Century." Incidental mention of Scott occurs throughout the same volume;
and a few of the things there said are repeated, in substance though not
in form, in the present chapter. It seemed better to risk some
repetition than to sacrifice fulness of treatment here.

[2] "The Development of the English Novel," by Wilbur L. Cross, p. 131.

[3] Vol. i., p. 300.

[4] The sixth canto of the "Lay" closes with a few lines translated from
the "Dies Irae" and chanted by the monks in Melrose Abbey.

[5] Vol. i., pp. 389-404.

[6] Vol. i., pp. 48-49.

[7] "Scott was entirely incapable of entering into the spirit of any
classical scene. He was strictly a Goth and a Scot, and his sphere of
sensation may be almost exactly limited by the growth of
heather."--Ruskin, "Modern Painters," vol. iii., p. 317.

[8] "Marmion": Introduction to Canto third. In the preface to "The
Bridal of Triermain," the poet says: "According to the author's idea of
Romantic Poetry, as distinguished from Epic, the former comprehends a
fictitious narrative, framed and combined at the pleasure of the writer;
beginning and ending as he may judge best; which neither exacts nor
refuses the use of supernatural machinery; which is free from the
technical rules of the _Epée_. . . . In a word, the author is absolute
master of his country and its inhabitants."