" The difficulty, as
usual, is to understand how, in all this strength, he permitted himself
to be so careless over what is really by far the easiest part of the
novelist's task--the construction. But so it was; about "The Monastery"
he said, "it was written with as much care as the rest, that is, with no
care at all." His genius flowed free in its own unconscious abundance:
where conscious deliberate workmanship was needed, "the forthright
craftsman's hand," there alone he was lax and irresponsible. In
Shakspeare's case we can often account for similar incongruities by the
constraint of the old plot which he was using; but Scott was making his
own plots, or letting them make themselves. "I never could lay down a
plan, or, having laid it down, I never could adhere to it; the action of
composition always diluted some passages and abridged or omitted others;
and personages were rendered important or insignificant, not according
to their agency in the original conception of the plan, but according to
the success or otherwise with which I was able to bring them out. I only
tried to make that which I was actually writing diverting and
interesting, leaving the rest to fate. . . When I chain my mind to ideas
which are purely imaginative--for argument is a different thing--it
seems to me that the sun leaves the landscape, that I think away the
whole vivacity and spirit of my original conception, and that the
results are cold, tame, and spiritless.
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