Chronicles of the Canongate, 1st Series
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I have now frankly told my motives for concealment, so far as I am conscious of having any, and the public will forgive the egotism of the detail, as what is necessarily connected with it. The author, so long and loudly called for, has appeared on the stage, and made his obeisance to the audience. Thus far his conduct is a mark of respect. To linger in their presence would be intrusion.
I have only to repeat that I avow myself in print, as formerly in words, the sole and unassisted author of all the Novels published as works of “The Author of Waverley.” I do this without shame, for I am unconscious that there is any thing in their composition which deserves reproach, either on the score of religion or morality; and without any feeling of exultation, because, whatever may have been their temporary success, I am well aware how much their reputation depends upon the caprice of fashion; and I have already mentioned the precarious tenure by which it is held, as a reason for displaying no great avidity in grasping at the possession.
I ought to mention, before concluding, that twenty persons, at least, were, either from intimacy, or from the confidence which circumstances rendered necessary, participant of this secret; and as there was no instance, to my knowledge, of any one of the number breaking faith, I am the more obliged to them, because the slight and trivial character of the mystery was not qualified to inspire much respect in those entrusted with it. Nevertheless, like Jack the Giant-Killer, I was fully confident in the advantage of my “Coat of Darkness;” and had it not been from compulsory circumstances, I would have, indeed, been very cautious how I parted with it.
As for the work which follows, it was meditated, and in part printed, long before the avowal of the novels took place, and originally commenced with a declaration that it was neither to have introduction nor preface of any kind. This long proem, prefixed to a work intended not to have any, may, however, serve to show how human purposes in the most trifling, as well as the most important affairs, are liable to be controlled by the course of events. Thus we begin to cross a strong river with our eyes and our resolution fixed on that point of the opposite shore on which we purpose to land; but gradually giving way to the torrent, are glad, by the aid perhaps of branch or bush, to extricate ourselves at some distant and perhaps dangerous landing-place, much farther down the stream than that on which we had fixed our intentions.
Hoping that the Courteous Reader will afford to a known and familiar acquaintance some portion of the favour which he extended to a disguised candidate for his applause, I beg leave to subscribe myself his obliged humble servant,
WALTER SCOTT. ABBOTSFORD, OCTOBER 1, 1827.
Such was the little narrative which I thought proper to put forth in October 1827; nor have I much to add to it now. About to appear for the first time in my own name in this department of letters, it occurred to me that something in the shape of a periodical publication might carry with it a certain air of novelty, and I was willing to break, if I may so express it, the abruptness of my personal forthcoming, by investing an imaginary coadjutor with at least as much distinctness of individual existence as I had ever previously thought it worth while to bestow on shadows of the same convenient tribe. Of course, it had never been in my contemplation to invite the assistance of any real person in the sustaining of my quasi-editorial character and labours. It had long been my opinion, that any thing like a literary PICNIC is likely to end in suggesting comparisons, justly termed odious, and therefore to be avoided; and, indeed, I had also had some occasion to know, that promises of assistance, in efforts of that order, are apt to be more magnificent than the subsequent performance. I therefore planned a Miscellany, to be dependent, after the old fashion, on my own resources alone, and although conscious enough that the moment which assigned to the Author of Waverley “a local habitation and a name,” had seriously endangered his spell, I felt inclined to adopt the sentiment of my old hero Montrose, and to say to myself, that in literature, as in war, —
“He either fears his fate too much, Or his deserts are small, Who dares not put it to the touch, To win or lose it all.”To the particulars explanatory of the plan of these Chronicles, which the reader is presented with in Chapter II. by the imaginary Editor, Mr. Croftangry, I have now to add, that the lady, termed in his narrative, Mrs. Bethune Balliol, was designed to shadow out in its leading points the interesting character of a dear friend of mine, Mrs. Murray Keith, whose death occurring shortly before, had saddened a wide circle, much attached to her, as well for her genuine virtue and amiable qualities of disposition, as for the extent of information which she possessed, and the delightful manner in which she was used to communicate it. In truth, the author had, on many occasions, been indebted to her vivid memory for the SUBSTRATUM of his Scottish fictions, and she accordingly had been, from an early period, at no loss to fix the Waverley Novels on the right culprit.
