CHAPTER I.

YOUTH-CHOICE OF A PROFESSION.

As SCOTT grew up, entered the classes of the college, and began his legal studies, first as apprentice to his father, and then in the law classes of the University, he became noticeable to all his friends for his gigantic memory,-the rich stores of romantic material with which it was loaded, -his giant feats of industry for any cherished purpose,his delight in adventure and in all athletic enterprises,— his great enjoyment of youthful "rows," so long as they did not divide the knot of friends to which he belonged, and his skill in peacemaking amongst his own set. During his apprenticeship his only means of increasing his slender allowance with funds which he could devote to his favourite studies, was to earn money by copying, and he tells us himself that he remembered writing "120 folio pages with no interval either for food or rest," fourteen or fifteen hours' very hard work at the very least,expressly for this purpose.

In the second year of Scott's apprenticeship, at about the age of sixteen, he had an attack of hæmorrhage, no recurrence of which took place for some forty years, but which was then the beginning of the end. During this illness silence was absolutely imposed upon him,-two old ladies putting their fingers on

their lips whenever he offered to speak. It was at this time that the lad began his study of the scenic side of history, and especially of campaigns, which he illustrated for himself by the arrangement of shells, seeds, and pebbles, so as to represent encountering armies, in the manner referred to (and referred to apparently in anticipa tion of a later stage of his life than that he was then speaking of) in the passage from the introduction to the third canto of Marmion which I have already given. He also managed so to arrange the looking-glasses in his room as to see the troops march out to exercise in the meadows, as he lay in bed. His reading was almost all in the direction of military exploit, or romance and mediæval legend and the later border songs of his own country. He learned Italian and read Ariosto. Later he learned Spanish and devoured Cervantes, whose "novelas," he said, "first inspired him with the ambition to excel in fiction;" and all that he read and admired he remembered. Scott used to illustrate the capricious. affinity of his own memory for what suited it, and its complete rejection of what did not, by old Beattie of Meikledale's answer to a Scotch divine, who complimented him on the strength of his memory. "No, sir," said the old Borderer, "I have no command of my memory. It only retains what hits my fancy; and probably, sir, if you were to preach to me for two hours, I would not be able, when you finished, to remember a word you had been saying." Such a memory, when it belongs to a man of genius, is really a sieve of the most valuable kind. It sifts away what is foreign and alien to his genius, and assimilates what is suited to it. In his very last days, when he was visiting Italy for the first time, Scott delighted in Malta, for it recalled to him Vertot's Knights of Malte,

and much other medieval story which he had pored over in his youth. But when his friends descanted to him at Pozzuoli on the Therma-commonly called the Temple of Serapis among the ruins of which he stood, he only remarked that he would believe whatever he was told, "for many of his friends, and particularly Mr. Morritt, had frequently tried to drive classical antiquities, as they are called, into his head, but they had always found his skull too thick." Was it not perhaps some deep literary instinct, like that here indicated, which made him, as a lad, refuse so steadily to learn Greek, and try to prove to his indignant professor that Ariosto was superior to Homer Scott afterwards deeply regretted this neglect. of Greek; but I cannot help thinking that his regret was misplaced. Greek literature would have brought before his mind standards of poetry and art which could not but have both deeply impressed and greatly daunted an intellect of so much power; I say both impressed and daunted, because I believe that Scott himself would never have succeeded in studies of a classical kind, while he might-like Goethe perhaps-have been either misled, by admiration for that school, into attempting what was not adapted to his genius, or else disheartened in the work for which his character and ancestry really fitted him. It has been said that there is a real affinity between Scott and Homer. But the long and refluent music of Homer, once naturalized in his mind, would have discontented him with that quick, sharp, metrical tramp of his own mosstroopers, to which alone his genius as a poet was perfectly suited.

It might be supposed that with these romantic tastes, Scott could scarcely have made much of a lawyer, though the inference would, I believe, be quite mistaken. His

father, however, reproached him with being better fitted for a pedlar than a lawyer,-so persistently did he trudge over all the neighbouring counties in search of the beauties of nature and the historic associations of battle, siege, or legend. On one occasion when, with their last penny spent, Scott and one of his companions had returned to Edinburgh, living during their last day on drinks of milk offered by generous peasant-women, and the hips and haws on the hedges, he remarked to his father how much he had wished for George Primrose's power of playing on the flute in order to earn a meal by the way, old Mr. Scott, catching grumpily at the idea, replied, "I greatly doubt, sir, you were born for nae better then a gangrel scrape-gut," a speech which very probably suggested his son's conception of Darsie Latimer's adventures with the blind fiddler, "Wandering Willie," in Redgauntlet. And, it is true that these were the days of mental and moral fermentation, what was called in Germany the Sturm-und-Drang, the "fret-and-fury" period of Scott's life, so far as one so mellow and genial in temper ever passed through a period of fret and fury at all. In other words these were the days of rapid motion, of walks of thirty miles a day which the lame lad yet found no fatigue to him; of mad enterprises, scrapes and drinking-bouts, in one of which Scott was half persuaded by his friends that he actually sang a song for the only time in his life. But even in these days of youthful sociability, with companions of his own age, Scott was always himself, and his imperious will often asserted itself. Writing of this time, some thirtyfive years or so later, he said, "When I was a boy, and on foot expeditions, as we had many, no creature could be Bo indifferent which way our course was directed, and I acquiesced in what any one proposed; but if I was once

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driven to make a choice, and felt piqued in honour to maintain my proposition, I have broken off from the whole party, rather than yield to any one." No doubt, too, in that day of what he himself described as "the silly smart fancies that ran in my brain like the bubbles in a glass of champagne, as brilliant to my thinking, as intoxicating, is evanescent," solitude was no real deprivation to him; and one can easily imagine him marching off on his solitary way after a dispute with his companions, reciting to himself old songs or ballads, with that "noticeable but altogether indescribable play of the upper lip," which Mr. Lockhart thinks suggested to one of Scott's most intimate friends, on his first acquaintance with him, the grotesque notion that he had been "a hautboy-player." This was the first impression formed of Scott by William Clerk, one of his earliest and lifelong friends. It greatly amused Scott, who not only had never played on any instrument in his life, but could hardly make shift to join in the chorus of a popular song without marring its effect; but perhaps the impression suggested was not so very far astray after all. Looking to the poetic side of his character, the trumpet certainly Iwould have been the instrument that would have best symbolized the spirit both of Scott's thought and of his verses. Mr. Lockhart himself, in summing up his impressions of Sir Walter, quotes as the most expressive of his lines:

"Sound, sound the clarion! fill the fife!

To all the sensual world proclaim

One crowded hour of glorious life

Is worth a world without a name."

And undoubtedly this gives us the key-note of Scott's personal life as well as of his poetic power. Above every