We have seldom found Sydney Smith giving higher praise, and nobody can deny the justice of the censure11 with which it is qualified12. Scott himself explains, in his Introduction, how, in his quest of novelty, he invaded modern life, and the domain13 of Miss Austen. Unhappily he proved by example the truth of his own opinion that he could do “the big bow-wow strain” very well, but that it was not his celebrare domestica facta. Unlike George Sand, Sir Walter had humour abundantly, but, as the French writer said of herself, he was wholly destitute14 of esprit.
We need not linger over definition of these qualities; but we must recognise, in Scott, the absence of lightness of touch, of delicacy15 in the small sword-play of conversation. In fencing, all should be done, the masters tell us, with the fingers. Scott works not even with the wrist, but with the whole arm. The two-handed sword, the old claymore, are his weapons, not the rapier. This was plain enough in the word-combats of Queen Mary and her lady gaoler in Loch Leven. Much more conspicuous16 is the “swashing blow” in the repartee17 of “St. Ronan’s.” The insults lavished18 on Lady Binks are violent and cruel; even Clara Mowbray taunts19 her. Now Lady Binks is in the same parlous20 case as the postmistress who dreed penance21 “for ante-nup,” as Meg Dods says in an interrupted harangue22, and we know that, to the author’s mind, Clara Mowbray had no right to throw stones. All these jeers23 are offensive to generous feeling, and in the mouth of Clara are intolerable. Lockhart remarked in Scott a singular bluntness of the sense of smell and of taste. He could drink corked24 wine without a suspicion that there was anything wrong with it. This curious obtuseness25 of a physical sense, in one whose eyesight was so keen, who, “aye was the first to find the hare” in coursing, seems to correspond with his want of lightness in the invention of badinage26. He tells us that, for a long while at least, he had been unacquainted with the kind of society, the idle, useless underbred society, of watering-places. Are we to believe that the company at Gilsland, for instance, where he met and wooed Miss Charpentier, was like the company at St. Ronan’s? Lockhart vouches27 for the snobbishness28, “the mean admiration29 of mean things,” the devotion to the slimmest appearances of rank. All this is credible30 enough, but, if there existed a society as dull and base as that which we meet in the pages of “Mr. Soapy Sponge,” and Surtees’s other novels, assuredly it was no theme for the great and generous spirit of Sir Walter. The worst kind of manners always prevail among people whom moderns call “the second-rate smart,” and these are drawn31 in “St. Ronan’s Well.” But we may believe that, even there, manners are no longer quite so hideous32 as in the little Tweedside watering-place. The extinction33 of duelling has destroyed, or nearly destroyed, the swaggering style of truculence35; people could not behave as Mowbray and Sir Bingo behave to Tyrrel, in the after-dinner scene. The Man of Peace, the great MacTurk, with his harangues36 translated from the language of Ossian, is no longer needed, and no longer possible. Supposing manners to be correctly described in “St. Ronan’s,” the pessimist37 himself must admit that manners have improved. But it is not without regret that we see a genius born for chivalry38 labouring in this unworthy and alien matter.
The English critics delighted to accuse Scott of having committed literary suicide. He had only stepped off the path to which he presently returned. He was unfitted to write the domestic novel, and even in “St. Ronan’s” he introduces events of romantic improbability. These enable him to depict39 scenes of the most passionate40 tragedy, as in the meeting of Clara and Tyrrel. They who have loved so blindly and so kindly41 should never have met, or never parted. It is like a tragic42 rendering43 of the scene where Diana Vernon and Osbaldistone encounter each other on the moonlit moor44. The wild words of Clara, “Is it so, and was it even yourself whom I saw even now? . . . And, all things considered, I do carry on the farce45 of life wonderfully well,”— all this passage, with the silence of the man, is on the highest level of poetic46 invention, and Clara ranks with Ophelia. To her strain of madness we may ascribe, perhaps, what Sydney Smith calls the vulgarity of her lighter47 moments. But here the genius of Shakspeare is faultless, where Scott’s is most faulty and most mistaken.
