charm of the poem; and the immediate success was for that day
something marvellous. The magnificent quarto edition of 750 copies was
soon exhausted, and an octavo edition of 1500 copies was sold out
within the year. In the following year two editions, containing
together 4250 copies, were disposed of, and before twenty-five years
had elapsed, that is, before 1830, 44,000 copies of the poem had been
bought by the public in this country, taking account of the legitimate
trade alone. Scott gained in all by _The Lay_ 769_l._, an
unprecedented sum in those times for an author to obtain from any
poem. Little more than half a century before, Johnson received but
fifteen guineas for his stately poem on _The Vanity of Human Wishes_,
and but ten guineas for his _London_. I do not say that Scott's poem
had not much more in it of true poetic fire, though Scott himself, I
believe, preferred these poems of Johnson's to anything that he
himself ever wrote. But the disproportion in the reward was certainly
enormous, and yet what Scott gained by his _Lay_ was of course much
less than he gained by any of his subsequent poems of equal, or
anything like equal, length. Thus for _Marmion_ he received 1000
guineas long before the poem was published, and for _one half_ of the
copyright of _The Lord of the Isles_ Constable paid Scott 1500
guineas. If we ask ourselves to what this vast popularity of Scott's
poems, and especially of the earlier of them (for, as often happens,
he was better remunerated for his later and much inferior poems than
for his earlier and more brilliant productions) is due, I think the
answer must be for the most part, the high romantic glow and
extraordinary romantic simplicity of the poetical elements they
contained. Take the old harper of _The Lay_, a figure which arrested
the attention of Pitt during even that last most anxious year of his
anxious life, the year of Ulm and Austerlitz. The lines in which Scott
describes the old man's embarrassment when first urged to play,