ho had already begun
to indicate that skill in typography for which he was afterwards so
justly celebrated. In 1804 he published, from the Auchinleck Manuscript
in the Advocates' Library, the ancient metrical tale of "Sir Tristrem;"
and, in an elaborate introduction, he endeavoured to prove that it was
the composition of Thomas of Ercildoune, better known as Thomas the
Rhymer. He published in 1805 "The Lay of the Last Minstrel," an original
ballad poem, which, speedily attaining a wide circulation, procured for
him an extensive reputation, and the substantial reward of L600.

The prosperity of the poet rose with his fame. In the year following
that which produced the "Lay," he received his appointment as a
principal clerk of the Court of Session, an office which afterwards
brought him L1200 a-year. To literary occupation he now resolved to
dedicate his intervals of leisure. In 1808 he produced "Marmion," his
second great poem, which brought him L1000 from the publisher, and at
once established his fame. During the same year he completed the heavy
task of editing the works of Dryden, in eighteen volumes. In 1809 he
edited the state papers and letters of Sir Ralph Sadler, and became a
contributor to the _Edinburgh Annual Register_, conducted by Southey.
"The Lady of the Lake," the most happily-conceived and popular of his
poetical works, appeared in 1810; "Don Roderick," in 1811; "Rokeby," in
1813; and "The Lord of the Isles," in 1814. "Harold the Dauntless," and
"The Bridal of Triermain," appeared subsequently, without the author's
name.

As a poet, Scott had now attained a celebrity unrivalled among his
contemporaries, and it was in the apprehension of compromising his
reputation, that, in attempting a new species of composition, he was
extremely anxious to conceal the name of the author. The novel of
"Waverley," which appeared in 1814, did not, however, suffer from its
being anonymous; for, although the sale was somewhat heavy at first, the
work soon afterwards reached the extraordinary circulation of twelve
thousand copies. Contrary to reasonable expectation, however, the author
of "Waverley" did not avow himself, and, numerous as was the catalogue
of prose fictions which, for more than twenty years, proceeded from his
pen, he continued as desirous of retaining his secret as were his female
contemporaries, Lady Nairn and Lady Anne Barnard, to cast a veil over
their poetical character. The rapidity with which the "Gre