FOOTNOTES:
[568] {529}[Byron does not give his authority for the Spanish original of his Romance Muy Doloroso. In default of any definite information, it may be surmised that his fancy was caught by some broadside or chap-book which chanced to come into his possession, and that he made his translation without troubling himself about the origin or composition of the ballad. As it stands, the "Romance" is a cento of three or more ballads which are included in the Guerras Civiles de Granada of Ginès Perez de Hita, published at Saragossa in 1595 (see ed. "En Alcala de Henares," 1601, pp. 249-252). Stanzas 1-11, "Passeavase el Rey Moro," etc., follow the text which De Hita gives as a translation from the Arabic; stanzas 12-14 are additional, and do not correspond with any of the Spanish originals; stanzas 15-21, with numerous deviations and omissions, follow the text of a second ballad, "Moro Alcayde, Moro Alcayde," described by De Hita as "antiguo Romance," and portions of stanzas 21-23 are imbedded in a ballad entitled "Muerte dada á Los Abencerrajes" (Duran's Romancero General, 1851, ii. 89).
The ballad as a whole was not known to students of Spanish literature previous to the publication of Byron's translation (1818), (see Ancient Ballads from the Civil Wars of Granada, by Thomas Rodd, 1801, pp. 93, 98; Southey's Common-Place Book, iv. 262-266, and his Chronicle of the Cid, 1808, pp. 371-374), and it has not been included by H. Duran in his Romancero General, 1851, ii. 89-91, or by F. Wolf and C. Hofmann in their Primavera y Flor de Romances, 1856, i. 270-278. At the same time, it is most improbable that Byron was his own "Centonista," and it may be assumed that the Spanish text as printed (see Childe Harold, Canto IV., 1818, pp. 240-254, and Poetical Works, 1891, pp. 566, 567) was in his possession or within his reach. (For a correspondence on the subject, see Notes and Queries, Third Series, vol. xii. p. 391, and Fourth Series, vol. i. p. 162.)
A MS. of the Spanish text, sent to England for "copy," is in a foreign handwriting. Two MSS. (A, B) of the translation are in Mr. Murray's possession: A, a rough draft; B, a fair copy. The watermark of A is 1808, of B (dated January 4, 1817) 1800. It is to be noted that the refrain in the Spanish text is Ay de mi Alhama, and that the insertion of the comma is a printer's or reader's error.]
[569] {530}[In A.D. 886, during the reign of Muley Abul Hacen, King of Granada, Albania was surprised and occupied by the Christians under Don Rodrigo Ponce de Leon.]
[570] The effect of the original ballad—which existed both in Spanish and Arabic—was such, that it was forbidden to be sung by the Moors, on pain of death, within Granada. ["This ballad was so dolorous in the original Arabic language, that every time it was sung it acted as an incitement to grief and despair, and for this reason it was at length finally prohibited in Granada."—Historia ... de las Guerras Civiles, translated from the Arabic of Abenhamim, by Ginès Perez de Hita, and from the Spanish by Thomas Rodd, 1803, p. 334. According to Ticknor (Hist. of Spanish Literature, 1888, iii. 139), the "Arabic origin" of De Hita's work is not at all probable. "He may have obtained Arabic materials for parts of his story."]
[hv] Alas—alas—Alhama!—[MS. M.]
[571] [Byron's Ay de mi, Alhama, which should be printed Ay de mi Alhama, must be rendered "Woe for my Alhama!" "Woe is me, Alhama!" is the equivalent of "Ay de mi Alhama!"]
[572] {531}["Un viejo Alfaqui" is "an old Alfaqui," i.e. a doctor of the Mussulman law, not a proper name.]
[573] {532}["De leyes tambien hablava" should be rendered "He spake 'also' of the laws," not tan bien, "so well," or "exceeding well."]
[574] {533}[The Alcaide or "governor" of the original ballad is converted into the Alfaqui of stanza 9. It was the "Alcaide," in whose absence Alhama was taken, and who lost children, wife, honour, and his own head in consequence (Notes and Queries, iv. i. 162).]
[hw]——so white to see.—[MS. M.]
