the fashionable coteries of the capital. Here he heard Henry Mackenzie deliver a lecture on German literature which turned his attention to the romantic poetry of Germany and led directly to his first attempts at ballad-writing. But much more vital than any or all of these influences, were those endless walking-tours which alone or in company with a boon companion he took over the neighboring country-side—care-free, roystering expeditions, which he afterwards immortalized as Dandie Dinmont's 'Liddesdale raids' in Guy Mannering. Thirty miles across country as the crow flies, with no objective point and no errand, a village inn or a shepherd's hut at night, with a crone to sing them an old ballad over the fire, or a group of hardy dalesmen to welcome them with stories and carousal—these were blithe adventurous days such as could not fail to ripen Scott's already ardent nature, and store his memory with genial knowledge. The account of Dandie Dinmont given by Mr. Shortreed may be taken as a picture, only too true in some of its touches, of Scott in these youthful escapades: 'Eh me, ... sic an endless fund of humor and drollery as he had then wi' him. Never ten yards but we were either laughing or roaring and singing. Wherever we stopped how brawlie he suited himsel' to everybody! He aye did as the lave did; never made himsel' the great man or took ony airs in the company. I've seen him in a' moods in these jaunts, grave and gay, daft and serious, sober and drunk—(this, however, even in our wildest rambles, was but rare)—but drunk or sober, he was aye the gentleman. He looked excessively heavy and stupid when he was fou, but he was never out o' gude humor.' After this, we are not surprised to hear that Scott's father told him disgustedly that he was better fitted to be a fiddling peddler, a 'gangrel scrape-gut,' than a respectable attorney. As a matter of fact, however, behind the mad pranks and the occasional excesses there was a very serious purpose in all this scouring of the country-side. Scott was picking up here and there, from the old men and women with whom he hobnobbed, antiquarian material of an invaluable kind, bits of local history, immemorial traditions and superstitions, and, above all, precious ballads which had been handed down for generations among the peasantry. These ballads, thus precariously transmitted, it was Scott's ambition to gather together and preserve, and he spared no pains or fatigue to come at any scrap of ballad literature of whose existence he had an inkling. Meanwhile, he was enriching heart and imagination for the work that was before him. So that here also, though in the hair-brained and heady way of youth, he was engaged in his task of preparation.
Scott has told us that it was his reading of Don Quixote which determined him to be an author, but he was first actually excited to composition in another way. This was by hearing recited a ballad of the German poet Burger, entitled Lenore, in which a skeleton lover carries off his bride to a wedding in the land of death. Mr. Hutton remarks upon the curiousness of the fact that a piece of 'raw supernaturalism' like this should have appealed so strongly to a mind as healthy and sane as Scott's. So it was, however. He could not rid himself of the fascination of the piece until he had translated it, and published it, together with another translation from the same author. One stanza at least of this first effort of Scott sounds a note characteristic of his poetry:
Tramp! tramp! along the land they rode, Splash! splash! along the sea; The scourge is red, the spur drops blood, The flashing pebbles flee.
Here we catch the trumpet-like clang and staccato tramp of verse which he was soon to use in a way to thrill his generation. This tiny pamphlet of verse, Scott's earliest publication, appeared in 1796. Soon after, he met Monk Lewis, then famous as a purveyor to English palates of the crude horrors which German romanticism had just ceased to revel in. Lewis was engaged in compiling a book of supernatural stories and poems under the title of Tales of Wonder, and asked Scott to contribute. Scott wrote for this book three long ballads—'Glenfinlas,' 'Cadyow Castle,' and 'The Gray Brother.' Though tainted with the conventional diction of eighteenth century verse, these ballads are not unimpressive pieces of work; the second named, especially, shows a kind and degree of romantic imagination such as his later poetry rather substantiated than newly revealed.