Much confusion is caused in “St. Ronan’s Well” by Scott’s concession48 to the delicacy of James Ballantyne. What has shaken Clara’s brain? Not her sham49 marriage, for that was innocent, and might be legally annulled50. Lockhart writes (vii. 208): “Sir Walter had shown a remarkable51 degree of good-nature in the composition of this novel. When the end came in view, James Ballantyne suddenly took vast alarm about a particular feature in the heroine’s history. In the original conception, and in the book as actually written and printed, Miss Mowbray’s mock marriage had not halted at the profane53 ceremony of the church; and the delicate printer shrank from the idea of obtruding54 on the fastidious public the possibility of any personal contamination having occurred to a high-born damsel of the nineteenth century.” Scott answered: “You would never have quarrelled with it had the thing happened to a girl in gingham — the silk petticoat can make little difference.” “James reclaimed55 with double energy, and called Constable to the rescue; and, after some pause, the author very reluctantly consented to cancel and re-write about twenty-four pages, which was enough to obliterate56, to a certain extent, the dreaded57 scandal — and, in a similar degree, as he always persisted, to perplex and weaken the course of his narrative58, and the dark effect of its catastrophe59.”
From a communication printed in the “Athen?um” of Feb. 4, 1893, extracts from the original proof-sheets, it seems that Lockhart forgot the original plan of the novel. The mock marriage did halt at the church door, but Clara’s virtue60 had yielded to her real lover, Tyrrel, before the ceremony. Hannah Irwin had deliberately61 made opportunities for the lovers’ meeting, and at last, as she says, in a cancelled passage, “the devil and Hannah Irwin prevailed.” There followed remorse62, and a determination not to meet again before the Church made them one, and, on the head of this, the mock marriage shook Clara’s reason. This was the original plan; it declares itself in the scene between Tyrrel and Clara (vol. i. chap, ix.): “Wherefore should not sorrow be the end of sin and folly63?” The reviewer in the “Monthly Review” (1824) says “there is a hint of some deeper cause of grief (see the confession64 to the brother), but it is highly problematical.” For all this the delicacy of James Ballantyne is to blame — his delicacy, and Scott’s concessions65 to a respectable man and a bad critic.
The origin of “St. Ronan’s Well” has been described by Lockhart in a familiar passage. As Laidlaw, Scott, and Lockhart were riding along the brow of the triple-peaked Eildon Hills, Scott mentioned “the row” that was going on in Paris about “Quentin Durward.” “I can’t but think I could make better play still with something German,” he said. Laidlaw grumbled66 at this: “You are always best, like Helen MacGregor, when your foot is on your native heath; and I have often thought that if you were to write a novel, and lay the scene here in the very year you were writing it, you would exceed yourself.” “Hame’s hame,” quoth Scott, smiling, “be it ever sae hamely,” and Laidlaw bade him “stick to Melrose in 1823.” It was now that Scott spoke67 of the village tragedy, the romance of every house, of every cottage, and told a tale of some horrors in the hamlet that lies beyond Melrose, on the north side of Tweed. Laidlaw and Lockhart believed that this conversation suggested “St. Ronan’s Well,” the scene of which has been claimed as their own by the people of Innerleithen. This little town is beautifully situated68 where the hills of Tweed are steepest, and least resemble the bosses verdatres of Prosper69 Mérimée. It is now a manufacturing town, like its neighbours, and contributes its quota70 to the pollution of “the glittering and resolute71 streams of Tweed.” The pilgrim will scarce rival Tyrrel’s feat52 of catching72 a clean-run salmon73 in summer, but the scenes are extremely pleasing, and indeed, from this point to Dryburgh, the beautiful and fabled74 river is at its loveliest. It is possible that a little inn farther up the water, “The Crook,” on the border of the moorland, and near Tala Linn, where the Covenanters held a famous assembly, may have suggested the name of the “Cleikum.” Lockhart describes the prosperity which soon flowed into Innerleithen, and the St. Ronan’s Games, at which the Ettrick Shepherd presided gleefully. They are still held, or were held very lately, but there will never come again such another Shepherd, or such contests with the Flying Tailor of Ettrick.
