pathetic charm. Here and there some slight confusion of thought or style
represents the flickering of a light that flashes yet with its old
brilliancy. There is not yet the manifest suggestion of the loss of
power that we find presently afterwards in "Count Robert of Paris" and
"Castle Dangerous," published in 1831 as the Fourth Series of "Tales of
My Landlord," with which he closed his life's work at the age of sixty.

Milton has said that he who would not be frustrate of his hope to write
well in laudable things, ought himself to be a true poem. Scott's life
was a true poem, of which the music entered into all he wrote. If in his
earlier days the consciousness of an unlimited productive power tempted
him to make haste to be rich, that he might work out, as founder of a
family, an ideal of life touched by his own genius of romance, there was
not in his desire for gain one touch of sordid greed, and his ideal of
life only brought him closer home to all its duties. Sir Walter Scott's
good sense, as Lord Cockburn said, was a more wonderful gift than his
genius. When the mistake of a trade connection with James Ballantyne
brought ruin to him in 1826, he repudiated bankruptcy, took on himself
the burden of a debt of £130,000, and sacrificed his life to the
successful endeavour to pay off all. What was left unpaid at his death
was cleared afterwards by the success of his annotated edition of his
novels. No tale of physical strife in the battlefield could be as heroic
as the story of the close of Scott's life, with five years of a
death-struggle against adversity, animated by the truest sense of
honour. When the ruin was impending he wrote in his diary, "If things go
badly in London, the magic wand of the Unknown will be shivered in his
grasp. The feast of fancy will be over with the feeling of independence.
He shall no longer have the delight of waking in the morning with bright
ideas in his mind, hasten to commit them to paper, and count them
monthly, as the means of planting such scaurs and purchasing such