In the following year, 1797, Scott married a Miss Charpentier, daughter of a French refugee. She was not his first love, that place having been usurped by a Miss Stuart Belches, for whom Scott had felt perhaps the only deep passion of his life, and memory of whom was to come to the surface touchingly in his old age. Miss Charpentier, or Carpenter, as she was called, with her vivacity and quaint foreign speech 'caught his heart on the rebound'; there can be no doubt that, in spite of a certain shallowness of character, she made him a good wife, and that his affection for her deepened steadily to the end. The young couple went to live at Lasswade, a village near Edinburgh, on the Esk. Scott, in whom the proprietary instinct was always very strong, took great pride in the pretty little cottage. He made a dining-table for it with his own hands, planted saplings in the yard, and drew together two willow-trees at the gate into a kind of arch, surmounted by a cross made of two sticks. 'After I had constructed this,' he says, 'mamma (Mrs. Scott) and I both of us thought it so fine that we turned out to see it by moonlight, and walked backwards from it to the cottage door, in admiration of our magnificence and its picturesque effect.' It would have been well indeed for them both if their pleasures of proprietorship could always have remained so touchingly simple.
Now that he was married, Scott was forced to look a little more sharply to his fortunes. He applied himself with more determination to the law. In 1799 he became deputy-sheriff of Selkirkshire, with a salary of three hundred pounds, which placed him at least beyond the reach of want. He began to look more and more to literature as a means of supplementing his income. His ballads in the Tales of Wonder had gained him some reputation; this he increased in 1802 by the publication, under the title Border Minstrelsy, of the ballads which he had for several years been collecting, collating, and richly annotating. Meanwhile he was looking about for a congenial subject upon which to try his hand in a larger way than he had as yet adventured. Such a subject came to him at last in a manner calculated to enlist all his enthusiasm in its treatment, for it was given him by the Countess of Dalkeith, wife of the heir-apparent to the dukedom of Buccleugh. The ducal house of Buccleugh stood at the head of the clan Scott, and toward its representative the poet always held himself in an attitude of feudal reverence. The Duke of Buccleugh was his 'chief,' entitled to demand from him both passive loyalty and active service; so, at least, Scott loved to interpret their relationship, making effective in his own case a feudal sentiment which had elsewhere somewhat lapsed. He especially loved to think of himself as the bard of his clan, a modern representative of those rude poets whom the Scottish chiefs once kept as a part of their household to chant the exploits of the clan. Nothing could have pleased his fancy more, therefore, than a request on the part of the lady of his chief to treat a subject of her assigning— namely, the dark mischief-making of a dwarf or goblin who had strayed from his unearthly master and attached himself as page to a human household. The subject fell in with the poet's reigning taste for strong supernaturalism. Gilpin Horner, the goblin page, though he proved in the sequel a difficult character to put to poetic use, was a figure grotesque and eerie enough to appeal even to Monk Lewis. At first Scott thought of treating the subject in ballad-form, but the scope of treatment was gradually enlarged by several circumstances. To begin with, he chanced upon a copy of Goethe's Gotz von Berlichingen, and the history of that robber baron suggested to him the feasibility of throwing the same vivid light upon the old Border life of his ancestors as Goethe had thrown upon that of the Rhine barons. This led him to subordinate the part played by the goblin page in the proposed story, which was now widened to include elaborate pictures of medieval life and manners, and to lay the scene in the castle of Branksome, formerly the stronghold of Scott's and the Duke of Buccleugh's ancestors. The verse form into which the story was thrown was due to a still more accidental circumstance, i.e., Scott's overhearing Sir John Stoddard recite a fragment of Coleridge's unpublished poem 'Christabel.' The placing of the story in the mouth of an old harper fallen upon evil days, was a happy afterthought; besides making a beautiful framework for the main poem, it enabled the author to escape criticism for any violent innovations of style, since these could always be attributed to the rude and wild school of poetry to which the harper was supposed to belong. In these ways The Lay of the Last Minstrel gradually developed in its present form. Upon its publication in 1805, it achieved an immediate success. The vividness of its descriptive passages, the buoyant rush of its meter, the deep romantic glow suffusing all its pages, took by storm a public familiar to weariness with the decorous abstractions of the eighteenth century poets. The first edition, a sumptuous quarto, was exhausted in a few weeks; an octavo edition of fifteen hundred was sold out within the year; and before 1830, forty-four thousand copies were needed to supply the popular demand. Scott received in
