e seeking where ye hide.

The madness of Madge Wildfire has its parallel in the wildness of
Goethe's Marguerite, both of them lamenting the lost child, which, to
Madge's fancy, is now dead, now living in a dream. But the gloom that
hangs about Muschat's Cairn, the ghastly vision of "crying up Ailie
Muschat, and she and I will hae a grand bouking-washing, and bleach our
claise in the beams of the bonny Lady Moon," have a terror beyond the
German, and are unexcelled by Webster or by Ford. "But the moon, and the
dew, and the night-wind, they are just like a caller kail-blade laid on
my brow; and whiles I think the moon just shines on purpose to pleasure
me, when naebody sees her but mysell." Scott did not deal much in the
facile pathos of the death-bed, but that of Madge Wildfire has a grace of
poetry, and her latest song is the sweetest and wildest of his lyrics,
the most appropriate in its setting. When we think of the contrasts to
her--the honest, dull good-nature of Dumbiedikes; the common-sense and
humour of Mrs. Saddletree; the pragmatic pedantry of her husband;
the Highland pride, courage, and absurdity of the Captain of
Knockdander--when we consider all these so various and perfect
creations, we need not wonder that Scott was "in high glee" over "The
Heart of Mid-Lothian," "felt himself very strong," and thought that
these would be "the best volumes that have appeared." The difficulty, as
usual, is to understand how, in all this strength, he permitted himself
to be so careless over what is really by far the easiest part of the
novelist's task--the construction. But so it was; about "The Monastery"
he said, "it was written with as much care as the rest, that is, with no
care at all." His genius flowed free in its own unconscious abundance:
where conscious deliberate workmanship was needed, "the forthright
craftsman's hand," there alone he was lax and irresponsible. In
Shakspeare's case we can often account for similar incongruities by the
constraint of the old plot which he was using; but Scott was making his
own plots, or letting them make themselves. "I never could lay down a
plan, or, having laid it down, I never could adhere to it; the action of
composition always diluted some passages and abridged or omitted others;
and personages were rendered important or insignificant, not according
to their agency in the original conception of the plan, but according to
the success or otherwise with which I was able to bring