complacency. Yet they are all different bores, and the gay, kind scald Halcro is very unlike Master Mumblasen or Dominie Sampson.

For a hero Mordaunt may be called almost sprightly and individual. His mysterious father occasionally suggests the influence of Byron, occasionally of Mrs. Radcliffe. The Udaller is as individual and genial as Dandie Dinmont himself; or, again, he is the Cedric of Thule, though much more sympathetic than Cedric to most readers. His affection for his daughters is characteristic and deserved. Many a pair of sisters, blonde and brune, have we met in fiction since Minna and Brenda, but none have been their peers, and, like Mor[Pg xix]daunt in early years, we know not to which of them our hearts are given. They are “L’Allegro” and “Il Penseroso” of the North, and it is probable that all men would fall in love with Minna if they had the chance, and marry Brenda, if they could. Minna is, indeed, the ideal youth of poetry, and Brenda of the practical life. The innocent illusions of Minna, her love of all that is old, her championship of the forlorn cause, her beauty, her tenderness, her truth, her passionate waywardness of sorrow, make her one of Scott’s most original and delightful heroines. She believes and trembles not, like Bertram in “Rokeby.” Brenda trembles, but does not believe in Norna’s magic, and in the spirits of ancient saga. As for Cleveland, Scott managed to avoid Byron’s Lara-like pirates, and produced a freebooter as sympathetic as any hostis humani generis can be, while “Frederick Altamont” (Thackeray borrowed the name for his romantic crossing-sweeper) has a place among the Marischals and Bucklaws of romance. Scott’s minute studies in Dryden come to the aid of his local observations, and so, out of not very promising materials, and out of the contrast of Lowland Scot and Orcadian, the romance is spun. Probably the “psychological analysis” which most interested the author is the double consciousness of Norna, the occasional intrusions of the rational self on her dreams of supernatural powers. That double consciousness, indeed, exists in all of us: occasionally the self in which we believe has a vision of the real underlying self, and shudders from the sight, like the pair “who met themselves” in the celebrated drawing.

[Pg xix]

“The Pirate” can scarcely be placed in the front rank of Scott’s novels, but it has a high and peculiar place in the second, and probably will always be among the special favourites of those who, being young, are fortunate enough not to be critical.[Pg xx]

[Pg xx]

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