Historical fiction; Jacobite Rebellion, 1745-1746 -- Fiction; Scotland -- History -- 18th century -- Fiction
For the first time in literature, it was a poet who held the pen of the
romancer in prose. Fielding, Richardson, De Foe, Miss Burney, were none
of them made by the gods poetical. Scott himself, with his habitual
generosity, would have hailed his own predecessor in Mrs. Radcliffe.
“The praise may be claimed for Mrs. Radcliffe of having been the first
to introduce into her prose fictions a beautiful and fanciful tone of
natural description and impressive narrative, which had hitherto been
exclusively applied to poetry. . . . Mrs. Radcliffe has a title to be
considered the first poetess of romantic fiction.” When “Guy Mannering”
appeared, Wordsworth sneered at it as a work of the Radcliffe school.
The slight difference produced by the introduction of humour could
scarcely be visible to Wordsworth. But Scott would not have been hurt
by his judgment. He had the literary courage to recognize merit even
when obscured by extravagance, and to applaud that in which people of
culture could find neither excellence nor charm. Like Thackeray, he had
been thrilled by Vivaidi in the Inquisition, and he was not the man to
hide his gratitude because his author was now out of fashion.
Thus we see that Scott, when he began “Waverley” in 1805, brought to
his labour no hard-and-fast theory of the art of fiction, but a kindly
readiness to be pleased, and to find good in everything. He brought his
wide knowledge of contemporary Scottish life “from the peer to the
ploughman;” he brought his well-digested wealth of antiquarian lore,
and the poetic skill which had just been busied with the “Lay of the
Last Minstrel,” and was still to be occupied, ere he finished his
interrupted novel, with “Marmion,” “The Lady of the Lake,” “Rokeby,”
and “The Lord of the Isles.” The comparative failure of the last-named
no doubt strengthened his determination to try prose romance. He had
never cared much for his own poems, he says, Byron had outdone him in
popularity, and the Muse—“the Good Demon” who once deserted
Herrick—came now less eagerly to his call.
Public-domain text, read in full here on John Shaqi.
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