SIR WALTER SCOTT AND HIS FRIENDS AT ABBOTSFORDFrom the painting by Thomas Faed. Those in the picture, reading from left to right, are, sitting: Sir Walter Scott; Henry Mackenzie, the Scottish novelist; George Crabbe, the English poet; John Gibson Lockhart, the son-in-law of Scott, and his biographer; William Wordsworth, the English Poet Laureate from 1843 to 1850; Francis, Lord Jeffrey, the Scottish critic, essayist, and jurist; Adam Ferguson, the Scottish philosopher and historian; John Moore, the Scottish physician and writer; Thomas Campbell, the writer, and Lord Rector of the University of Glasgow from 1826 to 1829; Archibald Constable, Scott's publisher from 1805 to 1826; standing: John Wilson, who wrote under the pseudonym of Christopher North; John Allen, the British political and historical writer; Sir David Wilkie, the Scottish painter.]
SIR WALTER SCOTT AND HIS FRIENDS AT ABBOTSFORD
From the painting by Thomas Faed. Those in the picture, reading from left to right, are, sitting: Sir Walter Scott; Henry Mackenzie, the Scottish novelist; George Crabbe, the English poet; John Gibson Lockhart, the son-in-law of Scott, and his biographer; William Wordsworth, the English Poet Laureate from 1843 to 1850; Francis, Lord Jeffrey, the Scottish critic, essayist, and jurist; Adam Ferguson, the Scottish philosopher and historian; John Moore, the Scottish physician and writer; Thomas Campbell, the writer, and Lord Rector of the University of Glasgow from 1826 to 1829; Archibald Constable, Scott's publisher from 1805 to 1826; standing: John Wilson, who wrote under the pseudonym of Christopher North; John Allen, the British political and historical writer; Sir David Wilkie, the Scottish painter.]
Scott made the transition from law to literature gradually. He published a translation of Burger's "Lenore" in 1795. While he was at the University he began to collect the materials which made up the three volumes of "The Minstrelsy of the Scottish Border," a collection of ballads old and new in which the "old, simple, violent world" lived again in song and story. The making of these books was congenial work, and carried still further Scott's education in the spirit and temper of the Scotland of clans and feuds, of reckless border warfare, dashing foray, fierce revenge and superstition. The various introductions and notes which accompanied the ballads show Scott's painstaking care for fact and detail; he combined in rare degree the romantic spirit, the antiquarian's zeal for the small details of history, and the methodical habits of the literary drudge.
In 1805, in his thirty-fourth year, "The Lay of the Last Minstrel" appeared and secured a popular success of unprecedented proportions. The picturesque or pictorial quality of the poem and its unqualified romanticisms gave it a very broad appeal. It was popular in the good sense of the word. Mountains and wild landscapes generally, which had been shunned for generations, were coming into fashion, so to speak. They have been "in fashion" ever since, and today their appeal to city folk, to tired people, to men and women of imagination and active temperament, is irresistible. To Dr. Johnson Scotland was a wild and dreary waste, to Scottit was a wonderland; and a wonderland it has remained ever since. In the confusion of an age when every sort of opinion gets into print the "call of the wild" has a trumpet tone. "I am sensible," wrote Scott, "that if there be anything good about my poetry or prose either, it is a hurried frankness of composition which pleases soldiers, sailors, and young people of bold and active dispositions."
THE LADY OF THE LAKEFrom the group by J. Adams Acton
THE LADY OF THE LAKE
From the group by J. Adams Acton
EFFIE DEANS AND HER SISTER, JEANIE, IN PRISONThis picture, illustrating Jeanie Deans' visit to her accused sister, as related in "Heart of Midlothian," is from the painting by R. Herdman
EFFIE DEANS AND HER SISTER, JEANIE, IN PRISON
This picture, illustrating Jeanie Deans' visit to her accused sister, as related in "Heart of Midlothian," is from the painting by R. Herdman
Three years later the strongest and most stirring of the poems, "Marmion," appeared. It is a poem of scenery as well as of action, its descriptions are both exact and living; it tells a story with clear and compelling vigor, and it shows at their best two of Scott's really great qualities: simplicity and energy. It lacked the delicate shading of the verbal music which gave some later English poetry a magical charm; but it had a fine strength of outline, a noble ruggedness. He said later that he loved the sternness and bold nakedness of the Border landscape, and that if he did not see the heather at least once a year he believed he would die. "The Lady of the Lake," "The Lay of the Last Minstrel," "The Lord of the Isles," were less effective, but the fresh vitality of the Highlands was in them all.
