Marmion

Jeffrey, in the Edinburgh Review, not being able to understand and appreciate this new devotion to romance, and probably stimulated by his misreading of the reference to Fox in the Introduction to Canto I, did his utmost to cast discredit on ‘Marmion.’ Scott was too large a man to confound the separate spheres of Politics and Literature; whereas it was frequently the case with Jeffrey-as, indeed, it was to some extent with literary critics on the other side as well-to estimate an author’s work in reference to the party in the State to which he was known to belong. It was impossible to deny merits to Scott’s descriptions, and the extraordinary energy of the most striking portions of the Poem, but Jeffrey groaned over the inequalities he professed to discover, and lamented that the poet should waste his strength on the unprofitable effort to resuscitate an old-fashioned enthusiasm. They had been the best of friends previously-and Scott, as we have seen, worked for the Edinburgh Review-but it was now patent that the old literary intimacy could not pleasantly continue. Nor is it surprising that Scott should have felt that the Edinburgh Review had become too autocratic, and that he should have given a helping hand towards the establishing of the Quarterly Review, as a political and literary organ necessary to the balance of parties.

V. THE TEXT OF THE POEM

Scott himself revised ‘Marmion’ in 1831, and the interleaved copy which he used formed the basis of the text given by Lockhart in the uniform edition of the Poetical Works published in 1833. This will remain the standard text. It is that which is followed in the present volume, in which there will be found only three-in reality only two-important instances of divergence from Lockhart’s readings. The earlier editions have been collated with that of 1833, and Mr. W. J. Rolfe’s careful and scholarly Boston edition has likewise been consulted. It has not been considered necessary to follow Mr. Rolfe in several alterations he has made on Lockhart; but he introduces one emendation which readily commends itself to the reader’s intelligence, and it is adopted in the present volume. This is in the punctuation of the opening lines in the first stanza of Canto II. Lockhart completes a sentence at the end of the fifth line, whereas the sense manifestly carries the period on to the eleventh line. In the third Introd., line 228, the reading of the earlier editions is followed in giving ‘From me’ instead of ‘For me,’ as the meaning is thereby simplified and made more direct. In III. xiv. 234, the modern versions of Lockhart’s text give ‘proudest princes veil their eyes,’ where Lockhart himself agrees with the earlier editions in reading ‘vail’. The restoration of the latter form needs no defence. The Elizabethan words in the Poem are not infrequent, giving it, as they do, a certain air of archaic dignity, and there can be little doubt that ‘vail’ was Scott’s word here, used in its Shakespearian sense of ‘lower’ or ‘cast down,’ and recalling Venus as ‘she vailed her eyelids.’

MARMIONA TALE OF FLODDEN FIELDIN SIX CANTOS

Alas! that Scottish maid should sing
The combat where her lover fell!
That Scottish Bard should wake the string,
The triumph of our foes to tell!

    LEYDEN.

ADVERTISEMENT

* * *

It is hardly to be expected, that an Author whom the Public have honoured with some degree of applause, should not be again a trespasser on their kindness. Yet the Author of MARMION must be supposed to feel some anxiety concerning its success, since he is sensible that he hazards, by this second intrusion, any reputation which his first Poem may have procured him. The present story turns upon the private adventures of a fictitious character; but is called a Tale of Flodden Field, because the hero’s fate is connected with that memorable defeat, and the causes which led to it. The design of the Author was, if possible, to apprize his readers, at the outset, of the date of his Story, and to prepare them for the manners of the Age in which it is laid. Any Historical Narrative, far more an attempt at Epic composition, exceeded his plan of a Romantic Tale; yet he may be permitted to hope, from the popularity of THE LAY OF THE LAST MINSTREL, that an attempt to paint the manners of the feudal times, upon a broader scale, and in the course of a more interesting story, will not be unacceptable to the Public.

The Poem opens about the commencement of August, and concludes with the defeat of Flodden, 9th September, 1513. Ashestiel, 1808,

INTRODUCTION TO CANTO FIRST

TO WILLIAM STEWART ROSE, ESQ

Ashestiel, Ettrick Forest

November’s sky is chill and drear,
November’s leaf is red and sear:
Late, gazing down the steepy linn,
That hems our little garden in,
Low in its dark and narrow glen,                            5
You scarce the rivulet might ken,
So thick the tangled greenwood grew,
So feeble trill’d the streamlet through:
Now, murmuring hoarse, and frequent seen
Through bush and brier, no longer green,                    10
An angry brook, it sweeps the glade,
Brawls over rock and wild cascade,
And, foaming brown with double speed,
Hurries its waters to the Tweed.

No longer Autumn’s glowing red                              15
Upon our Forest hills is shed;
No more, beneath the evening beam,
Fair Tweed reflects their purple gleam;
Away hath pass’d the heather-bell
That bloom’d so rich on Needpath-fell;                      20
Sallow his brow, and russet bare
Are now the sister-heights of Yair.
The sheep, before the pinching heaven,
To sheltered dale and down are driven,
Where yet some faded herbage pines,                        25
And yet a watery sunbeam shines:
In meek despondency they eye
The withered sward and wintry sky,
And far beneath their summer hill,
Stray sadly by Glenkinnon’s rill:                          30
The shepherd shifts his mantle’s fold,
And wraps him closer from the cold;
His dogs no merry circles wheel,
But, shivering, follow at his heel;
A cowering glance they often cast,                          35
As deeper moans the gathering blast.

My imps, though hardy, bold, and wild,
As best befits the mountain child,
Feel the sad influence of the hour,
And wail the daisy’s vanish’d flower;                      40
Their summer gambols tell, and mourn,
And anxious ask, – Will spring return,
And birds and lambs again be gay,
And blossoms clothe the hawthorn spray?

Yes, prattlers, yes.  The daisy’s flower                  45
Again shall paint your summer bower;
Again the hawthorn shall supply
The garlands you delight to tie;
The lambs upon the lea shall bound,
The wild birds carol to the round,                          50
And while you frolic light as they,
Too short shall seem the summer day.

To mute and to material things
New life revolving summer brings;
The genial call dead Nature hears,                          55
And in her glory reappears.
But oh! my Country’s wintry state
What second spring shall renovate?
What powerful call shall bid arise
The buried warlike and the wise;                            60
The mind that thought for Britain’s weal,
The hand that grasp’d the victor steel?
The vernal sun new life bestows
Even on the meanest flower that blows;
But vainly, vainly may he shine,                            65
Where Glory weeps o’er NELSON’S shrine: