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The banquet was approaching its close, when the chief signalled the piper to cease, and then exclaimed, "Where is the song hidden, my friends, that MacMurrough cannot find it?" Thebhairdhtook the hint, and began to chant, with low and rapid utterance, a profusion of Celtic verses. As he advanced in his declamation, his ardour seemed to increase: he had at first spoken with eyes fixed on the ground; he now cast them around, as if beseeching, and anon as if commanding attention; and his tones rose into wild and impassioned notes, accompanied with appropriate gestures. The poet's ardour communicated itself to the audience; their wild and sun-burnt countenances assumed a fiercer and more animated expression; all bent towards the reciter, many sprang up and waved their arms in ecstasy, and some laid their hands upon their swords.
In the accompanying etching, Mr George Cruikshank represents the droll scene where Mr Duncan Macwheeble is informed by Waverley of his present fortune and future expectations, and of his intention to share all with Miss Rose Bradwardine. Waverley had found the Bailie (Macwheeble) in his office, and before him a large bicker of oatmeal porridge, with a horn spoon and a bottle of twopenny, "while a potbellied Dutch bottle of brandy which stood by, intimated that this honest limb of the law had taken his morning already, or that he meant to season his porridge with such digestive." At the instant Waverley revealed the secret of his attachment to Miss Rose, he almost deprived the Bailie of his senses. He started from his three-footed stool, like the pythoness from her tripod; flung his best wig out of the window, because the block on which it was placed stood in the way of his career; chucked his cap to the ceiling, and caught it as it fell; whistled "Tullochgorum," danced a Highland fling with inimitable grace and agility, and then threw himself, exhausted, into a chair, exclaiming, "Lady Wauverley!-Ten thousand a-year, the least penny!—Lord preserve my poor understanding!"
GUY MANNERING, the second novel of the author of "Waverley" was composed during six weeks preceding Christmas 1814. It appeared in the following February in three small volumes, at the price of one guinea. The edition, consisting of 2000 copies, was sold the day after publication, and within three months, 5000 copies were circulated. The novel was founded on a tale which Scott had received from an old Highlander, a servant of his father, who related how that a grave and elderly person being benighted while travelling in Galloway, had experienced the hospitality of a country laird whose wife was on the eve of her confinement. The stranger being informed of the exact minute of the birth, made, by astrological signs, a remarkable augury respecting the fortunes of the young stranger. Though based on the supernatural, "Guy Mannering" embraces an interesting portraiture of Scottish life during the early portion of the eighteenth century. One of the more conspicuous characters is Dandie Dinmont, of Charlie's Hope, with his breed of terriers, Auld Pepper, Auld Mustard, Young Pepper, Young Mustard, Little Pepper, Little Mustard, and the others. From the fireside of the little inn of Mumps Ha', Dandie carried away some uncomfortable surmises. These were not removed by the several tall figures that appeared advancing towards him. He advised Brown (Harry Bertram) not to wait for their arrival, but to jump behind him on Dumple's back, and deprecated any declinature under the circumstances. "Dumple could carry six folk," said Dandie, "if his back were long enough; but, God's sake, haste ye, get on, for I see some folk coming through the slack yonder, that it may be just as weel no to wait for." Brown was of opinion that this apparition of five or six men, with whom the other villains seemed to join company, coming across the moss towards them, should abridge ceremony. He therefore mounted Dumple,en croup, and the little spirited nag cantered away with two men of great size and strength, as if they had been children of six years old. The rider, to whom the paths of these wilds seemed intimately known, pushed on at a rapid pace, managing with much dexterity to choose the safest route, in which he was aided by the sagacity of the Galloway, who never failed to take the difficult passes exactly at the particular spot, and in the special manner by which they could be most safely crossed. The scene of this adventure is graphically delineated in the engraving.
