Memoirs of the Life of Sir Walter Scott, Bart.
Sir Walter Scott to Alan Cunningham, [December 1820]
“It was as you supposed.—I detained your manuscript to
read it over with Terry. The plot
appears to Terry as to me ill-combined, which is a great
defect in a drama, though less perceptible in the closet than on the stage.
Still if the mind can be kept upon one unbroken course of interest, the effect
even in perusal is more gra-
40 | LIFE OF SIR WALTER SCOTT. | |
tifying. I have always
considered this as the great secret in dramatic poetry, and conceive it one of
the most difficult exercises of the invention possible to conduct a story
through five acts, developing it gradually in every scene, so as to keep up the
attention, yet never till the very conclusion permitting the nature of the
catastrophe to become visible,—and all the while to accompany this by the
necessary delineation of character and beauty of language. I am glad, however,
that you mean to preserve in some permanent form your very curious drama,
which, if not altogether fitted for the stage, cannot be read without very much
and very deep interest.
“I am glad you are about Scottish song. No man—not
Robert Burns himself—has contributed
more beautiful effusions to enrich it. Here and there I would pluck a flower
from your Posy to give what remains an effect of greater simplicity, but
luxuriance can only be the fault of genius, and many of your songs are, I
think, unmatched. I would instance—“It’s hame
and it’s hame,” which my daughter Mrs Lockhart sings with such uncommon effect.
You cannot do any thing either in the way of original composition, or
collection, or criticism, that will not be highly acceptable to all who are
worth pleasing in the Scottish public—and I pray you to proceed with it.
“Remember me kindly to Chantrey. I am happy my effigy is to go with that of Wordsworth*, for (differing from him in very
many points of taste) I do not know a man more to be venerated for uprightness
of heart and loftiness of genius. Why he will sometimes choose to crawl upon
all fours, when God has given him so noble a countenance to lift to heaven, I
am as little able to ac-
count for as for his quarrelling (as you
tell me) with the wrinkles which time and meditation have stamped his brow
withal.
“I am obliged to conclude hastily, having long letters
to write—God wot upon very different subjects. I pray my kind respects to
Mrs Chantrey.—Believe me, dear
Allan, very truly yours, &c.,
Robert Burns (1759-1796)
Scottish poet and song collector; author of
Poems, chiefly in the
Scottish Dialect (1786).
Sir Francis Leggatt Chantrey (1781-1841)
English sculptor who worked as a statuary from 1804; he employed the poet Allan
Cunningham in his studio from 1814. He was knighted in 1835.
Lady Mary Anne Chantrey [née Wale] (1787-1875)
She married her cousin, the sculptor Francis Chantrey, in 1809, and eventually
contributed the bulk of her husband's estate to the Royal Academy.
Allan Cunningham [Hidallan] (1784-1842)
Scottish poet and man of letters who contributed to both
Blackwood's and the
London Magazine; he was author of
Lives of the most Eminent British Painters, Sculptors, and
Architects (1829-33).
Daniel Terry (1789-1829)
English actor; after a career in provincial theater made his London debut in 1812. A
close friend of Walter Scott, he performed in theatrical adaptations of Scott's
novels.
William Wordsworth (1770-1850)
With Coleridge, author of
Lyrical Ballads (1798), Wordsworth
survived his early unpopularity to succeed Robert Southey as poet laureate in 1843.