The Abbot

The public had some claim to inquire into this matter, but it seemed indifferent policy in the author to give the explanation. For, whatever praise may be due to the ingenuity which brings to a general combination all the loose threads of a narrative, like the knitter at the finishing of her stocking, I am greatly deceived if in many cases a superior advantage is not attained, by the air of reality which the deficiency of explanation attaches to a work written on a different system. In life itself, many things befall every mortal, of which the individual never knows the real cause or origin; and were we to point out the most marked distinction between a real and a fictitious narrative, we would say, that the former in reference to the remote causes of the events it relates, is obscure, doubtful, and mysterious; whereas, in the latter case, it is a part of the author's duty to afford satisfactory details upon the causes of the separate events he has recorded, and, in a word, to account for every thing. The reader, like Mungo in the Padlock, will not be satisfied with hearing what he is not made fully to comprehend.

I omitted, therefore, in the Introduction to the Abbot, any attempt to explain the previous story, or to apologize for unintelligibility.

Neither would it have been prudent to have endeavoured to proclaim, in the Introduction to the Abbot, the real spring, by which I hoped it might attract a greater degree of interest than its immediate predecessor. A taking title, or the announcement of a popular subject, is a recipe for success much in favour with booksellers, but which authors will not always find efficacious. The cause is worth a moment's examination.

There occur in every country some peculiar historical characters, which are, like a spell or charm, sovereign to excite curiosity and attract attention, since every one in the slightest degree interested in the land which they belong to, has heard much of them, and longs to hear more. A tale turning on the fortunes of Alfred or Elizabeth in England, or of Wallace or Bruce in Scotland, is sure by the very announcement to excite public curiosity to a considerable degree, and ensure the publisher's being relieved of the greater part of an impression, even before the contents of the work are known. This is of the last importance to the bookseller, who is at once, to use a technical phrase, "brought home," all his outlay being repaid. But it is a different case with the author, since it cannot be denied that we are apt to feel least satisfied with the works of which we have been induced, by titles and laudatory advertisements, to entertain exaggerated expectations. The intention of the work has been anticipated, and misconceived or misrepresented, and although the difficulty of executing the work again reminds us of Hotspur's task of "o'er-walking a current roaring loud," yet the adventurer must look for more ridicule if he fails, than applause if he executes, his undertaking.

Notwithstanding a risk, which should make authors pause ere they adopt a theme which, exciting general interest and curiosity, is often the preparative for disappointment, yet it would be an injudicious regulation which should deter the poet or painter from attempting to introduce historical portraits, merely from the difficulty of executing the task in a satisfactory manner. Something must be trusted to the generous impulse, which often thrusts an artist upon feats of which he knows the difficulty, while he trusts courage and exertion may afford the means of surmounting it.

It is especially when he is sensible of losing ground with the public, that an author may be justified in using with address, such selection of subject or title as is most likely to procure a rehearing. It was with these feelings of hope and apprehension, that I venture to awaken, in a work of fiction, the memory of Queen Mary, so interesting by her wit, her beauty, her misfortunes, and the mystery which still does, and probably always will, overhang her history. In doing so, I was aware that failure would be a conclusive disaster, so that my task was something like that of an enchanter who raises a spirit over whom he is uncertain of possessing an effectual control; and I naturally paid attention to such principles of composition, as I conceived were best suited to the historical novel.

Enough has been already said to explain the purpose of composing the Abbot. The historical references are, as usual, explained in the notes. That which relates to Queen Mary's escape from Lochleven Castle, is a more minute account of that romantic adventure, than is to be found in the histories of the period.

ABBOTSFORD, 1st January, 1831.

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INTRODUCTORY EPISTLE.

FROM THE AUTHOR OF "WAVERLEY," TO CAPTAIN CLUTTERBUCK, LATE OF HIS MAJESTY'S ---- REGIMENT OF INFANTRY.

DEAR CAPTAIN: