‘Under the influence of these mixed sensations, and cheered at times by a smile of intelligence and approbation from the Prince as he passed the group, Waverley exerted his powers of fancy, animation, and eloquence, and attracted the general admiration of the company. The conversation gradually assumed the line best qualified for the display of his talents and acquisitions. The gaiety of the evening was exalted in character, rather than checked, by the approaching dangers of the morrow. All nerves were strung for the future, and prepared to enjoy the present. This mood is highly favourable for the exercise of the powers of imagination, for poetry, and for that eloquence which is allied to poetry.’ Neither ‘eloquence’ nor ‘poetry’ are the exact words with which it would be appropriate to describe the fresh style of the Waverley Novels; but the imagination of their author was stimulated by a fancied mixture of sentiment and fact, very much as he describes Waverley’s to have been by a real experience of the two at once. The second volume of Waverley is one of the most striking illustrations of this peculiarity. The character of Charles Edward, his adventurous undertaking, his ancestral rights, the mixed selfishness and enthusiasm of the Highland chiefs, the fidelity of their hereditary followers, their striking and strange array, the contrast with the Baron of Bradwardine and the Lowland gentry; the collision of the motley and half-appointed host with the formed and finished English society, its passage by the Cumberland mountains and the blue lake of Ullswater—are unceasingly and without effort present to the mind of the writer, and incite with their historical interest the susceptibility of his imagination. But at the same time the mental struggle, or rather transition, in the mind of Waverley—for his mind was of the faint order which scarcely struggles—is never for an instant lost sight of. In the very midst of the inroad and the conflict, the acquiescent placidity with which the hero exchanges the service of the imperious for the appreciation of the ‘nice’ heroine, is kept before us, and the imagination of Scott wandered without effort from the great scene of martial affairs to the natural but rather unheroic sentiments of a young gentleman not very difficult to please. There is no trace of effort in the transition, as is so common in the inferior works of later copyists. Many historical novelists, especially those who with care and pains have ‘read up’ their detail, are often evidently in a strait how to pass from their history to their sentiment. The fancy of Sir Walter could not help connecting the two. If he had given us the English side of the race to Derby, he would have described the Bank of England paying in sixpences, and also the loves of the cashier.