Again, while employing an immense multiplicity of scenic effects, he is
peculiarly lavish in his
introduction of personages. His narrative, thus, has an immense sweep and
compass. It is not
sufficient that his tale should relate the fortunes of hero and heroine.
They mainly assist in
reviving a particular period of the past, or the chief features of a great
historic drama, or the
characteristics of certain ecclesiastical or political episodes. The journey,
for example, and
adventures of Waverley are merely a kind of pretext for a glimpse behind
the scenes of the
’45; Guy Mannering and Redgauntlet deal more particularly with the lawless
aspects of
southern Scotland shortly anterior to Scott’s own time, interspersed with
amusing pictures of
the characteristic features of old legal Edinburgh; Old Mortality mirrors
the Scotland of the
covenanting persecution; and The Fortunes of Nigel calls up the eccentric
James VI and I,
but, more particularly, the seamy side of his court and the ruffianly features
of the London of
his time. How instructively he contrives to give a national interest to
his tale is especially seen in
the case of The Heart of Midlothian. It is founded on the actual case of
a young woman who
made a journey to London on her sister’s behalf, just as Jeanie Deans did,
but, with this, he
interweaves the striking story of the Porteous mob and the midnight attack
on the Edinburgh
Tolbooth, paints vivid pictures of old burgher Edinburgh, of old rustic
Scottish life, of the stern
Cameronians, of the old-world Scottish laird and his domestic affairs and
of various Edinburgh
reprobates, sets before us the ancient perils of the Great North road,
introduces us to queen
Caroline and the great duke of Argyll and his potent representatives, and
describes the
sovereign sway of the duke’s factor, the great Knockdunder, in the west
Highlands.