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Minstrelsy," and his last project was an edition of Perrault's "Contes de Ma Mere l'Oie." As pleasant to him as the purchase of new lands like Turn Again, bought dearly, as in Monkbarns's case, from "bonnet lauds," was a fresh acquisition of an old book or of old armour. Yet, with all his enthusiasm, he did not please the antiquaries of his own day. George Chalmers, in Constable's "Life and Correspondence" (i. 431), sneers at his want of learning. "His notes are loose and unlearned, as they generally are." Charles Kirkpatrick Sharpe, his friend in life, disported himself in jealous and ribald mockery of Scott's archaeological knowledge, when Scott was dead. In a letter of the enigmatic Thomas Allen, or James Stuart Hay, father of John Sobieski and Charles Edward Stuart, this mysterious person avers that he never knew Scott's opinion to be held as of any value by antiquaries (1829). They probably missed in him "a sort of pettifogging intimacy with dates, names, and trifling matters of fact, — a tiresome and frivolous accuracy of memory" which Sir Arthur Wardour reproves in Monkbarns. Scott, in brief, was not as Dry-as-dust; all the dead bones that he touches come to life. He was as great an archeologist as a poet can be, and, with Virgil, was the greatest antiquary among poets. Like Monkbarns, he was not incapable of being beguiled. As Oldbuck bought the bodle from the pedlar at the price of a rare coin, so Scott took Surtees's "Barthram's Dirge," and his Latin legend of the tourney with the spectre knight, for genuine antiquities. No Edie Ochiltree ever revealed to him the truth about these forgeries, and the spectre knight, with the ballad of "Anthony Featherstonhaugh," hold their own in "Marmion," to assure the world that this antiquary was gullible when the sleight was practised by a friend. "Non est tanti," he would have said, had he learned the truth; for he was ever conscious of the humorous side of the study of the mouldering past. "I do not know anything which relieves the mind so much from the sullens as a trifling discourse about antiquarian oldwomanries. It is like knitting a stocking, — diverting the mind without occupying it." ("Journal," March 9, 1828).

      Begun about Jan. 1, 1816, "The Antiquary" was published before May 16, 1816, when Scott writes to say that he has sent Mr. Morritt the novel "some time since." "It is not so interesting as its predecessors; the period does not admit of so much romantic situation. But it has been more fortunate than any of them in the sale, for six thousand went off in the first six days, and it is now at press again." The Preface of the first edition ends with the melancholy statement that the author "takes his respectful leave, as one who is not likely again to solicit favour." Apparently Scott had already determined not to announce his next novels ("The Black Dwarf" and "Old Mortality") as "by the Author of Waverley." Mr. Constable, in the biography of his father, says (iii. 84): "Even before the publication of 'The Antiquary,' John Ballantyne had been impowered by the Author to negotiate with Mr. Murray and Mr. Blackwood for the first series of the 'Tales of my Landlord.'" The note of withdrawal from the stage, in the first edition of "The Antiquary," was probably only a part of another experiment on public sagacity. As Lockhart says, Mr. Murray and Mr. Blackwood thought that the consequent absence of the Author of "Waverley's" name from the "Tales of my Landlord" would "check very much the first success of the book;" but they risked this, "to disturb Constable's tenure."

      Scott's temporary desertion of Constable in the "Tales of my Landlord" may have had various motives. There was a slight grudge against Constable, born of some complications of the Ballantynes' affairs. Perhaps the mere amusement of the experiment on public sagacity was one of the more powerful reasons for the change. In our day Lord Lytton and Mr. Trollope made similar trials of their popularity when anonymous, the former author with the greater success. The idea of these masquerades and veils of the incognito appears to have bewitched Constable. William Godwin was writing for him his novel "Mandeville," and Godwin had obviously been counselled to try a disguise. He says (Jan. 30, 1816) "I have amused my imagination a thousand times since last we parted with the masquerade you devised for me. The world is full of wonder. An old favourite is always reviewed with coldness... 'Pooh,' they say; 'Godwin has worn his pen to the stump!'.. But let me once be equipped with a significant mask and an unknown character from your masquerade shop, and admitted to figure in with the 'Last Minstrel,' the 'Lady of the Lake,' and 'Guy Mannering' in the Scottish carnival, Gods! how the boys and girls will admire me! 'Here is a new wonder!' they will say. 'Ah, this is something like! Here is Godwin beaten on his own ground.. Here is for once a Scottish writer that they cannot say has anything of the Scotchman about him.'"

