Royal Edinburgh: Her Saints, Kings, Prophets and Poets

But after all there is no such account given of this wonderful visitor to Edinburgh as that we have from the after-recollections of a certain "lameter" boy who was once present in a house where Burns was a guest. The Scott boys from George Square had been admitted to the party which they were too young to join in an ordinary way, in order that they might see this wonder of the world, the ploughman-poet who was not afraid, but behaved as well as any of the gentlemen. And it befell by the happiest chance that Burns inquired who was the author of certain verses inscribed upon a print which he had been looking at. No one knew but young Walter, who we may be sure had not lost a look or a word of the stranger, and who had read everything in his invalid childhood. The boy was not bold enough to answer the question loud out, but he whispered it to some older friend, who told the poet, no doubt with an indication of the blushing and eager lad from whom it came, which procured him a word and a look never forgotten. But there passed at the same time a thought through young Walter's mind, the swift reflection of that never-failing criticism of youth which pierces unaware through all wrappings and veils of the soul. "I remember I thought Burns's acquaintance with English poetry was rather limited; and also that having twenty times the ability of Allan Ramsay and of Fergusson, he talked of them with too much humility as his models." The much-read boy was a little shocked, no doubt disturbed in his secret soul that the poet—so far above any other poet that was to be seen about the world in those days—should not have known that verse: though indeed men better read than Burns might have been excused for their want of acquaintance with a minor poet like Langhorne; but how true was the indignant observation, half angry, that with "twenty times the ability" it was Allan Ramsay and the still less important unfortunate young Fergusson to whom Burns looked up! Did the boy wonder perhaps, though too loyal to say it—for criticism at his age is always keen—whether there might be a something not quite real in that devotion, and ask in the recesses of his mind whether it was possible for such a man to be so self-deceived?

There were no doubt various affectations about Burns, as when he talks big in his diary of observing character and finding this pursuit the greatest entertainment of his life in Edinburgh, with a pretension very general among half-educated persons: but there is no reason to believe that he was not quite genuine about his predecessors. A poet is not necessarily a critic; and Allan Ramsay's fame had been exactly of the popular kind which would attract a son of the soil, whereas Fergusson was the object of Burns's especial tenderness, pity, and regard. And it is touching to recollect that the only sign he left of himself in Edinburgh, where for the first time he learned what it was to mix in fine company and to feel the freedom of money in his pocket, from which he could afford a luxury, was to place a stone over the grave of Fergusson in the Canongate Churchyard, where he lay unknown. His application to the Kirk-Session for leave to do this is still kept upon the books—a curious interruption amid the minutes of church discipline and economics. One wonders if that homely memorial is kept as it ought to be. It is a memorial not only of the admiration of one poet for another, but of Burns's poignant pity—a wellnigh intolerable pang—for a young soul who preceded himself in the way of poetry and despair, one whose life, destined to better and brighter things, had been flung away like a weed on the dismal strand. Only twenty-three years of poetry and folly had sufficed that other reckless boy to destroy himself and shatter his little lamp of light. Burns was only a few years older, and perhaps, though on the heights of triumph, felt something of that horrible tide already catching his own feet to sweep him too into the abyss. There are few things in the world more pathetic than this tribute of his to the victim who had gone before him.

I may perhaps venture to say, with an apology for recurring to a subject dealt with in another book, that this poetic visit to Edinburgh reminds me of the visit of another poet in every way very different from Burns to another city which cannot be supposed to resemble Edinburgh except in the wonderful charm and attraction for devotees which she possesses. There is indeed no just comparison between Petrarch at Venice and Burns at Edinburgh, nothing but the fantastic link, often too subtle to be traced, which makes the mind glide or leap over innumerable distances and diversities from one thing to another. The Italian poet came conferring glory, great as a prince, and attended by much the same honours and privileges, though he was but a half priest, the son of an exile, in an age and place where birth and family were of infinitely more importance than they are now. He was the perfection and flower of learning and high culture, and a fame which had reached the point which is high-fantastical, and can mount no farther—and he came to a palace allotted to him by the Government, and every distinction which it was in their power to bestow, and demeaned himself en bon prince, adorning with skilful eloquent touches of description the glorious scene beneath his windows, the pageants at which he was an honoured spectator. Nothing could be more unlike the young, shy, proud, yet genial-hearted rustic, holding firmly by that magic wand of poetry which was his sole right to consideration, and facing the curious, puzzled, patronising world with a certain suspicion, a certain defiance, as of one whom no craft or wile could betray or pretension daunt—yet ready to melt into an enthusiasm almost extravagant when a lovely young woman or a noble youth pushed open with a touch the door always ajar, or at least unfastened, of his heart.

