But there is another account of the death of the Marquis of Montferrat, which is probably much better known to the generality of readers than any of the preceding ones. The far-famed author of "Waverley" has, in his romantic tale of the "Talisman," made Conrad to be wounded and vanquished in the lists by the son of the King of Scotland, the champion of king Richard, and afterwards slain by the dagger, not of the Assassins, but of his confederate in villany the Master of the Temple, to prevent his making confession of their common guilt! Yielding to none in rational admiration of the genius of Sir W. Scott, we cannot avoid expressing a wish that he had ceased to write when he had exhausted that rich field of national feelings and manners with which he was alone familiar, and from which he drew the exquisite delineations of "Waverley" and its Scottish brethren. All his later works, no doubt, exhibit occasional scenes far beyond the power of any of his imitators; but when his muse quits her native soil, she takes leave of nature, truth, and simplicity. Even the genius of a Scott is inadequate to painting manners he never witnessed, scenery he never beheld. The tale of the "Talisman" is a flagrant instance. Topography, chronology, historic truth, oriental manners, and individual character, are all treated with a most magnanimous neglect, indeed, even, we might say, with contempt; for, careless, from "security to please," as the author is known to have been, his vagaries must sometimes have proceeded from mere wilfulness and caprice. It would, we apprehend, perplex our oriental travellers and geographers to point out the site of the fountain named the Diamond of the Desert, not far from the Dead Sea, and yet lying half-way between the camp of the Saracens and that of the Crusaders, which last, we are told, lay between Acre and Ascalon, that is, on the sea-coast, or to show the interminable sandy desert which stretches between the Dead Sea and the Mediterranean. As to historic truth, we may boldly say that there is hardly a single circumstance of the romance in strict accordance with history; and as to the truth of individual character, what are we to say to the grave, serious, religious Saladin, but the very year before his death, being in the flower of his age, rambling alone through the desert, like an errant knight, singing hymns to the Devil, and coming disguised as a physician to the Christian camp, to cure the malady of the English monarch, whom he never, in reality, did or would see[56]? We might enumerate many additional instances of the violation of every kind of unity and propriety in this single tale[57].