his bugle to summon his attendants. He was probably thinking of the lively, but somewhat licentious, old ballad, in which the dénouement of a royal intrigue takes place as follows:

He took a bugle frae his side,

He blew both loud and shrill,
And four and twenty belted knights
Came skipping ower the hill;
Then he took out a little knife,

Let a' his duddies fa',

And he was the brawest gentleman

That was amang them a'.

And we 'll go no more a roving, etc.

This discovery, as Mr. Pepys says of the rent in his camlet cloak, was but a trifle, yet it troubled me; and I was at a good deal of pains to efface any marks by which I thought my secret could be traced before the conclusion, when I relied on it with the same hope of producing effect, with which the Irish post-boy is said to reserve a 'trot for the avenue.'

I took uncommon pains to verify the accuracy of the local circumstances of this story. I recollect, in particular, that to ascertain whether I was telling a probable tale I went into Perthshire, to see whether King James could actually have ridden from the banks of Loch Vennachar to Stirling Castle within the time supposed in the poem, and had the pleasure to satisfy myself that it was quite practicable.

After a considerable delay, The Lady of the Lake appeared in June, 1810; and its success was certainly so extraordinary as to induce me for the moment to conclude that I had at last fixed a nail in the proverbially inconstant wheel of Fortune, whose stability in behalf of an individual who had so boldly courted her favours for three successive times had not as yet been shaken. I had attained, perhaps, that degree of reputation at which prudence, or certainly timidity, would have made a halt, and discontinued efforts by which I was far more likely to diminish my fame than to increase it. But, as the celebrated John Wilkes is said to have explained to his late Majesty, that he himself, amid his full tide of popularity, was never a Wilkite, so I can, with honest truth, exculpate myself from having been

at any time a partisan of my own poetry, even when it was in the highest fashion with the million. It must not be supposed that I was either so ungrateful or so superabundantly candid as to despise or scorn the value of those whose voice had elevated me so much higher than my own opinion told me I deserved. I felt, on the contrary, the more grateful to the public, as receiving that from partiality to me, which I could not have claimed from merit; and I endeavoured to deserve the partiality by continuing such exertions as I was capable of for their amusement.

It may be that I did not, in this continued course of scribbling, consult either the interest of the public or my own. But the former had effectual means of defending themselves, and could, by their coldness, sufficiently check any approach to intrusion; and for myself, I had now for several years dedicated my hours so much to literary labour that I should have felt difficulty in employing myself otherwise; and so, like Dogberry, I generously bestowed all my tediousness on the public, comforting myself with the reflection that, if posterity should think me undeserving of the favour with which I was regarded by, my contemporaries, 'they could not but say I had the crown,' and had enjoyed for a time that popularity which is so much coveted.

I conceived, however, that I held the distinguished situation I had obtained, however unworthily, rather like the champion of pugilism, on the condition of being always ready to show proofs of my skill, than in the manner of the champion of chivalry, who performs his duties only on rare and solemn occasions. I was in any case conscious that I could not long hold a situation which the caprice rather than the judgment of the public had bestowed upon me, and preferred being deprived of my precedence by some more worthy rival, to sinking into contempt for my indolence, and losing my reputation by what Scottish lawyers call the negative prescription. Accordingly, those who choose to look at the Introduction to Rokeby, will be able to trace the steps by which I declined as a poet to figure as a novelist; as the ballad says. Queen Eleanor sunk at Charing Cross to rise again at Queenhithe.

It only remains for me to say that, during my short preëminence of popularity, I faithfully observed the rules of moderation which I had resolved to follow before I began my course as a man of letters. If a man is determined to make a noise in the world, he is as sure to encounter abuse and ridicule, as he who gallops furiously through a village must reckon on being followed by the curs in full cry. Experienced persons know that in stretching to flog the latter, the rider is very apt to catch a bad fall; nor is an attempt to chastise a malignant critic attended with less danger to the author. On this principle, I let parody, burlesque, and squibs find their own level; and while the latter hissed most fiercely, I was cautious never to catch them up, as schoolboys do, to throw them back against the naughty boy who fired them off, wisely remembering that they are in such cases apt to explode in the handling. Let me add that my reign (since Byron has so called it) was marked by some instances of good-nature as well as patience. I never refused a literary person of merit such services in smoothing his way to the public as were in my power; and I had the advantage-rather an uncommon one with our irritable raceto enjoy general favour without incurring permanent ill-will, so far as is known to me, among any of my contemporaries.

ABBOTSFORD, April, 1830.

THE LADY OF THE LAKE

ARGUMENT

THE Scene of the following Poem is laid chiefly in the vicinity of Loch Katrine, in the Western Highlands of Perthshire. The time of Action includes Six Days, and the transactions of each Day occupy a Canto.

CANTO FIRST

THE CHASE

HARP of the North! that mouldering long hast hung

On the witch-elm that shades Saint Fillan's spring, And down the fitful breeze thy numbers flung, Till envious ivy did around thee cling, Muffling with verdant ringlet every string,

O Minstrel Harp, still must thine accents sleep? Mid rustling leaves and fountains murmuring,

Still must thy sweeter sounds their silence keep, Nor bid a warrior smile, nor teach a maid to weep?

Not thus, in ancient days of Caledon,

Was thy voice mute amid the festal crowd, When lay of hopeless love, or glory won, Aroused the fearful or subdued the proud.

At each according pause was heard aloud

Thine ardent symphony sublime and high! Fair dames and crested chiefs attention bowed; For still the burden of thy minstrelsy

Was Knighthood's dauntless deed, and Beauty's match

less eye.

O, wake once more! how rude soe'er the hand
That ventures o'er thy magic maze to stray;
O, wake once more! though scarce my skill command
Some feeble echoing of thine earlier lay:
Though harsh and faint, and soon to die away,
And all unworthy of thy nobler strain,

Yet if one heart throb higher at its sway,

The wizard note has not been touched in vain. Then silent be no more! Enchantress, wake again!

I

The stag at eve had drunk his fill,

Where danced the moon on Monan's rill,

And deep his midnight lair had made

In lone Glenartney's hazel shade;

But when the sun his beacon red

Had kindled on Benvoirlich's head,

The deep-mouthed bloodhound's heavy bay
Resounded up the rocky way,