The Waverley Novels have so long stood in the forefront of Scott's literary achievements that it is difficult to put them out of view and remember that in 1814, when Scott was forty-fouryears old, he was known to the world as a poet who had laid a spell on the imagination of his generation. He had "broken the record" so far as monetary returns for poetry were concerned. Milton received about one hundred dollars for "Paradise Lost" and Dr. Johnson was paid about seventy-five dollars for "The Vanity of Human Wishes," while "The Lay of the Last Minstrel" brought Scott nearly four thousand dollars; for "Marmion" he received five thousand dollars in advance of publication, and for one-half the copyright of "The Lord of the Isles" he was paid over seven thousand five hundred dollars. He was unaware of the enormous earning powers which he was later to develop; he had given up his profession, and he longed for an income which would support his family on the scale which his tastes and natural generosity dictated. To secure financial independence he brought James Ballantyne, a former school-mate and editor of a local newspaper, to Edinburgh and lent him money enough to start a printing business. This was in 1802; three years later he became a silent partner with Ballantyne and his brother. In 1809 he took a still more venturesome step and started the publishing house of John Ballantyne & Company. The two brothers were men of small ability, and entirely without knowledge of the business on which they embarked; they knew something about printing but nothing about publishing. Scott was equally ignorant of business methods; he was a man of generous nature and lavish tastes, and between the recklessness of his partners, for which he was largely responsible, and his lavish use of money, he was soon in financial difficulties and a crash would have come early if the phenomenal popularity of the novels had not postponed the evil day.
PORTRAIT OF SCOTTBy Sir Thomas Lawrence
PORTRAIT OF SCOTT
By Sir Thomas Lawrence
In 1812 he bought the farm at Abbotsford, to the ownership of which he had long looked forward. The country was lovely, the four acres grew into a great estate, the farm cottage became a stately mansion, as all traveled Americans know, and the owner lived like a Scotch laird but without a laird's steady income. He entertained lavishly and livedin feudal state, happy in his friends, his tenants, his horses and dogs. But the land alone cost more than a hundred and fifty thousand dollars!
A GLIMPSE OF ABBOTSFORD
A GLIMPSE OF ABBOTSFORD
In 1805 Scott was the most popular poet in Great Britain. He had opened a fresh field, he had command of the magic of romance which always has and always will, in spite of temporary changes of taste, cast a spell over the imagination of men; his style was simple and his method plain; all classes of readers could understand him. During the next ten years he published six or seven long poems of varying merit. When the last of these, "The Lord of the Isles," appeared in 1815, the popular interest had diminished in volume and intensity, and the poet was in serious financial difficulties as the result of his lavish scale of living and the mismanagement of his business enterprises.
At the moment when ruin faced him he found himself suddenly in the possession of a great income from an unexpected source. In 1805 he had written, almost at a sitting, an instalment of a story of the uprising of 1745 in a futile attempt to restore the exiled Stuart, Charles Edward, to the throne. In 1814 he completed the story and published it anonymously under the title of "Waverley." The novel was written in what the oarsmen call a "spurt"; not because the novelist was writing carelessly at breakneck speed for immediate income, but because he was a tremendous worker and more concerned with the general movement and human interest of the story in hand than with the details of its workmanship. To immense energy of mind and body Scott united patience and methodical habits of work, as he added to a romantic imagination keen interest in the business of life and in the smallest detail of practical affairs. His appetite for facts was as marked as his capacity for sentiment. Scott had breadth and vigor rather than delicacy of imagination; that is one reason why he is out of fashion at a time when men want to know not only what people do but why and how they do it. He saw men and events in the rough; he was interested in striking historical incidents and events, in strongly-marked characters, in actions rather than in moods. In a word, Scott was a writer who took the world as he found it, and described it as he saw it, without any strong desire to reform it. He was a Tory in politics, a strong adherent of an ordered society; a good, sound man not haunted by misgiving and questioning about the general order of things.
