Sae the commons o' Renfrew, and o' the Barony, and the Gorbals, and a' about, they behoved to come into Glasgow ae fair morning, to try their hand on purging the High Kirk o' Popish nicknackets. But the townsmen o' Glasgow, they were feared their auld edifice might slip the girths in gaun through siccan rough physic, sae they rang the common bell, and a.s.sembled the train-bands wi' took o' drum. By good luck, the worthy James Rabat was Dean o' Guild that year--(and a gude mason he was himsell, made him the keener to keep up the auld bigging), and the trades a.s.sembled, and offered downright battle to the commons, rather than their kirk should coup the crans, as others had done elsewhere. It wasna for luve o'

Paperie--na, na!--nane could ever say that o' the trades o'

Glasgow--Sae they sune came to an agreement to take a' the idolatrous statues of sants (sorrow be on them!) out o' their neuks--And sae the bits o' stane idols were broken in pieces by Scripture warrant, and flung into the Molendinar burn, and the auld kirk stood as crouse as a cat when the flaes are kaimed aff her, and a'body was alike pleased. And I hae heard wise folk say, that if the same had been done in ilka kirk in Scotland, the Reform wad just hae been as pure as it is e'en now, and we wad hae mair Christianlike kirks; for I hae been sae lang in England, that naething will drived out o' my head, that the dog-kennel at Osbaldistone-Hall is better than mony a house o' G.o.d in Scotland.

31. Now this sentence is in the first place a piece of Scottish history of quite inestimable and concentrated value. Andrew's temperament is the type of a vast cla.s.s of Scottish--shall we call it "_sow_-thistlian"--mind, which necessarily takes the view of either Pope or saint that the thistle in Lebanon took of the cedar or lilies in Lebanon; and the entire force of the pa.s.sions which, in the Scottish revolution, foretold and forearmed the French one, is told in this one paragraph; the coa.r.s.eness of it, observe, being admitted, not for the sake of the laugh, any more than an onion in broth merely for its flavor, but for the meat of it; the inherent constancy of that coa.r.s.eness being a fact in this order of mind, and an essential part of the history to be told.

Secondly, observe that this speech, in the religious pa.s.sion of it, such as there may be, is entirely sincere. Andrew is a thief, a liar, a coward, and, in the Fair service from which he takes his name, a hypocrite; but in the form of prejudice, which is all that his mind is capable of in the place of religion, he is entirely sincere. He does not in the least pretend detestation of image worship to please his master, or anyone else; he honestly scorns the "carnal morality[58] as dowd and fusionless as rue-leaves at Yule" of the sermon in the upper cathedral; and when wrapt in critical attention to the "real savor o' doctrine" in the crypt, so completely forgets the hypocrisy of his fair service as to return his master's attempt to disturb him with hard punches of the elbow.

Thirdly. He is a man of no mean sagacity, quite up to the average standard of Scottish common sense, not a low one; and, though incapable of understanding any manner of lofty thought or pa.s.sion, is a shrewd measurer of weaknesses, and not without a spark or two of kindly feeling. See first his sketch of his master's character to Mr.

Hammorgaw, beginning: "He's no a'thegither sae void o' sense, neither"; and then the close of the dialogue: "But the lad's no a bad lad after a', and he needs some careful body to look after him."

Fourthly. He is a good workman; knows his own business well, and can judge of other craft, if sound, or otherwise.

All these four qualities of him must be known before we can understand this single speech. Keeping them in mind, I take it up, word by word.

32. You observe, in the outset, Scott makes no attempt whatever to indicate accents or modes of p.r.o.nunciation by changed spelling, unless the word becomes a quite definitely new, and securely writable one. The Scottish way of p.r.o.nouncing "James," for instance, is entirely peculiar, and extremely pleasant to the ear. But it is so, just because it does _not_ change the word into Jeems, nor into Jims, nor into Jawms. A modern writer of dialects would think it amusing to use one or other of these ugly spellings. But Scott writes the name in pure English, knowing that a Scots reader will speak it rightly, and an English one be wise in letting it alone. On the other hand he writes "weel" for "well," because that word is complete in its change, and may be very closely expressed by the double _e_. The ambiguous _u_'s in "gude" and "sune" are admitted, because far liker the sound than the double _o_ would be, and that in "hure," for grace' sake, to soften the word; so also "flaes" for "fleas." "Mony" for "many" is again positively right in sound, and "neuk" differs from our "nook" in sense, and is not the same word at all, as we shall presently see.

