od up to "Ivanhoe," that famous sortie into
English history, belong such masterpieces as "Guy Mannering,"
"Old Mortality," "Heart of Midlothian," "The Bride of
Lammermoor," and "Rob Roy"; a list which, had he produced
nothing else would have sufficed to place him high among the
makers of romance. It is not the intention to analyze these
great books one by one--a task more fit for a volume than a
chapter; but to bring out those qualities of his work which are
responsible for his place in fiction and influence in the Novel
of the nineteenth century.

No story of this group--nor of his career as a writer--has won
more plaudits than "The Heart of Midlothian." Indeed, were the
reader forced to the unpleasant necessity of choosing out of the
thirty stories which Scott left the world the one most deserving
of the prize, possibly the choice would fall on that superb
portrayal of Scotch life--although other fine Novels of the
quintet named would have their loyal friends. To study the
peerlessly pathetic tale of Effie and Jeanie Deans is to see
Scott at his representative best and note the headmarks of his
genius: it is safe to say that he who finds nothing in it can
never care for its author.

The first thing to notice in this novel of the ancient Edinburgh
Tolbooth, this romance of faithful sisterhood, is its essential
Scotch fiber. The fact affects the whole work. It becomes
thereby simpler, homelier, more vernacular: it is a story that
is a native emanation. The groundwork of plot too is simple,
vital: and moreover, founded on a true incident. Effie, the
younger of two sisters, is betrayed; concerning her betrayer
there is mystery: she is supposed to commit child-murder to hide
her shame: a crime then punishable by death. The story deals
with her trial, condemnation and final pardon and happy marriage
with her lover through the noble mediation of Jeanie, her elder
sister.

In the presentation of an earlier period in Scotland, the
opening of the eighteenth century, when all punitive measures
were primitive and the lawless social elements seethed with
restless discontent, Scott had a fine chance: and at the very
opening, in describing the violent putting to death of Captain
Porteous, he skilfully prepares the way for the general picture
to be given. Then, as the story progresses, to the supreme
sacrificial effort of Jeanie in behalf of her erring sister's
life, gradually, stroke upon stroke, the period with its
religiou