Singularly and appropriately allied to a resignation of moral accountability from feudal attachment, is the contemptible and cowardly doctrine of fatalism, which Dryfesdale also professes. It is not with him the philosophic doctrine of the concurring impulses of circumstance, or of natural laws, but rather the stupendously nonsensical notion of the Arabian _kismet_, that from the beginning of time every event was fore-arranged as in a fairy tale, and that all which _is_, is simply the acting out of a libretto written before the play began--a belief revived in the last century by readers of Leibnitz, who were truer than the great German himself to the consequences of his doctrine, which he simply evaded.[15] In coupling this humiliating and superstitious means of evading moral accountability with the same principle as derived from feudal devotion, Scott, consciously or unconsciously, displayed genius, and at the same time indirectly attacked that system of society to which he was specially devoted. So true is it that genius instinctively tends to set forth the _truth_, be the predilections of its possessor what they may. And indeed, as Scott nowhere shows in any way that _he_, for his part, regarded the blind fidelity of the steward as other than admirable, it may be that he was guided rather by instinct than will, in thus pointing out the great evil resulting from a formally aristocratic state of society. Such as it is, it is well worth studying in these times, when the principles of republicanism and aristocracy are brought face to face at war among us, firstly in the contest between the South and the North, and secondly in the rapidly growing division between the friends of the Union, and the treasonable 'Copperheads,' who consist of men of selfish, aristocratic tendencies, and their natural allies, the refuse of the population.