Secondly, observe, not a word is corrupted in any indecent haste, slowness, slovenliness, or incapacity of p.r.o.nunciation. There is no lisping, drawling, s...o...b..ring, or snuffling: the speech is as clear as a bell and as keen as an arrow: and its elisions and contractions are either melodious, ("na," for "not,"--"pu'd," for "pulled,") or as normal as in a Latin verse. The long words are delivered without the slightest bungling; and "bigging" finished to its last _g_.

33. I take the important words now in their places.

_Brave._ The old English sense of the word in "to go brave," retained, expressing Andrew's sincere and respectful admiration. Had he meant to insinuate a hint of the church's being too fine, he would have said "braw."

_Kirk._ This is of course just as pure and unprovincial a word as "Kirche," or "eglise."

_Whigmaleerie._ I cannot get at the root of this word, but it is one showing that the speaker is not bound by cla.s.sic rules, but will use any syllables that will enrich his meaning. "Nipperty-tipperty" (of his master's "poetry-nonsense") is another word of the same cla.s.s.

"Curliewurlie" is of course just as pure as Shakespeare's "Hurlyburly."

But see first suggestion of the idea to Scott at Blair-Adam (L. vi.

264).

_Opensteek hems._ More description, or better, of the later Gothic cannot be put into four syllables. "Steek," melodious for st.i.tch, has a combined sense of closing or fastening. And note that the later Gothic being precisely what Scott knew best (in Melrose) and liked best, it is, here as elsewhere, quite as much himself[59] as Frank, that he is laughing at, when he laughs _with_ Andrew, whose "opensteek hems" are only a ruder metaphor for his own "willow-wreaths changed to stone."

_Gunpowther._ "-Ther" is a lingering vestige of the French "-dre."

_Syne._ One of the melodious and mysterious Scottish words which have partly the sound of wind and stream in them, and partly the range of softened idea which is like a distance of blue hills over border land ("far in the distant Cheviot's blue"). Perhaps even the least sympathetic "Englisher" might recognize this, if he heard "Old Long Since" vocally subst.i.tuted for the Scottish words to the air. I do not know the root; but the word's proper meaning is not "since," but before or after an interval of some duration, "as weel sune as syne." "But first on Sawnie gies a ca', Syne, bauldly in she enters."

_Behoved_ (_to come_). A rich word, with peculiar idiom, always used more or less ironically of anything done under a partly mistaken and partly pretended notion of duty.

_Siccan._ Far prettier, and fuller in meaning than "such." It contains an added sense of wonder; and means properly "so great" or "so unusual."

_Took_ (_o' drum_). Cla.s.sical "tuck" from Italian "toccata," the preluding "touch" or flourish, on any instrument (but see Johnson under word "tucket," quoting "Oth.e.l.lo"). The deeper Scottish vowels are used here to mark the deeper sound of the ba.s.s drum, as in more solemn warning.

_Bigging._ The only word in all the sentence of which the Scottish form is less melodious than the English, "and what for no," seeing that Scottish architecture is mostly little beyond Bessie Bell's and Mary Gray's? "They biggit a bow're by yon burnside, and theekit it ow're wi'

rashes." But it is pure Anglo-Saxon in roots; see glossary to Fairbairn's edition of the Douglas "Virgil," 1710.

_Coup._ Another of the much-embracing words; short for "upset," but with a sense of awkwardness as the inherent cause of fall; compare Richie Moniplies (also for sense of "behoved"): "Ae auld hirplin deevil of a potter behoved just to step in my way, and offer me a pig (earthen pot--etym. dub.), as he said 'just to put my Scotch ointment in'; and I gave him a push, as but natural, and the tottering deevil coupit owre amang his own pigs, and damaged a score of them." So also Dandie Dinmont in the postchaise: "'Od! I hope they'll no coup us."

_The Crans._ Idiomatic; root unknown to me, but it means in this use, fall total, and without recovery.[60]

_Molendinar._ From "molendinum," the grinding-place. I do not know if actually the local name,[61] or Scott's invention. Compare Sir Piercie's "Molinaras." But at all events used here with by-sense of degradation of the formerly idle saints to grind at the mill.

_Crouse._ Courageous, softened with a sense of comfort.

_Ilka._ Again a word with azure distance, including the whole sense of "each" and "every." The reader must carefully and reverently distinguish these comprehensive words, which gather two or more perfectly understood meanings into one _chord_ of meaning, and are harmonies more than words, from the above-noted blunders between two half-hit meanings, struck as a bad piano-player strikes the edge of another note. In English we have fewer of these combined thoughts; so that Shakespeare rather plays with the distinct lights of his words, than melts them into one. So again Bishop Douglas spells, and doubtless spoke, the word "rose,"

differently, according to his purpose; if as the chief or governing ruler of flowers, "rois," but if only in her own beauty, rose.