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In his present etching, Mr George Cruikshank is eminently characteristic. Dominie Sampson, as entreated by Mrs Bertram, had undertaken the task of watching little Harry in his rambles. The worthy Dominie was devoted to his charge, and was delighted with his success in having brought him so far in his learning as to spell words of three syllables. He dreaded the idea of the child being seized by gipsies; and though the occupation essentially differed from his former mode of life, he stalked about with young Harry, who, being only of five years, was constantly rambling into awkward situations. Twice was the Dominie pursued by a cross-grained cow, and at another time he plunged into a brook in crossing it at the stepping-stones. At length he fell into the peril depicted by the artist. In seeking to pluck a water-lily for the young laird he fell into the slough of Lochend, in which he was bogged up to the middle. In his plight he exclaimed as usual "Pro-di-gi-ous!" amidst the laughter of the village matrons, one of whom offered her hand to help him out. Another declared that "the laird might as weel trust the care of his bairn to a potato-bogle."
THE ANTIQUARY appeared in May 1816: it was commenced a little before the close of the previous year. By the author it was regarded as less interesting than its predecessors, but the public showed appreciation by purchasing 6000 copies within six days of its publication. Like the two former novels, it is a representation of various scenes and phases of Scottish Life as contemplated by the author himself. In our first engraving, Mr Oldbuck is on a visit at Elspeth's hut to inquire into mysteries connected with the house of Glenallan, mysteries in which she had been initiated, and crimes to which she had been accessory. He is accompanied by his nephew and Edie Ochiltree, the latter having on one occasion been dispatched by Elspeth with a message to Lord Glenallan. "No, wretched Beldam," exclaimed Oldbuck, who could keep silence no longer, "they drank the poison that you and your wretched mistress prepared for them."
"Ha, ha!" she replied, "I aye thought it would come to this; it's but sitting silent when they examine,-there's nae torture in our days; and if there is, let them rend me. It's ill o' the vassal's mouth that betrays the bread it eats."
"Speak to her, Edie," said the Antiquary, "she knows your voice, and answers to it most readily."
"We shall mak naething mair out o' her," said Ochiltree; "when she has clinkit herself down that way, and faulded her arms, she winna speak a word, they say, for weeks thegither. And besides, to my thinking, her face is sair changed since we came in. However, I'll try her once more to satisfy your honour. So you canna keep in mind, cummer, that your auld mistress, the Countess Joscelin, has been removed?"
"Removed!" she exclaimed, for that name never failed to produce its usual effect upon her, "then we maun a' follow. A' maun ride when she is in the saddle: tell them to let Lord Geraldin know we're on before them. Bring my hood and scarf; ye wadna hae me gang in the carriage wi' my leddy, and my hair in this fashion?" She raised her shrivelled arms, and seemed busied like a woman who puts on her cloak to go abroad, then dropped them slowly and stiffly; and the same idea of a journey still floating apparently through her head, she proceeded in a hurried and interrupted manner-"Call Miss Neville; what do you mean by Lady Geraldine? I said Eveline Neville-not Lady Geraldine-there's no Lady Geraldine; tell her that, and bid her change her wet gown, and no' look so pale. Teresa-Teresa, my lady calls us! Bring a candle, the grand staircase is as mirk as a yule midnight. We are coming, my lady!" With these words she sunk back on the settle, and from thence sidelong to the floor. Edie ran to support her, but hardly got her in his arms before he said, "It's a' ower, she has passed away even with that last word."
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Mr Cruikshank has portrayed with his wonted humour the amusing scene at the Post-Office, in which Mrs Heukbane and Mrs Shortcake are examining, with eager countenances, the love-letter of Richard Taffrail to Jenny Caxon. They threw themselves on the supposed love-letter, like the weird sisters in Macbeth, upon the pilot's thumb, with curiosity as eager, and scarcely less malignant. Mrs Heukbane was a tall woman; she held the precious epistle up between her eyes and the window. Mrs Shortcake, a little squat personage, strained and stood on tiptoe to have her share of the investigation. "It's frae him sure enough," said the butcher's lady; "I can read Richard Taffrail on the corner; and it's written, like John Thomson's wallet, frae end to end.'
