Читать книгу: «The Mirror of Literature, Amusement, and Instruction. Volume 20, No. 571 (Supplementary Number)», страница 4

THE LADY OF THE LAKE

Was written in 1809, and published in 1810, and was considered by the author as the best of his poetic compositions. He appears to have taken more than ordinary pains in its accuracy, especially in verifying the correctness of the local circumstances of the story. In his introduction to a late edition of the poem, he says—"I recollect, in particular, that to ascertain whether I was telling a probable tale, I went into Perthshire, to see whether King James could actually have ridden from the banks of Loch Venachar to Stirling Castle within the time supposed in the poem, and had the pleasure to satisfy myself that it was quite practicable." The success of the poem "was certainly so extraordinary, as to induce him for the moment to conclude, that he had at last fixed a nail in the proverbially inconstant wheel of Fortune, whose stability in behalf of an individual, who had so boldly courted her favours for three successive times, had not as yet been shaken."

ABBOTSFORD.—(See the Cuts.)

Since Sir Walter's appointment to the sheriffdom of Selkirkshire, he had resided at Ashiesteel, on the banks of the Tweed, of which he was but the tenant. He was now desirous to purchase a small estate, and thereon build a house according to his own taste. He found a desirable site six or seven miles farther down the Tweed, in the neighbourhood of the public road between Melrose and Selkirk, and at nearly an equal distance from both of those towns: it was then occupied by a little farm onstead, which bore the name of Cartley Hole. The mansion is in what is termed the castellated Gothic style, embosomed in flourishing wood. It takes its name from a ford, formerly used by the monks of Melrose, across the Tweed, which now winds amongst a rich succession of woods and lawns. But we will borrow Mr. Allan Cunningham's description of the estate, written during a visit to Abbotsford, in the summer of 1831:—"On the other side of the Tweed we had a fine view of Abbotsford, and all its policies and grounds. The whole is at once extensive and beautiful. The fast rising woods are already beginning to bury the house, which is none of the smallest; and the Tweed, which runs within gun-shot of the windows, can only be discerned here and there through the tapestry of boughs. A fine, open-work, Gothic screen half conceals and half shows the garden, as you stand in front of the house—(see the Engraving.) It was the offspring of necessity, for it became desirable to mask an unseemly old wall, on which are many goodly fruit-trees. What we most admired about the estate, was the naturally useful and elegant manner in which the great poet has laid out the plantations—first, with respect to the bounding or enclosing line; and secondly, with regard to the skilful distribution of the trees, both for the contrast of light and shade, and for the protection which the strong affords to the weak.⁸ The horizontal profile of the house is fine, crowded with towers and clustered chimneys: it looks half castle, half monastery. The workmanship, too, is excellent: indeed we never saw such well-dressed, cleanly, and compactly laid whinstone course and gage in our life: it is a perfect picture."⁹ "The external walls of Abbotsford, as also the walls of the adjoining garden, are enriched with many old carved stones, which, having originally figured in other situations, to which they were calculated by their sculptures and inscriptions, have a very curious effect. Among the various relics which Sir Walter has contrived to collect, may be mentioned the door of the old Tolbooth of Edinburgh, which, together with the hewn stones that composed the gateway, are now made to figure in a base court at the west end of the house."¹⁰

(Armoury.)

It would occupy a whole sheet to describe the interior of the mansion; so that we select only two apartments, as graphic memorials of the lamented owner. First, is the Armoury, (from a coloured lithograph, published by Ackermann)—an arched apartment, with a richly-blazoned window, and the walls filled all over with smaller pieces of armour and weapons, such as swords, firelocks, spears, arrows, darts, daggers, &c. These relics will be found enumerated in a description of Abbotsford, in the Anniversary, quoted in vol. xv. of the Mirror. The second of the interiors is the poet's Study—a room about twenty-five feet square by twenty feet high, containing of what is properly called furniture, nothing but a small writing-table and an antique arm-chair. On either side of the fire-place various pieces of armour are hung on the wall; but, there are no books, save the contents of a light gallery, which runs round three sides of the room, and is reached by a hanging stair of carved oak in one corner. There are only two portraits—an original of the beautiful and melancholy head of Claverhouse, and a small full-length of Rob Roy. Various little antique cabinets stand about the room; and in one corner is a collection of really useful weapons—those of the forest craft, to wit—axes and bills, &c. Over the fire-place, too, are some Highland claymores clustered round a target. There is only one window, pierced in a very thick wall, so that the place is rather sombre.

