nd unadulterated adventure. You may, and will, give it the preference when you can. But the dull days come, and the rainy days come, and always you are driven to fill up the ch

rs and love them for all that they have meant in the past. Yes, it was the olive-green line of Scott's novels which started me on to rhapsody. They were the first books I ever owned-long, long before I could appreciate or even understand them. But at last I realized what a treasure they were. In my boyhood I read them by surreptitious candle-ends in the dead of the night, when the sense of crime added a new zest to the story. Perhaps you have observed

he formidable Templar. It was, indeed, a splendid moment! What matter that no Templar was allowed by the rules of his Order to take part in so secular and frivolous an affair as a tournament? It is the privilege of great masters to make things so, and it is a churlish thing to gainsay it. Was it not Wendell Holmes who described the prosaic man, who enters a drawing-room with a couple of facts, like ill-conditioned bull-dogs at his heels,

tion for it. Scott's soldiers are always as good as his women (with exceptions) are weak; but here, while the soldiers are at their very best, the romantic figure of Rebe

th a minimum of petticoat-in the long stretch, for example, from the beginning of the Tournament to the end of the Friar Tuck incident-that we realize the he

do. As well might a dramatic author rush up to the footlights and begin telling anecdotes while his play was suspending its action and his characters waiting wearily behind him. It is all wrong, though every great name can be quoted in support of it. Our sense of form is lamentably lacking, and Sir Walter sinned with the rest. But get past all that to a crisis in the real story, and who finds the terse phrase, the short fire-word, so surely as he? Do you remember when the reckless Sergeant of Dragoons stands at last before the grim Puritan, upon whose head a price has been set: "A thousand marks or a bed of heather!" says he, as he draw

nging Luther's hymns. Frenchmen will work themselves into a frenzy by a song of glory and of Fatherland. Our martial poets need not trouble to imitate-or at least need not imagine that if they do so they will ever supply a want to the British soldier. Our sailors working the heavy guns in South Africa sang: "Here's another lump of sugar for the Bird." I saw a regiment go into action to the refrain of "A little bit off the top." The martial poet aforesaid, unless he had the genius and the insight of a Kipling, would have wasted a good deal of ink before he had got down to such chants as

their uttermost and showed their true form-"Tramp, tramp, tramp," "John Brown's Body," "Marching through Georgia"-all had a playful humour running through them. Only one exception do I know, and that is the most tremendous war-song I can recall. Even an outsider in time of

on and metaphor drawn from within his natural range of thought. What a pity it is that he, with his keen appreciation of the soldier, gave us so little of those soldiers who were his own contemporaries-the finest, perhaps, that the world has ever seen! It is true that he wrote a life of the great Soldier Emperor, but that was the one piece of hackwork of his career. How could a Tory patriot, whose whole training had be

mail-clad knights or ruffling cavaliers of his novels. A picture from the life of a Peninsular veteran, with his views upon the Duke, would be as striking as Dugald Dalgetty from the German wars. But then no man ever does realize the true interest of the age in which he happens to live. All sense of pro

ntiquary," and "Rob Roy," which puts them in a different class from the others. His old Scottish women are, next to his soldiers, the best series of types that he has drawn. At the same time it must be admitted that merit which is associated with dialect has such limitations that it can never take the same place as work which makes an equal appeal to all the world. On the whole, perhaps, "Quentin Durward," on account of its wider interests, its strong character-drawing, and the European importance of the

n, ascetic, varminty; and Charles with the head of a prize-fighter. It is hard on us when a portrait upsets all our preconceived ideas, when, for example, we see in the National Portrait Gallery a man with a noble, olive-tinted, poetic face, and with a start read beneath it that it is the wicked Judge Jeffreys. Occasionally, however, as at Innsbruck, we are absolutely satisfied. I have before me on the mantelpiece yonder a portrait of a painting which repr

iration and despair: "I have studied the conditions of Byzantine Society all my life, and here comes a Scotch lawyer who makes the whole thing clear to me in a flash!" Many men could draw with more or less success Norman England, or mediaeval France, but to reconstruct a whole dead civilization in so plausible a way, with such dignity and such minuteness of detail, is, I should think, a most wonderful t

g, middle and end, from the half-crazed preaching of Peter down to the Fall of Jerusalem. Those leaders! It would take a second Homer to do them justice. Godfrey the perfect soldier and leader, Bohemund the unscrupulous and formidable, Tancred the

lizabethan England in "Kenilworth"; the rich humour of the "Legend of Montrose"; above all, bear in mind that in all that splendid series, written in a coarse age, there is not one

man side of a man as well as the other. I cannot believe that anyone in the world was ever quite so good as the subject of most of our biographies. Surely these worthy people swore a little sometimes, or had a keen eye for a pretty face, or opened the second bottle when they would have done better to stop at the first,

. But what a high-souled chivalrous gentleman he was, with how fine a sense of honour, translating itself not into empty phrases, but into years of labour and denial! You remember how he became sleeping partner in a printing house, and so involved himself in its failure. There was a legal, but very little moral, claim against him, and no one could have blamed him had he cleared the account by a bankruptcy, which

-on second thoughts it was in Lockhart himself-how the writer had lodged in some rooms in Castle Street, Edinburgh, and how he had seen all evening the silhouette of a man outlined on the blind of the opposite house. All evening the man wrote, and the obs

e very highest and most complex faculty-imagination in its supreme form-was absolutely unimpaired. It is an extraordinary fact, and one to be pondered over. It gives some support to the feeling which every writer of imaginative work must have, that his supreme work comes to him in some strange way from without, and that he is only the medium for placing it upon the paper. The creative thought-the germ thought from which a

and an unstable nervous system, by keeping a man's materialism at its lowest,

is to madnes

tions do those

y for imaginative work seems to me to weaken s

have all raised the average age of the poets, but for some reason the novelists, especially of late years, have a deplorable record. They will end by being scheduled with the white-lead workers and other dangerous trades. Look at the really shocking case of the young Americans, for example. What a band of promising young writers have in a few years been swept away! There was the author of that admirable book, "David Harum"; there was Frank Norris, a man who had in him, I think, the se

r example, in spite of his snowy head, was only 52; Dickens attained the age of 58; on the whole, Sir Walter, with his 61 years of life,

stock. He died, I should judge, of some nervous disease; that is shown by the progressive degeneration of his signature. Probably it was locomotor ataxy, which is the special scourge of the imaginative man. Heine, Daudet, and how many more, were its victims. As to the tradition, f

ny occasions in order to conceal the fact that he was the author of the famous novels, but even intimate friends who met him day by day were not aware that he was the man about whom the whole of Europe was talking. Even his wife was ignorant of his pecuniary liabilities until the crash of

f the most moving in the history of literature. But they pass, these clouds, and all that is left is the memory of the supremely noble man, who would not be bent, but faced Fate to the last, and died in his tracks without a whimper.