conducted to his adventure. R. L. Stevenson and other critics have been
rather hard upon Scott's defects as an artist. He was indeed no stylist:
least of all a _precieux_. There are no close-set mosaics in his
somewhat slip-shod prose, and he did not seek for the right word "with
moroseness," like Landor. But, in his large fashion, he was skilful in
inventing impressive effects. Another instance is the solitary trumpet
that breathed its "note of defiance" in the lists of Ashby-de-la-Zouch,
which has the genuine melodramatic thrill--like the horn of Hernani or
the bell that tolls in "Venice Preserved."

[23] See the "Hunting Song" in his continuation of "Queenhoo Hall"--

"Waken, lords and ladies gay,
On the mountain dawns the day."

[24] See vol. i., pp. 277 and 390.

[25] The Glen of the Green Women.

[26] "And still I thought that shattered tower
The mightiest work of human power;
And marvelled as the aged hind
With some strange tale bewitched my mind,
Of foragers who, with headlong force,
Down from that strength had spurred their horse,
Their Southern rapine to renew,
Far in the distant Cheviots blue;
And, home returning, filled the hall
With revel, wassail-rout and brawl."--"Marmion." Introduction
to Canto Third. See Lockhart for a description of the view from