[The Keiths of Craig, in Kincardineshire, descended from John Keith, fourth son of William, second Earl Marischal, who got from his father, about 1480, the lands of Craig, and part of Garvock, in that county. In Douglas’s Baronage, 443 to 445, is a pedigree of that family. Colonel Robert Keith of Craig (the seventh in descent from John) by his wife, Agnes, daughter of Robert Murray of Murrayshall, of the family of Blackbarony, widow of Colonel Stirling, of the family of Keir, had one son – namely Robert Keith of Craig, ambassador to the court of Vienna, afterwards to St. Petersburgh, which latter situation he held at the accession of King George III. – who died at Edinburgh in 1774. He married Margaret, second daughter of Sir William Cunningham of Caprington, by Janet, only child and heiress of Sir James Dick of Prestonfield; and, among other children of this marriage were the late well-known diplomatist, Sir Robert Murray Keith, K.B., a general in the army, and for some time ambassador at Vienna; Sir Basil Keith, Knight, captain in the navy, who died Governor of Jamaica; and my excellent friend, Anne Murray Keith, who ultimately came into possession of the family estates, and died not long before the date of this Introduction (1831).]
In the sketch of Chrystal Croftangry’s own history, the author has been accused of introducing some not polite allusions to respectable living individuals; but he may safely, he presumes, pass over such an insinuation. The first of the narratives which Mr. Croftangry proceeds to lay before the public, “The Highland Widow,” was derived from Mrs. Murray Keith, and is given, with the exception of a few additional circumstances – the introduction of which I am rather inclined to regret – very much as the excellent old lady used to tell the story. Neither the Highland cicerone Macturk nor the demure washingwoman, were drawn from imagination; and on re-reading my tale, after the lapse of a few years, and comparing its effect with my remembrance of my worthy friend’s oral narration, which was certainly extremely affecting, I cannot but suspect myself of having marred its simplicity by some of those interpolations, which, at the time when I penned them, no doubt passed with myself for embellishments.
The next tale, entitled “The Two Drovers,” I learned from another old friend, the late George Constable, Esq. of Wallace-Craigie, near Dundee, whom I have already introduced to my reader as the original Antiquary of Monkbarns. He had been present, I think, at the trial at Carlisle, and seldom mentioned the venerable judges charge to the jury, without shedding tears, – which had peculiar pathos, as flowing down features, carrying rather a sarcastic or almost a cynical expression.
This worthy gentleman’s reputation for shrewd Scottish sense, knowledge of our national antiquities, and a racy humour peculiar to himself, must be still remembered. For myself, I have pride in recording that for many years we were, in Wordsworth’s language, —
“A pair of friends, though I was young,
And ‘George’ was seventy-two.”
W. S. ABBOTSFORD, AUG. 15, 1831.
APPENDIX TO INTRODUCTION
[It has been suggested to the Author that it might be well to reprint here a detailed account of the public dinner alluded to in the foregoing Introduction, as given in the newspapers of the time; and the reader is accordingly presented with the following extract from the EDINBURGH WEEKLY JOURNAL for Wednesday, 28th February, 1827.]
THE THEATRICAL FUND DINNER.
Before proceeding with our account of this very interesting festival – for so it may be termed – it is our duty to present to our readers the following letter, which we have received from the President: —
TO THE EDITOR OF THE “EDINBURGH WEEKLY JOURNAL.”
Sir, – I am extremely sorry I have not leisure to correct the copy you sent me of what I am stated to have said at the dinner for the Theatrical Fund. I am no orator, and upon such occasions as are alluded to, I say as well as I can what the time requires.
However, I hope your reporter has been more accurate in other instances than in mine. I have corrected one passage, in which I am made to speak with great impropriety and petulance, respecting the opinions of those who do not approve of dramatic entertainments. I have restored what I said, which was meant to be respectful, as every objection founded in conscience is, in my opinion, entitled to be so treated. Other errors I left as I found them, it being of little consequence whether I spoke sense or nonsense in what was merely intended for the purpose of the hour.