"Haud it lower down, madam," exclaimed Mrs Shortcake, in a tone above the prudential whisper which their occupation required; "haud it lower down; div ye think naebody can read hand o' writ but yoursel'?"
"Whisht, whisht," said Mrs Mail-letter, "there's somebody in the shop."
THE romance of "Rob Roy" was composed in 1817, and published in January of the following year. An edition of 10,000 disappeared in two weeks, when a second impression was printed. Rob Roy and his wife, Bailie Nicol Jarvie and his housekeeper, Die Vernon and Rashleigh Osbaldistone, were all favourite characters; and the novel essentially sustained the reputation of the "unknown" author. In the accompanying engraving, Mr Melville has represented the lower section of Loch Lomond, the Queen of Scottish lakes. On the right is presented the massive shoulder of Ben Lomond, which raises its lofty head 3192 feet above the ocean's level, while on the left extend the craggy forms of the Arrochar mountains. With the promise of mutual aid and good will, Bailie Nicol Jarvie and Frank Osbaldistone have parted with the Macgregor, and in their skiff bear away from the shore towards the south western angle of the lake, where it gives birth to the Leven. Rob Roy remained for some time standing on the rock, from beneath which they had departed, conspicuous by his long gun, waving tartans, and the single plume in his cap, which, in those days, denoted the Highland gentleman and soldier, though the present military taste has decorated the Highland bonnet with a quantity of black plumage, resembling that which is borne before funerals.
To every reader of "Rob Roy," the scene in Jeanie MacAlpine's public-house, sketched by Mr Cruikshank, is abundantly familiar. Let the scene be illustrated in the novelist's own words: "I (Frank Osbaldistone) put myself in a posture of defence, and, aware of the superiority of my weapon, a rapier or small sword, was little afraid of the issue of the contest. The Bailie behaved with unexpected mettle: as he saw the gigantic Highlander about to confront him with his weapon drawn, he tugged for a second or two at the hilt of hisshabble, as he called it; but finding it loth to quit the sheath, to which it had long been secured by rust and disuse, he seized, as a substitute, on the red-hot coulter of a plough, which had been employed in arranging the fire by way of a poker, and brandishing it with such effect, that at the first pass he set the Highlander's plaid on fire, and compelled him to keep a respectful distance, till he could get it extinguished. Andrew Fairservice, who ought to have faced the Lowland champion, vanished at the very commencement of the fray; but his antagonist, crying 'fair-play,' seemed courteously disposed to take no share in the scuffle.' Osbaldistone's aim was to possess himself of his antagonist's weapon, but he declined from closing with him through fear of a dirk which he held in his left hand. The Bailie, notwithstanding the success of his first onset, was sorely bested. The weight of his weapon, the corpulence of his person, the very effervescence of his own passion, were rapidly exhausting his strength and his breath, and he was almost at the mercy of his antagonist, when up started the sleeping Highlander, with his naked sword and target in his hand, and threw himself between the discomfited magistrate and his assailant, exclaiming, 'Her ownsell has eaten the town bread at the cross o' Glasgow; and by her troth, she'll fight for Bailie Sharvie at the clachan of Aberfoil.'"
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OLD MORTALITY commenced a series of novels which Scott entitled "Tales of my Landlord." The title was asobriquetgiven to Robert Paterson, an eccentric native of Dumfriesshire, who, during the latter portion of the eighteenth century, repaired without recompence the tombstones of the Covenanters in the southern counties; but the novel treats of Scottish manners during the period when those commemorated by Old Mortality were alive. It was published in December 1816, and within six weeks two editions, each of two thousand, disappeared.
