Memoirs of the Life of Sir Walter Scott, Volume 4 (of 10) — Context and Discussion

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Lockhart, J. G. (John Gibson), 1794-1854 Project Gutenberg 2013 Not confirmed
Scott, Walter, 1771-1832; Authors, Scottish -- 19th century -- Biography Readers of public-domain and historical texts
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Words 102,191
Reading time 445 min
Text sections 13

For Memoirs of the Life of Sir Walter Scott, Volume 4 (of 10) — Context and Discussion, the stored edition analysis reports 102,191 words, 7 hr 25 min estimated reading time, and 13 detected text sections.

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Project Gutenberg metadata also associates the work with “Scott, Walter, 1771-1832,” connecting these edition facts with the source record’s subject description.

Lockhart's fourth volume covers Scott's move to Abbotsford, financial troubles, the publication of 'Waverley,' and a detailed diary of his 1814 voyage to the Shetland and Orkney islands, with precise observations of landscapes and local incidents.
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Abbotsford was looking charming, when I was obliged to mount my wheel in this court, too fortunate that I have at length some share in the roast meat I am daily engaged in turning. Our flitting and removal from Ashestiel baffled all description; we had twenty-four cart-loads of the veriest trash in nature, besides dogs, pigs, ponies, poultry, cows, calves, bare-headed wenches, and bare-breeched boys. In other respects we are going on in the old way, only poor Percy is dead. I intend to have an old stone set up by his grave, with "_Cy gist li preux Percie,_" and I hope future antiquaries will debate which hero of the house of Northumberland has left his bones in Teviotdale.[1]

Believe me yours very truly,

This was one of the busiest summers of Scott's busy life. Till the 12th of July he was at his post in the Court of Session five days every week; but every Saturday evening found him at Abbotsford, to observe the progress his laborers had made within doors and without in his absence; and on Monday night he returned to Edinburgh. Even before the Summer Session commenced, he appears to have made some advance in his Rokeby, for he writes to Mr. Morritt, from Abbotsford, on the 4th of May: "As for the house and the poem, there are twelve masons hammering at the one, and one poor noddle at the other--so they are both in progress;"--and his literary labors throughout the long vacation were continued under the same sort of disadvantage. That autumn he had, in fact, no room at all for himself. The only parlor which had been hammered into anything like habitable condition served at once for dining-room, drawing-room, school-room, and study. A window looking to the river was kept sacred to his desk; an old bed-curtain was nailed up across the room close behind his chair, and there, whenever the spade, the dibble, or the chisel (for he took his full share in all the work on hand) was laid aside, he pursued his poetical tasks, apparently undisturbed and unannoyed by the surrounding confusion of masons and carpenters, to say nothing of the lady's small talk, the children's babble among themselves, or their repetition of their lessons. The truth no doubt was, that when at his desk he did little more, as far as regarded _poetry_, than write down the lines which he had fashioned in his mind while pursuing his vocation as a planter, upon that bank which received originally, by way of joke, the title of _the thicket_. "I am now," he says to Ellis (October 17), "adorning a patch of naked land with trees _facturis nepotibus umbram_, for I shall never live to enjoy their shade myself otherwise than in the recumbent posture of Tityrus or Menalcas." But he did live to see _the thicket_ deserve not only that name, but a nobler one; and to fell with his own hand many a well-grown tree that he had planted there.

Another plantation of the same date, by his eastern boundary, was less successful. For this he had asked and received from his early friend, the Marchioness of Stafford, a supply of acorns from Trentham, and it was named in consequence _Sutherland bower_; but the field-mice, in the course of the ensuing winter, contrived to root up and devour the whole of her ladyship's goodly benefaction. A third space had been set apart, and duly enclosed, for the reception of some Spanish chestnuts offered to him by an admirer established in merchandise at Seville; but that gentleman had not been a very knowing ally as to such matters, for when the chestnuts arrived, it turned out that they had been boiled.

