Masters of the English Novel: A Study of Principles and PersonalitiesBurton, Richard
History
Masters of the English Novel: A Study of Principles and Personalities
Burton, Richard
English fiction -- History and criticism
The nature of the Novels he was to produce became evident with
the first of them all, "Waverley." Here is a border tale which
narrates the adventures of a scion of that house among the loyal
Highlanders temporarily a rebel to the reigning English
sovereign and a recruit in the interests of the young pretender:
his fortunes, in love and war, and his eventual reinstatement in
the King's service and happiness with the woman of his choice.
While it might be too sweeping to say that there was in this
first romance (which has never ranked with his best) the whole
secret of the Scott historical story, it is true that the book
is typical, that here as in the long line of brilliantly
envisaged chronicle histories that followed, some of them far
superior to this initial attempt, are to be found the
characteristic method and charm of Sir Walter. Here, as
elsewhere, the reader is offered picturesque color, ever varied
scenes, striking situations, salient characters and a certain
nobility both of theme and manner that comes from the accustomed
representation of life in which large issues of family and state
are involved--the whole merged in a mood of fealty and love. You
constantly feel in Scott that life "means intensely and means
good." A certain amount of lovable partisanship and prejudice
goes with the view, not un-welcomely; there is also some
carelessness as to the minute details of fact. But the effect of
truth, both in character and setting, is overwhelming. Scott has
vivified English and Scotch history more than all the history
books: he saw it himself--so we see it. One of the reasons his
work rings true--whereas Mrs. Radcliffe's adventure tales seem
fictitious as well as feeble--is because it is the natural
outcome of his life: all his interest, his liking, his belief
went into the Novels. When he sat down at the mature age of
forty-three to make fiction, there was behind him the large part
of a lifetime of unconscious preparation for what he had to do:
for years he had been steeped in the folk-lore and legend of his
native country; its local history had been his hobby; he had not
only read its humbler literature but wandered widely among its
people, absorbed its language and its life, felt "the very pulse
of the machine." Hence he differed toto caelo from an
archeologist turned romancer like the German Ebers: being rather
a genial traveler who, after telling tales of his experiences by
word of mouth at the tavern hearth, sets them down upon paper
for better preservation. He had been no less student than
pedestrian in the field; lame as he was, he had footed his way
to many a tall memorial of a hoary past, and when still hardly
more than a boy, burrowed among the manuscripts of the
Advocates' Library in Edinburgh, making himself an able
antiquary at a time when most youth are idling or philandering.
Moreover, he was himself the son of a border chief and knew
minstrelsy almost at his nurse's knee: and the lilt of a ballad
Public-domain text, read in full here on John Shaqi.
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