I am, sir,
Your obedient servant,
EDINBURGH, MONDAY. WALTER SCOTT.
The Theatrical Fund Dinner, which took place on Friday, in the Assembly Rooms, was conducted with admirable spirit. The Chairman, Sir WALTER SCOTT, among his other great qualifications, is well fitted to enliven such an entertainment. His manners are extremely easy, and his style of speaking simple and natural, yet full of vivacity and point; and he has the art, if it be art, of relaxing into a certain homeliness of manner, without losing one particle of his dignity. He thus takes off some of that solemn formality which belongs to such meetings, and, by his easy, and graceful familiarity, imparts to them somewhat of the pleasing character of a private entertainment. Near Sir W. Scott sat the Earl of Fife, Lord Meadowbank, Sir John Hope of Pinkie, Bart., Admiral Adam, Baron Clerk Rattray, Gilbert Innes, Esq., James Walker, Esq., Robert Dundas, Esq., Alexander Smith, Esq., etc.
The cloth being removed, “Non nobis, Domine,” was sung by Messrs. Thorne, Swift, Collier, and Hartley, after which the following toasts were given from the chair: —
“The King” – all the honours.
“The Duke of Clarence and the Royal Family.”
The CHAIRMAN, in proposing the next toast, which he wished to be drunk in solemn silence, said it was to the memory of a regretted-prince, whom we had lately lost. Every individual would at once conjecture to whom he alluded. He had no intention to dwell on his military merits. They had been told in the senate; they had been repeated in the cottage; and whenever a soldier was the theme, his name was never far distant. But it was chiefly in connection with the business of this meeting, which his late Royal Highness had condescended in a particular manner to patronize, that they were called on to drink his health. To that charity he had often sacrificed his time, and had given up the little leisure which he had from important business. He was always ready to attend on every occasion of this kind, and it was in that view that he proposed to drink to the memory of his late Royal Highness the Duke of York. – Drunk in solemn silence.
The CHAIRMAN then requested that gentlemen would fill a bumper as full as it would hold, while he would say only a few words. He was in the habit of hearing speeches, and he knew the feeling with which long ones were regarded. He was sure that it was perfectly unnecessary for him to enter into any vindication of the dramatic art, which they had come here to support. This, however, he considered to be the proper time and proper occasion for him to say a few words on that love of representation which was an innate feeling in human nature. It was the first amusement that the child had. It grew greater as he grew up; and even in the decline of life nothing amuses so much as when a common tale is told with appropriate personification. The first thing a child does is to ape his schoolmaster by flogging a chair. The assuming a character ourselves, or the seeing others assume an imaginary character, is an enjoyment natural to humanity. It was implanted in our very nature to take pleasure from such representations, at proper times and on proper occasions. In all ages the theatrical art had kept pace with the improvement of mankind, and with the progress of letters and the fine arts. As man has advanced from the ruder stages of society, the love of dramatic representations has increased, and all works of this nature have keen improved in character and in structure. They had only to turn their eyes to the history of ancient Greece, although he did not pretend to be very deeply versed in its ancient drama. Its first tragic poet commanded a body of troops at the battle of Marathon. Sophocles and Euripides were men of rank in Athens when Athens was in its highest renown. They shook Athens with their discourses, as their theatrical works shook the theatre itself. If they turned to France in the time of Louis the Fourteenth – that era which is the classical history of that country – they would find that it was referred to by all Frenchmen as the golden age of the drama there. And also in England in the time of Queen Elizabeth the drama was at its highest pitch, when the nation began to mingle deeply and wisely in the general politics of Europe, not only not receiving laws from others, but giving laws to the world, and vindicating the rights of mankind. (Cheers.) There have been various times when the dramatic art subsequently fell into disrepute. Its professors have been stigmatized, and laws have been passed against them, less dishonourable to them than to the statesmen by whom they were proposed, and to the legislators by whom they were adopted. What were the times in which these laws were passed? Was it not when virtue was seldom inculcated as a moral duty that we were required to relinquish the most rational of all our amusements, when the clergy were enjoined celibacy, and when the laity were denied the right to read their Bibles? He thought that it must have been from a notion of penance that they erected the drama into an ideal place of profaneness, and spoke of the theatre as of the tents of sin. He did not mean to dispute that there were many excellent persons who thought differently from him, and he disclaimed the slightest idea of charging them with bigotry or hypocrisy on that account. He gave them full credit for their tender consciences, in making these objections, although they did not appear relevant to him. But to these persons, being, as he believed them, men of worth and piety, he was sure the purpose of this meeting would furnish some apology for an error, if there be any, in the opinions of those who attend. They would approve the gift, although they might differ in other points. Such might not approve of going to the theatre, but at least could not deny that they might give away from their superfluity what was required for the relief of the sick, the support of the aged, and the comfort of the afflicted. These were duties enjoined by our religion itself. (Loud cheers.)
