Note Back to Main Text — Chapter XLII

The author's answer to Dr. M'Crie, and his Introduction of 1830, have exhausted the historical materials on which he constructed his Old Mortality; and the origin of The Black Dwarf—as to the conclusion of which story he appears on reflection to have completely adopted the opinion of honest Blackwood—has already been sufficiently illustrated by an anecdote of his early wanderings in Tweeddale. The latter tale, however imperfect, and unworthy as a work of art to be placed high in the catalogue of his productions, derives a singular interest from its delineation of the dark feelings so often connected with physical deformity; feelings which appear to have diffused their shadow over the whole genius of Byron—and which, but for this single picture, we should hardly have conceived ever to have passed through Scott's happier mind.[52] All the bitter blasphemy of spirit which, from infancy to the tomb, swelled up in Byron against the unkindness of nature; which sometimes perverted even his filial love into a sentiment of diabolical malignity; all this black and desolate train of reflections must have been encountered and deliberately subdued by the manly parent of The Black Dwarf. Old Mortality, on the other hand, is remarkable as the novelist's first attempt to repeople the past by the power of imagination working on materials furnished by books. In Waverley he revived the fervid dreams of his boyhood, and drew, not from printed records, but from the artless oral narratives of his Invernahyles. In Guy Mannering and The Antiquary he embodied characters and manners familiar to his own wandering youth. But whenever his letters mention Old Mortality in its progress, they represent him as strong in the confidence that the industry with which he had pored over a library of forgotten tracts would enable him to identify himself with the time in which they had birth, as completely as if he had listened with his own ears to the dismal sermons of Peden, ridden with Claverhouse and Dalzell in the rout of Bothwell, and been an advocate at the bar of the Privy Council, when Lauderdale catechised and tortured the assassins of Archbishop Sharp. To reproduce a departed age with such minute and lifelike accuracy as this tale exhibits, demanded a far more energetic sympathy of imagination than had been called for in any effort of his serious verse. It is indeed most curiously instructive for any student of art to compare the Roundheads of Rokeby with the Bluebonnets of Old Mortality. For the rest—the story is framed with a deeper skill than any of the preceding novels: the canvas is a broader one; the characters are contrasted and projected with a power and felicity which neither he nor any other master ever surpassed; and, notwithstanding all that has been urged against him as a disparager of the Covenanters, it is to me very doubtful whether the inspiration of romantic chivalry ever prompted him to nobler emotions than he has lavished on the re-animation of their stern and solemn enthusiasm. This work has always appeared to me the Marmion of his novels.[53]