THE COMPLETE POETICAL WORKS OF SIR WALTER SCOTT. Walter Scott

But with that consciousness there came

       A lightening of her fears for Graeme,

       And more she deemed the Monarch’s ire

       Kindled ‘gainst him who for her sire

       Rebellious broadsword boldly drew;

       And, to her generous feeling true,

       She craved the grace of Roderick Dhu.

       ‘Forbear thy suit;—the King of kings

       Alone can stay life’s parting wings.

       I know his heart, I know his hand,

       Have shared his cheer, and proved his brand;

       My fairest earldom would I give

       To bid Clan-Alpine’s Chieftain live!—

       Hast thou no other boon to crave?

       No other captive friend to save?’

       Blushing, she turned her from the King,

       And to the Douglas gave the ring,

       As if she wished her sire to speak

       The suit that stained her glowing cheek.

       ‘Nay, then, my pledge has lost its force,

       And stubborn justice holds her course.

       Malcolm, come forth!’—and, at the word,

       Down kneeled the Graeme to Scotland’s Lord.

       ‘For thee, rash youth, no suppliant sues,

       From thee may Vengeance claim her dues,

       Who, nurtured underneath our smile,

       Hast paid our care by treacherous wile,

       And sought amid thy faithful clan

       A refuge for an outlawed man,

       Dishonoring thus thy loyal name.—

       Fetters and warder for the Graeme!’

       His chain of gold the King unstrung,

       The links o’er Malcolm’s neck he flung,

       Then gently drew the glittering band,

       And laid the clasp on Ellen’s hand.

      Harp of the North, farewell! The hills grow dark,

       On purple peaks a deeper shade descending;

       In twilight copse the glowworm lights her spark,

       The deer, half seen, are to the covert wending.

       Resume thy wizard elm! the fountain lending,

       And the wild breeze, thy wilder minstrelsy;

       Thy numbers sweet with nature’s vespers blending,

       With distant echo from the fold and lea,

       And herd-boy’s evening pipe, and hum of housing bee.

      Yet, once again, farewell, thou Minstrel Harp!

       Yet, once again, forgive my feeble sway,

       And little reck I of the censure sharp

       May idly cavil at an idle lay.

       Much have I owed thy strains on life’s long way,

       Through secret woes the world has never known,

       When on the weary night dawned wearier day,

       And bitterer was the grief devoured alone.—

       That I o’erlive such woes, Enchantress! is thine own.

      Hark! as my lingering footsteps slow retire,

       Some Spirit of the Air has waked thy string!

       ‘Tis now a seraph bold, with touch of fire,

       ‘Tis now the brush of Fairy’s frolic wing.

       Receding now, the dying numbers ring

       Fainter and fainter down the rugged dell;

       And now the mountain breezes scarcely bring

       A wandering witch-note of the distant spell—

       And now, ‘tis silent all!—Enchantress, fare thee well!

      THE LAY OF THE LAST MINSTREL

       Table of Contents

       Preface

       Introduction

       Canto I

       Canto II

       Canto III

       Canto IV

       Canto V

       Canto VI

       A POEM;

      IN SIX CANTOS

      Dum relego, scripsisse pudet; quia plurima cerno,

       Me quoque, qui feci, judice, digna lini.

       TO THE

      RIGHT HONOURABLE

      CHARLES EARL OF DALKEITH,

      THIS POEM IS INSCRIBED BY

      THE AUTHOR.

      Preface

       Table of Contents

      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, to some degree, authorizes 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 Metrical 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

       Table of Contents

      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