« 前へ次へ »
LAY OF THE LAST MINSTREL:
IN SIX CANTOS.
Dum relego, scripsisse pudet; quia plurima cerno,
qui feci, judice, digna lini.
PREFACE TO THE FIRST EDITION.
The Poem, now offered to the Public, is intended to illustrate the customs and manners which anciently prevailed on the Borders of England and Scotland. The inhabitants, living in a state partly pastoral and partly warlike, and combining habits of constant depredation with the influence of a rude spirit of chivalry, were often engaged in scenes highly susceptible of poetical ornament. As the description of scenery and manners was more the object of the Author than a combined and regular narrative, the plan of the Ancient Metrical Romance was adopted, which allows greater latitude, in this respect, than would be consistent with the dignity of a regular Poem. The same model offered other facilities, as it permits an occasional alteration of measure, which, in some degree, authorises the change of rhythm in the text. The machinery, also, adopted from popular belief, would have seemed puerile in a Poem which did not partake of the rudeness of the old Ballad, or Metrioal Romance.
For these reasons, the Poem was put into the mouth of an ancient Minstrel, the last of the race, who, as he is supposed to have survived the Revolution, might have caught somewhat of the refinement of modern poetry, without losing the simplicity of his original model. The date of the Tale itself is about the middle of the sixteenth century, when most of the personages actually flourished. The time occupied by the action is Three Nights and Three Days.
INTRODUCTION TO EDITION 1830.
A Poem of nearly thirty years' standing may be supposed hardly to need an Introduction, since, without one, it has been able to keep itself afloat through the best part of a generation. Nevertheless, as, in the edition of the Waverley Novels now in course of publication, [1830,] I have imposed on myself the task of saying something concerning the purpose and history of each, in their turn, I am desirous that the Poems for which I first received some marks of the public favour, should also be accompanied with such scraps of their literary history as may be supposed to carry interest along with them. Even if I should be mistaken in thinking that the secret history of what was once so popular, may still attract public attention and curiosity, it seems to me not without its use to record the manner and circumstances under which the present, and other Poems on the same plan, attained for a season an extensive reputation.
I must resume the story of my literary labours at the period at which I broke off in the Essay on the Imitation of Popular Poetry, when I had enjoyed the first gleam of public favour, by the success of the first edition of the Minstrelsy of the Scottish Border. The second edition of that work, published in 1803, proved, in the language of the trade, rather a heavy concern. The demand in Scotland had been supplied by the first edition, and the curiosity of the English was not much awakened by poems in the rude garb of antiquity, accompanied with notes referring to the obscure feuds of barbarous clans, of whose very names civilized history was ignorant. It was, on the whole, one of those books which are more praised than they are read.
At this time I stood personally in a different position from that which I occupied when I first dipt my desperate pen
in ink for other purposes than those of my profession. In 1796, when I first published the Translations from Bürger, I was an insulated individual, with only my own wants to provide for, and having, in a great measure, my own inclinations alone to consult. In 1803, when the second edition of the Minstrelsy appeared, I had arrived at a period of life when men, however thoughtless, encounter duties and circumstances which press consideration and plans of life upon the most careless minds. I had been for some time married - was the father of a rising family — and, though fully enabled to meet the consequent demands upon me, it was my duty and desire to place myself in a situation which would enable me to make honourable provision against the various contingencies of life. It
may be readily supposed that the attempts which I had made in literature had been unfavourable to my success at the Bar. The goddess Themis is, at Edinburgh, and I suppose everywhere else, of a peculiarly jealous disposition. She will not readily consent to share her authority, and sternly demands froin her votaries, not only that real duty be carefully attended to and discharged, but that a certain air of business shall be observed even in the midst of total idleness. It is prudent, if not absolutely necessary, in a young barrister, to appear completely engrossed by his profession; however destitute of employment he may in reality be, he ought to preserve, if possible, the appearance of full' occupation. He should, therefore, seem perpetually engaged among his law papers, dusting them, as it were; and, as Ovid advises the
“Si nullus erit pulvis, tamen excute nullum."*
Perhaps such extremity of attention is more especially required, considering the great number of counsellors who are called to the Bar, and how very small a proportion of them are finally disposed, or find encouragement, follow the law as a profession. Hence the number of deserters is so great, that the least lingering look behind occasions a young novice to be set down as one of the intending fugitives. Certain it is, that the Scottish Themis was at this time peculiarly jealous of any flirtation with the Muses, on the part of those who had ranged themselves under her banners. This was probably owing to her consciousness of the superior attractions of her
* “If dust be none, yet brush that none away."