In the sketch of the "Black Linn of Linklater," the artist has caught the moment when Morton looked round him, and the girl, his companion, pulled his sleeve, and pointing to the oak and the projecting rock beyond it, indicated that there lay his farther passage. "He gazed at her with surprise, for although he well knew that the persecuted Presbyterians had sought refuge among dells and thickets, caves and cataracts, in spots the most extraordinary and secluded, yet his imagination had never exactly figured out the horrors of such a residence..... He began to consider how he should traverse the doubtful and terrific bridge, which, skirted by the cascade, and rendered wet and slippery by its constant drizzling, traversed the chasm above sixty feet from the bottom of the fall Fixing his eye on a stationary object on the other side he resolved to attempt the passage...." The inhabitant of this secluded retreat was Balfour of Burley, with whom he was desirous of renewing an acquaintance, which had been broken off since the fight of Bothwell Bridge.
The scene of "Cuddie's leave-taking" has formed an appropriate subject for the pencil of Mr Cruikshank. "Fare ye weel, Jenny," said Cuddie, with a loud exertion of his lungs, intended, perhaps, to be a sigh, but rather resembling a groan. "Ye'll think of puir Cuddie sometimes; an honest lad that lo'es ye, Jenny! Ye'll think o' him now and then?"
"Whiles-at brose time," answered the malicious damsel, unable either to suppress the repartee, or the arch smile that attended it. Cuddie took his revenge, as rustic lovers are wont, and as Jenny probably expected, caught his mistress round the neck, kissed her cheeks and lips heartily, and then turned his horse and trotted after his master. "Deil'sin the fallow," said Jenny, wiping her lips, and adjusting her head-dress, "he has twice the spunk o' Tam Halliday, after a'!-Coming, my leddy, coming. Lord have a care o' us! I trust the auld leddy didna see us!"
"Jenny," said Lady Margaret, as the damsel came up, "was not that young man who commanded the party, the same who was captain of the popinjay, and who was afterwards prisoner at Tillietudlem, on the morning Claverhouse came there?" Jenny, happy that the query had no reference to her own little matters, looked at her young mistress, to discover, if possible, whether it was her cue to speak truth or not. Being unable to catch any hint to guide her, she followed her instinct, and expressed herself fictitiously.
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THIS novel, one of the series of the "Tales of my Landlord," was produced while the author was suffering from severe illness; and it was passed through the press without his revision. It was, however, well received by the public, and rapidly obtained a wide circulation. It is chiefly founded on the melancholy fate of John, Lord Kilpont, eldest son of William, Earl of Airth and Menteith, and the remarkable circumstances which attended the birth and career of Stewart of Ardvoirlich, by whose hand he fell.
In the accompanying sketch, the artist has represented the meeting of Lord Menteith and Dugald Dalgetty in the Pass of Leny, a picturesque defile in Perthshire, of which the scenery is depicted in the "Lady of the Lake."
"The Pass" is approached from the low country by a road winding round the base of Benledi. At a sudden bend of the road is disclosed Loch Lubnaig, the source of the river which flows rapidly on the left. In the background rises the massive summit of Benmore, overtopping the heights of Balquhidder. Lord Menteith, accompanied by his two servants, one leading a sumpter horse, had just wound round the projecting mountain, which skirts the lake's northern shore, when he remarked a single horseman coming down the shore as if to meet him. The stranger was mounted on a powerful horse, and his rider occupied his war-saddle with an air which showed it was his familiar seat. He wore a bright burnished head-piece with a plume of feathers, together with a cuirass, thick enough to resist a musket-ball. These defensive arms he wore over a buff-jerkin, along with a pair of gauntlets, the tops of which reached to his elbows. At the front of his saddle hung a case of pistols, nearly two feet in length, and carrying bullets of twenty to the pound. A buff belt, with a broad silver buckle, sustained on one side a long, straight, double-edged sword, with a strong guard, and calculated either to strike or push. On the right side hung a dagger of about eighteen inches in length; a shoulder-belt sustained at his back a musketoon, and was crossed by a bandalier containing his charges of ammunition. Thigh-pieces of steel called taslets, met the top of his jack-boots, and completed the equipage of Rittmaster Dugald Dalgetty of Drumthwacket.
