The Abbot

INTRODUCTION – (1831.)

From what is said in the Introduction to the Monastery, it must necessarily be inferred, that the Author considered that romance as something very like a failure. It is true, the booksellers did not complain of the sale, because, unless on very felicitous occasions, or on those which are equally the reverse, literary popularity is not gained or lost by a single publication. Leisure must be allowed for the tide both to flow and ebb. But I was conscious that, in my situation, not to advance was in some Degree to recede, and being naturally unwilling to think that the principle of decay lay in myself, I was at least desirous to know of a certainty, whether the degree of discountenance which I had incurred, was now owing to an ill-managed story, or an ill-chosen subject.

I was never, I confess, one of those who are willing to suppose the brains of an author to be a kind of milk, which will not stand above a single creaming, and who are eternally harping to young authors to husband their efforts, and to be chary of their reputation, lest it grow hackneyed in the eyes of men. Perhaps I was, and have always been, the more indifferent to the degree of estimation in which I might be held as an author, because I did not put so high a value as many others upon what is termed literary reputation in the abstract, or at least upon the species of popularity which had fallen to my share; for though it were worse than affectation to deny that my vanity was satisfied at my success in the department in which chance had in some measure enlisted me, I was, nevertheless, far from thinking that the novelist or romance-writer stands high in the ranks of literature. But I spare the reader farther egotism on this subject, as I have expressed my opinion very fully in the Introductory Epistle to the Fortunes of Nigel, first edition; and, although it be composed in an imaginary character, it is as sincere and candid as if it had been written “without my gown and band.”

In a word, when I considered myself as having been unsuccessful in the Monastery, I was tempted to try whether I could not restore, even at the risk of totally losing, my so-called reputation, by a new hazard – I looked round my library, and could not but observe, that, from the time of Chaucer to that of Byron, the most popular authors had been the most prolific. Even the aristarch Johnson allowed that the quality of readiness and profusion had a merit in itself, independent of the intrinsic value of the composition. Talking of Churchill, I believe, who had little merit in his prejudiced eyes, he allowed him that of fertility, with some such qualification as this, “A Crab-apple can bear but crabs after all; but there is a great difference in favour of that which bears a large quantity of fruit, however indifferent, and that which produces only a few.”

Looking more attentively at the patriarchs of literature, whose earner was as long as it was brilliant, I thought I perceived that in the busy and prolonged course of exertion, there were no doubt occasional failures, but that still those who were favourites of their age triumphed over these miscarriages. By the new efforts which they made, their errors were obliterated, they became identified with the literature of their country, and after having long received law from the critics, came in some degree to impose it. And when such a writer was at length called from the scene, his death first made the public sensible what a large share he had occupied in their attention. I recollected a passage in Grimm’s Correspondence, that while the unexhausted Voltaire sent forth tract after tract to the very close of a long life, the first impression made by each as it appeared, was, that it was inferior to its predecessors; an opinion adopted from the general idea that the Patriarch of Ferney must at last find the point from which he was to decline. But the opinion of the public finally ranked in succession the last of Voltaire’s Essays on the same footing with those which had formerly charmed the French nation. The inference from this and similar facts seemed to me to be, that new works were often judged of by the public, not so much from their own intrinsic merit, as from extrinsic ideas which readers had previously formed with regard to them, and over which a writer might hope to triumph by patience and by exertion. There is risk in the attempt;

But this is a chance incident to every literary attempt, and by which men of a sanguine temper are little moved.

I may illustrate what I mean, by the feelings of most men in travelling. If we have found any stage particularly tedious, or in an especial degree interesting, particularly short, or much longer than we expected, our imaginations are so apt to exaggerate the original impression, that, on repeating the journey, we usually find that we have considerably over-rated the predominating quality, and the road appears to be duller or more pleasant, shorter or more tedious, than what we expected, and, consequently, than what is actually the case. It requires a third or fourth journey to enable us to form an accurate judgment of its beauty, its length, or its other attributes.

In the same manner, the public, judging of a new work, which it receives perhaps with little expectation, if surprised into applause, becomes very often ecstatic, gives a great deal more approbation than is due, and elevates the child of its immediate favour to a rank which, as it affects the author, it is equally difficult to keep, and painful to lose. If, on this occasion, the author trembles at the height to which he is raised, and becomes afraid of the shadow of his own renown, he may indeed retire from the lottery with the prize which he has drawn, but, in future ages, his honour will be only in proportion to his labours. If, on the contrary, he rushes again into the lists, he is sure to be judged with severity proportioned to the former favour of the public. If he be daunted by a bad reception on this second occasion, he may again become a stranger to the arena. If, on the contrary, he can keep his ground, and stand the shuttlecock’s fate, of being struck up and down, he will probably, at length, hold with some certainty the level in public opinion which he may be found to deserve; and he may perhaps boast of arresting the general attention, in the same manner as the Bachelor Samson Carrasco, of fixing the weathercock La Giralda of Seville for weeks, months, or years, that is, for as long as the wind shall uniformly blow from one quarter. To this degree of popularity the author had the hardihood to aspire, while, in order to attain it, he assumed the daring resolution to keep himself in the view of the public by frequent appearances before them.