Apart from the tragedy of Clara, doubtless the better parts of “St. Ronan’s Well” are the Scotch75 characters. Even our generation remembers many a Meg Dods, and he who writes has vividly76 in his recollection just such tartness77, such goodness of heart, such ungoverned eloquence78 and vigour79 of rebuke80 as made Meg famous, successful on the stage, and welcome to her countrymen. These people, Mrs. Blower and Meg, are Shakspearean, they live with Dame81 Quickly and Shallow, in the hearts of Scots, but to the English general they are possibly caviare. In the gallant82 and irascible MacTurk we have the waning83 Highlander84: he resembles the Captain of Knockdunder in “The Heart of Mid85 Lothian,” or an exaggerated and ill-educated Hector of “The Antiquary.” Concerning the women of the tale, it may be said that Lady Binks has great qualities, and appears to have been drawn “with an eye on the object,” as Wordsworth says, and from the life. Lady Penelope seems more exaggerated now than she probably did at the time, for the fashion of affectation changes. The Winterblossoms and Quacklebens are accurate enough in themselves, but are seen through a Blackwoodian atmosphere, as it were, through a mist of the temporary and boisterous86 Scotch humour of the day. The author occasionally stoops to a pun, and, like that which Hood87 made in the hearing of Thackeray, the pun is not good. Indeed the novel, in its view of the decay of the Border, the ruined Laird, the frivolous88 foolish society of the Well, taking the place of sturdy William of Deloraine, and farmers like Scott’s grandfather, makes a picture of decadence89 as melancholy90 as “Redgauntlet.” “Not here, O Apollo, are haunts meet for thee!” Strangely enough, among the features of the time, Scott mentions reckless borrowings, “accommodation,” “Banks of Air.” His own business was based on a “Bank of Air,” “wind-capital,” as Cadell, Constable’s partner, calls it, and the bubble was just about to burst, though Scott had no apprehension91 of financial ruin. A horrid92 power is visible in Scott’s second picture of la mauvaise pauvre, the hag who despises and curses the givers of “handfuls of coals and of rice;” his first he drew in the witches of “The Bride of Lammermoor.” He has himself indicated his desire to press hard on the vice93 of gambling94, as in “The Fortunes of Nigel.” Ruinous at all times and in every shape, gambling, in Scott’s lifetime, during the Regency, had crippled or destroyed many an historical Scottish family. With this in his mind he drew the portrait of Mowbray of St. Ronan’s. His picture of duelling is not more seductive; he himself had lost his friend, Sir Alexander Boswell, in a duel34; on other occasions this institution had brought discomfort95 into his life, and though he was ready to fight General Gourgaud with Napoleon’s pistols, he cannot have approved of the practices of the MacTurks and Bingo Binkses. A maniac96, as his correspondence shows, challenged Sir Walter, insisting that he was pointed97 at and ridiculed98 in the character of MacTurk. (Abbotsford MSS.) It is interesting to have the picture of contemporary manners from Scott’s hand — Meg Dods remains99 among his immortal100 portraits; but a novel in which the absurd will of fiction and the conventional Nabob are necessary machinery101 can never be ranked so high as even “The Monastery” and “Peveril.” In Scotland, however, it was infinitely102 more successful than its admirable successor “Redgauntlet.”
ANDREW LANG. December 1893.