 
"The mother may forget the child
That smiles sae sweetly on her knee;
But I'll remember thee, Glencairn,
And a' that thou hast done for me!"
 

What Glencairn had done was nothing but kindness, a warm reception which not even the poet's susceptibility could think condescending: but he is repaid with an exuberant, extravagant gratitude. Such was the man; ever afraid to compromise his dignity, but with no measure for the overflowings of his heart. Petrarch, so much more assured in his eminence and superiority to all living poets, was driven from his palace on the Riva and all his delights by the impertinent gibes of some foolish young men. But Burns was flattered and caressed to the top of his bent, and—forgotten, or at least dropped, and no more thought of. He returned to Edinburgh only to find that, the gloss of novelty having worn off, his friends were no longer ready to move heaven and earth in order to bring him to their parties, though probably had he chosen he might have worked himself back "into society" in a slower but more permanent fashion. This, however, he did not choose, but fell back among the convivial middle class, the undistinguished and over merry, where nobody thought it too great humility to refer to Allan Ramsay and Fergusson as his models. It must be recollected, however, that his second visit to Edinburgh, and what seems in the telling a foolish and almost vulgar flirtation, produced one of the most impassioned and exquisite songs of love and despair which has ever been written in any language.

 
"Ae fond kiss, and then we sever;
Ae farewell, alas! for ever!"
 

There is a stillness of exhausted feeling in this wonderful utterance which is the very soul of despair.

There has been no more remarkable moment in the experience of the town which has known so many strange and striking scenes, though its interest has little to do with history or even with national feeling. It is pure humanity in an unusual development, an episode in the life of the poet such as has many less important parallels, but scarcely any so fully representative and typical. It discloses to us suddenly, as by a flash of light striking into the darkness, the persons, the entertainments, the sentiments of a hundred years ago. We make improvements daily in external matters, but society—we had almost said humanity—rarely learns. There is not the smallest hope that in Edinburgh or elsewhere a young man of genius in Burns's position would now be either more wisely noticed or more truly benefited by such a period of close contact with people who ought by experience and knowledge to know better than he. The only thing that is probable is a falling-off, not an advance. I think it highly doubtful whether a ploughman from Ayrshire, however superlative his genius, would now be received at all in "the best houses" and by the first men and women in Edinburgh; and if not in Edinburgh, surely nowhere else would such a reception as that given to Burns await the untutored poet. The world has seldom another chance permitted to it, and in this case I cannot but think it would be worse and not better used.