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Mr Cruikshank represents Captain Dalgetty's landing at Ardenvohr. The boatman, seizing the Captain with rough civility, horsed him on the back of a sturdy Highlander, and wading through the surf with him, landed him on the beach under the Castle Rock. In the face of the rock appeared the entrance of a low-browed cavern, toward which his attendants were hurrying him, when Dalgetty, shaking himself from their grasp, insisted upon seeing Gustavus, his horse, safely landed, before he proceeded a step further. The Highlander could not comprehend what he meant, until one who had picked up a little English, exclaimed, "Hout! it's a' about her horse, ta useless baste." Farther remonstrance on the part of Dalgetty was interrupted by the appearance of Sir Duncan Campbell himself, from the mouth of the cavern, for the purpose of inviting Captain Dalgetty to accept of the hospitality of Ardenvohr, pledging his honour, at the same time, that Gustavus should be treated as became the hero from whom he derived his name, not to mention the important person to whom he now belonged. Notwithstanding this very satisfactory guarantee, Captain Dalgetty would still have hesitated, had not two Highlanders seized him by the arms, two more pushed him on behind, while a fifth exclaimed, "Hout! awa' wi' the daft Sassenach! does she no hear the Laird bidding her up to her ain castle, wi' her especial voice; and isna' that very mickle honour for the like o' her?"
THE tale of the "Black Dwarf" appeared in 1819. One of the "Tales of My Landlord" series, it was founded on the character and peculiarities of David Ritchie, a misshapen creature, popularly known asBow'd Davie, who lived on a wild moorland near Peebles, and who, from his deformed aspects and uncouth manners, was an object of superstitious dread in the locality. Mr Turner, the celebrated artist, has, in the accompanying illustration, strikingly delineated a familiar scene in the novel. As Earnscliff and Hobbie Elliott were crossing the common, the latter was interrupted in certain protestations of heroism which he was uttering, by the outline of a form seemingly human, but under the ordinary size, moving among the grey stones which formed the buttress of the granite column which they were approaching. The figure was descried by aid of the moon, which, struggling with the clouds, shed a doubtful light upon the scene. From time to time came a sort of indistinct muttering sound. The entire spectacle so much resembled his idea of an apparition, that Hobbie, making a dead pause, while his hair stood on end, whispered to his companion, "It's Auld Ailie hersel'! shall I gi'e her a shot?"
"For Heaven's sake, no," said Earnscliff, holding down the weapon, which he was about to raise to the aim; "for Heaven's sake, no; it's some poor distracted creature."
In his etching Mr George Cruikshank has effectively represented the strange interview between Hobbie Elliott and the Dwarf. It is described by the novelist. "The Dwarf turned his rage on the young farmer, and by a sudden effort, far more powerful than Hobbie expected from such a person, freed his wrist from his grasp, and offered the dagger at his heart All this was done in the twinkling of an eye, and the incensed recluse might have completed his vengeance by plunging the weapon in Elliott's bosom, had he not been checked by an internal impulse, which made him hurl the knife at a distance. 'No! he exclaimed, as he voluntarily deprived himself of the means of gratifying his rage; 'not again-not again!' Hobbie retreated a step or two in great surprise, discomposure, and disdain, at having been placed in such danger by an object apparently so contemptible, exclaiming, 'The deil's in the body, for strength and bitterness!'"
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THE HEART OF MID-LOTHIAN, one of the most popular of the Waverley novels, appeared in June 1818. It is founded on the well-known incident of Helen Walker, a woman in humble life, who refused to save her sister's life when it rested upon her oath, but who, after her sister's condemnation, undertook a foot journey to London, where, from the Duke of Argyll, she procured a pardon and returned with it, again on foot, in time to stay the execution.