[575] {535}[Jacopo Vittorelli (1749-1835) was born at Bassano, in Venetian territory. Under the Napoleonic "kingdom of Italy" he held office as a subordinate in the Ministry of Education at Milan, and was elected a member of the college of "Dotti." At a later period of his life he returned to Bassano, and received an appointment as censor of the press. His poetry, which is sweet and musical, but lacking in force and substance, recalls and embodies the style and spirit of the dying literature of the eighteenth century. "He lived and died," says Luigi Carrer, "the poet of Irene and Dori," unmoved by the hopes and fears, the storms and passions, of national change and development.—See Manuale della Letteratura Italiana, by A. d'Ancona and O. Bacci, 1894, iv. 585.]
[576] {536}["The Helen of Canova (a bust which is in the house of Madame the Countess d'Albrizzi, whom I know) is without exception, to my mind, the most perfectly beautiful of human conceptions, and far beyond my ideas of human execution,"—Letter to Murray, November 25, 1816. In the works of Antonio Canova, engraved in outline by Henry Moses (London, 1873), the bust of Helen is figured (to face p. 58), and it is stated that it was executed in 1814, and presented to the Countess Albrizzi. (See Letters, 1900, iv. 14, 15, note.)]
[577] {537}[From an autograph MS. in the possession of Mr. Murray, now for the first time printed.]
[578] {538}["The mumming closed with a masked ball at the Fenice, where I went, as also to most of the ridottos, etc., etc.; and, though I did not dissipate much upon the whole, yet I find 'the sword wearing out the scabbard,' though I have but just turned the corner of twenty-nine."—Letter to Moore, February 28, 1817. The verses form part of the letter. (See Letters, 1900, iv. 59, 60.)]
[579] [Lady Blessington told Crabb Robinson (Diary, 1869, in. 17) that the publication of the Question and Answer would "kill Rogers." The MS. is dated 1818, and it is probable that the lines were written in the early spring of that year. Moore or Murray had told Byron that Rogers was in doubt whether to praise or blame him in his poem on "Human Life" now approaching completion; and he had heard, from other sources, that it was Rogers who was the author or retailer of certain scandalous stories which were current in the "whispering-gallery of the world." He had reason to believe that everybody was talking about him, and it was a relief to be able to catch and punish so eminent a scandal-monger. It was in this spirit that he wrote to Murray (February 20, 1818), "What you tell me of Rogers, ... is like him. He cannot say that I have not been a sincere and warm friend to him, till the black drop of his liver oozed through too palpably to be overlooked. Now if I once catch him at any of his jugglery with me or mine, let him look to it," etc., etc., and in all probability the "poem on Rogers" was then in existence, or was working in his brain. The lines once written, Byron swallowed his venom, and, when Rogers visited Italy in the autumn of 1821, he met him at Bologna, travelled with him across the Apennines to Florence, and invited him "to stay as long as he liked" at Pisa. Thither Rogers came, presumably, in November, 1821, and, if we may trust the Table Talk (1856, p. 238), remained at the Palazzo Lanfranchi for several days.
Byron seems to have been more than usually provocative and cross-grained, and, on one occasion (see Medwin, Angler in Wales, 1834, i. 26, sq.; and Records of Shelley, etc., by E. T. Trelawney, 1878, i. 53), when he was playing billiards, and Rogers was in the lobby outside, secretly incited his bull-dog, "Faithful Moretto," to bark and show his teeth; and, when Medwin had convoyed the terror-stricken bard into his presence, greeted him with effusion, but contrived that he should sit down on the very sofa which hid from view the MS. of "Question and Answer." Longa est injuria, longæ ambages; but the story rests on the evidence of independent witnesses.
By far the best comment on satire and satirist is to be found in the noble lines in Italy, in which Rogers commemorates his last meeting with the "Youth who swam from Sestos to Abydos"—
"If imagined wrongs
Pursued thee, urging thee sometimes to do
Things long regretted, oft, as many know,
None more than I, thy gratitude would build
On slight foundations; and, if in thy life
Not happy, in thy death thou surely wert,
Thy wish accomplished."
Poems by Samuel Rogers, 1852, ii. 119.]
[hx]——would shame a knocker.—[Fraser's Magazine, 1833.]
[hy] {539}Turning its quick tail——.—[Fraser's, etc.]
[580] {540}["'De mortuis nihil nisi bonum!' There is Sam Rogers [No. IV. of the Maclise Caricatures] a mortal likeness—painted to the very death!" A string of jests upon Rogers's corpse-like appearance accompanied the portrait.]