      However, Mr. Godwin did not don the mask and domino. "Mandeville" came out about the same time as "Rob Roy;" but the "craziness of the public" for the Author of "Waverley" was not changed into a passion for the father-in-law of Shelley.

      "'The Antiquary,' after a little pause of hesitation, attained popularity not inferior to 'Guy Mannering,' and though the author appears for a moment to have shared the doubts which he read in the countenance of James Ballantyne, it certainly was, in the sequel, his chief favourite among all his novels.'"

      As Scott said to Terry, "If a man will paint from nature, he will be likely to amuse those who are daily looking at it." The years which saw the first appearance of "Guy Mannering" also witnessed that of "Emma." By the singular chance, or law, which links great authors closely in time, giving us novelists in pairs, Miss Austen was "drawing from nature" at the very moment when Scott was wedding nature with romance. How generously and wisely he admired her is familiar, and it may, to some, seem curious that he never deliberately set himself to a picture of ordinary life, free from the intrusion of the unusual, of the heroic. Once, looking down at the village which lies on the Tweed, opposite Melrose, he remarked that under its roofs tragedies and tales were doubtless being lived. 'I undertake to say there is some real romance at this moment going on down there, that, if it could have justice done to it, would be well worth all the fiction that was ever spun out of human brains.' But the example he gave was terrible, — "anything more dreadful was never conceived by Crabbe;" yet, adds Lockhart, "it would never have entered into his head to elaborate such a tale." He could not dwell in the unbroken gloom dear to some modern malingerers. But he could easily have made a tale of common Scotch life, dark with the sorrow of Mucklebackit, and bright with the mirth of Cuddie Headrigg. There was, however, this difficulty, — that Scott cared not to write a story of a single class. "From the peer to the ploughman," all society mingles in each of his novels. A fiction of middle-class life did not allure him, and he was not at the best, but at his worst, as Sydney Smith observed, in the light talk of society. He could admire Miss Austen, and read her novels again and again; but had he attempted to follow her, by way of variety, then inevitably wild as well as disciplined humour would have kept breaking in, and his fancy would have wandered like the old knights of Arthur's Court, "at adventure." "St. Ronan's Well" proved the truth of all this. Thus it happens that, in "The Antiquary," with all his sympathy for the people, with all his knowledge of them, he does not confine himself to their cottages. As Lockhart says, in his admirable piece of criticism, he preferred to choose topics in which he could display "his highest art, that of skilful contrast."

      Even the tragic romance of "Waverley" does not set off its Macwheebles and Callum Begs better than the oddities of Jonathan Oldbuck and his circle are relieved, on the one hand by the stately gloom of the Glenallans, on the other by the stern affliction of the poor fisherman, who, when discovered repairing "the auld black bitch of a boat," in which his boy had been lost, and congratulated by his visitors on being capable of the exertion, makes answer, "And what would you have me to do, unless I wanted to see four children starve, because one is drowned? It 's weel with you gentles, that can sit in the house with handkerchers at your een, when ye lose a friend; but the like o' us maun to our work again, if our hearts were beating as hard as ony hammer." And to his work again Scott had to go when he lost the partner of his life.

      The simple unsought charm which Lockhart notes in "The Antiquary" may have passed away in later works, when what had been the amusement of happy days became the task of sadness. But this magic "The Antiquary" keeps perhaps beyond all its companions, — the magic of pleasant memories and friendly associations. The sketches of the epoch of expected invasion, with its patriotic musters and volunteer drillings, are pictures out of that part in the author's life which, with his early Highland wanderings ("Waverley") and his Liddesdale raids ("Guy Mannering"), was most dear to him. In "Redgauntlet," again, he makes, as Alan Fairford, a return on his youth and his home, and in "Rob Roy" he revives his Highland recollections, his Highland lairds of "the blawing, bleezing stories." None of the rest of the tales are so intimate in their connection

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