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1
tout
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| v.推销，招徕；兜售；吹捧，劝诱 | |
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dire
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| adj.可怕的，悲惨的，阴惨的，极端的 | |
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anvil
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| n.铁钻 | |
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judgments
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| 判断( judgment的名词复数 )； 鉴定； 评价； 审判 | |
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fable
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| n.寓言；童话；神话 | |
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distinguished
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| adj.卓越的，杰出的，著名的 | |
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constable
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| n.(英国)警察，警官 | |
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delineation
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| n.记述；描写 | |
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landlady
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| n.女房东，女地主 | |
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intercourse
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| n.性交；交流，交往，交际 | |
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censure
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| v./n.责备；非难；责难 | |
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qualified
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| adj.合格的，有资格的，胜任的，有限制的 | |
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domain
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| n.(活动等)领域，范围；领地，势力范围 | |
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destitute
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| adj.缺乏的；穷困的 | |
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delicacy
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| n.精致，细微，微妙，精良；美味，佳肴 | |
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conspicuous
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| adj.明眼的，惹人注目的；炫耀的，摆阔气的 | |
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repartee
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| n.机敏的应答 | |
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lavished
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| v.过分给予，滥施( lavish的过去式和过去分词 ) | |
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taunts
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| 嘲弄的言语，嘲笑，奚落( taunt的名词复数 ) | |
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parlous
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| adj.危险的，不确定的，难对付的 | |
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penance
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| n.（赎罪的）惩罪 | |
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harangue
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| n.慷慨冗长的训话，言辞激烈的讲话 | |
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jeers
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| n.操纵帆桁下部（使其上下的）索具；嘲讽( jeer的名词复数 )v.嘲笑( jeer的第三人称单数 ) | |
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corked
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| adj.带木塞气味的，塞着瓶塞的v.用瓶塞塞住( cork的过去式 ) | |
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obtuseness
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| 感觉迟钝 | |
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badinage
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| n.开玩笑，打趣 | |
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vouches
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| v.保证( vouch的第三人称单数 )；担保；确定；确定地说 | |
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snobbishness
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| 势利； 势利眼 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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credible
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| adj.可信任的，可靠的 | |
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drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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hideous
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| adj.丑陋的，可憎的，可怕的，恐怖的 | |
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extinction
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| n.熄灭，消亡，消灭，灭绝，绝种 | |
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duel
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| n./v.决斗；(双方的)斗争 | |
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truculence
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| n.凶猛，粗暴 | |
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harangues
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| n.高谈阔论的长篇演讲( harangue的名词复数 )v.高谈阔论( harangue的第三人称单数 ) | |
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pessimist
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| n.悲观者；悲观主义者；厌世 | |
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chivalry
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| n.骑士气概，侠义；（男人）对女人彬彬有礼，献殷勤 | |
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depict
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| vt.描画，描绘；描写，描述 | |
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40
passionate
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| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
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kindly
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| adj.和蔼的，温和的，爽快的；adv.温和地，亲切地 | |
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tragic
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| adj.悲剧的，悲剧性的，悲惨的 | |
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43
rendering
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| n.表现，描写 | |
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44
moor
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| n.荒野，沼泽；vt.(使)停泊；vi.停泊 | |
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45
farce
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| n.闹剧，笑剧，滑稽戏；胡闹 | |
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46
poetic
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| adj.富有诗意的，有诗人气质的，善于抒情的 | |
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47
lighter
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| n.打火机，点火器；驳船；v.用驳船运送；light的比较级 | |
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48
concession
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| n.让步，妥协；特许(权) | |
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49
sham
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| n./adj.假冒(的)，虚伪(的) | |
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50
annulled
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| v.宣告无效( annul的过去式和过去分词 )；取消；使消失；抹去 | |
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51
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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52
feat
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| n.功绩；武艺，技艺；adj.灵巧的，漂亮的，合适的 | |