[hz] With the Scripture in connexion.—[Fraser's, etc.]
[581] {541}[Among other "bogus" notes (parodies of the notes in Murray's new edition of Byron's Works in seventeen volumes), is one signed Sir E. Brydges, which enumerates a string of heiresses, beauties, and blues, whom Rogers had wooed in vain. Among the number are Mrs. Apreece (Lady Davy), Mrs. Coutts, "beat by the Duke of St. Albans," and the Princess Olive of Cumberland. "We have heard," the note concludes, "that he proposed for the Duchess of Cleveland, and was cut out by Beau Fielding, but we think that must have been before his time a little."]
[582] {542}["If 'the person' had not by many little dirty sneaking traits provoked it, I should have been silent, though I had observed him. Here follows an alteration. Put—
"Devil with such delight in damning
That if at the resurrection
Unto him the free selection
Of his future could be given
'Twould be rather Hell than Heaven.
You have a discretionary power about showing."—Letter to Murray, November 9, 1820, Letters, 1901, v. 113.]
[ia]——would you know 'em?—[Fraser's, etc.]
[583] [Addressed to Miss Chaworth, in allusion to a duel fought between two of their ancestors, D[ominus] B[yron] and Mr. C., January 26, 1765.
Byron and Mary Anne Chaworth were fourth cousins, both being fifth in descent from George, Viscount Chaworth, whose daughter Elizabeth was married to William, third Lord Byron (d. 1695), the poet's great-great-grandfather. The duel between their grand-uncles, William, fifth Lord Byron, and William Chaworth, Esq., of Annesley, was fought between eight and nine o'clock in the evening of Saturday, January 26, 1765 (see The Gazetteer, Monday, January 28, 1765), at the Star and Garter Tavern, Pall Mall. The coroner's jury brought in a verdict of wilful murder (see for the "Inquisition," and report of trial, Journals of the House of Lords, 1765, pp. 49, 126-135), and on the presentation of their testimony to the House of Lords, Byron pleaded for a trial "by God and his peers," whereupon he was arrested and sent to the Tower. The case was tried by the Lords Temporal (the Lords Spiritual asked permission to withdraw), and, after a defence had been read by the prisoner, 119 peers brought in a verdict of "Not guilty of murder, guilty of manslaughter, on my honour." Four peers only returned a verdict of "Not guilty." The result of this verdict was that Lord Byron claimed the benefit of the statute of Edward VI., and was discharged on paying the fees.
The defence, which is given in full (see Journal, etc., for April 17, 1765), is able and convincing. Whilst maintaining an air of chivalry and candour, the accused contrived to throw the onus of criminality on his antagonist. It was Mr. Chaworth who began the quarrel, by sneering at his cousin's absurd and disastrous leniency towards poachers. It was Chaworth who insisted on an interview, not on the stairs, but in a private room, who locked the door, and whose demeanour made a challenge "to draw" inevitable. The room was dimly lit, and when the table was pushed back, the space for the combatants was but twelve feet by five. After two thrusts had been parried, and Lord Byron's shirt had been torn, he shifted a little to the right, to take advantage of such light as there was, came to close quarters with his adversary and, "as he supposed, gave the unlucky wound which he would ever reflect upon with the utmost regret."
If there was any truth in his plea, the "wicked Lord Byron" has been misjudged, and, at least in the matter of the duel, was not so black as he has been painted. For Byron's defence of his grand-uncle, see letter to M. J. J. Coulmann, Genoa, July 12, 1823, Life, by Karl Elze, 1872, pp. 443-446.]
[584] {543}[In the coroner's "Inquisition," the sword is described as being "made of iron and steel, of the value of five shillings." Byron says that "so far from feeling any remorse for having killed Mr. Chaworth, who was a fire-eater (spadassin), ... he always kept the sword ... in his bed-chamber, where it still was when he died."—Ibid., p. 445.]
[585] [Ralph de Burun held Horestan Castle and other manors from the Conqueror. Byron's mother was descended from James I. of Scotland.]
[587] [From an autograph MS. in the possession of Mr. Murray, now for the first time printed.]