BURNS'S MONUMENT

CHAPTER III
THE SHAKSPEARE OF SCOTLAND

There are many variations in degree of the greatest human gifts, but they are few in kind. The name we have ventured to place at the head of this chapter is one not so great as that of Shakspeare, not so all-embracing—though widely-embracing beyond any other second—not so ideal, not so profound. Walter Scott penetrated with a luminous revelation all that was within his scope, the most different kinds and classes of men, those whom he loved (and he loved all whom it was possible to love) and the few whom he hated, with the same comprehension and power of disclosure. But Shakspeare was not restrained by the limits of any personal scope or knowledge. He knew Lear and Macbeth, and Hamlet and Prospero, though they were beings only of his own creation. He could embody the loftiest passion in true flesh and blood, and show us how a man can be moved by jealousy or ambition in the highest superlative degree and yet be a man with all the claims upon our understanding and pity that are possessed by any brother of our own. Nothing like Lear ever came in our Scott's way: that extraordinary embodiment of human passion and weakness, the forlorn and awful strength of the aged and miserable, did not present itself to his large and genial gaze. It would not have occurred to him perhaps had he lived to the age of Methuselah. He knew not those horrors and dreadful depths of humanity that could make such tragic passion possible. But he had his revenge in one way even upon Shakspeare. Dogberry and Verges, as types of the muddle-headed old watch—pompous, confused, and self-important—are always diverting; but they would have been men not all ridiculous had Scott taken them in hand—real creatures of flesh and blood, not watchmen in the abstract. Our greater poet did not take trouble enough to make them individual, his fancy carrying him otherwhere, and leaving him scarce the time to put his jotting down. To Shakspeare the great ideals whom he almost alone has been able to make into flesh and blood; to Scott all the surrounding world, the men as we meet them about the common thoroughfares of life. He knows no Rosalind nor Imogen, but on the other hand Jeanie Deans and Jenny Headrigg would have been impossible to his great predecessor. Both, we may remark, are incapable of a young hero—the Claudios and the Bertrams being if anything a trifle worse than Henry Morton and Young Lovel. But whereas Shakspeare is greatest above that line of the conventional ideal, it is below that Sir Walter is famous. The one has no restriction, however high he may soar; the other finds nothing so common that he cannot make it immortal.

ST. GILES'S FROM PRINCES STREET

It is, however, especially in the breadth and largeness of a humanity which has scarcely any limit to its sympathy and understanding that the great romancist of Scotland resembles the greatest of English poets. They are both so great, so broad, so little restrained by any individual limitations, that a perverse criticism has made this catholic and all-comprehending nature a kind of reproach to both, as though that great and limpid mirror of their minds, in which all nature was reflected, was less noble than the sharp face of a stone which can catch but one ray. They were both subject to political prejudices and prepossessions. Shakspeare has made of many a youth of the nineteenth century an ardent Lancastrian, ready to pluck a red rose with Somerset and die for Margaret and her prince; and Scott in like manner has made many a Jacobite, though in the latter case our novelist is too full of sense even in the midst of his own inclinations to become ever an out-and-out partisan. But, except these prepossessions, they have no parti pris. Every faction renders up its soul of meaning, the most diverse figures unclose themselves side by side. The wit, the scholar, the true soldier, the braggart and thief, the Jew and the Christian, the Hamlet, hero of all time, and Shallow and Slender from the fat pastures of English rural life, come all together, each as true as if on him alone the poet's eye had fixed. And Scott is like him, setting before us with unerring pencil the old superstitious despot of mediæval France, the bustling pedant of St. James's, the ploughmen and shepherds, the churchmen, the Border reivers and Highland caterans, the broad country lying under a natural illumination, without strain or effort, large and temperate as the day. Neither in the greatest poet nor the great romancer is there any force put upon the natural fulness of life to twist its record into a narrow circle with one motive only. It is the round world and all that it inhabits, the grandeur and divinity of a universe, that delights them. Their view is large as the vision of God, or as nearly so as is given to mortal eyes. It is in this, above all, that they resemble each other. In degree Shakspeare, it need not be said, is all-transcendent, reaching heights such as no other man has reached in delineation and creation: but Scott is of his splendid species, one of his kind, the only one among all the many sons of genius with whom this island has been blessed, for whom the boldest could make such a claim.

Walter Scott belongs to all Scotland. He was, no man more, a lover of the woods and fields, of mountain-sides and pastoral braes, of the river and forest, Ettrick and Tweed and Yarrow, and Perthshire—that princely district, half Highland, half Lowland—and the chain of silvery lochs that pierce the mountain shadows through Stirling and Argyle: every league of the fair country he loved. From the Western Isles and the Orkneys to the very fringe of debatable land which parts the northern and the southern half of Great Britain—is his, and has tokens to show of his presence. When he came home to die at the end of almost the most tragic yet most noble chapter of individual history which our century has known, it was the longing of his sick heart above all other that he should not be so unblest as to lay his bones far from the Tweed.

