The poetical works of Sir Walter Scott, with memoir of the author.

120 THE BRIDAL OF TRIERMAIN.

and imagine that there are readers whose suffrages are not
to be obtained by a work without a name.
" The merit of the Bridal of Triermain, in our estimation,
consists in its perfect simplicity, and in interweaving the
refinement of modern times with the peculiarities of the
ancient metrical romance, which are in no respect violated.
In point of interest, the first and second cantos are superior
to the third. One event naturally arises out of that which
precedes it, and the eye is delighted and dazzled with a
series of moving pictures, each of them remarkable for its
individual splendour, and all contributing more or less directly
to produce the ultimate result. The third canto is less profuse of incident, and somewhat more monotonous in its
effect. This, we conceive, will be the impression on the first
perusal of the poem. When we have leisure to mark the
merits of the composition, and to separate them from the
progress of the events, we are disposed to think that the
extraordinary beauty of the description will nearly compensate for the defect we have already noticed.
" But it is not from the fable that an adequate notion of the
merits of this singular work can be formed. We have already
spoken of it as an imitation of Mr. Scott's style of composition; and if we are compelled to make the general approbation more precise and specific, we should say, that if it be
inferior in vigour to some of his productions, it equals, or
surpasses them, in elegance and beauty; that it is more uniformly tender, and far less infected with the unnatural prodigies and coarsenesses of the earlier romancers. In estimating its merits, however, we should forget that it is offered as
an imitation. The diction undoubtedly reminds us of a
rhythm and cadence we have heard before; but the sentiments, descriptions, and characters, have qualities that are
native and unborrowed.
" In his sentiments, the author has avoided the slight deficiency we ventured to ascribe to his prototype. The pictures of pure description are perpetually illuminated with
reflections that bring out their colouring, and increase their
moral effect; these reflections are suggested by the scene,
produced without effort, and expressed with unaffected sim