The accompanying illustration represents the death of Captain Porteous, a leading event in the novel. The scene depicted is the Grassmarket of Edinburgh. The opening to the right is the Cowgate, near which Porteous was hanged. Beyond is Edinburgh Castle, occupying the summit of the lofty rock which rises precipitously above the houses of the Old Town. The mob having ascertained that the sentence of death passed upon Captain Porteous would not be carried out, resolved to become his executioners themselves; and bursting the prison doors, seized on the unfortunate officer, whom they hurried to the place of execution. While a gibbet was being prepared, Butler, the clergyman who had been pressed into the service of the mob, endeavoured to dissuade them from their desperate design. Porteous protested that what he had done fell out in self-defence, in the lawful exercise of his duty; but the enraged multitude were determined on his destruction. Separated from the unhappy victim by the press, Butler hastened from the spot, and casting back a terrified glance, discovered a figure struggling as it hung suspended above the heads of the multitude, and could observe men striking at it with their axes.
Our other illustration is of a humorous character. Mr Cruikshank represents the visit of the Laird of Dumbiedykes to Jeanie Deans. When a change of residence, from Woodend to St Leonard's Crags, was resolved upon, Jeanie concluded that she would be released from the visits of Dumbiedykes, but in this expectation she was disappointed; for, on the sixth day after her arrival, the laird appeared at St Leonard's, laced hat, tobacco pipe, and all, and, with the self-same greeting of "How is a' wi' you, Jeanie?" assuming nearly the same position as at Woodend. With an unusual exertion of the powers of conversation, he added, "Jeanie-I say-Jeanie, woman!" at the same time extending his hand towards her shoulder, with all the fingers spread out as if to clutch it, but in so awkward a manner, that when she whisked beyond its reach, the paw remained suspended in the air with the palm open, like the claw of a heraldic griffin. "Jeanie," continued the swain, in this moment of inspiration, "I say, Jeanie, it's a braw day out-by, and the roads are no that ill for boot-hose."
"The deil's in that driv'ling body," muttered Jeanie, "wha wad hae thought o' his daunerin' out this length?" for the landed proprietor looked so unco gleg and canty, that she didna ken what he might be coming out wi' next.
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BRIDE OF LAMMERMOOR, one of the products of 1819, is founded on a remarkable narrative, connected with the marriage of Miss Janet Dalrymple, daughter of the first Lord Stair, who, without the parental knowledge, engaged herself to the Lord Rutherford, but who subsequently consented to abandon her noble lover, and accept the hand of David Dunbar, younger of Baldoon, whose suit was supported by her parents. On the 24th August 1669, shortly after the nuptial ceremony, the bridegroom was found in the bridal chamber lying across the threshold, frightfully wounded and streaming with blood. On a search, the bride was discovered in the chimney-corner, dabbled in gore, and moping as an idiot; she survived only two weeks. The bridegroom, who recovered from his wounds, refused to answer any questions in relation to the tragedy; he was killed by a fall from his horse in March 1682.*
* The marriage contract of the Bride of Lammermoor haslately been discovered at St Mary's Isle, the seat of theEarl of Selkirk. His lordship is the representative of thefamily of Dunbar of Baldoon, and has the family papers inhis possession. In arranging these he came upon thecontract. The four signatures are, David Dunbar thebridegroom, Janet Dalrymple the bride, James Dalrymple, andBaldoon, father of the bridegroom. James Dalrymple may havebeen the bride's brother, who rode behind her to the church,and whose dagger was used in the assault There is a littletremor in the bride's signature.