_Christianlike._ The sense of the decency and order proper to Christianity is stronger in Scotland than in any other country, and the word "Christian" more distinctly opposed to "beast." Hence the back-handed cut at the English for their over-pious care of dogs.

34. I am a little surprised myself at the length to which this examination of one small piece of Sir Walter's first-rate work has carried us, but here I must end for this time, trusting, if the Editor of the _Nineteenth Century_ permit me, yet to trespa.s.s, perhaps more than once, on his readers' patience; but, at all events, to examine in a following paper the technical characteristics of Scott's own style, both in prose and verse, together with Byron's, as opposed to our fashionably recent dialects and rhythms; the essential virtues of language, in both the masters of the old school, hinging ultimately, little as it might be thought, on certain unalterable views of theirs concerning the code called "of the Ten Commandments," wholly at variance with the dogmas of automatic morality which, summed again by the witches' line, "Fair is foul, and foul is fair," hover through the fog and filthy air of our prosperous England.

FOOTNOTES:

[Footnote 37: _Nineteenth Century_, June, 1880.]

[Footnote 38: See _Time and Tide_, - 72.--ED.]

[Footnote 39: Nell, in the "Old Curiosity Shop," was simply killed for the market, as a butcher kills a lamb (see Forster's "Life,") and Paul was written under the same conditions of illness which affected Scott--a part of the ominous palsies, grasping alike author and subject both in "Dombey" and "Little Dorrit."]

[Footnote 40: "Chourineur" not striking with dagger-point, but ripping with knife-edge. Yet I do him, and La Louve, injustice in cla.s.sing them with the two others; they are put together only as parts in the same phantasm. Compare with La Louve, the strength of wild virtue in the "Louvecienne" (Lucienne) of Gaboriau--she, province-born and bred; and opposed to Parisian civilization in the character of her seamstress friend. "De ce Paris, ou elle etait nee, elle savait tout--elle connaissait tout. Rien ne l'etonnait, nul ne l'intimidait. Sa science des details materiels de l'existence etait inconcevable. Impossible de la duper!--Eh bien! cette fille si laborieuse et si econome n'avait meme pas la plus vague notion des sentiments qui sont l'honneur de la femme.

Je n'avais pas idee d'une si complete absence de sens moral; d'une si inconscience depravation, d'une impudence si effrontement nave."--"L'Argent des autres," vol. i. p. 358.]

[Footnote 41: The reader who cares to seek it may easily find medical evidence of the physical effects of certain states of brain disease in producing especially images of truncated and Hermes-like deformity, complicated with grossness. Horace, in the "Epodes," scoffs at it, but not without horror. Luca Signorelli and Raphael in their arabesques are deeply struck by it: Durer, defying and playing with it alternately, is almost beaten down again and again in the distorted faces, hewing halberts, and suspended satyrs of his arabesques round the polyglot Lord's Prayer; it takes entire possession of Balzac in the "Contes Drolatiques"; it struck Scott in the earliest days of his childish "visions" intensified by the ax-stroke murder of his grand aunt (L. i.

142, and see close of this note). It chose for him the subject of the "Heart of Midlothian," and produced afterwards all the recurrent ideas of executions, tainting "Nigel," almost spoiling "Quentin Durward"--utterly the "Fair Maid of Perth": and culminating in "Bizarro"

(L. x. 149). It suggested all the deaths by falling, or sinking, as in delirious sleep--Kennedy, Eveline Neville (nearly repeated in Clara Mowbray), Amy Robsart, the Master of Ravenswood in the quicksand, Morris, and Corporal Grace-be-here--compare the dream of Gride, in "Nicholas Nickleby," and d.i.c.kens's own last words, _on the ground_ (so also, in my own inflammation of the brain, two years ago, I dreamed that I fell through the earth and came out on the other side). In its grotesque and distorting power, it produced all the figures of the Lay Goblin, Pacolet, Flibbertigibbet, c.o.c.kledemoy, Geoffrey Hudson, Fenella, and Nectaba.n.u.s; in d.i.c.kens it in like manner gives Quilp, Krook, Smike, Smallweed, Miss Mowcher, and the dwarfs and wax-work of Nell's caravan; and runs entirely wild in "Barnaby Budge," where, with a corps de drame composed of one idiot, two madmen, a gentleman-fool who is also a villain, a shop-boy fool who is also a blackguard, a hangman, a shriveled virago, and a doll in ribbons--carrying this company through riot and fire, till he hangs the hangman, one of the madmen, his mother, and the idiot, runs the gentleman-fool through in a b.l.o.o.d.y duel, and burns and crushes the shop-boy fool into shapelessness, he cannot yet be content without shooting the spare lover's leg off, and marrying him to the doll in a wooden one; the shapeless shop-boy being finally also married in _two_ wooden ones. It is this mutilation, observe, which is the very sign manual of the plague; joined, in the artistic forms of it, with a love of thorniness--(in their mystic root, the truncation of the limbless serpent and the spines of the dragon's wing. Compare "Modern Painters," vol. iv., "Chapter on the Mountain Gloom," s. 19); and in _all_ forms of it, with petrifaction or loss of power by cold in the blood, whence the last Darwinian process of the witches' charm--"cool it with a baboon's _blood, then_ the charm is firm and good." The two frescoes in the colossal handbills which have lately decorated the streets of London (the baboon with the mirror, and the Maskelyne and Cooke decapitation) are the final English forms of Raphael's arabesque under this influence; and it is well worth while to get the number for the week ending April 3, 1880, of "Young Folks--a magazine of instructive and entertaining literature for boys and girls of all ages,"

