The Monastery by Walter Scott (snow like ashes series TXT) 📕

and apparel are indeed the legitimate and often the successful objects of satire, during the time when they exist. In evidence of this, theatrical critics may observe how many dramatic jeux d'esprit are well received every season, because the satirist levels at some well-known or fashionable absurdity; or, in the dramatic phrase, “shoots folly as it flies.” But when the peculiar kind of folly keeps the wing no longer, it is reckoned but waste of powder to pour a discharge of ridicule on what has ceased to exist; and the pieces in which such forgotten absurdities are made the subject of ridicule, fall quietly into oblivion with the follies which gave them fashion, or only continue to exist on the scene, because they contain some other more permanent interest than that which connects them with manners and follies of a temporary character.

This, perhaps, affords a reason why the comedies of Ben Jonson, founded upon system, or what the age termed humours,—by which was meant factitious and affected characters, superinduced on that which was common to the rest of their race,—in spite of acute satire, deep scholarship, and strong sense, do not now afford general pleasure, but are confined to the closet of the antiquary, whose studies have assured him that the personages of the dramatist were once, though they are now no longer, portraits of existing nature.

Let us take another example of our hypothesis from Shakspeare himself, who, of all authors, drew his portraits for all ages. With the whole sum of the idolatry which affects us at his name, the mass of readers peruse, without amusement, the characters formed on the extravagances of temporary fashion; and the Euphuist Don Armado, the pedant Holofernes, even Nym and Pistol, are read with little pleasure by the mass of the public, being portraits of which we cannot recognize the humour, because the originals no longer exist. In like manner, while the distresses of Romeo and Juliet continue to interest every bosom, Mercutio, drawn as an accurate representation of the finished fine gentleman of the period, and as such received by the unanimous approbation of contemporaries, has so little to interest the present age, that, stripped of all his puns, and quirks of verbal wit, he only retains his place in the scene, in virtue of his fine and fanciful speech upon dreaming, which belongs to no particular age, and because he is a personage whose presence is indispensable to the plot.

We have already prosecuted perhaps too far an argument, the tendency of which is to prove, that the introduction of an humorist, acting like Sir Piercie Shafton, upon some forgotten and obsolete model of folly, once fashionable, is rather likely to awaken the disgust of the reader, as unnatural, than find him food for laughter. Whether owing to this theory, or whether to the more simple and probable cause of the author's failure in the delineation of the subject he had proposed to himself, the formidable objection of incredulus odi was applied to the Euphuist, as well as to the White Lady of Avenel; and the one was denounced as unnatural, while the other was rejected as impossible.

There was little in the story to atone for these failures in two principal points. The incidents were inartificially huddled together. There was no part of the intrigue to which deep interest was found to apply; and the conclusion was brought about, not by incidents arising out of the story itself, but in consequence of public transactions, with which the narrative has little connexion, and which the reader had little opportunity to become acquainted with.

This, if not a positive fault, was yet a great defect in the Romance. It is true, that not only the practice of some great authors in this department, but even the general course of human life itself, may be quoted in favour of this more obvious and less artificial practice of arranging a narrative. It is seldom that the same circle of personages who have surrounded an individual at his first outset in life, continue to have an interest in his career till his fate comes to a crisis. On the contrary, and more especially if the events of his life be of a varied character, and worth communicating to others, or to the world, the hero's later connexions are usually totally separated from those with whom he began the voyage, but whom the individual has outsailed, or who have drifted astray, or foundered on the passage. This hackneyed comparison holds good in another point. The numerous vessels of so many different sorts, and destined for such different purposes, which are launched in the same mighty ocean, although each endeavours to pursue its own course, are in every case more influenced by the winds and tides, which are common to the element which they all navigate, than by their own separate exertions. And it is thus in the world, that, when human prudence has done its best, some general, perhaps national, event, destroys the schemes of the individual, as the casual touch of a more powerful being sweeps away the web of the spider.

Many excellent romances have been composed in this view of human life, where the hero is conducted through a variety of detached scenes, in which various agents appear and disappear, without, perhaps, having any permanent influence on the progress of the story. Such is the structure of Gil Blas, Roderick Random, and the lives and adventures of many other heroes, who are described as running through different stations of life, and encountering various adventures, which are only connected with each other by having happened to be witnessed by the same individual, whose identity unites them together, as the string of a necklace links the beads, which are otherwise detached.

But though such an unconnected course of adventures is what most frequently occurs in nature, yet the province of the romance writer being artificial, there is more required from him than a mere compliance with the simplicity of reality,—just as we demand from the scientific gardener, that he shall arrange, in curious knots and artificial parterres, the flowers which “nature boon” distributes freely on hill and dale. Fielding, accordingly, in most of his novels, but especially in Tom Jones, his chef-d'oeuvre, has set the distinguished example of a story regularly built and consistent in all its parts, in which nothing occurs, and scarce a personage is introduced, that has not some share in tending to advance the catastrophe.

To demand equal correctness and felicity in those who may follow in the track of that illustrious novelist, would be to fetter too much the power of giving pleasure, by surrounding it with penal rules; since of this sort of light literature it may be especially said—tout genre est permis, hors le genre ennuyeux. Still, however, the more closely and happily the story is combined, and the more natural and felicitous the catastrophe, the nearer such a composition will approach the perfection of the novelist's art; nor can an author neglect this branch of his profession, without incurring proportional censure.

For such censure the Monastery gave but too much occasion. The intrigue of the Romance, neither very interesting in itself, nor very happily detailed, is at length finally disentangled by the breaking out of national hostilities between England and Scotland, and the as sudden renewal of the truce. Instances of this kind, it is true, cannot in reality have been uncommon, but the resorting to such, in order to accomplish the catastrophe, as by a tour de force, was objected to as inartificial, and not perfectly, intelligible to the general reader.

Still the Monastery, though exposed to severe and just criticism, did not fail, judging from the extent of its circulation, to have some interest for the public. And this, too, was according to the ordinary course of such matters; for it very seldom happens that literary reputation is gained by a single effort, and still more rarely is it lost by a solitary