personates the young baron, to the great annoyance of the whole inhabitants.

The lady finds the wounded knight, and eagerly employs charms for his recovery, that she may learn the story of his disaster. The lovely Margaret, in the mean time, is sitting in her turret, gazing on the western star, and musing on the scenes of the morning, when she discovers the blazing beacons that announce the approach of an English enemy. The alarm is immediately given, and bustling preparation made throughout the mansion for defence. The English force under the command of the Lords Howard and Dacre speedily appears before the castle, leading with them the young Buccleuch; and propose that the lady should either give up Sir William of Deloraine (who had been her messenger to Melrose), as having incurred the guilt of march treason, or receive an English garrison within her walls. She answers, with much spirit, that her kinsman will clear himself of the imputation of treason by single combat, and that no foe shall ever get admittance into her fortress. The English Lords, being secretly apprised of the approach of powerful succours to the besieged, agree to the proposal of the combat; and stipulate that the boy shall be restored to liberty or detained in bondage, according to the issue of the battle. The lists are appointed for the ensuing day; and a truce being proclaimed in the mean time, the opposite bands mingle in hospitality and friendship.

Deloraine being wounded, was expected to appear by a champion; and some contention arises for the honour of that substitution. This, however, is speedily terminated by a person in the armour of the warrior himself, who encounters the English champion, slays him, and leads his captive young chieftain to the embraces of his mother. At this moment Deloraine himself appears, half-clothed and unarmed, to claim the combat which has been terminated in his absence! and all flock around the stranger who had personated him so successfully. He unclaps his helmet; and behold! Lord Cranstoun of Teviotside! The lady, overcome with gratitude, and

220

SCOTT'S LAY OF THE LAST MINSTREL.

the remembrance of the spirits' prophecy, consents to forego the feud, and to give the fair hand of Margaret to that of the enamoured Baron. The rites of betrothment are then celebrated with great magnificence; and a splendid entertainment given to all the English and Scottish chieftains whom the alarm had assembled at Branksome. Lord Cranstoun's page plays several unlucky tricks during the festival, and breeds some dissension among the warriors. To soothe their ireful mood, the minstrels are introduced, who recite three ballad pieces of considerable merit. Just as their songs are ended, a supernatural darkness spreads itself through the hall; a tremendous flash of lightning and peal of thunder ensue, which break just on the spot where the goblin page had been seated, who is heard to cry "Found! found! found!" and is no more to be seen, when the darkness clears away. The whole party is chilled with terror at this extraordinary incident; and Deloraine protests that he distinctly saw the figure of the ancient wizard Michael Scott in the middle of the lightning. The lady renounces for ever the unhallowed study of magic; and all the chieftains, struck with awe and consternation, vow to make a pilgrimage to Melrose, to implore rest and forgiveness for the spirit of the departed sorcerer. With the description of this ceremony the minstrel closes his "Lay."

From this little sketch of the story, our readers will easily perceive, that, however well calculated it may be for the introduction of picturesque imagery, or the display of extraordinary incident, it has but little pretension to the praise of a regular or coherent narrative. The magic of the lady, the midnight visit to Melrose, and the mighty book of the enchanter, which occupy nearly one third of the whole poem, and engross the attention of the reader for a long time after the commencement of the narrative, are of no use whatsoever in the subsequent development of the fable, and do not contribute, in any degree, either to the production or explanation of the incidents that follow. The whole character and proceedings of the goblin page, in like

FAULTS IN ITS STRUCTURE.

221

manner, may be considered as merely episodical; for though he is employed in some of the subordinate incidents, it is remarkable that no material part of the fable requires the intervention of supernatural agency. The young Buccleuch might have wandered into the wood, although he had not been decoyed by a goblin; and the dame might have given her daughter to the deliverer of her son, although she had never listened to the prattlement of the river and mountain spirits. There is, besides all this, a great deal of gratuitous and digressive description, and the whole sixth canto, may be said to be redundant. The story should naturally end with the union of the lovers; and the account of the feast, and the minstrelsy that solemnised their betrothment, is a sort of epilogue, superadded after the catastrophe is complete.

But though we feel it to be our duty to point out these obvious defects in the structure of the fable, we have no hesitation in conceding to the author, that the fable is but a secondary consideration in performances of this nature. A poem is intended to please by the images it suggests, and the feelings it inspires; and if it contain delightful images and affecting sentiments, our pleasure will not be materially impaired by some slight want of probability or coherence in the narative by which they are connected. The callida junctura of its members is a grace, no doubt, which ought always to be aimed at; but the quality of the members themselves is a consideration of far higher importance; and that by which alone the success and character of the work must be ultimately decided. The adjustment of a fable may indicate the industry or the judgment of the writer; but the Genius of the poet can only be shown in his management of its successive incidents. In these more essential particulars, Mr. Scott's merits, we think, are unequivocal. He writes throughout with the spirit and the force of a poet; and though he occasionally discovers a little too much, perhaps, of the "brave neglect," and is frequently inattentive to the delicate propriety and scrupulous correctness of his diction, he compensates for those defects

222

SCOT'S LAY

BEAUTY OF ITS SETTING.

by the fire and animation of his whole composition, and the brilliant colouring and prominent features of the figures with which he has enlivened it. We shall now proceed to lay before our readers some of the passages which have made the greatest impression on our own minds; subjoining at the same time, such observations as they have most forcibly suggested.

In the very first rank of poetical excellence, we are inclined to place the introductory and concluding lines of every canto; in which the ancient strain is suspended, and the feelings and situation of the Minstrel himself described in the words of the author. The elegance and the beauty of this setting, if we may so call it, though entirely of modern workmanship, appears to us to be fully more worthy of admiration than the bolder relief of the antiques which it encloses; and leads us to regret that the author should have wasted, in imitation and antiquarian researches, so much of those powers which seem fully equal to the task of raising him an independent reputation. In confirmation of these remarks, we give a considerable part of the introduction to the whole poem:

"The way was long, the wind was cold,
The Minstrel was infirm and old;
His wither'd cheek, and tresses gray,
Seem'd to have known a better day;
The harp, his sole remaining joy,
Was carried by an orphan boy.
The last of all the Bards was he,
Who sung of Border chivalry;
For, well-a-day! their date was fled,
His tuneful brethren all were dead;
And he neglected and oppress'd,
Wish'd to be with them, and at rest!
No more, on prancing palfrey borne,
He caroll'd, light as lark at morn;
No longer, courted and caress'd,
High plac'd in hall, a welcome guest,
He pour'd, to lord and lady gay,

The unpremeditated lay!

Old times were chang'd, old manners gone!

A stranger fill'd the Stuarts' throne;

The bigots of the iron time

Had call'd his harmless art a crime.

THE AUTHOR'S PROLUSIONS.

A wand'ring harper, scorn'd and poor,
He begg'd his bread from door to door;
And tun'd, to please a peasant's ear,

The harp, a King had lov'd to hear.”—p. 3, 4.

223

After describing his introduction to the presence of the Duchess, and his offer to entertain her with his music, the description proceeds:

"The humble boon was soon obtain'd;
The aged Minstrel audience gain'd.
But, when he reach'd the room of state,
Where she, with all her ladies, sate,
Perchance he wish'd his boon denied!
For, when to tune his harp he tried,
His trembling hand had lost the ease
Which marks security to please;
And scenes, long past, of joy and pain,
Came wild'ring o'er his aged brain
"Amid the strings his fingers stray'd,
And an uncertain warbling made -
And oft he shook his hoary head.
But when he caught the measure wild,
The old man raised his face and smil'd;
And lighten'd up his faded eye,
With all the poet's ecstasy!

In varying cadence, soft or strong,
He swept the sounding chords along;
The present scene, the future lot,
His toils, his wants, were all forgot;
Cold diffidence, and age's frost,
In the full tide of song were lost.
Each blank, in faithless mem'ry void,
The poet's glowing thought supplied;
And, while his harp responsive rung,

'T was thus the LATEST MINSTREL sung."- p. 6-8.

We add, chiefly on account of their brevity, the following lines, which immediately succced the description of the funeral rites of the English champion:

"The harp's wild notes, though hush'd the song,

The mimic march of death prolong;

Now seems it far, and now a-near,

Now meets, and now eludes the ear;

Now seems some mountain's side to sweep,

Now faintly dies in valley deep;

Seems now as if the Minstrel's wail,
Now the sad requiem loads the gale;
Last, o'er the warrior's closing grave,
Rings the full choir in choral stave.'

p. 155, 156.