He is
decidedly slow in getting to business, as they say; he began with more of
conscious ethical purpose than he went on, and his banter is poor. But
when once we enter the village of Tully-Veolan, the Magician finds his
wand. Each picture of place or person tells,--the old butler, the daft
Davie Gellatley, the solemn and chivalrous Baron, the pretty natural
girl, the various lairds, the factor Macwheeble,--all at once become
living people, and friends whom we can never lose. The creative fire of
Shakspeare lives again. The Highlanders--Evan Dhu, Donald Bean Lean, his
charming daughter, Callum Beg, and all the rest--are as natural as the
Lowlanders. In Fergus and Flora we feel, indeed, at first, that the
author has left his experience behind, and is giving us creatures of
fancy. But they too become human and natural,--Fergus in his moods of
anger, ambition, and final courageous resignation; Flora, in her grief.
As for Waverley, his creator was no doubt too hard on him. Among the
brave we hear that he was one of the bravest, though Scott always wrote
his battlepieces in a manner to suggest no discomfort, and does not give
us particular details of Waverley's prowess.
Pages:
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135