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spell. In the face of the later novels, we still claim that his poetry is the delight of boys. But this means that when we re-open these old books, we all consent to be boys again. We tread over our youthful grounds with joy. Critics have found them to be only rhymed prose. But I believe that many of those who read them in youth, when, later, they come to dismiss finally their school-days' library, will make some fond exception for Scott as for Byron.

His own ear

It is easy to see the origin of his poems. had been charmed by old ballads crooned by Scottish dames at firesides, and written down from their lips by antiquaries; and, finding them now outgrown and dishonored by the new culture, he attempted to dignify and adapt them to the times in which he lived. Just so much thought, so much picturesque detail in dialogue or description as the old ballad required, so much suppression of details, and leaping to the event, he would keep and use, but without any ambition to write a high poem after a classic model. He made no pretension to the lofty style of Spenser, or Milton, or Wordsworth. Compared with their purified songs, purified of all ephemeral color or material,-his were vers de société. But he had the skill proper to vers de société, — skill to fit his verse to his topic, and not to write solemn pentameters alike on a hero or a spaniel. His good sense probably elected the ballad, to make his audience larger. He apprehended in advance the immense enlargement of the reading public, which almost dates from the era of his books, an event which his books and Byron's inaugurated; and which, though until then unheard of, has become familiar to the present time.

If the success of his poems, however large, was partial, that of his novels was complete. The tone of strength in "Waverley" at once announced the master, and was more than justified by the superior genius of the following romances, up to the "Bride of Lammermoor," which almost goes back to Eschylus, for a counterpart, as a painting of Fate, leaving on every reader the impression of the highest and purest tragedy.

His power on the public mind rests on the singular union of two influences. By nature, by his reading and taste, an aristocrat, in a time and country which easily gave him that bias, he had the virtues and graces of that class, and by his eminent humanity and his love of labor escaped its harm. He saw in the English Church the symbol and seal of all social order; in the historical aristocracy, the benefits to the state which Burke claimed for it; and in his own reading and research, such store of legend and renown as won his imagination to their cause.

Not less his eminent humanity delighted in the sense and virtue and wit of the common people. In his own household and neighbors, he found characters and pets of humble class, with whom he established the best relation,small farmers and tradesmen, shepherds, fishermen, gypsies, peasant-girls, crones, -and came with these into real ties of mutual help and goodwill. From these originals he drew so genially his Jeannie Deans, his Dinmonts and Edie Ochiltrees, Caleb Balderstone and Fairservice, Cuddie Headriggs, Dominies, Meg Merrilies and Jeannie Rintherouts, full of life and reality; making these, too, the pivots on which the plots of his stories turn; and meantime without one word of brag of this discernment, nay, this extreme sympathy reaching down to every beggar and beggar's dog, and horse and cow. In the number and variety of his characters, he approaches Shakespeare. Other painters in verse or prose have thrown into literature a few type-figures, as Cervantes, DeFoe, Richardson, Goldsmith, Sterne, and Fielding; but Scott portrayed with equal strength and success every figure in his crowded company.

His strong good sense saved him from the faults and foibles incident to poets,- from nervous egotism, sham modesty, or jealousy. He played ever a manly part. With such a fortune and such a genius, we should look to see what heavy toll the Fates took of him, as of Rousseau or Voltaire, of Swift or Byron. But no: he had no insanity, or vice, or blemish. He was a thoroughly upright, wise, and great-hearted man, equal to whatever event or fortune should try him. Disasters only drove him to immense exertion. What an ornament and safeguard is humor! Far better than wit for a poet and writer. It is a genius itself, and so defends from the insanities.

Under what rare conjunction of stars was this man born, that, wherever he lived, he found superior men, passed all his life in the best company, and still found himself the best of the best! He was apprenticed at Edinburgh to a Writer to the Signet, and became a Writer to the Signet, and found himself in his youth and manhood and age in the society of Mackintosh, Horner, Jeffrey, Playfair, Dugald Stewart, Sydney Smith, Leslie, Sir William Hamilton, Wilson, Hogg, De Quincey, to name only some of his literary neighbors.

Mr. HILLARD's remarks related chiefly to a portrait of Scott painted for the late Mr. Ticknor by Leslie, which, with the smaller portrait by Stuart Newton now the property of Mrs. Philip H. Sears of Boston, was exhibited at the meeting. Mr. Hillard read an interesting letter from Leslie to Mr. Ticknor,

written about the time he was engaged in painting the portrait referred to, which for so many years has hung on the wall over the fire-place in his library in Boston.

Mr. QUINCY produced copies of the first edition of "Waverley" and of "Marmion," belonging to the Boston Athenæum, and also the editiones principes of the novels which are in the Dowse collection, belonging to the Society; and stated some facts connected with their publication. He also spoke of the great merit of the Stuart Newton picture, which he said was regarded as a faithful likeness of the great novelist.

