and chisels out individual character from general nature, and imparts a distinct personality to the creature of his invention ? Such are (for example, the slight tinge of superstition, contracted by the romantic young Astrologer in his adventure at Ellangowan, not wholly effaced in maturer life, and extending itself by contagion to the mind of his daughter,” &c. &c.

- It would have gratified Mr Adolphus could he have known when he penned these pages a circumstance which the reperusal of them brings to my memory. When Guy Mannering was first published, the Ettrick Shepherd said to Professor Wilson, “ I have done wi' doubts now. Colonel Mannering is just Walter Scott, painted by himself.” This was repeated to James Ballantyne, and he again mentioned it to Scott — who smiled in approbation of the Shepherd's shrewdness, and often afterwards, when the printer expressed an opinion in which he could not concur, would cut him short with — “ James — James — you'll find that Colonel Mannering has laid down the law on this point." - I resume my extract

“ All the productions I am acquainted with, both of the poet and of the prose writer, recommend themselves by a native piety and goodness, not generally predominant in modern works of imagination; and which, where they do appear, are too often disfigured by eccentricity, pretension, or bad taste. In the works before us there is a constant tendency to promote the desire of excellence in ourselves, and the love of it in our neighbours, by making us think honourably of our general nature. Whatever kindly or charitable affection, whatever principle of manly and honest ambition exists within us, is roused and stimulated by the

perusal of these writings ; our passions are won to the cause of justice, purity, and self-denial; and the old, indissoluble ties that bind us to country, kindred, and birthplace, appear to strengthen as we read, and brace themselves more firmly about the heart and imagination. Both writers, although peculiarly happy in their conception of all chivalrous and romantic excellencies, are still more distinguished by their deep and true feeling and expressive delineation of the graces and virtues proper to domestic life. The gallant, elevated, and punctilious character which a Frenchman contemplates in speaking of “un honnête homme,' is singularly combined, in these authors, with the genial, homely good qualities that win from a Caledonian the exclamation of honest man!' But the crown of their merits, as virtuous and moral writers, is the manly and exemplary spirit with which, upon all seasonable occasions, they pay honour and homage to religion, ascribing to it its just pre-eminence among the causes of human happiness, and dwelling on it as the only certain source of pure and elevated thoughts, and upright, benevolent, and magnanimous actions.

“ This, then, is common to the books of both writers, -- that they furnish a direct and distinguished contrast to the atrabilious gloom of some modern works of genius, and the wanton, but not artless levity of others. They yield a memorable, I trust an immortal, accession to the evidences of a truth not always fashionable in literature, that the mind of man may put forth all its bold luxuriance of original thought, strong feeling, and vivid imagination, without being loosed from any sacred and social bond, or pruned of any legitimate affection; and that the Muse is indeed a heavenly goddess,' and not a graceless, lawless runagate,

'éqghtag, đBépesotos, & vborios — “ Good sense, the sure foundation of excellence in all the arts, is another leading characteristic of these productions. Assuming the author of Waverley and the author of Marmion to be the same person, it would be difficult in our times to find a second equally free from affectation, prejudice, and every other distortion

or depravity of judgment, whether arising from ignorance, weakness, or corruption of morals. It is astonishing that so voluminous and successful a writer should so seldom be betrayed into any of those fantastic tricks' which, in such a man, make the angels weep,' and (è converso) the critics laugh. He adopts no fashionable cant, colloquial, philosophical, or literary; he takes no delight in being unintelligible ; he does not amuse himself by throwing out those fine sentimental and metaphysical threads which float upon the air, and tease and tickle the passengers, but present no palpable substance to their grasp; he aims at no beauties that scorn the eye of vulgar light;' he is no dealer in paradoxes; no affecter of new doctrines in taste or morals; be has no eccentric sympathies or antipathies; no maudlin philanthropy, or impertinent cynicism; no non-descript hobby-horse ; and with all his matchless energy and originality of mind, he is content to admire popular books, and enjoy popular pleasures; to cherish those opinions which experience has sanctioned; to reverence those institutions which antiquity has hallowed; and to enjoy, admire, cherish, and reverence all these with the same plainness, simplicity, and sincerity as our ancestors did of old.