[588] {545} [There has been some misunderstanding with regard to this poem. According to the statement of the Countess Guiccioli (see Works of Lord Byron, ed. 1832, xii. 14), "Stanzas to the Po" were composed about the middle of April, 1819, "while Lord Byron was actually sailing on the Po," en route from Venice to Ravenna. Medwin, who was the first to publish the lines (Conversations, etc., 1824, 410, pp. 24-26), says that they were written when Byron was about to "quit Venice to join" the Countess at Ravenna, and, in a footnote, explains that the river referred to is the Po. Now, if the Countess and Medwin (and Moore, who follows Medwin, Life, p. 396) are right, and the river is the Po, the "ancient walls" Ravenna, and the "Lady of the land" the Guiccioli, the stanzas may have been written in June (not April), 1819, possibly at Ferrara, and the river must be the Po di Primaro. Even so, the first line of the first stanza and the third and fourth lines of the ninth stanza require explanation. The Po does not "roll by the ancient walls" of Ravenna; and how could Byron be at one and the same time "by the source" (stanza 9, line 4), and sailing on the river, or on some canalized tributary or effluent? Be the explanation what it may—and it is possible that the lines were not originally designed for the Countess, but for another "Lady of the land" (see letter to Murray, May 18, 1819)—it may be surmised that "the lines written last year on crossing the Po," the "mere verses of society," which were given to Kinnaird (see letter to Murray, May 8, 1820, and Conversations of Lord Byron with Lady Blessington, 1834, p. 143), were not the sombre though passionate elegy, "River, that rollest," but the bitter and somewhat cynical rhymes, "Could Love for ever, Run like a river" (vide post, p. 549).]
[ib] {546}
But left long wrecks behind them, and again.
Borne on our old unchanged career, we move;
Thou tendest wildly onward to the main.—[Medwin.]
[ic] I near thy source——.—[Medwin.]
[id] {547} A stranger loves a lady——.—[Medwin.]
[ie] By the bleak wind——.—[Medwin.]
[if] I had not left my clime;—I shall not be.—[Medwin.]
[589] I wrote this sonnet (after tearing the first) on being repeatedly urged to do so by the Countess G. [It was at the house of the Marquis Cavalli, uncle to the countess, that Byron appeared in the part of a fully-recognized "Cicisbeo."—See letter to Hoppner, December 31, 1819, Letters, 1900, iv. 393.]
[ig] {548} To the Prince Regent on the repeal of the bill of attainder against Lord E. Fitzgerald, June, 1819.
[ih] To leave——.—[MS. M.]
[ii] Who now would lift a hand——.—[MS. M.]
——becomes but more complete
Thyself a despot——.—[MS. M.]
[590] ["So the prince has been repealing Lord Fitzgerald's forfeiture? Ecco un' Sonetto! There, you dogs! there's a Sonnet for you: you won't have such as that in a hurry from Mr. Fitzgerald. You may publish it with my name, an ye wool. He deserves all praise, bad and good; it was a very noble piece of principality."—Letter to Murray, August 12, 1819.
For [William Thomas] Fitgerald, see Poetical Works, 1898, i. 297, note 3; for Lord Edward Fitzgerald (1763-1798), see Letters, 1900, iv. 345, note 1. The royal assent was given to a bill for "restoring Edward Fox Fitzgerald and his sisters Pamela and Lucy to their blood," July 13, 1819. The sonnet was addressed to George IV. when Prince Regent. The title, "To George the Fourth," affixed in 1831, is incorrect.]
[591] {549}["A friend of Lord Byron's, who was with him at Ravenna when he wrote these stanzas, says, They were composed, like many others, with no view of publication, but merely to relieve himself in a moment of suffering. He had been painfully excited by some circumstances which appeared to make it necessary that he should immediately quit Italy; and in the day and the hour that he wrote the song was labouring under an access of fever" (Works, 1832, xii. 317, note 1). Here, too, there is some confusion of dates and places. Byron was at Venice, not at Ravenna, December 1, 1819, when these lines were composed. They were sent, as Lady Blessington testifies, to Kinnaird, and are probably identical with the "mere verses of society," mentioned in the letter to Murray of May 8, 1820. The last stanza reflects the mood of a letter to the Countess Guiccioli, dated November 25 (1819), "I go to save you, and leave a country insupportable to me without you" (Letters, 1900, iv. 379, note 2).]
[ik] And as a treasure.—[MS. Guiccioli.]
[il] {550}
Through every weather
We pluck.—[MS. G.]