It must be added, that the author’s incognito gave him greater courage to renew his attempts to please the public, and an advantage similar to that which Jack the Giant-killer received from his coat of darkness. In sending the Abbot forth so soon after the Monastery, he had used the well-known practice recommended by Bassanio: —

And, to continue the simile, his shafts, like those of the lesser Ajax, were discharged more readily that the archer was as inaccessible to criticism, personally speaking, as the Grecian archer under his brother’s sevenfold shield.

Should the reader desire to know upon what principles the Abbot was expected to amend the fortune of the Monastery, I have first to request his attention to the Introductory Epistle addressed to the imaginary Captain Clutterbuck; a mode by which, like his predecessors in this walk of fiction, the real author makes one of his dramatis personae the means of communicating his own sentiments to the public, somewhat more artificially than by a direct address to the readers. A pleasing French writer of fairy tales, Monsieur Pajon, author of the History of Prince Soly, has set a diverting example of the same machinery, where he introduces the presiding Genius of the land of Romance conversing with one of the personages of the tale.

In this Introductory Epistle, the author communicates, in confidence, to Captain Clutterbuck, his sense that the White Lady had not met the taste of the times, and his reason for withdrawing her from the scene. The author did not deem it equally necessary to be candid respecting another alteration. The Monastery was designed, at first, to have contained some supernatural agency, arising out of the fact, that Melrose had been the place of deposit of the great Robert Bruce’s heart. The writer shrunk, however, from filling up, in this particular, the sketch as it was originally traced; nor did he venture to resume, in continuation, the subject which he had left unattempted in the original work. Thus, the incident of the discovery of the heart, which occupies the greater part of the Introduction to the Monastery, is a mystery unnecessarily introduced, and which remains at last very imperfectly explained. In this particular, I was happy to shroud myself by the example of the author of “Caleb Williams,” who never condescends to inform us of the actual contents of that Iron Chest which makes such a figure in his interesting work, and gives the name to Mr. Colman’s drama.

The public had some claim to inquire into this matter, but it seemed indifferent policy in the author to give the explanation. For, whatever praise may be due to the ingenuity which brings to a general combination all the loose threads of a narrative, like the knitter at the finishing of her stocking, I am greatly deceived if in many cases a superior advantage is not attained, by the air of reality which the deficiency of explanation attaches to a work written on a different system. In life itself, many things befall every mortal, of which the individual never knows the real cause or origin; and were we to point out the most marked distinction between a real and a fictitious narrative, we would say, that the former in reference to the remote causes of the events it relates, is obscure, doubtful, and mysterious; whereas, in the latter case, it is a part of the author’s duty to afford satisfactory details upon the causes of the separate events he has recorded, and, in a word, to account for every thing. The reader, like Mungo in the Padlock, will not be satisfied with hearing what he is not made fully to comprehend.

I omitted, therefore, in the Introduction to the Abbot, any attempt to explain the previous story, or to apologize for unintelligibility.

Neither would it have been prudent to have endeavoured to proclaim, in the Introduction to the Abbot, the real spring, by which I hoped it might attract a greater degree of interest than its immediate predecessor. A taking title, or the announcement of a popular subject, is a recipe for success much in favour with booksellers, but which authors will not always find efficacious. The cause is worth a moment’s examination.

There occur in every country some peculiar historical characters, which are, like a spell or charm, sovereign to excite curiosity and attract attention, since every one in the slightest degree interested in the land which they belong to, has heard much of them, and longs to hear more. A tale turning on the fortunes of Alfred or Elizabeth in England, or of Wallace or Bruce in Scotland, is sure by the very announcement to excite public curiosity to a considerable degree, and ensure the publisher’s being relieved of the greater part of an impression, even before the contents of the work are known. This is of the last importance to the bookseller, who is at once, to use a technical phrase, “brought home,” all his outlay being repaid. But it is a different case with the author, since it cannot be denied that we are apt to feel least satisfied with the works of which we have been induced, by titles and laudatory advertisements, to entertain exaggerated expectations. The intention of the work has been anticipated, and misconceived or misrepresented, and although the difficulty of executing the work again reminds us of Hotspur’s task of “o’er-walking a current roaring loud,” yet the adventurer must look for more ridicule if he fails, than applause if he executes, his undertaking.