But yet, above all other places, it was to Edinburgh that Scott belonged. His birth, his growth, the familiar scenes of his youth, his education and training, the business and work of his life, were all associated with the ancient capital. George Square—with its homely and comfortable old-fashion, which has nothing to do with antiquity, the first breaking out of the Edinburgh citizens into large space and air outside the strait boundaries of the city, with the Meadows and their trees beyond, and all the sunshine of the south side to warm the deep corps de logis, the substantial and solid mansions which are so grey without yet so full of warmth and comfort within—was the first home he knew, and his residence up to manhood. No boy could be more an Edinburgh boy. Lame though he was, he climbed every dangerous point upon the hills, and knew the recesses of Arthur's Seat and Salisbury Crags by heart before he knew his Latin grammar. His schoolboy fights, his snowballing, the little armies of urchins set in battle array, the friendly feuds of gentle and simple (sometimes attended by hard knocks, as among his own Liddesdale farmers), fill the streets with amusing recollections. And when he was promoted in due time to the Parliament House and to all the frolics of the youthful Bar, and his proud father steps forth in the snuff-coloured suit which Mr. Saunders Fairford wore after him, to tell his friends that "my son Walter passed his private Scots law examination with good approbation," and on Friday "puts on the gown and gives a bit chack of dinner to his friends and acquaintances, as is the custom," how familiar and kindly is the scene, how the sober house lights up, and the good wine about which we have known all our lives comes out of the cellar and the jokes fly round—Parliament House pleasantries and recollections of the witticisms of the Bench gradually giving place to the sallies of the wild young wits, the shaft from the new-bent bow of the young advocate himself. Nothing can be more true and simple than he is through all the tale, or more real than the Edinburgh atmosphere; the fun that is mostly in the foreground; the work that is pushed into corners yet always gets done, though it has not the air of being important except to the excellent father whose steps on the stair are the signal for the disappearance of a chess-board into a drawer or a romance under the papers,—well-known tricks of youth which we have all been guilty of. There is a curious evidence, however, in Lockhart's Life, less known than the usual tales of frolic and apparent idleness, of the professional trick of Scott's handwriting, which showed how steadily he must have laboured even in his delightful, easy, innocently irregular youth. "I allude particularly to a sort of flourish at the bottom of the page, originally, I presume, adopted in engrossing as a safeguard against the intrusion of a forged line between the legitimate text and the attesting signature. He was quite sensible," adds his biographer, "that this ornament might as well be dispensed with; and his family often heard him mutter after involuntarily performing it, 'There goes the old shop again!'" Which of us now could see that flourish without the water coming into our eyes?

THE UNIVERSITY OF EDINBURGH

It is impossible to eradicate, from the minds of youthful students at least, the admiration which always attends the performances of the young man who gains his successes without apparently working for them. As a matter of fact, it is the work which we ought to respect rather than that apparently fortuitous accidental result: but nothing will ever cure us of our native delight in an effect which appears to have no vulgar cause, and great has been the misery produced by this prejudice to many a youth who has begun with the tradition of easy triumph and presumed upon it to the loss of all his after-life. But when there shows in the apparent idler a sign like this of many a long hour's labour ignored and lightly thought of, covered over with a pleasant veil of fun and ease and happy leisure, the combination is one that no heart can resist.

