The Abbot. Вальтер Скотт

explained. In this particular, I was happy to shroud myself by the example of the author of “Caleb Williams,” who never condescends to inform us of the actual contents of that Iron Chest which makes such a figure in his interesting work, and gives the name to Mr. Colman’s drama.

      The public had some claim to inquire into this matter, but it seemed indifferent policy in the author to give the explanation. For, whatever praise may be due to the ingenuity which brings to a general combination all the loose threads of a narrative, like the knitter at the finishing of her stocking, I am greatly deceived if in many cases a superior advantage is not attained, by the air of reality which the deficiency of explanation attaches to a work written on a different system. In life itself, many things befall every mortal, of which the individual never knows the real cause or origin; and were we to point out the most marked distinction between a real and a fictitious narrative, we would say, that the former in reference to the remote causes of the events it relates, is obscure, doubtful, and mysterious; whereas, in the latter case, it is a part of the author’s duty to afford satisfactory details upon the causes of the separate events he has recorded, and, in a word, to account for every thing. The reader, like Mungo in the Padlock, will not be satisfied with hearing what he is not made fully to comprehend.

      I omitted, therefore, in the Introduction to the Abbot, any attempt to explain the previous story, or to apologize for unintelligibility.

      Neither would it have been prudent to have endeavoured to proclaim, in the Introduction to the Abbot, the real spring, by which I hoped it might attract a greater degree of interest than its immediate predecessor. A taking title, or the announcement of a popular subject, is a recipe for success much in favour with booksellers, but which authors will not always find efficacious. The cause is worth a moment’s examination.

      There occur in every country some peculiar historical characters, which are, like a spell or charm, sovereign to excite curiosity and attract attention, since every one in the slightest degree interested in the land which they belong to, has heard much of them, and longs to hear more. A tale turning on the fortunes of Alfred or Elizabeth in England, or of Wallace or Bruce in Scotland, is sure by the very announcement to excite public curiosity to a considerable degree, and ensure the publisher’s being relieved of the greater part of an impression, even before the contents of the work are known. This is of the last importance to the bookseller, who is at once, to use a technical phrase, “brought home,” all his outlay being repaid. But it is a different case with the author, since it cannot be denied that we are apt to feel least satisfied with the works of which we have been induced, by titles and laudatory advertisements, to entertain exaggerated expectations. The intention of the work has been anticipated, and misconceived or misrepresented, and although the difficulty of executing the work again reminds us of Hotspur’s task of “o’er-walking a current roaring loud,” yet the adventurer must look for more ridicule if he fails, than applause if he executes, his undertaking.

      Notwithstanding a risk, which should make authors pause ere they adopt a theme which, exciting general interest and curiosity, is often the preparative for disappointment, yet it would be an injudicious regulation which should deter the poet or painter from attempting to introduce historical portraits, merely from the difficulty of executing the task in a satisfactory manner. Something must be trusted to the generous impulse, which often thrusts an artist upon feats of which he knows the difficulty, while he trusts courage and exertion may afford the means of surmounting it.

      It is especially when he is sensible of losing ground with the public, that an author may be justified in using with address, such selection of subject or title as is most likely to procure a rehearing. It was with these feelings of hope and apprehension, that I venture to awaken, in a work of fiction, the memory of Queen Mary, so interesting by her wit, her beauty, her misfortunes, and the mystery which still does, and probably always will, overhang her history. In doing so, I was aware that failure would be a conclusive disaster, so that my task was something like that of an enchanter who raises a spirit over whom he is uncertain of possessing an effectual control; and I naturally paid attention to such principles of composition, as I conceived were best suited to the historical novel.

      Enough has been already said to explain the purpose of composing the Abbot. The historical references are, as usual, explained in the notes. That which relates to Queen Mary’s escape from Lochleven Castle, is a more minute account of that romantic adventure, than is to be found in the histories of the period.

      ABBOTSFORD,

      1st January, 1831.

      INTRODUCTORY EPISTLE

FROM THE AUTHOR OF “WAVERLEY,” TO CAPTAIN CLUTTERBUCK, LATE OF HIS MAJESTY’S – REGIMENT OF INFANTRY

      DEAR CAPTAIN:

      I am sorry to observe, by your last favour, that you disapprove of the numerous retrenchments and alterations which I have been under the necessity of making on the Manuscript of your friend, the Benedictine, and I willingly make you the medium of apology to many, who have honoured me more than I deserve.

      I admit that my retrenchments have been numerous, and leave gaps in the story, which, in your original manuscript, would have run well-nigh to a fourth volume, as my printer assures me. I am sensible, besides, that, in consequence of the liberty of curtailment you have allowed me, some parts of the story have been huddled up without the necessary details. But, after all, it is better that the travellers should have to step over a ditch, than to wade through a morass – that the reader should have to suppose what may easily be inferred, than be obliged to creep through pages of dull explanation. I have struck out, for example, the whole machinery of the White Lady, and the poetry by which it is so ably supported, in the original manuscript. But you must allow that the public taste gives little encouragement to those legendary superstitions, which formed alternately the delight and the terror of our predecessors. In like manner, much is omitted illustrative of the impulse of enthusiasm in favour of the ancient religion in Mother Magdalen and the Abbot. But we do not feel deep sympathy at this period with what was once the most powerful and animating principle in Europe, with the exception of that of the Reformation, by which it was successfully opposed.

      You rightly observe, that these retrenchments have rendered the title no longer applicable to the subject, and that some other would have been more suitable to the Work, in its present state, than that of THE ABBOT, who made so much greater figure in the original, and for whom your friend, the Benedictine, seems to have inspired you with a sympathetic respect. I must plead guilty to this accusation, observing, at the same time, in manner of extenuation, that though the objection might have been easily removed, by giving a new title to the Work, yet, in doing so, I should have destroyed the necessary cohesion between the present history, and its predecessor THE MONASTERY, which I was unwilling to do, as the period, and several of the personages, were the same.

      After all, my good friend, it is of little consequence what the work is called, or on what interest it turns, provided it catches the public attention; for the quality of the wine (could we but insure it) may, according to the old proverb, render the bush unnecessary, or of little consequence.

      I congratulate you upon your having found it consistent with prudence to establish your Tilbury, and approve of the colour, and of your boy’s livery, (subdued green and pink.) – As you talk of completing your descriptive poem on the “Ruins of Kennaquhair, with notes by an Antiquary,” I hope you have procured a steady horse. – I remain, with compliments to all friends, dear Captain, very much

      Yours, &c. &c. &c.

THE AUTHOR OF WAVERLEY.

      Chapter the First

        Domum mansit – lanam fecit.              Ancient Roman Epitaph.

        She keepit close the hous, and birlit at the quhele.

GAWAIN DOUGLAS.

      The time which passes over our heads so imperceptibly, makes the same gradual change in habits, manners, and character, as in personal appearance. At the revolution of every five years we find ourselves another, and yet the same – there is a change of views, and no less of the light in which we regard them; a change of motives as well as of actions. Nearly twice