Notwithstanding a risk, which should make authors pause ere they adopt a theme which, exciting general interest and curiosity, is often the preparative for disappointment, yet it would be an injudicious regulation which should deter the poet or painter from attempting to introduce historical portraits, merely from the difficulty of executing the task in a satisfactory manner. Something must be trusted to the generous impulse, which often thrusts an artist upon feats of which he knows the difficulty, while he trusts courage and exertion may afford the means of surmounting it.

It is especially when he is sensible of losing ground with the public, that an author may be justified in using with address, such selection of subject or title as is most likely to procure a rehearing. It was with these feelings of hope and apprehension, that I venture to awaken, in a work of fiction, the memory of Queen Mary, so interesting by her wit, her beauty, her misfortunes, and the mystery which still does, and probably always will, overhang her history. In doing so, I was aware that failure would be a conclusive disaster, so that my task was something like that of an enchanter who raises a spirit over whom he is uncertain of possessing an effectual control; and I naturally paid attention to such principles of composition, as I conceived were best suited to the historical novel.

Enough has been already said to explain the purpose of composing the Abbot. The historical references are, as usual, explained in the notes. That which relates to Queen Mary’s escape from Lochleven Castle, is a more minute account of that romantic adventure, than is to be found in the histories of the period.

ABBOTSFORD,

1st January, 1831.

INTRODUCTORY EPISTLE

DEAR CAPTAIN:

I am sorry to observe, by your last favour, that you disapprove of the numerous retrenchments and alterations which I have been under the necessity of making on the Manuscript of your friend, the Benedictine, and I willingly make you the medium of apology to many, who have honoured me more than I deserve.

I admit that my retrenchments have been numerous, and leave gaps in the story, which, in your original manuscript, would have run well-nigh to a fourth volume, as my printer assures me. I am sensible, besides, that, in consequence of the liberty of curtailment you have allowed me, some parts of the story have been huddled up without the necessary details. But, after all, it is better that the travellers should have to step over a ditch, than to wade through a morass – that the reader should have to suppose what may easily be inferred, than be obliged to creep through pages of dull explanation. I have struck out, for example, the whole machinery of the White Lady, and the poetry by which it is so ably supported, in the original manuscript. But you must allow that the public taste gives little encouragement to those legendary superstitions, which formed alternately the delight and the terror of our predecessors. In like manner, much is omitted illustrative of the impulse of enthusiasm in favour of the ancient religion in Mother Magdalen and the Abbot. But we do not feel deep sympathy at this period with what was once the most powerful and animating principle in Europe, with the exception of that of the Reformation, by which it was successfully opposed.

You rightly observe, that these retrenchments have rendered the title no longer applicable to the subject, and that some other would have been more suitable to the Work, in its present state, than that of THE ABBOT, who made so much greater figure in the original, and for whom your friend, the Benedictine, seems to have inspired you with a sympathetic respect. I must plead guilty to this accusation, observing, at the same time, in manner of extenuation, that though the objection might have been easily removed, by giving a new title to the Work, yet, in doing so, I should have destroyed the necessary cohesion between the present history, and its predecessor THE MONASTERY, which I was unwilling to do, as the period, and several of the personages, were the same.

After all, my good friend, it is of little consequence what the work is called, or on what interest it turns, provided it catches the public attention; for the quality of the wine (could we but insure it) may, according to the old proverb, render the bush unnecessary, or of little consequence.

I congratulate you upon your having found it consistent with prudence to establish your Tilbury, and approve of the colour, and of your boy’s livery, (subdued green and pink.) – As you talk of completing your descriptive poem on the “Ruins of Kennaquhair, with notes by an Antiquary,” I hope you have procured a steady horse. – I remain, with compliments to all friends, dear Captain, very much

Yours, &c. &c. &c.

Chapter the First

The time which passes over our heads so imperceptibly, makes the same gradual change in habits, manners, and character, as in personal appearance. At the revolution of every five years we find ourselves another, and yet the same – there is a change of views, and no less of the light in which we regard them; a change of motives as well as of actions. Nearly twice that space had glided away over the head of Halbert Glendinning and his lady, betwixt the period of our former narrative, in which they played a distinguished part, and the date at which our present tale commences.

Two circumstances only had imbittered their union, which was otherwise as happy as mutual affection could render it. The first of these was indeed the common calamity of Scotland, being the distracted state of that unhappy country, where every man’s sword was directed against his neighbour’s bosom. Glendinning had proved what Murray expected of him, a steady friend, strong in battle, and wise in counsel, adhering to him, from motives of gratitude, in situations where by his own unbiassed will he would either have stood neuter, or have joined the opposite party. Hence, when danger was near – and it was seldom far distant – Sir Halbert Glendinning, for he now bore the rank of knighthood, was perpetually summoned to attend his patron on distant expeditions, or on perilous enterprises, or to assist him with his counsel in the doubtful intrigues of a half-barbarous court. He was thus frequently, and for a long space, absent from his castle and from his lady; and to this ground of regret we must add, that their union had not been blessed with children, to occupy the attention of the Lady of Avenel, while she was thus deprived of her husband’s domestic society.

