the justice of the sentiments which it conveys; but he wants that
enthusiastic feeling which, like sunshine upon a landscape, lights up
every beauty, and palliates if it cannot hide every defect. To offer a
poem of imagination to a man whose whole life and study have been to
acquire a stoical indifference towards enthusiasm of every kind, would
be the last, as it would surely be the silliest, action of my life."

As stated above, it was about this time that Scott broke off his
connection with the Edinburgh Review. Perhaps that was what Jeffrey
wished, since the Review became thenceforth more intensely partisan, and
Scott's Toryism was not what was wanted.

It is fair to add that in 1810 Jeffrey sent Scott advance proofs of his
critique on "The Lady of the Lake," with a frank and friendly letter in
which he says:--

"I am now sensible that there were needless asperities in my review of
'Marmion,' and from the hurry in which I have been forced to write, I
dare say there may be some here also.... I am sincerely proud both of
your genius and of your glory, and I value your friendship more highly
than most either of my literary or political opinions."

Southey, Ellis, and Wordsworth, Erskine, Heber, and other friends wrote
congratulatory letters about "Marmion," with slight allusions to minor
blemishes. Lockhart thought that it was on the whole the greatest of
Scott's poems, in strength and boldness. Most critics regarded the long
introduction to each canto as a defect, since it broke the continuity of
the narrative; but it may at least be said that these preludes give an
interesting insight into the author's moods and views. The opinions of
literary men of course differ as to the relative excellence of the