made him think Miss Edgeworth's persons more alive than his own. To his own romances he preferred Mrs. Shelley's “Frankenstein.”
[Scott reviewed “Frankenstein” in 1818. Mr. Shelley had sent it with a brief note, it, which he said that it was the work of a friend, and that he had only seen it through the press. Sir Walter passed the hook on to Mr. Murritt, who, in reply, gave Scott a brief and not very accurate history of Shelley. Sir Walter then wrote a most favourable review of “Frankenstein” in “Blackwood's Magazine,” observing that it was attributed to Mr. Percy Bysshe Shelley, a son-in-law of Mr. Godwin. Mrs. Shelley presently wrote thanking him for the review, and assuring him that it was her own work. Scott had apparently taken Sheller's disclaimer as an innocent evasion; it was an age of literary superscheries.—Abbotsford Manuscripts.]
As a critic, of course, he was mistaken; but his was the generous error of the heart, and it is the heart in Walter Scott, even more than the brain, that lends its own vitality to his creations. Equipped as he was with a taste truly catholic, capable in old age of admiring “Pelham,” he had the power to do what he calls “the big bow-wow strain;” yet he was not, as in his modesty he supposed, denied “the exquisite torch which renders ordinary commonplace things and characters interesting, from the truth of the description and the sentiment.”
The letter of Rose Bradwardine to Waverley is alone enough to disprove Scott's disparagement of himself, his belief that he had been denied exquisiteness of touch. Nothing human is more delicate, nothing should be more delicately handled, than the first love of a girl. What the “analytical” modern novelist would pass over and dissect and place beneath his microscope till a student of any manliness blushes with shame and annoyance, Scott suffers Rose Bradwardine to reveal with a sensitive shyness. But Scott, of course, had even less in common with the peeper and botanizer on maidens' hearts than with the wildest romanticist. He considered that “a want of story is always fatal to a book the first reading, and it is well if it gets a chance of a second.” From him “Pride and Prejudice” got a chance of three readings at least. This generous universality of taste, in addition to all his other qualities of humour and poetry, enabled Scott to raise the novel from its decadence, and to make the dry bones of history live again