The accompanying illustration represents Fast Castle, the original of Wolf's Crag, of which the proprietors, the Logans and Humes, were conspicuous in Scottish history. Margaret of England, on her way to join her husband, James IV, at Edinburgh, lodged a night in the castle. "Yonder is Wolf's Crag," said Ravenswood, "and whatever it still contains is at your service, Bucklaw." The roar of the sea had long announced their approach to the cliff, on the summit of which, like the nest of some sea-eagle, the founder of the fortalice had perched his eyrie. The pale moon, which had hitherto been contending with flitting clouds, now shone out, and gave them a view of the solitary and naked tower, situated on a projecting cliff that beetled on the German Ocean. On three sides the rock was precipitous; on the fourth, which was towards the land, it had been originally fenced by an artificial ditch and drawbridge, but the latter was broken down and ruinous, and the former had been in part filled up, so as to allow a passage for a horseman into the narrow courtyard, encircled on two sides by low offices and stables partly ruinous, and closed on the landward front by a low embattled wall, while the remaining side of the quadrangle was occupied by the tower, built of a greyish stone, glimmering in the moonlight like the sheeted spectre of some huge giant. A wilder or more disconsolate dwelling, it was perhaps difficult to conceive. The sombrous and heavy sound of the billows successively dashing against a rocky beach at a profound distance beneath, was to the ear what the landscape was to the eye, a symbol of unvaried and monotonous melancholy.
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Mr Cruikshank has successfully depicted the humorous spectacle of Caleb Balderstone snatching provisions for his master's table. Dame Lightbody expected a number of guests to the christening of her "bit wean," when Caleb entered. There bubbled on the bickering fire a huge caldron, while before it revolved two spits, one loaded with a quarter of mutton, the other with a fat goose and a brace of wild ducks. Caleb turned to reconnoitre as the mother and grandmother hastened to attend the hero of the evening in a remote corner. Sending one of the youthful turnspits for "snishing," Caleb, not apprehending danger from the other, lifted up the spit bearing the wild-fowl, put on his hat, and marched off with the plunder. The boy at the spit was so bewildered that he became motionless, and suffered the mutton to burn as black as a coal.
IVANHOE (published in December 1819) was Scott's first attempt to depict the manners and incidents of old English life, and the effort was hailed with universal delight An impression of 12,000 copies was immediately disposed of.
Our first illustration represents Prince John and Rebecca at the Passage of Arms at Ashby. Prince John instantly recognised the Jew, but was much more agreeably attracted by the beautiful daughter of Zion, who, terrified by the tumult, clung to the arm of her aged father. "The figure of Rebecca might have been compared with the proudest beauties of England. Her form was exquisitely symmetrical, and showed to advantage by an Eastern dress, which she wore according to the fashion of the females of her nation. The turban of yellow silk suited well with the darkness of her complexion. The brilliancy of her eyes, the superb circle of her eyebrows, her aquiline nose, her teeth as white as pearl, and the profusion of her sable tresses, which fell down upon as much of a lovely neck as a simar of rich Persian silk permitted to be visible. All these constituted a combination of loveliness. A diamond necklace, with pendants of inestimable value, was conspicuous on her bosom. The feather of an ostrich, fastened in her turban by an agraffe, was another distinction of the beautiful Jewess, another attraction to the quick eye of Prince John." The Prince presented an open set of features, well formed by nature, and accurately moulded by art to the rules of courtesy. His dress was one of the richest splendour, a costly mantle lined with the finest sables fell down from his shoulder or floated in the breeze; maroquin boots with golden spurs adorned his well-formed legs and feet, and the grace with which he managed his palfrey gained him the unlimited applause of the glittering assemblage. Turning towards the gallery to which the Jew and his lovely charge in vain attempted to obtain admission, he gave instructions that both should have a place.
"What is she, Isaac, thy wife or thy daughter?"
"My daughter Rebecca, so please thy grace."
"Daughter or wife," replied the Prince, "she shall be preferred according to her beauty and thy merits."
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The interview of the Black Knight and the Friar of Copmanhurst is from the pencil of Mr Cruikshank. King Richard, otherwise the Black Sluggard, having extorted the confidence of the jolly hermit, obeyed his command as master of the feast: "Sit down, fill thy cup; let us drink, sing, and be merry; fill a flagon; nought pitches the voice and sharpens the ear like a cup of wine; and I love to feel the grape at my fingers' ends, before they make the harp-strings tickle." The king essayed a ballad, which he had learned in the Holy Land, during which the friar demeaned himself like a first-rate critic at a new opera. When the ballad was ended, the friar took up his harp, and entertained the king with a characteristic song, the concluding stanza of which is deserving of remembrance by brothers of the trade:
"Long flourish the sandal, the cord, and the rope,The dread of the devil, and trust of the Pope;For to gather life's roses unscathed by the briar,Is granted alone to the bare-footed friar."