Scott had read everything he could lay his hands on while he was still a child, and boasted himself a virtuoso, that is, according to his explanation, at six years old, "one who wishes and will know everything;" but his boyish tastes and triumphs became more and more athletic as he gained a firmer use of his bodily powers. No diseased consciousness of disability in respect to his lameness, like that which embittered Byron, could find a place in the rough wholesome atmosphere of the Edinburgh High School and playgrounds, where nobody was too delicate about reminding him of his infirmity, and the stout-hearted little hero took it like a man, offering "to fight mounted," and being tied upon a board accordingly for his first combat. "You may take him for a poor lameter," said one of the Eldin Clerks, a sailor, with equal friendly frankness to a party of strangers, "but he is the first to begin a row, and the last to end it." To such a youth the imperfection was a virtue the more. When the jovial band strolled forth upon long walks the cheerful "lameter" bargained for three miles an hour, and kept up with the best. They would start at five in the morning, beguiling the way with endless pranks, on one occasion at least without a single sixpence in all their youthful pockets with which to refresh themselves during a thirty miles' round. "We asked every now and then at a cottage door for a drink of water; and one or two of the goodwives, observing our worn-out looks, brought forth milk instead of water, so with that and hips and haws we came in little the worse." Little they cared for fatigue and inconvenience; they were things to laugh over when the lads got back. Scott only wished he had been a player on the flute, like George Primrose in the Vicar of Wakefield, and his father shook his head and doubted the boy was born "for nae better than a gangrel scrapegut"—reproach of little gravity, as the expedition so poorly provisioned was of little harm. Thus the young gentlemen bore cheerfully what would have been hardship to a ploughman, and gibed even at each other's weaknesses without a spark of unkindness, which made the weakness itself into a robust matter of fact not to be brooded over. High susceptibility might have suffered from the treatment, but high susceptibility generally means egotism and inordinate self-esteem, qualities which it is the very best use of public school and college to conjure away.

Nothing indeed more cheerful, more full of endless frolic and enjoyment, fresh air and fun and feeling, ever existed than the young manhood of Walter Scott. Talk of Scotch gravity and seriousness! The houses in which they were received as they roamed about—farmers' or lairds', it was all the same to the merry lads—were only too uproarious in their mirth; with songs and laughter they made the welkin ring. At home in Edinburgh the fun might be less noisy, but it was not less sincere. In the very Parliament House itself the young men clustered in their corner, telling each other the last good things, and with much ado to keep their young laughter within the bounds of decorum. The judge on the Bench, the Lord President himself, greatest potentate of all, was not more safe from the audacious wits than poor Peter Peebles. There was nothing they did not laugh at, themselves and each other as much as Lord Braxfield, and all the humours of a town more full of anecdote and jest, laughable eccentricity and keen satire and amusing comment, than any town in literature. The best joke of all perhaps was Sydney Smith's famous bon mot about the surgical operation, which no doubt he meant as an excellent joke in the midst of that laughing community, where the fun was only too fast and furious. Nowadays, when life is more temperate and the world in general has mended its manners, the habits of that period fill us with dismay; but perhaps after all there was less harm done than appears, and not more of the fearful tribute of young life which our fated race is always paying than is still exacted amid a population much less generally addicted to excess. But that of course increased rather than diminished the jovial aspect of Edinburgh life when Walter Scott was young, and when the few cares he had in hand, the occasional bit of work, interfered very little with the warm and lively social life in the midst of which he had been born. He dwelt, in every sense of the word, among his own people, his friends, the sons of his father's friends, his associates all belonging to families like his own, of good if modest rank and lineage, the "kent folk" of whom Scotland loves to keep up the record. This, which is perhaps one of the greatest advantages with which a young man can enter on life, was his from his infancy. He and his companions had been at school together, together in the college classes, in frequent social meetings, on the floor of the Parliament House. Familiar faces and kind greetings were round him wherever he went. No doubt these circumstances, so genial, so friendly and favourable, helped to perfect the most kind, the most generous and sunshiny of natures. And thus no man could be more completely at once the best product and most complete representative of his native soil.

His life too was as prosperous and full of good fortune and happiness as a man could desire. He married at twenty-six, and a few years later received the appointment of Sheriff-Depute of Selkirkshire, which rendered him independent of the precarious incomings of his profession, and made the pleasure he always took in roaming the country into a necessary part of his life's work. He had begun a playful and pleasurable authorship some time before with some translations from the German, Bürger's Lenore and Goethe's Götz von Berlichingen—the first of which was hastily made into a little book, daintily printed and bound, in order to help his suit with an early love, so easy, so little premeditated, was this beginning. With equal simplicity and absence of intention he slid into the Border Minstrelsy, which he intended not for the beginning of a long literary career, but in the first place for "a job" to Ballantyne the printer, whom he had persuaded to establish himself in Edinburgh—the best of printers and the most attached of faithful and humble friends—and for fun and the pleasure of scouring the country in pursuit of ballads, which was a search he had already entered upon to his great enjoyment. From this nothing was so easy as to float into original poetry, inspired by the same impulse and inspiration as his ballads. One of the ladies of the house of Buccleuch told him the story of the elfin page, and begged him to make a ballad of it; and from this suggestion the Lay of the Last Minstrel arose. The time was ripe for giving forth all that had been unconsciously stirring in his teeming fertile imagination. It came at once like a sudden bursting into flower, with a splendid éclosion, out-bursting, involuntary, unlaborious, delightful to himself as to mankind. From henceforward his name stood in one of the highest places of literature and his fame was assured.

