d
With some strange tale bewitched my mind,
Of foragers who, with headlong force,
Down from that strength had spurred their horse,
Their Southern rapine to renew,
Far in the distant Cheviots blue;
And, home returning, filled the hall
With revel, wassail-rout and brawl."--"Marmion." Introduction
to Canto Third. See Lockhart for a description of the view from
Smailholme, _a propos_ of the stanza in "The Eve of St. John":

"That lady sat in mournful mood;
Looked over hill and vale:
O'ver Tweed's fair flood, and Mertoun's wood,
And all down Teviot dale."

[27] See vol. i., pp. 394-395.

[28] Scott's verse "is touched both with the facile redundance of the
mediaeval romances in which he was steeped, and with the meretricious
phraseology of the later eighteenth century, which he was too genuine a
literary Tory wholly to put aside."--"The Age of Wordsworth," C. H.
Herford, London. 1897.

[29] "The Gray Brother" in vol. iii. of the "Minstrelsy."

[30] "And goblin brats, of Gilpin Horner's brood,
Decoy young border-nobles through the wood,
And skip at every step, Lord knows how high,
And frighten foolish babes, the Lord knows why."

[31] "Now leave we Margaret and her knight
To tell you of the approaching fight."--Canto Fifth, xiii.

[32] Landor says oddly of Warton that he "had lost his ear by laying it
down on low swampy places, on ballads and sonnets."

[33] Does not the quarrel of Richard and Philip in "The Talisman" remind
one irresistibly of Achilles and Agamemnon in the "Iliad"?

[34] For a review of English historical fiction before Scott, consult
Professor Cross' "Development of the English Novel," pp. 110-114.

[35] "Familiar Studies of Men and Books," by R. L. Stevenson. Article,
"Victor Hugo's Romances."

[36] "Le Roman Historique a l'Epoque Romantique." Essai sur l'influence
de Walter Scott. Par Louis Maigron. Paris (Hachette). 1898, p. 331,
_note_. And _ibid_., p. 330: "Au lieu que les classiques s'efforcaient
toujours, a travers les modifications que les pays, les temps et les
circonstances peuvent apporter aux sentiments et aux passions des hommes,
d'atteindre a ce que ces passions et ces sentiments conservent de
permanent, d'immuable et d'eternel, c'est au contraire a l'expression de
l'accidentel et du relatif que les novateurs devaient les efforts de leur
art. Plus simplement, a la place de la verite humaine, ils devaie