questions and the results of his favourite reading in old books and
manuscripts. He communicates his conclusions on the subject of "Arthur
and Merlin" or on the authorship of the old metrical romance of "Sir
Tristram." [9] He has been copying manuscripts in the Advocates' Library
at Edinburgh. In 1791 he read papers before the Speculative Society on
"The Origin of the Feudal System," "The Authenticity of Ossian's Poems,"
"The Origin of the Scandinavian Mythology." Lockhart describes two
note-books in Scott's hand-writing, with the date 1792, containing
memoranda of ancient court records about Walter Scott and his wife, Dame
Janet Beaton, the "Ladye" of Branksome in the "Lay"; extracts from
"Guerin de Montglave"; copies of "Vegtam's Kvitha" and the "Death-Song of
Regner Lodbrog," with Gray's English versions; Cnut's verses on passing
Ely Cathedral; the ancient English "Cuckoo Song," and other rubbish of
the kind.[10] When in 1803 he began to contribute articles to the
_Edinburgh Review_, his chosen topics were such as "Amadis of Gaul,"
Ellis' "Specimens of Ancient English Poetry," Godwin's "Chaucer,"
Sibbald's "Chronicle of Scottish Poetry," Evans' "Old Ballads," Todd's
"Spenser," "The Life and Works of Chatterton," Southey's translation of
"The Cid," etc.

Scott's preparation for the work which he had to do was more than
adequate. His reading along chosen lines was probably more extensive and
minute than any man's of his generation. The introductions and notes to
his poems and novels are even overburdened with learning. But this,
though important, was but the lesser part of his advantage. "The
old-maidenly genius of antiquarianism" could produce a Strutt[11] or even
perhaps a Warton; but it needed the touch of the creative imagination to
turn the dead material of knowledge into works of art that have delighted
millions of readers for a hundred years in all civilised lands and
tongues.