We have dwelt so much on what we think are the characteristic features of Scott’s imaginative representations, that we have left ourselves no room to criticise the two most natural points of criticism in a novelist—plot and style. This is not, however, so important in Scott’s case as it would commonly be. He used to say, ‘It was of no use having a plot; you could not keep to it.’ He modified and changed his thread of story from day to day,—sometimes even from bookselling reasons, and on the suggestion of others. An elaborate work of narrative art could not be produced in this way, every one will concede; the highest imagination, able to look far over the work, is necessary for that task. But the plots produced, so to say, by the pen of the writer as he passes over the events are likely to have a freshness and a suitableness to those events, which is not possessed by the inferior writers who make up a mechanical plot before they commence. The procedure of the highest genius doubtless is scarcely a procedure: the view of the whole story comes at once upon its imagination like the delicate end and the distinct beginning of some long vista. But all minds do not possess the highest mode of conception; and among lower modes, it is doubtless better to possess the vigorous fancy which creates each separate scene in succession as it goes, than the pedantic intellect which designs everything long before it is wanted. There is a play in unconscious creation which no voluntary elaboration and preconceived fitting of distinct ideas can ever hope to produce. If the whole cannot be created by one bounding effort, it is better that each part should be created separately and in detail.