He'll sadly shiver
And droop for ever,
Shorn of the plumage which sped his spring.—[MS. G.]
[in]——that sped his Spring.—[MS. G.]
[io] {551}
His reign is finished
One last embrace, then, and bid good-night.—[MS. G.]
You have not waited
Till tired and hated
All passions sated.—[MS. G.]
[iq] {552} True separations.—[MS. G.]
[ir] {555} The enclosed lines, as you will directly perceive, are written by the Rev. W. L. Bowles. Of course it is for him to deny them, if they are not.—[Letter to Moore, September 17, 1821, Letters, 1901, v. 364.]
[592] [A few days before Byron enclosed these lines in a letter to Moore (September 17, 1821) he had written to Murray (September 12): "If ever I do return to England ... I will write a poem to which English Bards, etc., shall be New Milk, in comparison. Your present literary world of mountebanks stands in need of such an Avatar." Hence the somewhat ambiguous title. The word "Avatar" is not only applied ironically to George IV. as the "Messiah of Royalty," but metaphorically to the poem, which would descend in the "Capacity of Preserver" (see Sir W. Jones, Asiatic Research, i. 234).
The "fury" which sent Byron into this "lawless conscription of rhythmus," was inspired partly by an ungenerous attack on Moore, which appeared in the pages of John Bull ("Thomas Moore is not likely to fall in the way of knighthood ... being public defaulter in his office to a large amount.... [August 5]. It is true that we cannot from principle esteem the writer of the Twopenny Postbag.... It is equally true that we shrink from the profligacy," etc., August 12, 1821); and, partly, by the servility of the Irish, who had welcomed George IV. with an outburst of enthusiastic loyalty, when he entered Dublin in triumph within ten days of the death of Queen Caroline. The Morning Chronicle, August 8-August 18, 1821, prints effusive leading articles, edged with black borders, on the Queen's illness, death, funeral procession, etc., over against a column (in small type) headed "The King in Dublin." Byron's satire is a running comment on the pages of the Morning Chronicle. Moore was in Paris at the time, being, as John Bull said, "obliged to live out of England," and Byron gave him directions that twenty copies of the Irish Avatar "should be carefully and privately printed off." Medwin says that Byron gave him "a printed copy," but his version (see Conversations, 1824, pp. 332-338), doubtless for prudential reasons, omits twelve of the more libellous stanzas. The poem as a whole was not published in England till 1831, when "George the despised" was gone to his account. According to Crabb Robinson (Diary, 1869, ii. 437), Goethe said that "Byron's verses on George IV. (Query? The Irish Avatar) were the sublime of hatred."]
[593] {556}[The Queen died on the night (10.20 p.m.) of Tuesday, August 7. The King entered Dublin in state Friday, August 17. The vessel bearing the Queen's remains sailed from Harwich on the morning of Saturday, August 18, 1821.]
[is] ——such a hero becomes.—[MS. M.]
[594] ["Seven covered waggons arrived at the Castle (August 3). They were laden with plate.... Upwards of forty men cooks will be employed."—Morning Chronicle, August 8.]
[it] {557} in the pageant——.—[MS. M.]
[595] ["Never did I witness such enthusiasm.... Cheer followed cheer—and shout followed shout ... accompanied by exclamation of 'God bless King George IV.!' 'Welcome, welcome, ten thousand times to these shores!'"—Morning Chronicle, August 16.]
[596] {558}["After the stanza on Grattan, ... will it please you to cause insert the following Addenda, which I dreamed of during to-day's Siesta."—Letter to Moore, September 20, 1821.]
[iu] Aye! back to our theme——.—[Medwin]
[iv] Kiss his foot, with thy blessing, for blessings denied!—[Medwin.]
[iw] Or if freedom——.—[Medwin.]
[597] {559}["The Earl of Fingall (Arthur James Plunkett, K.P., eighth earl, d. 1836), the leading Catholic nobleman, is to be created a Knight of St. Patrick."—Morning Chronicle, August 18.]
[ix] Wear Fingal thy ribbon——.—[MS. M.]
[iy] And the King is no scoundrel—whatever the Prince.—[MS. M.]
[598] [There was talk of a testimonial being presented to the King. O'Connell suggested that if possible it should take the form of "a palace, to which not only the rank around him could contribute, but to the erection of which every peasant could from his cottage contribute his humble mite."—Morning Chronicle, August 18.]
