fathers as they lived'"[458] He felt strongly the value and
importance of past manners, faiths and ideals for the present, and from
this point of view took satisfaction in the social and ethical teaching
of his novels.

On the whole, Scott's opinions about his own work fitted well with his
general literary principles, except that his modesty inclined him to
discount his own performance while he overestimated that of others. With
this qualification we may remember that he always spoke sensibly about
his work, without affectation, and with abundant geniality. We are
reminded of the comment on Moliere quoted by Scott from a French
writer,--"He had the good fortune to escape the most dangerous fault of
an author writing upon his own compositions, and to exhibit wit, where
some people would only have shown vanity and self-conceit."[459]

CHAPTER VI

SCOTT'S POSITION AS CRITIC

Comparison of Scott with Jeffrey and with the Romantic critics--His
criticism largely appreciative--Romantic in special cases and
Augustan in attitude--Comparison with Coleridge--Scott's respect for
the verdict of the public--His opinion that elucidation is the
function of criticism--Use of historical illustration--Hesitation
about analysing poetry--Political criticism--Verdict of his
contemporaries on his criticism--Influence as a critic--Literary
prophecies--Character of his critical work as a whole--His attitude
towards it--Lack of system--Broad fields he covered--His greatness a
reason for the importance of his criticism.

Important as Scott's poetry was in the English Romantic revival, as a
critic he can hardly be counted among the Romanticists. His attitude,
nevertheless, differed radically from that of the school represented by
Jeffrey and Gifford. We have already seen that he disliked their manner
of reviewing, and that he was conscious of complete disagreement with
Jeffrey in regard to poetic ideals. Of Jeffrey Mr. Gates has said: "[He]
rarely _appreciates_ a piece of literature.... He is always for or
against his author; he is always making points."[460] That Scott was
influenced in his early critical work by the tone of the _Edinburgh
Review_ is undeniable, but temperamentally he was inclined to give any
writer a fair chance to stir his emotions; and he did not adopt the
magisterial mood that dictated the famous remark, "This will never do."
Scott's style lacked the adroitness and pungency