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53
profane
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| adj.亵神的，亵渎的；vt.亵渎，玷污 | |
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54
obtruding
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| v.强行向前，强行，强迫( obtrude的现在分词 ) | |
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55
reclaimed
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| adj.再生的；翻造的；收复的；回收的v.开拓( reclaim的过去式和过去分词 )；要求收回；从废料中回收（有用的材料）；挽救 | |
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56
obliterate
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| v.擦去，涂抹，去掉...痕迹，消失，除去 | |
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57
dreaded
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| adj.令人畏惧的；害怕的v.害怕，恐惧，担心( dread的过去式和过去分词) | |
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58
narrative
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| n.叙述，故事；adj.叙事的，故事体的 | |
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catastrophe
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| n.大灾难，大祸 | |
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60
virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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deliberately
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| adv.审慎地；蓄意地；故意地 | |
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remorse
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| n.痛恨，悔恨，自责 | |
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folly
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| n.愚笨，愚蠢，蠢事，蠢行，傻话 | |
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64
confession
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| n.自白，供认，承认 | |
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65
concessions
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| n.（尤指由政府或雇主给予的）特许权( concession的名词复数 )；承认；减价；（在某地的）特许经营权 | |
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66
grumbled
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| 抱怨( grumble的过去式和过去分词 )； 发牢骚； 咕哝； 发哼声 | |
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67
spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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68
situated
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| adj.坐落在...的，处于某种境地的 | |
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prosper
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| v.成功，兴隆，昌盛；使成功，使昌隆，繁荣 | |
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70
quota
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| n.（生产、进出口等的）配额，（移民的）限额 | |
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resolute
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| adj.坚决的，果敢的 | |
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72
catching
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| adj.易传染的，有魅力的，迷人的，接住 | |
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73
salmon
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| n.鲑，大马哈鱼，橙红色的 | |
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fabled
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| adj.寓言中的，虚构的 | |
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75
scotch
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| n.伤口，刻痕；苏格兰威士忌酒；v.粉碎，消灭，阻止；adj.苏格兰(人)的 | |
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76
vividly
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| adv.清楚地，鲜明地，生动地 | |
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tartness
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| n.酸，锋利 | |
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eloquence
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| n.雄辩；口才，修辞 | |
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79
vigour
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| （=vigor）n.智力，体力，精力 | |
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80
rebuke
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| v.指责，非难，斥责 [反]praise | |
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81
dame
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| n.女士 | |
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gallant
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| adj.英勇的，豪侠的；(向女人)献殷勤的 | |
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83
waning
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| adj.（月亮）渐亏的，逐渐减弱或变小的n.月亏v.衰落( wane的现在分词 )；（月）亏；变小；变暗淡 | |
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highlander
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| n.高地的人，苏格兰高地地区的人 | |
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mid
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| adj.中央的，中间的 | |
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86
boisterous
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| adj.喧闹的，欢闹的 | |
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87
hood
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| n.头巾，兜帽，覆盖；v.罩上，以头巾覆盖 | |
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88
frivolous
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| adj.轻薄的；轻率的 | |
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decadence
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| n.衰落，颓废 | |
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90
melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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apprehension
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| n.理解，领悟；逮捕，拘捕；忧虑 | |
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horrid
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| adj.可怕的；令人惊恐的；恐怖的；极讨厌的 | |
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vice
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| n.坏事；恶习；[pl.]台钳，老虎钳；adj.副的 | |
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gambling
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| n.赌博；投机 | |
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discomfort
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| n.不舒服，不安，难过，困难，不方便 | |
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96
maniac
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| n.精神癫狂的人；疯子 | |
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pointed
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| adj.尖的，直截了当的 | |
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98
ridiculed
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| v.嘲笑，嘲弄，奚落( ridicule的过去式和过去分词 ) | |
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99
remains
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| n.剩余物，残留物；遗体，遗迹 | |
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100
immortal
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| adj.不朽的；永生的，不死的；神的 | |
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101
machinery
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| n.(总称)机械，机器；机构 | |
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102
infinitely
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| adv.无限地，无穷地 | |
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