_The Vision of Don Roderick_, which appeared in 1811, is founded upon the legend of a visit made by one of the Gothic kings of Spain to an enchanted cavern near Toledo. _Rokeby_ was published in 1812; _The Bridal of Triermain_ in 1813; _The Lord of the Isles_, founded upon incidents in the life of Bruce, in 1815; and _Harold the Dauntless_ in 1817. With the decline of his poetic power, manifest to himself, he retired from the field of poetry, but only to appear upon another and a grander field with astonishing brilliancy: it was the domain of the historical romance. Such, however, was the popular estimate of his poetry, that in 1813 the Prince Regent offered him the position of poet-laureate, which was gratefully and wisely declined. Just at this time the new poets came forth, in his own style, and actuated by his example and success. He recognized in Byron, Moore, Crabbe, and others, genius and talent; and, with his generous spirit, exaggerated their merits by depreciating his own, which he compared to cairngorms beside the real jewels of his competitors. The mystics, following the lead of the Lake poets, were ready to increase the depreciation. It soon became fashionable to speak of _The Lay_, and _Marmion_, and _The Lady of the Lake_ as spirited little stories, not equal to Byron's, and not to be mentioned beside the occult philosophy of _Thalaba_ and gentle egotism of _The Prelude_. That day is passed: even the critical world returns to its first fancies. In the words of Carlyle, a great balance-striker of literary fame, speaking in 1838: "It were late in the day to write criticisms on those metrical romances; at the same time, the great popularity they had seems natural enough. In the first place, there was the indisputable impress of worth, of genuine human force in them ... Pictures were actually painted and presented; human emotions conceived and sympathized with. Considering that wretched Dellacruscan and other vamping up of wornout tattlers was the staple article then, it may be granted that Scott's excellence was superior and supreme." Without preferring any claim to epic grandeur, or to a rank among the few great poets of the first class, Scott is entitled to the highest eminence in minstrelic power. He is the great modern troubadour. His descriptions of nature are simple and exquisite. There is nothing in this respect more beautiful than the opening of _The Lady of the Lake_. His battle-pieces live and resound again: what can be finer than Flodden field in _Marmion_, and The Battle of Beal and Duine in _The Lady of the Lake_? His love scenes are at once chaste, impassioned, and tender; and his harp songs and battle lyrics are unrivalled in harmony. And, besides these merits, he gives us everywhere glimpses of history, which, before his day, were covered by the clouds of ignorance, and which his breath was to sweep away.