Mr. WATERSTON produced some autograph manuscripts of Scott, including a portion of the History of Scotland, bearing upon the trial of Queen Mary; together with proof-sheets of the same, with important corrections in Sir Walter's own hand. Captain Basil Hall asserts that Scott never corrected the press, or, if he did so at all, it was very slightly, and that in general his works came before the public just as they were written. Similar statements have often been made, and are widely believed. Doubtless, in certain cases, it may have been true that Scott was not careful to revise his manuscripts or proof-sheets; but all the specimens in the possession of Mr. Waterston proved that in many instances he was scrupulously exact, and left nothing undone to have his work brought before the public in as perfect a condition as possible. The manuscripts and the proof-sheets, here presented, gave evidence of the most conscientious care both in regard to the statement of facts, and also to phraseology, even to the slightest shades of expression. In some instances, where long sentences were introduced into the middle of a page and new paragraphs added, the whole type must have been reset. Thus incontrovertible demonstration was given that both the original manuscripts and the proofsheets were subjected to the most searching revision. Even the punctuation was carefully corrected with his own hand, showing that nothing was too minute to escape notice.

The next autograph paper presented by Mr. Waterston to the meeting, was a letter of Scott to Robert Pierce Gillies, well known as an able translator of several works from the German, and the editor at that time of the "Foreign Review," which commenced its existence under his influence.

With this letter, Scott sends an article for that periodical; a "generous benefaction," as Lockhart terms it, which, he adds, "was equivalent to giving a brother author £100, at the expense of considerable time and drudgery to himself." This was Scott's method, in numberless instances, of serving

literary persons who had often little or no claim upon him, except that they were in need either of literary or pecuniary aid; or perhaps both, which might, as the world goes, not be unlikely! Such a letter, with its accompanying literary contribution, is doubly interesting, both as showing Scott's prompt and hearty way of doing things, and the genuine nobleness of his nature. He makes no parade of liberality, but simply says, "The rest of the Review goes herewith. Also two books,-'Duc de Guise à Naples,' from which there is one or two small translations to be made; the other, a book of my own, a present from my dear friend Lord Somerville."

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Lord Somerville, ranking by birth among the most ancient of the Scottish Barons, had suddenly died at Vevay, while on his way to Italy, in 1819, and in the Edinboro' Journal of that year Scott published an elaborate tribute to his much loved friend. Lord Somerville, for many years President of the Board of Agriculture, was the original of "the Laird," in "Paul's Letters to his Kinsfolk," written by Scott from Paris in 1815. At the time of Somerville's last illness, Scott writes to his son, then an officer in the 18th Hussars, "His death will be another severe loss to me; for he was a kind, good friend, and, at my time of life, men do not readily take to new associates." The strength of Scott's affections, and their abiding tenacity, are clearly perceptible; referring to the volume given him by Lord Somerville, he says: "I wish you would employ any clever-fingered scribe to write out the passages for insertion, of which there are several. I would not by any means choose the book to go into the printing-office. Though it is not much worth, I HAVE A PRODIGIOUS VALUE FOR IT.”

This was written some years after the death of his friend. The letter closes with these memorable words: "Life is but a winter's day, and every minute must be improved.

"I am, dear sir, yours very truly, "I will be in Edin' on the 11th instant.”

WALTER SCOTT."

Mr. Waterston then produced from his collection of autographs an important portion of " Kenilworth" in Sir Walter's handwriting, including the interview between Essex and Sussex at the Royal Palace, in the presence of Queen Elizabeth, at which interview, it will be remembered, Sir Walter Raleigh was present, as we find here recorded by Scott's hand.

In the midst of one of the violent outbursts between Leicester and Sussex, Scott exclaims, "The spirit of Henry VIII. was instantly aroused in the bosom of his daughter, and she turned on Leicester with a severity which appalled him, as well as all his followers."

"Kenilworth" was published in 1821, exactly fifty years ago. So that the autograph dates midway between this anniversary and the day we celebrate, a period which may be called the culminating point of Scott's literary greatness, for the success of that work was perhaps without a parallel. The blaze of popularity into which it instantly burst has never diminished. "It continues, and I doubt not will ever continue," says Lockhart, "to be placed in the very highest rank of prose fiction."

The pages upon which this manuscript is written are eight inches by ten, with fifty-six lines to a page. "Three such pages," Lockhart tells us, "were, in the author's estimation, a fair day's work, and were equal to fifteen or sixteen pages, as originally printed."

He never rewrote such pages for the press. What was written was only upon one side of the leaf, all additions and alterations being made upon the blank page. The whole, though in dialogue, is without a break, closely written, five lines to an inch, with no special space indicating particular speakers: the words of Essex, Sussex, and Queen Elizabeth flow directly on; while cool narrative, and fiery and passionate altercation, are given in the same steady hand. It is curious to consider the working of Scott's mind at a moment of such tremendous creation, and to witness with what apparent calmness his sentences glide over the page.

How should we feel to look upon the writing of Shakespeare as he penned the most wonderful passages of Hamlet or Macbeth? Yet here is a production in many respects not less marvellous. We have before us the very page over which Scott brooded at the instant when those immortal imaginations took shape. More than this, we are permitted to stand as it were, by his side, and watch the dawning of his second thought.

Take two instances as an illustration. Queen Elizabeth called upon Essex and Sussex to join hands and forget their animosities. The two rivals looked at each other with reluctant eyes, each unwilling to make the first advance. They remained still and stubborn, until the Queen raised her voice to a height which argued both impatience and absolute command.

"My Lords of Sussex and Leicester," she said, "I bid you, once more, to join hands, and God's death! he that refuses shall taste our Tower fare ere he see our face again." Here the passage originally ended; but on the blank page, in the same handwriting, is the second thought:

"I will lower your proud hearts, ere we part, and that I promise on the word of a Queen!"

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