AFTER the publication of "Ivanhoe," Scott returned for a time to the illustration of Scottish life. "The Monastery" was published in March 1820, in three duodecimo volumes. Owing to the supernatural element introduced by the White Lady of Avenel, the novel was less successful than its predecessors. It was, however, redeemed from absolute failure through the beautiful descriptions of natural scenery and the striking Scottish manners which it presented.
In the accompanying engraving is represented the Abbey of Melrose amidst the beautiful scenery by which it is surrounded. It is the finest specimen of Gothic architecture in Scotland. The spire of the central tower has disappeared, but the tower itself, eighty-four feet in height, imparts dignity to the structure. The grand east window is of unparallelled beauty and elegance. Gothic pinnacles terminate the principal buttresses,'which, with the various windows, are decorated with admirably carved figures and niches richly sculptured. In Melrose Abbey was deposited the heart of King Robert the Bruce, after the unsuccessful attempt to carry it to Palestine.
The absence of Father Eustace, superior of the abbey, who was detained much beyond his accustomed hour of returning home, created alarm among his brethren, and the dependants had all been summoned to assist, with torches, in searching for the venerable man. The shout of joy that was raised as he approached, soon convinced him of the object of the assemblage; and the invitations distributed to the people, to call at the convent kitchen for a "quarter of a yard of roast beef each," demonstrated the esteem in which he was held in the institution.
In our second illustration Herbert Glendinning is presenting the silver bodkin which he received from the White Lady. The production of this token has caused the most extraordinary change in the aspect of Sir Piercie Shafton, whose serenity has suddenly become transformed into fury. He has started up, quivering with rage, and in his inflamed and agitated features he resembles a demoniac rather than a mortal under the government of reason. He thrusts both his clenched fists towards Glendinning's face, but the next moment withdraws them, and striking his open palm against his forehead, rushes from the apartment.
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THE ABBOT was published in September 1820, as a sequel to "The Monastery," which appeared in the preceding March. According to Mr Lockhart, it arose in Scott's mind during a visit to Blair-Adam. The beautiful localities of that estate are distinctly alluded to, while the virtues of the amiable owner, Mr Chief Commissioner Adam, are admirably portrayed.
In the accompanying illustration, the artist represents an apartment in Holyrood Palace, in which the Regent Murray has just held a meeting of the Privy Council. In the room is a long open table, surrounded by stools of the same wood. In front of a large elbow chair covered with crimson velvet, the Regent is standing. The usher has marshalled Roland Græme into the apartment, and the Regent, who had been laughing with the Lords, now assumed a deep and even melancholy gravity. He was dressed in black velvet after the Flemish fashion, and wore in his high crowned hat a jewelled clasp which looped it up on one side, and formed the only ornament of his apparel. He had his poignard by his side, and his sword lay on die table. Roland presented himself with a feeling of awe, and with an abashed manner placed in his hand the letter of Sir Halbert Avenel. The Earl paused before he broke the silk with which the letter was secured, to ask the page his name, so much was he struck with his handsome features and form.
Mr George Cruikshank depicts the entrance of the Abbot of Unreason to the church of St Mary's. The door was thrown open with a shout which brought up the Abbot and his brethren, when the Abbot of Unreason entered. Then was a scene of ridiculous confusion. Boys shrieked and howled; men laughed and hallooed; women giggled and screamed; and the beasts roared; and the dragon walloped and hissed; and the hobby-horse neighed, pranced, and capered; and the rest frisked and frolicked, clashing their hob-nailed shoes against the pavement till it sparkled with the marks of their energetic caprioles. The Abbot seemed at a stand. He made a gesture of his hand as if commanding silence, which was at first only replied to by redoubled shouts and peals of laughter.