“I cannot help dwelling for a moment on the great similarity of manner apparent in the female portraits of the two writers. The pictures of their heroines are executed with a peculiar fineness, delicacy, and minuteness of touch, and with a care at times almost amounting to timidity, so that they generally appear more highly finished, but less boldly and strikingly thrown out, than the figures with which they are surrounded. Their elegance and purity are always admirable, and are happily combined, in most instances, with unaffected ease and natural spirit. Strong practical sense is their most prevailing characteristic, unaccompanied by any repulsive air of selfishness, pedantry, or unfeminine harshness. Few writers have ever evinced, in so strong a degree as the authors of Marmion and Waverley, that manly regard, and dignified but enthusiastic devotion, which may be expressed by

the term loyalty to the fair sex, the honourable attribute of chivalrous and romantic ages. If they touch on the faults of womankind, their satire is playful, not contemptuous; and their acquaintance with female manners, graces, and foibles, is apparently drawn, not from libertine experience, but from the guileless familiarity of domestic life.

" Of all human ties and connexions there is none so frequently brought in view, or adorned with so many touches of the most affecting eloquence by both these writers, as the pure and tender relation of father and daughter. Douglas and Ellen in the Lady of the Lake will immediately occur to you as a distinguished example. Their mutual affection and solicitude ; their pride in each other's excellencies; the parent's regret of the obscurity to which fate has doomed his child; and the daughter's self-devotion to her father's welfare and safety, constitute the highest interest of the poem, and that which is most uniformly sustained ; nor does this or any other romance of the same author contain a finer stroke of passion than the overboiling of Douglas's wrath, when, mixed as a stranger with the crowd at Stirling, he sees his daughter's favourite Lufra chastised by the royal huntsman.

“ In Rokeby the filial attachment and duteous anxieties of Matilda form the leading feature of her character, and the chief source of her distresses. The intercourse between King Arthur and his daughter Gyneth, in The Bridal of Triermain, is neither long, nor altogether amicable; but the monarch's feelings on first beholding that beautiful • slip of wilderness,' and his manner of receiving her before the queen and court, are too forcibly and naturally described to be omitted in this enumeration.

“ Of all the novels, there are at most but two or three in which a fond father and affectionate daughter may not be pointed out among the principal characters, and in which the main interest of many scenes does not arise out of that paternal and filial relation. What a beautiful display of natural feeling, under every turn of circumstances that can render the situations of child and parent agonizing or delightful, runs through the history of David

Deans and his two daughters! How affecting is the tale of Leicester's unhappy Countess, after we have seen her forsaken father consuming away with moody sorrow in his joyless manor house! How exquisite are the grouping and contrast of Isaac, the kind but sordid Jew, and his heroic Rebecca, of the buckram Baron of Bradwardine and the sensitive Rose, the reserved but ardent Mannering, and the flighty coquette Julia! In the Antiquary, and Bride of Lammermoor, anxiety is raised to the most painful height by the spectacle of father and daughter exposed together to imminent and frightful peril. The heroines in Rob Roy and the Black Dwarf are duteous and devoted daughters, the one of an unfortunate, the other of an unworthy parent. In the whole story of Kenilworth there is nothing that more strongly indicates a master-hand than the paternal carefulness and apprehensions of the churl Foster; and among the most striking scenes in A Legend of Montrose, is that in which Sir Duncan Campbell is attracted by an obscure yearning of the heart toward his unknown child, the supposed orphan of Darlinvarach."

I must not attempt to follow out Mr Adolphus in his most ingenious tracings of petty coincidences in thought, and, above all, in expression, between the poet of Marmion and the novelist of Waverley. His apology for the minuteness of his detail in that part of his work, is, however, too graceful to be omitted:-“ It cannot, I think, appear frivolous or irrelevant, in the enquiry we are pursuing, to dwell on these minute coincidences. Unimportant indeed they are if looked upon as subjects of direct criticism; but considered with reference to our present purpose, they resemble those light substances which, floating on the trackless sea,

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