Scott's novels were literally poured out during fifteen wonderful years; and eventhen the broken man could still apply the whip to his exhausted and crippled brain. The popular success of the novels was unprecedented in the history of literature. It is estimated that Scott earned with his pen not less than three-quarters of a million dollars. The earlier stories were the best: "The Antiquary," "Old Mortality," "Rob Roy," "Heart of Midlothian," "Guy Mannering." These were followed by the series of semi-historical novels with their brilliant historical portraits: "Ivanhoe," the most popular though by no means the best of Scott's stories, "The Monastery," "The Abbot," "Kenilworth," "Quentin Durward," "The Bride of Lammermoor," "The Talisman."
THE EMPTY CHAIR, ABBOTSFORDFrom the painting by Sir W. Allan, R. A., in the Royal Collection
THE EMPTY CHAIR, ABBOTSFORD
From the painting by Sir W. Allan, R. A., in the Royal Collection
The defects of these novels and those which came later have been clearly pointed out since the analytical novel and the novel of purpose have come into vogue. Scott did not command the constructive skill of even the second-rate novelist of today; he was often an awkward builder and clumsy in putting his materials together in a coherent whole; his style is often loose and diffuse; he dealt largely with the outside of the spectacle of living; his women have no magic of loveliness, no mystery of temperament, though they sometimes stand out with great distinctness; his heroes are rarely heroic, they are often commonplace.
Scott was the chronicler of feudalism, the primitive social order of the clan, of an aristocratic society. He was as little interested in Democracy as was Shakespeare; and largely for the same reason: his age was not anti-democratic, it had not reached the democratic stage. Bagehot, the famous English critic, put his limitations under two heads: he gives us the stir of the world but not its soul, and he leaves the abstract intellect unreported.
His vital interest in the moving spectacle of life has given us an almost unrivalled report of that world, and of a great group of men and women whose careers, as Scott reports them, have the reality of fact and the dramatic interest of fiction. Jeanie Deans, Madge Wildfire, Diana Vernon, Meg Merrilies, Wandering Willie, Andrew Fairservice, and a crowd of their companions, are more alive today, after a century has passed, than most of the people whose names are in the telephone directories.
THE GRAVE OF SCOTTAt Dryburgh Abbey, Scotland
THE GRAVE OF SCOTT
At Dryburgh Abbey, Scotland
Scott was a man of the kind men love to remember. His faults of nature are as obvious as his faults of art; but his splendid vitalitymakes them trivial. He was large hearted, frank, generous, honorable; he made life seem more noble by the richness of his nature and his splendid courage. His career was as romantic in achievement and vicissitude as his most striking novel. In 1826, when he was fifty-five years old, the two business houses in which he was a partner failed, with obligations amounting to nearly six hundred thousand dollars. Scott had recently spent large sums on the enlargement of Abbotsford, in settling his sons in life, and for other people; and he held the bills of Constable for four novels to be written in the future; the novels were written, but the bills were not honored. Four months after the failure Lady Scott died, and Scott's health was breaking. Two days after the failure he resumed work on "Woodstock," and set himself to pay the debt of half a million dollars. In two years he earned for his creditors nearly two hundred thousand dollars, the major part of which came from the sales of "Woodstock" and "The Life of Napoleon Bonaparte." If his brain had not given out he would have discharged the entire indebtedness in a few years. Working with a disabled brain but with heroic resolution, he wrote "Count Robert of Paris" and "Castle Dangerous." In five years more than three hundred thousand dollars had been paid; meantime he had had a stroke of paralysis. After a second stroke, when "Count Robert" was practically finished, the publishers objected to the work in the last volume. "The blow is a stunning one," wrote the broken man. "God knows I am at sea in the dark, and the vessel leaky.... I often wish I could lie down and sleep without waking. But I will fight it out if I can." And he fought it out; he died on July 12, 1832, and on February 21, 1833, the creditors were paid in full. Never was a heroic fight more nobly won.
On his death-bed Scott called his son-in-law Lockhart, who was to tell the story of his life in one of the great biographies, to his bedside. "I have but a minute to speak to you," he said. "My dear, be a good man.... Nothing else will give you any comfort when you come to lie here."
*** Information concerning the above books may be had on application to the Editor of The Mentor.
SIR WALTER SCOTTFrom the painting by Sir Henry Raeburn
SIR WALTER SCOTT
From the painting by Sir Henry Raeburn
What sort of a person was he; what did he look like—this Scottish bard, novelist, historian, essayist, and landed baronet?
