“With what perfect placidity he submitted to be bored even by bores of the first water!” says Lockhart. The species is one which we all have many opportunities of studying, but it may be admitted that Scott produced his studies of bores with a certain complacency. Yet they are all different bores, and the gay, kind scald Halcro is very unlike Master Mumblasen or Dominie Sampson.
For a hero Mordaunt may be called almost sprightly and individual. His mysterious father occasionally suggests the influence of Byron, occasionally of Mrs. Radcliffe. The Udaller is as individual and genial as Dandie Dinmont himself; or, again, he is the Cedric of Thule, though much more sympathetic than Cedric to most readers. His affection for his daughters is characteristic and deserved. Many a pair of sisters, blonde and brune, have we met in fiction since Minna and Brenda, but none have been their peers, and, like Mordaunt in early years, we know not to which of them our hearts are given. They are “L’Allegro” and “Il Penseroso” of the North, and it is probable that all men would fall in love with Minna if they had the chance, and marry Brenda, if they could. Minna is, indeed, the ideal youth of poetry, and Brenda of the practical life. The innocent illusions of Minna, her love of all that is old, her championship of the forlorn cause, her beauty, her tenderness, her truth, her passionate waywardness of sorrow, make her one of Scott’s most original and delightful heroines. She believes and trembles not, like Bertram in “Rokeby.” Brenda trembles, but does not believe in Norna’s magic, and in the spirits of ancient saga. As for Cleveland, Scott managed to avoid Byron’s Lara-like pirates, and produced a freebooter as sympathetic as any hostis humani generis can be, while “Frederick Altamont” (Thackeray borrowed the name for his romantic crossing-sweeper) has a place among the Marischals and Bucklaws of romance. Scott’s minute studies in Dryden come to the aid of his local observations, and so, out of not very promising materials, and out of the contrast of Lowland Scot and Orcadian, the romance is spun. Probably the “psychological analysis” which most interested the author is the double consciousness of Norna, the occasional intrusions of the rational self on her dreams of supernatural powers. That double consciousness, indeed, exists in all of us: occasionally the self in which we believe has a vision of the real underlying self, and shudders from the sight, like the pair “who met themselves” in the celebrated drawing.
“The Pirate” can scarcely be placed in the front rank of Scott’s novels, but it has a high and peculiar place in the second, and probably will always be among the special favourites of those who, being young, are fortunate enough not to be critical.
Scott’s novels at this time came forth so frequently that the lumbering “Quarterlies” toiled after them in vain. They adopted the plan of reviewing them in batches, and the “Quarterly” may be said to have omitted “The Pirate” altogether. About this time Gifford began to find that the person who spoke of a “dark dialect of Anglified Erse” was not a competent critic, and Mr. Senior noticed several of the tales in a more judicious manner. As to “The Pirate,” the “Edinburgh Review” found “the character and story of Mertoun at once commonplace and extravagant.” Cleveland disappoints “by turning out so much better than we had expected, and yet substantially so ill.” “Nothing can be more beautiful than the description of the sisters.” “Norna is a new incarnation of Meg Merrilies, and palpably the same in the spirit ... but far above the rank of a mere imitated or borrowed character.” “The work, on the whole, opens up a new world to our curiosity, and affords another proof of the extreme pliability, as well as vigour, of the author’s genius.”
Andrew Lang.
August 1893.
[1] Lockhart, vi. 388-393. Erskine died before Scott, slain by a silly piece of gossip, and Mr. Skene says: “I never saw Sir Walter so much affected by any event, and at the funeral, which he attended, he was quite unable to suppress his feelings, but wept like a child.” His correspondence with Scott fell into the hands of a lady, who, seeing that it revealed the secret of Scott’s authorship, most unfortunately burned all the letters. (Journal, i. 416.)
[2] Scott’s Diary, July 29, 1814. Lockhart, vi. 183.
[3] See Author’s Note No. I.
[4] Diary; Lockhart, iv. 223.
[5] “Atalanta,” December 1892.
INTRODUCTION
TO
THE PIRATE.
This brief preface may begin like the tale of the Ancient Mariner, since it was on shipboard that the author acquired the very moderate degree of local knowledge and information, both of people and scenery, which he has endeavoured to embody in the romance of the Pirate.
In the summer and autumn of 1814, the author was invited to join a party of Commissioners for the Northern Light-House Service, who proposed making a voyage round the coast of Scotland, and through its various groups of islands, chiefly for the purpose of seeing the condition of the many lighthouses under their direction,—edifices so important, whether regarding them as benevolent or political institutions. Among the commissioners who manage this important public concern, the sheriff of each county of Scotland which borders on the sea, holds ex-officio a place at the Board. These gentlemen act in every respect gratuitously, but have the use of an armed yacht, well found and fitted up, when they choose to visit the lighthouses. An excellent engineer, Mr. Robert Stevenson, is attached to the Board, to afford the benefit of his professional advice. The author accompanied this expedition as a guest; for Selkirkshire, though it calls him Sheriff, has not, like the kingdom of Bohemia in Corporal Trim’s story, a seaport in its circuit, nor its magistrate, of course, any place at the Board of Commissioners,—a circumstance of little consequence where all were old and intimate friends, bred to the same profession, and disposed to accommodate each other in every possible manner.
The nature of the important business which was the principal purpose of the voyage, was connected with the amusement of visiting the leading objects of a traveller’s curiosity; for the wild cape, or formidable shelve, which requires to be marked out by a lighthouse, is generally at no great distance from the most magnificent scenery of rocks, caves, and billows. Our time, too, was at our own disposal, and, as most of us were freshwater sailors, we could at any time make a fair wind out of a foul one, and run before the gale in quest of some object of curiosity which lay under our lee.