Marmion | Page 6

exactly as it is depicted in the
poem, and that the troops on the Borough Moor were disposed as seen
by the trained military eye of Sir Walter Scott. 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