"There he goes," said Dr. Maginn, a contemporary of Scott's, "sauntering about his grounds, with his Lowland bonnet in his hand, dressed in his old green shooting-jacket, telling stories of every stone and bush, and tree and stream in sight—tales of battles and raids—or ghosts and fairies, as the case may be, of the days of yore."
"Sauntering" is hardly the word with which to describe Scott's gait. "Limping" would be better, for he was lame from boyhood, and he supported himself in walking with a staff so heavy that it looked like a cudgel. Washington Irving visited Abbotsford in 1816, and described Scott as "limping up the gravel walk, aiding himself by a stout walking-stick, but moving rapidly and with vigor."
* * *
His lameness, was no serious handicap to Sir Walter. He was a man of extraordinary strength, six feet tall, and of a large and powerful frame, with great breadth across the chest. The muscles of his arms were like iron. He was an exceptional and powerful wielder of an ax, and could bring down a tree with the best of the younger men. He was a master of the horse, and a bold rider. He climbed the hills till he wearied all but his faithful dogs, and he was proficient in sport and hunting. The latter, however, he did not like. "I was never at ease," he said, "when I had knocked down my bird and, going to pick him up, he cast back his dying eye with a look of reproach. I am not ashamed to say that no practice ever reconciled me fully to the cruelty of the affair."
* * *
The conversation of Scott was frank, hearty, picturesque, and dramatic. He had a great sense of humor, and a rare gift for story telling. He was an accomplished mimic, and he lighted up his narratives and anecdotes with appropriate dialect and graphic description. And, as a near friend once observed, "The chief charm of his conversation, he being a man of such eminence, was its perfect simplicity and the entire absence of vanity and love of display."
* * *
He was a good listener, too—but he did not enjoy listening to classic music. He allowed that he "had a reasonable good ear for a jig," but confessed that "sonatas gave him the spleen." But he would rouse up at the sound of "The Blue Bells of Scotland" or "Bonnie Dundee," and his eye would flash an enthusiastic response to any song or verse that celebrated the romance, chivalry, and heroism of his native land.
* * *
Sir Walter was a strange combination of simplicity and strength. His personal appearance was strikingly odd. Once seen, he could never be forgotten. "Although forty-eight years have passed since I met him," wrote an acquaintance, "his personality is as present to me now as it was then in the flesh. His light blue waggish eye, sheltered, almost screened, by overhanging straw-colored bushy brows, his scanty, sandy-colored hair, the length of his upper lip, his towering forehead, his abrupt movements, and the mingled humor, urbanity and benevolence of his smile." His usual costume consisted of a green cutaway coat, with short skirts and brass buttons; drab trousers, vest and gaiters; a single seal and watch-key attached to a watered black ribbon dangling from his fob; a loose, soft linen collar; a black silk neckerchief; and a low-crowned, deep-brimmed hat.
W. D. MoffatEditor
W. D. Moffat
Editor
The Mentor AssociationESTABLISHED FOR THE DEVELOPMENT OF A POPULAR INTEREST IN ART, LITERATURE, SCIENCE, HISTORY, NATURE, AND TRAVELCONTRIBUTORS—PROF. JOHN C. VAN DYKE, HAMILTON W. MABIE, PROF. ALBERT BUSHNELL HART, REAR ADMIRAL ROBERT E. PEARY, WILLIAM T. HORNADAY, DWIGHT L. ELMENDORF, HENRY T. FINCK, WILLIAM WINTER, ESTHER SINGLETON, PROF. G. W. BOTSFORD, IDA M. TARBELL, GUSTAV KOBBÉ, DEAN C. WORCESTER, JOHN K. MUMFORD, W. J. HOLLAND, LORADO TAFT, KENYON COX, E. H. FORBUSH, H. E. KREHBIEL, SAMUEL ISHAM, BURGES JOHNSON, STEPHEN BONSAL, JAMES HUNEKER, W. J. HENDERSON, AND OTHERS.The purpose of The Mentor Association is to give its members, in an interesting and attractive way, the information in various fields of knowledge which everybody wants to have. The