PLAYFAIR'S MONUMENT, CALTON HILL

Nothing could be more unintentional, more spontaneous, almost careless; a thing done for his pleasure far more than with any serious purpose; nothing—except the later beginning, equally unintentional, of a still more important stream of production. The poems of Scott will always be open to much criticism; even those who love them most—and there are many whose love for this fresh, free, spontaneous, delightful fountain of song is strong enough to repress every impulse of criticism and transport it beyond the reach of comment to a romantic enchanted land of its own, where it flows in native sunshine and delight for ever—declining to pronounce any definite judgment as to their greatness. But to Scott in his after-work we are inclined to say no man worthy of expressing an opinion can give any but the highest place. It is true, and the fact has to be admitted with astonishment and regret, that one great writer, his countryman, speaking the same language and in every way capable of pronouncing judgment, has failed to appreciate Sir Walter. We cannot tell why, nor pretend to solve that amazing question. Perhaps it was the universal acclaim, the consent of every voice, that awoke the germ of perversity that was in Thomas Carlyle: an impulse of contradiction, especially in face of an opinion too unanimous, which is one of our national characteristics: perhaps one of those prejudices pertinacious as the rugged peasant nature itself, which sometimes warps the clearest judgment; perhaps, but this we find it difficult to believe, a narrower intensity and passion of meaning in himself which found little reflection in the great limpid mirror which Scott held up to nature. The beginning of Scott's chief and greatest work was as fortuitous, as accidental (if we may use the word), as the poetry. He took up by some passing impulse the idea of a prose story on the events of the 'forty-five, which perhaps he considered too recent to be treated in poetry; wrote (everybody knows the story) half a volume, read it to a trusted critic, who probably considered it foolish for a man who had risen to the heights of fame by one kind of composition to risk himself now with another. It is very likely that Scott himself was easily moved to the same opinion. He tossed the MS. into a drawer, and gave it up. There had been no special motive in the effort, and it cost him nothing to put it aside, to whistle for his dogs, and go out for a long round by wood and hill, or to take his gun or rod, or to entertain his visitors—all of which were more rational, more entertaining, and altogether important things to do than the writing of a dull story, which after all was not his line. For years the beginning chapters of Waverley lay there unknown. They lay very quietly, we may well believe, not bursting the dull enclosure as they might have done had the Baron of Bradwardine been yet born; but that good young Waverley was always a little dull, and might have slept till doomsday had nothing occurred to disturb his rest. One day, however, some fishing tackle was wanted for the use of one of Scott's perpetual visitors at Ashiestiel—not even for himself, for some chance man taking advantage of the Shirra's open house. Visitor arriving in a good hour! fortunate sorner, to be thereafter blessed of all men! Let us hope he got just the lines he wanted and had a good day's sport. For in his search Scott's eyes lighted upon the bundle of written pages. "Hallo!" he must have said to himself, "there they are! Let's see if they're as bad as Willie Erskine thought." In his candid soul he did not think they were very good, unless it was perhaps the description of Waverley Honour, a great mild English mansion which he would admire all the more that it was so unlike Tully Veolan. Perhaps it was the contrast which brought into his teeming brain a sudden vision of that "Scottish manor-house sixty years since," which he went off straightway and built in his eighth chapter with the baron and all his surroundings, which must have been awaiting impatient that happy moment to burst into life.