Scott writes thus to Terry, in September, while the Roxburghe sale was still going on:--

This volume opens with Scott's 'flitting' to Abbotsford in 1812–1813, a move that Lockhart frames as both a domestic and literary turning point. The narrative quickly intertwines plantation plans with the progress of poems like Rokeby and The Bridal of Triermain, but the heart of the book lies in the financial anxieties that shadow Scott's ambitions. Lockhart reproduces letters to partners and negotiations with Constable, revealing the strain behind the public success.

The most striking portion is Scott's diary kept aboard the lighthouse yacht during his 1814 voyage to the Shetland Isles, Orkneys, and Hebrides. Here, the biographer steps back and lets Scott's own voice dominate—a voice that is at once observant, wry, and vividly concrete, whether describing a Pictish fortress or a stolen leg of mutton.

Financial Pressures and Literary Production

Lockhart does not gloss over the 'derangement' of John Ballantyne and Co. The chapter headings alone signal trouble: 'Affairs of John Ballantyne and Co.,' 'Causes of their Derangement,' 'Embarrassments continued.' Scott's letters to his partners and his negotiation for relief with Constable show a man scrambling to maintain his land purchases at Abbotsford while his publishing ventures falter. The biographer includes specific details—John Ballantyne's expresses, the meeting with the Marquis of Abercorn at Longtown, the application to the Duke of Buccleuch—that ground the crisis in concrete events. Scott's refusal of the Poet-Laureateship in 1813, recorded here, adds another layer: even as he declined official honor, he was writing furiously to meet debts. The volume makes clear that the same years that produced Rokeby and Waverley were years of constant financial negotiation.

The Lighthouse Yacht Diary: Observation and Anecdote

Scott's diary from the 1814 voyage occupies several chapters and offers a sharp contrast to the business letters. On the yacht, Scott becomes a naturalist and antiquarian, measuring the Pictish fortress of Mousa with 'Mr. Stevenson' and noting its 'dice-box' shape. He records dimensions—fifty-two feet outside diameter at the base, seventeen feet thick—with an engineer's precision. Yet the diary also brims with local color: the Greenland sailors who steal a leg of mutton 'spit and all,' the Justice of the Peace mocked by his own description, the 'facetious gentlemen' sent to prison by Erskine. Scott's voice is dry and amused, as when he reports a thief's appeal to his comrade: 'Don't you think he was like his honor, Tom?' The juxtaposition of meticulous measurement and wry anecdote gives the diary a distinctive texture.

Landscape as Record: From Abbotsford to the Northern Isles

Lockhart's Scott is a man who reads landscape as a text. At Abbotsford, the 'plantations' are a project of deliberate creation; in the Orkneys, the 'Standing Stones of Stennis' and the 'Cave of Smowe' become objects of antiquarian scrutiny. The diary entry for August 9, 1814, describes the castle of Mousa as 'a Pictish fortress, the most entire probably in the world,' and he notes its construction 'without cement,' the stones 'rather small and thin.' He compares it to 'an old ruinous pigeon-house'—a homely simile that reveals his habit of grounding the ancient in the familiar. The voyage moves from Shetland to the Hebrides, taking in Dunvegan Castle, Loch Corriskin, and Staffa, each site recorded with a geographer's eye for dimension and a poet's ear for local story. The landscape is never mere backdrop; it is the subject of inquiry.

Readers approaching this volume will find that its value lies less in narrative sweep than in the density of its documentary evidence. Lockhart's method is to let letters and diary entries carry the weight, and the result is a portrait built from fragments—financial pleas, architectural measurements, comic misadventures. The Scott who emerges is neither hero nor victim, but a man deeply embedded in the practicalities of land, money, and observation. Pay attention to the footnotes and the dates; they are the scaffolding of this biography.

Lockhart’s account of Scott’s northern voyage made me think of my own ferry ride to the Orkneys, how the sea’s greyness felt like a held breath. Long after, I found that same patient watching in Five Years in the Alleghanies — Text and Context, where mountains take on the quiet weight of a diary kept for no one but oneself.

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