containing "A Sequel to Desdichado" (the modern development of Ivanhoe), in which a quite monumental example of the kind of art in question will be found as a leading ill.u.s.tration of this characteristic sentence, "See, good Cerberus," said Sir Rupert, "_my hand has been struck off.

You must make me a hand of iron, one with springs in it, so that I can make it grasp a dagger_." The text is also, as it professes to be, instructive; being the ultimate degeneration of what I have above called the "folly" of "Ivanhoe"; for the folly begets folly down, and down; and whatever Scott and Turner did wrong has thousands of imitators--their wisdom none will so much as hear, how much less follow!

In both of the Masters, it is always to be remembered that the evil and good are alike conditions of literal _vision_: and therefore also, inseparably connected with the state of the health. I believe the first elements of all Scott's errors were in the milk of his consumptive nurse, which all but killed him as an infant (L. i. 19)--and was without doubt the cause of the teething fever that ended in his lameness (L. i.

20). Then came (if the reader cares to know what I mean by "Fors," let him read the page carefully) the fearful accidents to his only sister, and her death (L. i. 17); then the madness of his nurse, who planned his own murder (21), then the stories continually told him of the executions at Carlisle (24), his aunt's husband having seen them; issuing, he himself scarcely knows how, in the unaccountable terror that came upon him at the sight of statuary (31)--especially Jacob's ladder; then the murder of Mrs. Swinton, and finally the nearly fatal bursting of the blood vessel at Kelso, with the succeeding nervous illness (65-67)--solaced, while he was being "bled and blistered till he had scarcely a pulse left," by that history of the Knights of Malta--fondly dwelt on and realized by actual modeling of their fortress, which returned to his mind for the theme of its last effort in pa.s.sing away.]

[Footnote 42: "Se dit par denigrement, d'un chretien qui ne croit pas les dogmes de sa religion."--Fleming, vol. ii. p. 659.]

[Footnote 43: The novel alluded to is "The Mill on the Floss." See below, p. 272, - 108.--ED.]

[Footnote 44: "A son nom," properly. The sentence is one of Victor Cherbuliez's, in "Prosper Randoce," which is full of other valuable ones. See the old nurse's "ici bas les choses vont de travers, comme un chien qui va a vepres," p. 93; and compare Prosper's treasures, "la pet.i.te Venus, et le pet.i.t Christ d'ivoire," p. 121; also Madame Brehanne's request for the divertiss.e.m.e.nt of "quelque belle batterie a coups de couteau" with Didier's answer. "Helas! madame, vous jouez de malheur, ici dans la Drome, l'on se ma.s.sacre aussi peu que possible," p.

33.]

[Footnote 45: Edgeworth's "Tales," (Hunter, 1827), "Harrington and Ormond," vol. iii. p. 260.]

[Footnote 46: Alice of Salisbury, Alice Lee, Alice Bridgnorth.]

[Footnote 47: Scott's father was habitually ascetic. "I have heard his son tell that it was common with him, if any one observed that the soup was good, to taste it again, and say, 'Yes--it is too good, bairns,' and dash a tumbler of cold water into his plate."--Lockhart's "Life" (Black, Edinburgh, 1869), vol. i. p. 312. In other places I refer to this book in the simple form of "L."]

[Footnote 48: A young lady sang to me, just before I copied out this page for press, a Miss Somebody's "great song," "Live, and Love, and Die." Had it been written for nothing better than silkworms, it should at least have added--Spin.]

[Footnote 49: See pa.s.sage of introduction to "Ivanhoe," wisely quoted in L. vi. 106.]

[Footnote 50: See below, note, p. 199, on the conclusion of "Woodstock."]