not by Constable, who had brought out Scott's other works, and the book
was received with unbounded enthusiasm. Many critics place "Old
Mortality" in the highest niche of merit and fame. Frere of the
Quarterly Review, Hallam, Boswell, Lamb, Lord Holland, all agreed that
it surpassed his other novels. Bishop Heber said, "There are only two
men in the world,--Walter Scott and Lord Byron." Lockhart regarded "Old
Mortality" as the "Marmion" of Scott's novels; but the painting of the
Covenanters gave offence to the more rigid of the Presbyterians. For
myself, I have doubt as to the correctness of their criticisms. "Old
Mortality," in contrast with the previous novels of Scott, has a place
similar to the later productions of George Eliot as compared with her
earlier ones. It is not so vivid a sketch of Scotch life as is given in
"Guy Mannering." Like "The Antiquary," it is bookish rather than
natural. From a literary point of view, it is more artistic than "Guy
Mannering," and more learned. "The canvas is a broader one." Its
characters are portrayed with great skill and power, but they lack the
freshness which comes from actual contact with the people described, and
with whom Scott was familiar as a youth in the course of his wanderings.
It is more historical than realistic. In short, "Old Mortality" is
another creation of its author's brain rather than a painting of real
life. But it is justly famous, for it was the precursor of those
brilliant historical romances from which so much is learned of great men
already known to students. It was a new departure in literature.

Before Scott arose, historical novels were comparatively unknown. He
made romance instructive, rather than merely amusing, and added the
charm of life to the dry annals of the past. Cervantes does not portray
a single great character known in Spanish history in his "Don Quixote,"
but he paints life as he has seen it. So does Goldsmith. So does George
Eliot in "Silas Marner." She presents life, indeed, in "Romola,"--not,