Marmion | Page 6

It would be difficult to find anywhere a more striking ancient stronghold than Tantallon, nor would it be easy to conceive a more appropriate scene for that grim and exciting morning interview in which the venerable Douglas found that he had harboured a recreant knight. Above all, there is the great battle scene, standing alone in literature for its carefully detailed delineation- -its persistent minuteness, its rapidity of movement, its balanced effects, its energetic purpose--and surpassing everything in modern verse for its vivid Homeric realism. Fifteen years before, as we have seen, Scott had the progress of the battle in his mind's eye, and at length he produced his description as if he had been present in the character of a skilful and interested spectator. There are envious people who decline to admit that Scott discovered his scenery, and who contend that others knew all about it before and appreciated it in their own way. Be it so; and yet the fact remains that Scott likewise saw and appreciated in the way peculiar to him, and thereby enabled his numerous readers to share his enjoyment. A very interesting and suggestive account of the new popularity given to the Flodden district by the publication of 'Marmion' will be found in Lockhart's Life, iii. 12. In the autumn of 1812 Scott visited Rokeby, doing the journey on horseback, along with his eldest boy and girl on ponies. The following is an episode of the way:--
'Halting at Flodden to expound the field of battle to his young folks, he found that "Marmion" had, as might have been expected, benefited the keeper of the public-house there very largely; and the village Boniface, overflowing with gratitude, expressed his anxiety to have a Scott's Head for his sign-post. The poet demurred to this proposal, and assured mine host that nothing could be more?appropriate than the portraiture of a foaming tankard, which already surmounted his doorway. "Why, the painter man has not made an ill job," said the landlord, "but I would fain have something more connected with the book that has brought me so much good custom." He produced a well-thumbed copy, and handing it to the author, begged he would at least suggest a motto from the Tale of Flodden Field. Scott opened the book at the death-scene of the hero, and his eye was immediately caught by the "inscription" in black letter:--
"Drink, weary pilgrim, drink, and pray?For the kind soul of Sibyl Grey," &c.
"Well, my friend," said he, "what more would you have? You need but strike out one letter in the first of these lines, and make your painter-man, the next time he comes this way, print between the jolly tankard and your own name:--
'Drink, weary pilgrim, drink, and PAY.'"
Scott was delighted to find, on his return, that this suggestion had been adopted, and for aught I know the romantic legend may still be visible.'
The characters in the poem are hardly less vigorous in conception and presentation than the descriptions. It may be true, as Carlyle asserts in his ungenerous essay on Scott, that he was inferior to Shakespeare in delineation of character, but, even admitting that, we shall still have ample room for approval and admiration of his work. So far as the purposes of the poem are concerned the various personages are admirably utilized. We come to know Marmion himself very intimately, the interest gradually deepening as the real character of the Palmer and his relations to the hero are steadily developed. These two take prominent rank with the imaginary characters of literature. James IV, that 'champion of the dames,' and likewise undoubted military leader, is faithfully delineated in accordance with historical records and contemporary estimates. Those desirous of seeing him as he struck the imagination of a poet in his own day should read the eulogy passed upon him by Barclay in his 'Ship of Fools.' The passage in which this occurs is an interpolation in the division of the poem entitled 'Of the Ruine and Decay of the Holy Faith Catholique.' The other characters are all distinctly suited to the parts they have to perform. Acting on the licence sanctioned by Horatian authority:--
'Atque ita mentitur, sic veris falsa remiscet,?Primo ne medium, medio ne discrepet imum'--
Scott appropriates Sir David Lyndsay to his purpose, presenting him, even as he presents the stately and venerable Angus, with faithful and striking picturesqueness. Bishop Douglas is exactly suited to his share in the development of events; and had room likewise been found for the Court poet Dunbar--author of James's Epithalamium, the 'Thrissill and the Rois'--it would have been both a fit and a seemly arrangement. Had Scott remembered that Dunbar was a favourite of Queen Margaret's he might have introduced him into an interesting episode. The passage devoted to the Queen herself is exquisite