The performers are in a particular manner entitled to the support or regard, when in old age or distress, of those who have partaken of the amusements of those places which they render an ornament to society. Their art was of a peculiarly delicate and precarious nature. They had to serve a long apprenticeship. It was very long before even the first-rate geniuses could acquire the mechanical knowledge of the stage business. They must languish long in obscurity before they can avail themselves of their natural talents; and after that they have but a short space of time, during which they are fortunate if they can provide the means of comfort in the decline of life. That comes late, and lasts but a short time; after which they are left dependent. Their limbs fail – their teeth are loosened – their voice is lost and they are left, after giving happiness to others, in a most disconsolate state. The public were liberal and generous to those deserving their protection. It was a sad thing to be dependent on the favour, or, he might say, in plain terms, on the caprice, of the public; and this more particularly for a class of persons of whom extreme prudence is not the character. There might be instances of opportunities being neglected. But let each gentleman tax himself, and consider the opportunities THEY had neglected, and the sums of money THEY had wasted; let every gentleman look into his own bosom, and say whether these were circumstances which would soften his own feelings, were he to be plunged into distress. He put it to every generous bosom – to every better feeling – to say what consolation was it to old age to be told that you might have made provision at a time which had been neglected – (loud cheers) – and to find it objected, that if you had pleased you might have been wealthy. He had hitherto been speaking of what, in theatrical language, was called STARS; but they were sometimes falling ones. There was another class of sufferers naturally and necessarily connected with the theatre, without whom it was impossible to go on. The sailors have a saying, Every man cannot be a boatswain. If there must be a great actor to act Hamlet, there must also be people to act Laertes, the King, Rosencrantz, and Guildenstern, otherwise a drama cannot go on. If even Garrick himself were to rise from the dead, he could not act Hamlet alone. There must be generals, colonels, commanding-officers, subalterns. But what are the private soldiers to do? Many have mistaken their own talents, and have been driven in early youth to try the stage, to which they are not competent. He would know what to say to the indifferent poet and to the bad artist. He would say that it was foolish, and he would recommend to the poet to become a scribe, and the artist to paint sign-posts. (Loud laughter.) But you could not send the player adrift; for if he cannot play Hamlet, he must play Guildenstern. Where there are many labourers, wages must be low and no man in such a situation can decently support a wife and family, and save something off his income for old age. What is this man to do in later life? Are you to cast him off like an old hinge, or a piece of useless machinery, which has done its work? To a person who had contributed to our amusement, this would be unkind, ungrateful, and unchristian. His wants are not of his own making, but arise from the natural sources of sickness and old age. It cannot be denied that there is one class of sufferers to whom no imprudence can be ascribed, except on first entering on the profession. After putting his hand to the dramatic plough, he cannot draw back, but must continue at it, and toil, till death release him from want, or charity, by its milder influence, steps in to render that want more tolerable. He had little more to say, except that he sincerely hoped that the collection to-day, from the number of respectable gentlemen present, would meet the views entertained by the patrons. He hoped it would do so. They should not be disheartened. Though they could not do a great deal, they might do something. They had this consolation, that everything they parted with from their superfluity would do some good. They would sleep the better themselves when they had been the means of giving sleep to others. It was ungrateful and unkind that those who had sacrificed their youth to our amusement should not receive the reward due to them, but should be reduced to hard fare in their old age. We cannot think of poor Falstaff going to bed without his cup of sack, or Macbeth fed on bones as marrowless as those of Banquo. (Loud cheers and laughter.) As he believed that they were all as fond of the dramatic art as he was in his younger days, he would propose that they should drink “The Theatrical Fund,” with three times three.