[iz] Till proudly the new——.—[MS. M.]
[599] {560}["The Marquis of Londonderry was cheered in the Castle-yard." "He was," says the correspondent of the Morning Chronicle, "the instrument of Ireland's degradation—he broke down her spirit, and prostrated, I fear, for ever her independence. To see the author of this measure cheered near the very spot," etc.]
[ja]——might make Humanity doubt.—[MS. M.]
[jb]——in the heart of a king.—[Medwin. MS. M. erased.]
[600] {561}[Byron spoke and voted in favour of the Earl of Donoughmore's motion for a Committee on the Roman Catholic claims, April 21, 1812. (See "Parliamentary Speeches," Appendix II., Letters, 1898, ii. 431-443.)]
[jc] My arm, though but feeble——.—[Medwin.]
[jd]——though thou wert not my land.—[Medwin.]
[601] [For Grattan and Curran, see letter to Moore, October 2, 1813, Letters, 1898, ii. 271, note 1; for Sheridan, see "Introduction to Monody," etc., ante, pp. 69, 70.]
Nor the steps of enslavers, and slave-kissing slaves
Be damp'd in the turf——.—[Medwin.]
[jf] Though their virtues are blunted——.—[Medwin.]
[jg] {562}——that I envy their dead.—[Medwin.]
[jh] They're the heart—the free spirit—the genius of Moore.—[MS. M.]
[602] ["Signed W. L. B——, M.A., and written with a view to a Bishoprick."—Letters and Journals, 1830, ii. 527, note.
Endorsed, "MS. Lord Byron. The King's visit to Ireland; a very seditious and horrible libel, which never was intended to be published, and which Lord B. called, himself, silly, being written in a moment of ill nature.—C. B."]
[603] ["I composed these stanzas (except the fourth, added now) a few days ago, on the road from Florence to Pisa."—Pisa, 6th November, 1821, Detached Thoughts, No. 118, Letters, 1901, v. 466.]
[604] ["I told Byron that his poetical sentiments of the attractions of matured beauty had, at the moment, suggested four lines to me; which he begged me to repeat, and he laughed not a little when I recited the following lines to him:—
"Oh! talk not to me of the charms of Youth's dimples,
There's surely more sentiment center'd in wrinkles.
They're the triumphs of Time that mark Beauty's decay,
Telling tales of years past, and the few left to stay."
Conversations of Lord Byron, 1834, pp. 255, 256.]
[605] {563}[These verses were written by Lord Byron a little before he left Italy for Greece. They were meant to suit the Hindostanee air, "Alia Malla Punca," which the Countess Guiccioli was fond of singing.—Editor's note, Works, etc., xiv. 357, Pisa, September, 1821.]
[606] {564}[Probably "To Lady Blessington," who includes them in her Conversations of Lord Byron.]
[607] {565}[For reproduction of Lawrence's portrait of Lady Blessington, see "List of Illustrations," Letters, 1901, v. [xv.].]
[608] {566}[Aristomenes, the Achilles of the Alexandrian poet Rhianus (Grote's History of Greece, 1869, ii. 428), is the legendary hero of the second Messenian War (B.C. 685-668). Thrice he slew a hundred of the Spartan foe, and thrice he offered the Hekatomphonia on Mount Ithome. His name was held in honour long after "the rowers on their benches" heard the wail, "Pan, Pan is dead!" At the close of the second century of the Christian era, Pausanias (iv. 16. 4) made a note of Messenian maidens hymning his victory over the Lacedæmonians—
"From the heart of the plain he drove them,
And he drove them back to the hill:
To the top of the hill he drove them,
As he followed them, followed them still!"
Byron was familiar with Thomas Taylor's translation of the Periegesis Græciæ (vide ante, p. 109, and "Observations," etc., Letters, v. Appendix III. p. 574), and with Mitford's Greece (Don Juan, Canto XII. stanza xix. line 7). Hence his knowledge of Aristomenes. The thought expressed in lines 5-11 was, possibly, suggested by Coleridge's translation of the famous passage in Schiller's Piccolomini (act ii. sc. 4, lines 118, sq., "For fable is Love's world, his home," etc.), which is quoted by Sir Walter Scott, in the third chapter of Guy Mannering.]