(Study.)

ROKEBY, AND MINOR POEMS

After the publication of the Lady of the Lake, Sir Walter's poetical reputation began to wane. In 1811, appeared Don Roderick; and in 1813, Rokeby; both of which were unsuccessful; and the Lord of the Isles followed with no better fortune. In short, Sir Walter perceived that the tide of popularity was turning, and he wisely changed with the public taste. The subjects of these poems were neither so striking, nor the versification so attractive, as in his earlier poems. The poet himself attributes their failure to the manner or style losing its charms of novelty, and the harmony becoming tiresome and ordinary; his measure and manner were imitated by other writers, and, above all Byron had just appeared as a serious candidate in the first canto of Childe Harold; so that Sir Walter with exemplary candour confesses that "the original inventor and his invention must have fallen into contempt, if he had not found out another road to public favour." We shall therefore now part with his poetic fame, and proceed in the more gratifying task of glancing at his splendid successes in prose fiction.

WAVERLEY

The first of the author's

 
long trails of light descending down,
 

had its origin in a desire to story the ancient traditions and noble spirit of the Highlands, aided by the author's early recollections of their scenery and customs; in short, to effect in prose what he had so triumphantly achieved in the poem of the Lady of the Lake. The author's own account will be read with interest:—"It was with some idea of this kind, that, about the year 1805, I threw together about one-third part of the first volume of Waverley. It was advertised to be published by the late Mr. John Ballantyne, under the name of 'Waverley,' or ''Tis Fifty Years since,'—a title afterwards altered to ''Tis Sixty Years since,' that the actual date of publication might be made to correspond with the period in which the scene was laid. Having proceeded as far, I think, as the seventh chapter, I showed my work to a critical friend, whose opinion was unfavourable, and having some poetical reputation, I was unwilling to risk the loss of it by attempting a new style of composition. I therefore threw aside the work I had commenced, without either reluctance or remonstrance. This portion of the manuscript was laid aside in the drawers of an old writing desk, which, on my first coming to reside at Abbotsford in 1811, was placed in a lumber garret, and entirely forgotten. Thus, though I sometimes, among other literary avocations, turned my thoughts to the continuation of the romance which I had commenced, yet, as I could not find what I had already written, after searching such repositories as were within my reach, and was too indolent to attempt to write it anew from memory. I as often laid aside all thoughts of that nature."

The success of Miss Edgeworth's delineations of Irish life, and the author's completion of Mr. Strutt's romance of Queen Hoo Hall, in 1808, again drew his attention to Waverley. Accident threw the lost sheets in his way, while searching an old writing-desk for some fishing-tackle for a friend. The long-lost manuscript presented itself, and "he immediately set to work to complete it, according to his original purpose." Among other unfounded reports, it has been said, that the copyright was, during the book's progress through the press, offered for sale to various booksellers in London at a very inconsiderable price. This was not the case. Messrs. Constable and Cadell, who published the work, were the only persons acquainted with the contents of the publication, and they offered a large sum for it, while in the course of printing, which, however, was declined, the author not choosing to part with the copyright. Waverley was published in 1814: its progress was for some time slow, but, after two or three months its popularity began to spread, and, in a short time about 12,000 copies were disposed of. The name of the author was kept secret from his desire to publish the work "as an experiment on the public taste. Mr. Ballantyne, who printed the novel, alone corresponded with the author; the original manuscript was transcribed under Mr. Ballantyne's eye, by confidential persons; nor was there an instance of treachery during the many years in which these precautions were resorted to, although various individuals were employed at different times. Double proof sheets were regularly printed off. One was forwarded to the author by Mr. Ballantyne, and the alterations which it received were, by his own hand, copied upon the other proof-sheet for the use of the printers, so that even the corrected proofs of the author were never seen in the printing-office; and thus the curiosity of such eager inquirers as made the most minute investigation was entirely at fault."¹¹