Mr. MACKAY rose, on behalf of his brethren, to return their thanks for the toast just drunk. Many of the gentlemen present, he said, were perhaps not fully acquainted with the nature and intention of the institution, and it might not be amiss to enter into some explanation on the subject. With whomsoever the idea of a Theatrical Fund might have originated (and it had been disputed by the surviving relatives of two or three individuals), certain it was that the first legally constituted Theatrical Fund owed its origin to one of the brightest ornaments of the profession, the late David Garrick. That eminent actor conceived that, by a weekly subscription in the theatre, a fund might be raised among its members, from which a portion might be given to those of his less fortunate brethren, and thus an opportunity would be offered for prudence to provide what fortune had denied – a comfortable provision for the winter of life. With the welfare of his profession constantly at heart, the zeal with which he laboured to uphold its respectability, and to impress upon the minds or his brethren, not only the necessity, but the blessing of independence, the Fund became his peculiar care. He drew up a form of laws for its government, procured at his own expense the passing of an Act of Parliament for its confirmation, bequeathed to it a handsome legacy, and thus became the father of the Drury Lane Fund. So constant was his attachment to this infant establishment, that he chose to grace the close of the brightest theatrical life on record by the last display of his transcendent talent on the occasion of a benefit for this child of his adoption, which ever since has gone by the name of the Garrick Fund. In imitation of his noble example, funds had been established in several provincial theatres in England; but it remained for Mrs. Henry Siddons and Mr. William Murray to become the founders of the first Theatrical Fund in Scotland. (Cheers.) This Fund commenced under the most favourable auspices. It was liberally supported by the management, and highly patronized by the public. Notwithstanding, it fell short in the accomplishment of its intentions. What those intentions were, he (Mr. Mackay) need not recapitulate, but they failed; and he did not hesitate to confess that a want of energy on the part of the performers was the probable cause. A new set of Rules and Regulations were lately drawn up, submitted to and approved of at a general meeting of the members of the Theatre, and accordingly the Fund was remodelled on the 1st of January last. And here he thought he did but echo the feelings of his brethren, by publicly acknowledging the obligations they were under to the management for the aid given and the warm interest they had all along taken in the welfare of the Fund. (Cheers.) The nature and object of the profession had been so well treated of by the President that he would say nothing; but of the numerous offspring of science and genius that court precarious fame, the actor boasts the slenderest claim of all – the sport of fortune, the creatures of fashion, and the victims of caprice, they are seen, heard, and admired, but to be forgot. They leave no trace, no memorial of their existence – they “come like shadows, so depart.” (Cheers.) Yet humble though their pretensions be, there was no profession, trade, or calling where such a combination of requisites, mental and bodily, were indispensable. In all others the principal may practise after he has been visited by the afflicting hand of Providence – some by the loss of limb, some of voice, and many, when the faculty of the mind is on the wane, may be assisted by dutiful children or devoted servants. Not so the actor, He must retain all he ever did possess, or sink dejected to a mournful home. (Applause.) Yet while they are toiling for ephemeral theatric fame, how very few ever possess the means of hoarding in their youth that which would give bread in old age! But now a brighter prospect dawned upon them, and to the success of this their infant establishment they looked with hope, as to a comfortable and peaceful home in their declining years. He concluded by tendering to the meeting, in the name of his brethren and sisters, their unfeigned thanks for their liberal support, and begged to propose “The Health of the Patrons of the Edinburgh Theatrical Fund.” (Cheers.)