historians will scarcely maintain. Neither history or fiction would be very delightful if they were warless. This must serve as an apology more needed by Macaulay—than by Sir Walter. His reply to Dr. McCrie is marked by excellent temper, humour, and good humor. The “Quarterly Review”        ends with the well known reference to his brother Tom’s suspected authorship: “We intended here to conclude this long article, when a strong report reached us of certain transatlantic confessions, which, if genuine       (though of this we know nothing), assign a different author to those volumes than the party suspected by our Scottish correspondents. Yet a       critic may be excused for seizing upon the nearest suspected person, or the principle happily expressed by Claverhouse in a letter to the Earl of Linlithgow. He had been, it seems, in search of a gifted weaver who used to hold forth at conventicles: ‘I sent for the webster, they brought in his brother for him: though he, maybe, cannot preach like his brother, I doubt not but he is as well principled as he, wherefore I thought it would be no great fault to give him the trouble to go to jail with the rest.’”      

       Nobody who read this could doubt that Scott was, at least, “art and part”        in the review. His efforts to disguise himself as an Englishman, aided by a Scotch antiquary, are divertingly futile. He seized the chance of defending his earlier works from some criticisms on Scotch manners suggested by the ignorance of Gifford. Nor was it difficult to see that the author of the review was also the author of the novel. In later years Lady Louisa Stuart reminded Scott that “Old Mortality,” like the Iliad, had been ascribed by clever critics to several hands working together. On December 5, 1816, she wrote to him, “I found something you wot of upon my table; and as I dare not take it with me to a friend’s house, for fear of       arousing curiosity”—she read it at once. She could not sleep afterwards, so much had she been excited. “Manse and Cuddie forced me to laugh out aloud, which one seldom does when alone.” Many of the Scotch words “were absolutely Hebrew” to her. She not unjustly objected to Claverhouse’s use of the word “sentimental” as an anachronism. Sentiment, like nerves, had not been invented in Claverhouse’s day.     

       The pecuniary success of “Old Mortality” was less, perhaps, than might have been expected. The first edition was only of two thousand copies. Two editions of this number were sold in six weeks, 

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