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assistance used every effort at the coroner's inquest, and the subsequent trial, to bring about a verdict of murder. In this, however, he did not succeed, although 'he practised all the unfair means that could be invented to procure the removal of the prisoner to Newgate from the healthy gaol to which he had been at first committed'; and, 'the Earl even appeared in person on the bench, endeavouring to intimidate and browbeat the witnesses, and to inveigle the prisoner into destructive confessions.' Annesley was honourably acquitted, after his uncle had expended nearly one thousand pounds on the prosecution.
Next came the trial for the estates, which lasted thirteen days, and which again he won. But only to have the verdict in his favour set aside on a writ of error. Before another trial could be brought about, the unfortunate heir died, and his rascal-uncle remained in secure possession. It is curious to note, in this sinister tale, the recurrence of the “unlucky number 13.” More to the purpose, in its relation to the writing of “Guy Mannering," is the resemblance between the names of the witnesses at the Annesley trial, and those used by Scott. Again, as the writer in the Gentleman's Magazine pointed out :
"A remarkable expression used by one of the witnesses in reference to Annesley—'he is the right heir if right might take place, -has probably served as a hint for the motto of the Bertram family—'Our right is our might.'”
“Guy Mannering," although to a degree a Scottish adaptation of this Irish tragedy, does not exhaust its dramatic interest, which might indeed furnish, with the aid of Juggy Landy, and the negro episodes and the rest, a story that Defoe might have realised in an entirely different mode.
“Guy Mannering” was, upon Scott's own testimony, “the work of six weeks at a Christmas,” in the winter of 1815-16. It followed immediately on his comparative failure in poetry—“The Lord of the Isles”; and it definitely marks the conversion of the verse-romancer into the greater prose-romancer. “When half gods go, the gods arrive!” The market success of this proses romance, the second in order of the Waverley novels, was immense. The first edition was in point of "get-up” very much the same as that of “Waverley”-“three little volumes, with a humility of paper and printing which the meanest novelist would now disdain to imitate; the price a guinea.”
The following is a list of the works of Sir Walter Scott, 1771-1832:“Disputatio Juridica,” etc., 1792 (Exercise on being called to the Bar); The Chase, and William and Helen (from German of Bürger) 1796; Goetz of Berlichingen (translation of Goethe's Tragedy); Apology for Tales of Terror (includes some of Author's ballads), privately printed, 1799 ; The Eve of St. John: A Border Ballad, 1800; Ballads in Lewis's "Tales of Wonder," 1801 ; Minstrelsy of the Scottish Border, 1802, 1803 ; Lay of the Last Minstrel, 1805; Ballads and Lyrical Pieces, 1806; Marmion : a Tale of Flodden Field, 1808 ; Life of Dryden; The Lady of the Lake, 1810; Vision of Don Roderick, 1811; Rokeby, 1813; The Bridal of Triermain, 1813; Abstract of Eyrbiggia Saga, in Jamieson's "Northern Antiquities,” 1814; Waverley, or 'Tis Sixty Years Since, 1814; Life of Swift (prefixed to works), 1814; The Lord of the Isles, 1815; Guy Mannering, 1815; The Field of Waterloo, 1815; Paul's Letters to his Kinsfolk, 1815; The Antiquary, 1816; Black Dwarf, Old Mortality (Tales of my Landlord, first series), 1817 (1816); Harold the Dauntless, 1817; The Search after Happiness, or the Quest of Sultan Solimaun, 1817; Rob Roy, 1818; Heart of Midlothian (Tales of my Landlord, second series), 1818; The Bride of Lammermoor, Legend of Montrose (Tales of my Landlord, third series), 1819; Description of the Regalia of Scot. land, 1819; Ivanhoe, 1820; The Monastery, 1820; The Abbot, 1820; Kenilworth, 1821 ; Biographies in Ballantyne's “Novelists," 1821 ; Account of the Coronation of George IV, 1821; The Pirate, 1822; Halidon Hill, 1822; Macduff's Cross (Joanna Baillie's Poetical Mis. cellanies), 1822; The Fortunes of Nigel, 1822; Peveril of the Peak, 1822; Quentin Durward, 1823; St. Ronan's Well, 1824; Redgauntlet, 1824 ; The Betrothed, The Talisman (Tales of the Crusaders), 1825; Woodstock, or the Cavaliers : a tale of 1651, 1826; Life of Napoleon Buonaparte, 1827; The Two Drovers, The Highland Widow, The Surgeon's Daughter (Chronicles of the Canongate, first series), 1827 ; Tales of a Grandfather, First Series, 1828 ; Second Series, 1829; Third Series, 1830; Fourth Series, 1830 ; St. Valentine's Day, or The Fair Maid of Perth (Chronicles of the Canongate, second series), 1828 ; My Aunt Margaret's Mirror, The Tapestried Chamber, The Laird's Jock (Keepsake, 1828); Religious Discourses, by a Layman, 1828; Anne of Geierstein, 1829; History of Scotland (Lardner's Cabinet Cyclopædia"), 1830; Letters on Demonology and Witchcraft, 1830; House of Aspen (Keepsake, 1830); Doom of Devorgoil; Auchindrane, or the Ayrshire Tragedy, 1830; Essays on Ballad Poetry, 1830; Count Robert of Paris, Castle Dangerous, 1832 (Tales of My Landlord, fourth series).
Letters and Articles were contributed to Encyclopædia Britannica, 1814 (Chivalry; Drama); “Provincial Antiquities of Scotland," 1819–1826;
Edinburgh Weekly Journal,” 1820, 1826; as well as frequent articles to the “Edinburgh” and “ Quarterly” Reviews, and “Edinburgh Annual Register."
Collected Poems: 1820, 1821, 1823, 1830 (with Author's Prefaces); 1834 (Lockhart).
Collected Novels : 1820 (Novels and Tales); 1822 (Historical Romances); 1824 (Historical Romances), 26 vols. With Author's Notes, 1829–33, 48 vols. People's Edition, 1844-8; Abbotsford, 1842–7; Roxburghe, 1859–61; Dryburgh, 1892-4; Border (A. Lang), 1892-4 ; The Templo Edition (C. K. Shorter), 1897-9.
OR, THE ASTROLOGER
'Tis said that words and signs have power
Lay of the Last Minstri.
The Novel or Romance of WAVERLEY made its way to the public slowly, of course, at first, but afterwards with such accumulating popularity as to encourage the author to a second attempt. He looked about for a name and a subject; and the manner in which the novels were composed cannot be better illustrated than by reciting the simple narrative on which “Guy Mannering” was originally founded; but to which, in the progress of the work, the production ceased to bear any, even the most distant resemblance. The tale was originally told me by an old servant of my father's, an excellent old Highlander, without a fault, unless a preference to mountain-dew over less potent liquors be accounted one. He believed as firmly in the story, as in any part of his creed.
A grave and elderly person, according to old John Mackinlay's account, while travelling in the wilder parts of Galloway, was benighted. With difficulty he found his way to a country-seat, where, with the hospitality of the time and country, he was readily admitted. The owner of the house, a gentleman of good fortune, was much struck by the reverend appearance of his guest, and apologised to him for a certain degree of confusion which must unavoidably attend his reception, and could not escape his eye. The lady of the house was, he said, confined to her apartment, and on the point of making her husband a father for the first time, though they had been ten years married. At such an emergency, the Laird said, he feared his guest might meet with some apparent neglect.
“Not so, sir,” said the stranger; "my wants are few, and easily supplied, and I trust the present circumstances may even afford an opportunity of showing my gratitude for your hospitality. Let me only request that I may be informed of the exact minute of the birth; and I hope to be able to put you in possession of some particulars, which may influence, in an important manner, the future prospects of the child now about to come into this busy and changeful world. I