On such occasions she lived almost entirely secluded from the world, within the walls of her paternal mansion. Visiting amongst neighbors was a matter entirely out of the question, unless on occasions of solemn festival, and then it was chiefly confined to near kindred. Of these the Lady of Avenel had none who survived, and the dames of the neighbouring barons affected to regard her less as the heiress of the house of Avenel than as the wife of a peasant, the son of a church-vassal, raised up to mushroom eminence by the capricious favour of Murray.

The pride of ancestry, which rankled in the bosom of the ancient gentry, was more openly expressed by their ladies, and was, moreover, imbittered not a little by the political feuds of the time, for most of the Southern chiefs were friends to the authority of the Queen, and very jealous of the power of Murray. The Castle of Avenel was, therefore, on all these accounts, as melancholy and solitary a residence for its lady as could well be imagined. Still it had the essential recommendation of great security. The reader is already aware that the fortress was built upon an islet on a small lake, and was only accessible by a causeway, intersected by a double ditch, defended by two draw-bridges, so that without artillery, it might in those days be considered as impregnable. It was only necessary, therefore, to secure against surprise, and the service of six able men within the castle was sufficient for that purpose. If more serious danger threatened, an ample garrison was supplied by the male inhabitants of a little hamlet, which, under the auspices of Halbert Glendinning, had arisen on a small piece of level ground, betwixt the lake and the hill, nearly adjoining to the spot where the causeway joined the mainland. The Lord of Avenel had found it an easy matter to procure inhabitants, as he was not only a kind and beneficent overlord, but well qualified, both by his experience in arms, his high character for wisdom and integrity, and his favour with the powerful Earl of Murray, to protect and defend those who dwelt under his banner. In leaving his castle for any length of time, he had, therefore, the consolation to reflect, that this village afforded, on the slightest notice, a band of thirty stout men, which was more than sufficient for its defence; while the families of the villagers, as was usual on such occasions, fled to the recesses of the mountains, drove their cattle to the same places of shelter, and left the enemy to work their will on their miserable cottages.

One guest only resided generally, if not constantly, at the Castle of Avenel. This was Henry Warden, who now felt himself less able for the stormy task imposed on the reforming clergy; and having by his zeal given personal offence to many of the leading nobles and chiefs, did not consider himself as perfectly safe, unless when within the walls of the strong mansion of some assured friend. He ceased not, however, to serve his cause as eagerly with his pen, as he had formerly done with his tongue, and had engaged in a furious and acrimonious contest, concerning the sacrifice of the mass, as it was termed, with the Abbot Eustatius, formerly the Sub-Prior of Kennaquhair. Answers, replies, duplies, triplies, quadruplies, followed thick upon each other, and displayed, as is not unusual in controversy, fully as much zeal as Christian charity. The disputation very soon became as celebrated as that of John Knox and the Abbot of Crosraguel, raged nearly as fiercely, and, for aught I know, the publications to which it gave rise may be as precious in the eyes of bibliographers. [Footnote: The tracts which appeared in the Disputation between the Scottish Reformer and Quentin Kennedy, Abbot of Crosraguel, are among the scarcest in Scottish Bibliography. See M’Crie’s Life of Knox, p. 258.] But the engrossing nature of his occupation rendered the theologian not the most interesting companion for a solitary female; and his grave, stern, and absorbed deportment, which seldom showed any interest, except in that which concerned his religious profession, made his presence rather add to than diminish the gloom which hung over the Castle of Avenel. To superintend the tasks of numerous female domestics, was the principal part of the Lady’s daily employment; her spindle and distaff, her Bible, and a solitary walk upon the battlements of the castle, or upon the causeway, or occasionally, but more seldom, upon the banks of the little lake, consumed the rest of the day. But so great was the insecurity of the period, that when she ventured to extend her walk beyond the hamlet, the warder on the watch-tower was directed to keep a sharp look-out in every direction, and four or five men held themselves in readiness to mount and sally forth from the castle on the slightest appearance of alarm.

Thus stood affairs at the castle, when, after an absence of several weeks, the Knight of Avenel, which was now the title most frequently given to Sir Halbert Glendinning, was daily expected to return home. Day after day, however, passed away, and he returned not. Letters in those days were rarely written, and the Knight must have resorted to a secretary to express his intentions in that manner; besides, intercourse of all kinds was precarious and unsafe, and no man cared to give any public intimation of the time and direction of a journey, since, if his route were publicly known, it was always likely he might in that case meet with more enemies than friends upon the road. The precise day, therefore, of Sir Halbert’s return, was not fixed, but that which his lady’s fond expectation had calculated upon in her own mind had long since passed, and hope delayed began to make the heart sick.