# Life And Letters Of Maria Edgeworth/Volume 1/Letter 96

To MRS. RUXTON.
EDGEWORTHSTOWN, Oct 13, 1814.
I had a letter from the Duchess of Wellington the day before yesterday, dated from Deal, just when she was going to embark for France. The whole of the letter was full of her children and of sorrow for quitting them.
Two days ago came a young gentleman, Mr. James Gordon, a nephew of Lady Elizabeth Whitbread's, with a very polite introductory note from Lady Elizabeth. He has a great deal of anecdote and information. He has just come from Paris, and he has given me a better account of Paris, and more characteristic, well-authenticated anecdotes than I have heard from anybody else. He mentioned some instances of the gratitude which Louis XVIII. has shown to people of inferior note in England from whom he had received kindness, especially to the innkeeper's wife at Berkhampstead. I am glad for the honour of human nature that this is so.
What do you think Walter Scott says is the most poetical performance he has read for years? That account of the battle of Leipsic which Richard lent to us.
We went to Coolure and had a pleasant day. Waverley was in everybody's hands. The Admiral does not like it: the hero, he says, is such a shuffling fellow. While he was saying this I had in my pocket a letter from Miss Fanshawe, received that morning, saying it was delightful. Lady Crewe tells me that Madame d'Arblay cannot settle in England because the King of France has lately appointed M. d'Arblay to some high situation in consequence of his distinguished services.
Shall I tell you what they, my father and all of them, are doing at this moment? Sprawling on the floor looking at a new rat-trap. Two pounds of butter vanished the other night out of the dairy; they had been put in a shallow pan with water in it, and it is averred the rats ate it, and Peggy Tuite, the dairymaid, to make the thing more credible, gives the following reason for the rats' conduct. "Troth, ma'am, they were affronted at the new rat-trap, they only licked the milk off it, and that occasioned them to run off with the butter!"
Mr. and Mrs. Pollard have spent a day here, and brought with them Miss Napier. My father is charmed with her beauty, her voice, and her manners. We talked over Waverley with her. I am more delighted with it than I can tell you: it is a work of first-rate genius.
To the AUTHOR of "WAVERLEY."
EDGEWORTHSTOWN, Oct. 23, 1814.
Aut Scotus, Aut Diabolus!
We have this moment finished Waverley. It was read aloud to this large family, and I wish the author could have witnessed the impression it made—the strong hold it seized of the feelings both of young and old—the admiration raised by the beautiful descriptions of nature—by the new and bold delineations of character—the perfect manner in which character is ever sustained in every change of situation from first to last, without effort, without the affectation of making the persons speak in character—the ingenuity with which each person introduced in the drama is made useful and necessary to the end—the admirable art with which the story is constructed and with which the author keeps his own secrets till the proper moment when they should be revealed, whilst in the meantime, with the skill of Shakspear, the mind is prepared by unseen degrees for all the changes of feeling and fortune, so that nothing, however extraordinary, shocks us as improbable: and the interest is kept up to the last moment. We were so possessed with the belief that the whole story and every character in it was real, that we could not endure the occasional addresses from the author to the reader. They are like Fielding: but for that reason we cannot bear them, we cannot bear that an author of such high powers, of such original genius, should for a moment stoop to imitation. This is the only thing we dislike, these are the only passages we wish omitted in the whole work: and let the unqualified manner in which I say this, and the very vehemence of my expression of this disapprobation, be a sure pledge to the author of the sincerity of all the admiration I feel for his genius.
I have not yet said half we felt in reading the work. The characters are not only finely drawn as separate figures, but they are grouped with great skill, and contrasted so artfully, and yet so naturally as to produce the happiest dramatic effect, and at the same time to relieve the feelings and attention in the most agreeable manner. The novelty of the Highland world which is discovered to our view powerfully excites curiosity and interest: but though it is all new to us it does not embarrass or perplex, or strain the attention. We never are harassed by doubts of the probability of any of these modes of life: though we did not know them, we are quite certain they did exist exactly as they are represented. We are sensible that there is a peculiar merit in the work which is in a measure lost upon us, the dialects of the Highlanders, and the Lowlanders, etc. But there is another and a higher merit with which we are as much struck and as much delighted as any true-born Scotchman could be: the various gradations of Scotch feudal character, from the high-born chieftain and the military baron, to the noble-minded lieutenant Evan Dhu, the robber Bean Lean, and the savage Callum Beg. The Pre—the Chevalier, is beautifully drawn—
       A prince: ay, every inch a prince!
His polished manners, his exquisite address, politeness, and generosity, interest the reader irresistibly, and he pleases the more from the contrast between him and those who surround him. I think he is my favourite character: the Baron Bradwardine is my father's. He thinks it required more genius to invent, and more ability uniformly to sustain this character than any other of the masterly characters with which the book abounds. There is indeed uncommon art in the manner in which his dignity is preserved by his courage and magnanimity, in spite of all his pedantry and his ridicules, and his bear and bootjack, and all the raillery of M'Ivor. M'Ivor's unexpected "bear and bootjack" made us laugh heartily.
But to return to the dear good baron: though I acknowledge that I am not as good a judge as my father and brothers are of his recondite learning and his law Latin, yet I feel the humour, and was touched to the quick by the strokes of generosity, gentleness, and pathos in this old man, who is, by the bye, all in good time worked up into a very dignified father-in-law for the hero. His exclamation of "Oh! my son! my son!" and the yielding of the fictitious character of the baron to the natural feelings of the father is beautiful. (Evan Dhu's fear that his father-in-law should die quietly in his bed made us laugh almost as much as the bear and bootjack.)
Jinker, in the battle, pleading the cause of the mare he had sold to Balmawhapple, and which had thrown him for want of the proper bit, is truly comic: my father says that this and some other passages respecting horsemanship could not have been written by any one who was not master both of the great and little horse.
I tell you without order the great and little strokes of humour and pathos just as I recollect, or am reminded of them at this moment by my companions. The fact is that we have had the volumes—only during the time we could read them, and as fast as we could read—lent to us as a great favour by one who was happy enough to have secured a copy before the first and second editions were sold in Dublin. When we applied, not a copy could be had; we expect one in the course of next week, but we resolved to write to the author without waiting for a second perusal. Judging by our own feeling as authors, we guess that he would rather know our genuine first thoughts, than wait for cool second thoughts, or have a regular eulogium or criticism put in the most lucid manner, and given in the finest sentences that ever were rounded.
Is it possible that I have got thus far without having named Flora or Vich Ian Vohr—the last Vich Ian Vohr! Yet our minds were full of them the moment before I began this letter: and could you have seen the tears forced from us by their fate, you would have been satisfied that the pathos went to our hearts. Ian Vohr from the first moment he appears, till the last, is an admirably-drawn and finely-sustained character—new, perfectly new to the English reader—often entertaining—always heroic—sometimes sublime. The gray spirit, the Bodach Glas, thrills us with horror. Us! What effect must it have upon those under the influence of the superstitions of the Highlands! This circumstance is admirably introduced: this superstition is a weakness quite consistent with the strength of the character, perfectly natural after the disappointment of all his hopes, in the dejection of his mind, and the exhaustion of his bodily strength.
Flora we could wish was never called Miss MacIvor, because in this country there are tribes of vulgar Miss Macs, and this association is unfavourable to the sublime and beautiful of your Flora—she is a true heroine. Her first appearance seized upon the mind and enchanted us so completely, that we were certain she was to be your heroine, and the wife of your hero—but with what inimitable art, you gradually convince the reader that she was not, as she said of herself, capable of making Waverley happy. Leaving her in full possession of our admiration, you first make us pity, then love, and at last give our undivided affection to Rose Bradwardine—sweet Scotch Rose! The last scene between Flora and Waverley is highly pathetic—my brother wishes that bridal garment were shroud: because when the heart is touched we seldom use metaphor, or quaint alliteration-bride-favour, bridal garment.
There is one thing more we could wish changed or omitted in Flora's character. I have not the volume, and therefore cannot refer to the page; but I recollect in the first visit to Flora, when she is to sing certain verses, there is a walk, in which the description of the place is beautiful, but too long, and we did not like the preparation for a scene—the appearance of Flora and her harp was too like a common heroine, she should be far above all stage effect or novelist's trick.
These are, without reserve, the only faults we found, or can find in this work of genius. We should scarcely have thought them worth mentioning, except to give you proof positive that we are not flatterers. Believe me, I have not, nor can I convey to you the full idea of the pleasure, the delight we have had in reading Waverley, nor of the feeling of sorrow with which we came to the end of the history of persons whose real presence had so filled our minds—we felt that we must return to the flat realities of life, that our stimulus was gone, and we were little disposed to read the "Postscript, which should have been a Preface."
"Well, let us hear it," said my father, and Mrs. Edgeworth read on.
Oh! my dear sir, how much pleasure would my father, my mother, my whole family, as well as myself have lost, if we had not read to the last page! And the pleasure came upon us so unexpectedly—we had been so completely absorbed that every thought of ourselves, of our own authorship, was far, far away.
Thank you for the honour you have done us, and for the pleasure you have given us, great in proportion to the opinion we had formed of the work we had just perused—and believe me, every opinion I have in this letter expressed, was formed before any individual in the family had peeped to the end of the book, or knew how much we owed you.—Your obliged and grateful
MARIA EDGEWORTH.

## Footnotes

* ↑ Walter Scott, in his "Postscript," said that it had been his desire in Waverley "in some distant degree to emulate the admirable Irish portraits drawn by Miss Edgeworth."