gled about in the train, first of the Abbess and then of Lord
Marmion, for no purpose, that we can see, but to afford the author an
opportunity for two or three pages of indifferent description.

Finally, we must object, both on critical and on national grounds, to
the discrepancy between the title and the substance of the poem, and the
neglect of Scotish feelings and Scotish character that is manifested
throughout. Marmion is no more a tale of Flodden Field, than of Bosworth
Field, or any other field in history. The story is quite independent of
the national feuds of the sister kingdoms; and the battle of Flodden has
no other connexion with it, than from being the conflict in which the
hero loses his life. Flodden, however, is mentioned; and the
preparations for Flodden, and the consequences of it, are repeatedly
alluded to in the course of the composition. Yet we nowhere find any
adequate expressions of those melancholy and patriotic sentiments which
are still all over Scotland the accompaniment of those allusions and
recollections. No picture is drawn of the national feelings before or
after that fatal encounter; and the day that broke for ever the pride
and the splendour of his country, is only commemorated by a Scotish poet
as the period when an English warrior was beaten to the ground. There is
scarcely one trait of true Scotish nationality or patriotism introduced
into the whole poem; and Mr Scott's only expression of admiration or
love for the beautiful country to which he belongs, is put, if we
rightly remember, into the mouth of one of his Southern favourites.
Independently of this, we think that too little pains is taken to
distinguish the Scotish character and manners from the English, or to
give expression to the general feeling of rivalry and mutual jealousy
which at that time existed between the two countries.

If there be any truth in what we have now said, it is evident that the
merit of this poem cannot consist in the story. And yet it has very
great merit, and various kinds of merit,--both in the picturesque
representation of visible objects, in the delineation of manners and
characters, and in the description of great and striking events. After
having detained the reader so long with our own dull remarks, it will
be refreshing to him to peruse a few specimens of Mr Scott's more
enlivening strains.

[Quotes over six hundred lines of _Marmion_ with brief comment.]

The powerful poetry of these passa