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The Lay of the Last Minstrel
First Edition, First Impression:
The Lay of the Last Minstrel: A Poem. By Walter Scott,
Esq. London: Printed for Longman, Hurst, Rees, and Orme, Paternoster-Row,
and A. Constable and Co., Edinburgh, by James Ballantyne, Edinburgh,
1805.
Composition | Synopsis | Reception | Links
Composition
Among
the poems that Scott intended to include in the third volume of
the Minstrelsy was 'a long
poem [...] a kind of Romance of Border Chivalry, in a Light Horseman
sort of stanza' (letter to George Ellis, December 1802). This was
the first draft of the Lay of the Last Minstrel which Scott
had begun in Lasswade in
summer or autumn 1802. The four-beat lines that create its distinctive
galloping rhythm were influenced by a recital that Scott had heard
of Coleridge's Christabel. As Scott, at the Countess of
Dalkeith's suggestion, wove the local legend of the goblin Gilpin
Horner into his original tale of Border rivalries, the poem rapidly
grew too long for inclusion in the Minstrelsy, and he began
to conceive of it as a separate volume. As he worked on the poem
he received warm encouragement from friends such as George Ellis,
William Erskine, and George Cranstoun, and from William and Dorothy
Wordsworth who paid Scott an unexpected visit in September 1803.
Professional and other literary engagements (including the expanded
edition of the Minstrelsy) delayed completion of the poem,
as did Scott's move to Ashestiel. The Lay was
eventually finished in August 1804 and published on January 12,
1805.
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Synopsis
The
poem deals with a sixteenth-century Border feud. The story is told,
over a century and a half later, by an aging minstrel who receives
hospitality at Newark Castle from Ann, Duchess of Buccleuch. In
return, he recites a tale concerning the Duchess's family. He sings
of her ancestor, the widowed Lady of Branksome Hall, whose husband
has been killed in a quarrel with a party that included Lord Cranstoun.
Fiercely opposed to the love affair that develops between Cranstoun
and her daughter, Margaret, she resorts to sorcery in an effort
to prevent their marriage. She sends one of her retainers, Sir
William Deloraine, to Melrose Abbey to recover a magic book from
the tomb of the wizard Michael Scott. On his way back, Deloraine
meets and fights with Cranstoun and is wounded by him. Cranstoun
bids his page, a goblin-like figure who has mysteriously attached
himself to him, to take Deloraine to Branksome Hall. The goblin
page discovers Michael Scott's book on Deloraine's person and,
in a spirit of pure mischief, uses it to lure Lady Branksome's
infant son into the woods. Here the boy is captured by his mother's
English enemy, Lord Dacre. Lord Dacre has gathered together a force
to punish Deloraine for breaking a truce and plundering the lands
of Sir Richard Musgrave. They lay siege to Branksome and demand
that the Lady hand over her wounded retainer. She proposes instead
that Deloraine defend himself against the charge in single combat
with Musgrave. As a Scottish force is rapidly approaching, Dacre
reluctantly accepts, promising that, should Deloraine prove victorious,
he will return the Lady's son. With the help of his goblin page,
Cranstoun assumes the form of the wounded Deloraine and defeats
Musgrave. The child is restored, and the grateful Lady agrees to
the marriage of Cranstoun and Margaret. At the wedding feast the
ghost of Michael Scott appears and reclaims the goblin-page as
his own servant.
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Reception
The Lay was an immediate publishing phenomenon, bringing
Scott instant fame. There were six editions within three years,
with sales rising to 27,000 copies within a decade, unparalleled
figures for poetry. In the first instance of Scott's impact upon
tourism in Scotland, the description of the moonlit Melrose Abbey
(Canto II, stanza 1) brought a stream of sightseers to the ruined
Abbey and led to it becoming a popular subject with nineteenth-century
painters. The poem's fans included even the Prime Minister, William
Pitt, who recited passages from the poem at his dinner table.
The critics too were broadly favourable. Francis Jeffrey in the Edinburgh
Review thought that many passages were 'in the very first
rank of poetical excellence'. The Critical Review praised
the skill with which Scott had refined the 'rich but unpolished
ore' of ballad poetry. The Annual Review thought it 'elegant,
spirited, and striking' and welcomed the move away from the stiffness
of classical poetics. Other journals, though, such as the Literary
Journal and Monthly Review, thought Scott guilty of
prosaic and irregular versification, and found the plot both
obscure and far-fetched. Many critics too (including Jeffrey)
considered the goblin page beneath the dignity of the poem. Nonetheless,
the Lay's success with the public determined the line
that Scott's work was to take over the next nine years.
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Links
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Last updated: 19-Dec-2011
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