information is imparted by interesting reading matter, prepared under the direction of leading authorities, and by beautiful pictures, produced by the most highly perfected modern processes.THE MENTOR IS PUBLISHED TWICE A MONTHBY THE MENTOR ASSOCIATION, INC., AT 52 EAST NINETEENTH STREET, NEW YORK, N. Y. SUBSCRIPTION, THREE DOLLARS A YEAR. FOREIGN POSTAGE 75 CENTS EXTRA. CANADIAN POSTAGE 50 CENTS EXTRA. SINGLE COPIES FIFTEEN CENTS. PRESIDENT, THOMAS H. BECK; VICE-PRESIDENT, WALTER P. TEN EYCK; SECRETARY W. D. MOFFAT; TREASURER, ROBERT M. DONALDSON; ASST. TREASURER AND ASST. SECRETARY, J. S. CAMPBELLCOMPLETE YOUR MENTOR LIBRARYSubscriptions always begin with the current issue. The following numbers of The Mentor Course, already issued, will be sent postpaid at the rate of fifteen cents each.Serial No.1. Beautiful Children in Art2. Makers of American Poetry3. Washington, the Capital4. Beautiful Women in Art5. Romantic Ireland6. Masters of Music7. Natural Wonders of America8. Pictures We Love to Live With9. The Conquest of the Peaks10. Scotland, the Land of Song and Scenery11. Cherubs in Art12. Statues With a Story13. Story of America in Pictures: The Discoverers14. London15. The Story of Panama16. American Birds of Beauty17. Dutch Masterpieces18. Paris, the Incomparable19. Flowers of Decoration20. Makers of American Humor21. American Sea Painters22. Story of America in Pictures: The Explorers23. Sporting Vacations24. Switzerland: The Land of Scenic Splendors25. American Novelists26. American Landscape Painters27. Venice, the Island City28. The Wife in Art29. Great American Inventors30. Furniture and Its Makers31. Spain and Gibraltar32. Historic Spots of America33. Beautiful Buildings of the World34. Game Birds of America35. Story of America in Pictures: The Contest for North America36. Famous American Sculptors37. The Conquest of the Poles38. Napoleon39. The Mediterranean40. Angels in Art41. Famous Composers42. Egypt, the Land of Mystery43. Story of America in Pictures: The Revolution44. Famous English Poets45. Makers of American Art46. The Ruins of Rome47. Makers of Modern Opera48. Dürer and Holbein49. Vienna, the Queen City50. Ancient Athens51. The Barbizon Painters52. Abraham Lincoln53. George Washington54. Mexico55. Famous American Women Painters56. The Conquest of the Air57. Court Painters of France58. Holland59. Our Feathered Friends60. Glacier National Park61. Michelangelo62. American Colonial Furniture63. American Wild Flowers64. Gothic Architecture65. The Story of the Rhine66. Shakespeare67. American Mural Painters68. Celebrated Animal Characters69. Japan70. The Story of the French Revolution71. Rugs and Rug Making72. Alaska73. Charles Dickens74. Grecian Masterpieces75. Fathers of the Constitution76. Masters of the Piano77. American Historic Homes78. Beauty Spots of India79. Etchers and Etching80. Oliver Cromwell81. China82. Favorite Trees83. Yellowstone National Park84. Famous Women Writers of England85. Painters of Western Life86. China and Pottery of Our Forefathers87. The Story of The American Railroad88. Butterflies89. The Philippines90. Great Galleries of The World: The Louvre91. William M. Thackeray92. Grand Canyon of Arizona93. Architecture in American Country Homes94. The Story of The Danube95. Animals in Art96. The Holy Land97. John Milton98. Joan Of Arc99. Furniture of the Revolutionary Period100. The Ring of the Nibelung101. The Golden Age of Greece102. Chinese Rugs103. The War of 1812104. Great Galleries of the World: The National Gallery, London105. Masters of the Violin106. American Pioneer Prose Writers107. Old Silver108. Shakespeare's Country109. Historic Gardens of New England110. The Weather111. American Poets of the Soil112. Argentina113. Game Animals of America114. RaphaelNUMBERS TO FOLLOWOctober 2. THE YOSEMITE VALLEY.By Dwight L. Elmendorf, Lecturer and Traveler.October 16. JOHN PAUL JONES.By Professor Albert Bushnell Hart, Harvard University.THE MENTOR ASSOCIATION, INC.52 EAST 19th STREET, NEW YORK, N. Y.
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