volumes (three in number) were now, for the first time, of the post 8vo form, with a finer paper than hitherto, the press-work much more elegant, and the price accordingly raised from eight shillings the volume to ten; yet the copies sold in this original shape were twelve thousand.

I ought to have mentioned sooner, that the original intention was to bring out Ivanhoe as the production of a new hand, and that, to assist this impression, the work was printed in a size and manner unlike the preceding ones; but Constable, when the day of publication approached, remonstrated against this experiment, and it was accordingly abandoned.

The reader has already been told that Scott dictated the greater part of this romance. The portion of the MS. which is his own, appears, however, not only as well and firmly executed as that of any of the Tales of my Landlord, but distinguished by having still fewer erasures and interlineations, and also by being in a smaller hand. The fragment is beautiful to look at many pages together without one alteration. It is, I suppose, superfluous to add, that in no instance did Scott re-write his prose before sending it to the press. Whatever may have been the case with his poetry, the world uniformly received the prima cura of the novelist.

A facsimile of a page is given with this volume. Three of these MS. pages were a fair day's work in the author's estimation-equal to 15 or 16 of the original impression.

As a work of art, Ivanhoe is perhaps the first of all Scott's efforts, whether in prose or in verse; nor have the strength and splendour of his imagination been displayed to higher advantage than in some of the scenes of this romance. But I believe that no reader who is capable of thoroughly comprehending the author's Scotch character and Scotch dialogue will ever place even Ivanhoe, as a work of genius, on the same level with Waverley, Guy Mannering, or the Heart of Mid-Lothian.

There is, to me, something so remarkably characteristic of Scott's mind and manner in a particular passage of the Introduction, which he penned ten years afterwards for this work, that I must be pardoned for extracting it here. He says" The character of the fair Jewess found so much favour in the eyes of some fair readers, that the writer was censured, because, when arranging the fates of the characters of the drama, he had not assigned the hand of Wilfred to Rebecca, rather than the less interesting Rowena. But, not to mention that the prejudices of the age rendered such an union almost impossible, the author may, in passing, observe that he thinks a character of a highly virtuous and lofty stamp is degraded rather than exalted by an attempt to reward virtue with temporal prosperity. Such is not the recompense which providence has deemed worthy of suffering merit; and it is a dangerous and fatal doctrine to teach young persons, the most com

mon readers of romance, that rectitude of conduct and of principle are either naturally allied with, or adequately rewarded by, the gratification of our passions, or attainment of our wishes. In a word, if a virtuous and self-denied character is dismissed with temporal wealth, greatness, rank, or the indulgence of such a rashly-formed or ill-assorted passion as that of Rebecca for Ivanhoe, the reader will be apt to say, verily Virtue has had its reward. But a glance on the great picture of life will show, that the duties of self-denial, and the sacrifice of passion to principle, are seldom thus remunerated; and that the internal consciousness of their high-minded discharge of duty produces on their own reflections a moré adequate recompense, in the form of that peace which the world cannot give or take away."

66

The introduction of the charming Jewess and her father originated, I find, in a conversation that Scott held with his friend Skene during the severest season of his bodily sufferings in the early part of this year. "Mr Skene,” says that gentleman's wife, sitting by his bedside, and trying to amuse him as well as he could in the intervals of pain, happened to get on the subject of the Jews, as he had observed them when he spent some time in Germany in his youth. Their situation had naturally made a strong impression; for in those days they retained their own dress and manners entire, and were treated with considerable austerity by their Christian neighbours,

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being still locked up at night in their own quarter by great gates; and Mr Skene, partly in seriousness, but partly from the mere wish to turn his mind at the moment upon something that might occupy and divert it, suggested that a group of Jews would be an interesting feature if he could contrive to bring them into his next novel." Upon the appearance of Ivanhoe, he reminded Mr Skene of this conversation, and said, "You will find this book owes not a little to your German reminiscences." Mrs Skene addsDining with us one day, not long before Ivanhoe was begun, something that was mentioned led him to describe the sudden death of an advocate of his acquaintance, a Mr Elphinstone, which occurred in the Outer-house soon after he was called to the bar. It was, he said, no wonder that it had left a vivid impression on his mind, for it was the first sudden death he ever witnessed; and he now related it so as to make us all feel as if we had the scene passing before our eyes. In the death of the Templar in Ivanhoe, I recognised the very picture-I believe I

way,

very words."*

may safely say the By the before Ivanhoe made its appearance, I had myself been formally admitted to the author's secret; but had he favoured me with no such confidence, it would have been impossible for me to doubt that I had been present some months before at the

* See Waverley Novels, vol. xvii. p. 379.

conversation which suggested, and indeed supplied all the materials of, one of its most amusing chapters. I allude to that in which our Saxon terms for animals in the field, and our Norman equivalents for them as they appear on the table, and so on, are explained and commented on. All this Scott owed to the after-dinner talk one day in Castle Street of his old friend Mr William Clerk, who, among other elegant pursuits, has cultivated the science of philology very deeply.

I cannot conclude this chapter without observing that the publication of Ivanhoe marks the most brilliant epoch in Scott's history as the literary favourite of his contemporaries. With the novel which he next put forth, the immediate sale of these works began gradually to decline; and though even when that had reached its lowest declension, it was still far above the most ambitious dreams of any other novelist, yet the publishers were afraid the announcement of any thing like a falling-off might cast a damp over the spirits of the author. He was allowed to remain, for several years, under the impression that whatever novel he threw off commanded at once the old triumphant sale of ten or twelve thousand, and was afterwards, when included in the collective edition, to be circulated in that shape also as widely as Waverley or Ivanhoe. In my opinion, it would have been very unwise in the booksellers to give Scott any unfavourable tidings upon such subjects after the commence