ESSAY.

Evening Star, Issue 2809, 17 February 1872, Page 2

ESSAY.

On the “ Writings of Sir Walter Scott and their influence c>tx the present age.” ( Concluded.) No author ever taught the duty of filial attachment in a more pleasing and impressive way than Sir Walter Scott. There are Quly two pr three of the novels in which a foud father and devoted daughter, may not be pointed out among the chief characters, and in which the main interest of many scenes does not arise out of that paternal and filial relation, What a touching display of natural feeling, under every turn of circumstances, either of joy or of sorrow, runs

through the history of David Deans and his two daughters. How affecting are the grouping and contrast of Isaac, the kind bit miserly Jew, and his brave and affectionate Rebecca ; of the burly Baron of Bradwardine, and the sensitive Hose ; the d’gnified Mannoring, and the bewitching Julia. The heroines in “ Rob Roy” and the “ Black Dwarf” are elutions and affectionate daughters, the one of an unfortunate and the other of a selfish, and unworthy 'J here is nothing in the whole story of “ Kenilworth more indicative of a master hand than the paternal carefulness and fears of the churl Roster ; and among the most striking and touching scenes in “A Legend of Montrose,”is that in which Sir Duncan Campbell is attracted by an unaccountable yearning towards his unknown child, the supposed orphan of Darlinvarach. In the “ Antiquary and “Bride of Lammcrmoor,” anxiety is raised to the highest pitch by the spectacle of father and daughter being exposed to the same danger. There are touches of nature and passages of passion in Scott’s writings, that have never been surpassed. Scenes more alßcting than between Jennie and Effic Deans in the prison, speeches-more sublime in their eloquence than those of Rebecca in “ Jvanhoo,” as she stands on the battlements of Torquilstone, ready to gi'C her soul to God rather than her honor to the Templar, or as she, at the command of her judges, throws off her veil and says, “ X obey you, ye are elders among your people, I will shew you the features of an ill-fated maiden,” or tragic destiny more thrillingly told than that of the unfortunate “Bride of Lammermoor,” Lucy Ashton, are not surpassed, if equalled, by any author save Shakespeare, The cruelty of the double-dyed villain, Sir Richard Varney, the tool of the Earl of Leicester, to the unfortunate Amy Robsart, and the unfeeling mother, in the character of Lady Ashton, to her ill-fated daughter, show the dark ride of human nature. But nothing shows the charitable spirit of the man better than his always painting even his worst characters with some redeeming feature. Dirk Hatterick, in “Guy Mannexing’’—perhaps the blackest character in all his writings—is described as being always honest to his employer. It is a fine feature in reading the works of Scott, that from the tragic scenes the mind is constantly relieved by the broad humor of a Bailie Riool Jar vie, a Richard Moniplies, a Dugald Dalgettie, a Caleb Balderston, a Cuddie Headrigg, or an Edie Ochiltree. Sir Walter Scott has added more characters to the historical gallery o: literature than any author, Shakespeare alone excepted. His characters are ail distinct, and representative of their class—- “ He never o’ersteps the modesty of nature. ” He had the dramatic power of painting a character in a few words, as if by a magic wand. As a man of genius he certainly ranks next to Shakespeare. Scott’s connection with our literature was far more than that he enriched it by his contributions —far more even than in one department of it he is unequalled, while in another he has few superiors. He was an epoch-making man in our literature. He was the child of its past, and the parent of its future. And undoubtedly he influenced —perhaps more than any other name has influenced—the current of the after-time. His songs called forth hosts of singers; and in their grand simplicity they did more perhaps than even the poems of Wordsworth to free bur literature'from the conventionalities and artiflcialislns of the last' century. In the “Roman Lays” of Macaulay and the “ Cavalier Ballads” of Aytoun his presence may be distinctly felt. Of the historical romance in prose he may well be called the father. His literary offspring are both numerous and influential. In Italy, Manzoni and U‘Azeglio; in Germany, Zchoke and Alexis; in France, Hugo De Vigny, and the elder Dumas j in America, Cooper; at home, Gratton, Leigh Hunt, Tliackery, Buhver Lytton, and’D‘lsraeli, are among the most distinguished of those who have followed in his track, and we feel sure that t e foremost of them would willingly acknowledge him as their cheif. His writings gave a stimulus to historical research in a hundred different ways. He was the founder of the Bannatyne Clubpatent ' model to many similar societies, which have contributed many valuable aqto opr literature. Historians began to imitate Imp, by using a more dramatic style, developing individual character, and bestowing more time and trouble in describing the state of society aiul places of interest. Is it too numb to say that we are indebted to the example of Scott for the vivid, dazzling light thrown over many famous meu by Carlyle, many of the most eloquent and graceful digressions of Hallam, and many of the most splendid passages of socne-paiutiug by Macaulay ? He has shown that Genius may be the handmaid of Virtue, without diminishing its lustre, and set a noble example to his successors, by writing the most bewitching and instructive romances, in language that need call forth no blush upon the cheek of the most virtuous woman. One day while Scott was dictating “ Ivanhoe,” to Laidlaw, ho suddenly slapped his thigh with his hand, and, with a twinkle in his eye, said, “Willie! I think I’ll make something of Rebecca yetand, on Laidlaw telling him he ought to be proud of making such virtuous heroines, as they would do his countrywomen far more good than the trashy and degrading novels they but too often read at present—the tears ’ tripled down his cheeks, and it' was sometime before he calmed down, so much effected was he. What a consolation must it have been to him in his late years to reflect that though his works had been read by millions, they could not hut have an elevating and ennobling tendency. Though this essay has mainly to do with his writing and their influence, we can scarcely do justice to either without taking into consideration his ligryne I+fe. I‘t may be called his greatest epic. If, in the full power and vigor of his intellect, he is the advocate of an active, healthy, conscientious, ideal of human life, what shall we say of that witness to truth, uprightness, to highminded purpose which the concluding years of his life bear ? If ever man died a martyr to duty it was Sir’ Walter Scott, That splendid career wag shortened, that mighty Jotellept was clouded, in one of the noblest efforts that was ever made by man, to render wbat was due to his fellow-creatures, and in so doing to die in peace. He has left a name that shall never bo forgotten, so Jong as Scotland maintains her nationality—so long as genius receives her due meed of admiration—so long as uprightness, truth and kindness, simplicity and self-sacrifising love appeal to the heart of man.