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LIFE AND CHARACTER OF WALPOLE. BY SIR WALTER SCOTT. ' [From Ballantyne's Novelist's Library.], THE Castle of Otranto is remarkable; not only for the wild interest of the story, but as the first modern attempt to found a tale of amusing fiction upon the basis of the ancient romances of chivalry. The neglect and discredit of these venerable legends had commenced so early as the reign of Queen Elizabeth, when, as we learn from the criticism of the times, Spenser's fairy web was rather approved on account of the mystic and allegorical interpretation, than the plain and obvious meaning of his chivalrous pageant. The drama, which shortly afterwards rose into splendour, and English versions from the innumerable novelists of Italy, supplied to the higher class the amusement which their fathers received from the legends of Don Belianis and the Mirror of Knighthood; and the huge volumes, which were once the pastime of nobles and princes, shorn of their ornaments, and shrunk into abridgments, were banished to the kitchen or nursery, or, at best, to the hall-window of the old-fashioned country manor-house. Under Charles II. the prevailing taste for French literature dictated the introduction of those dullest of dull folios, the romances of Calprenede and Scuderi, works which hover between the ancient tale of chivalry and the modern novel. The alliance was so ill conceived, that they retained all the insufferable length and breadth of the prose volumes of chivalry, the same detailed account of reiterated and unvaried combats, the same unnatural and extravagant turn of incident; without the rich and sublime strokes of genius, and vigour of imagination, which often distinguished the early romance; while they exhibited all the sentimental languor and flat love-intrigue of the novel, without being enlivened by its variety of character, just traits of feeling, or acute views of life. Such an illimagined species of composition retained its ground longer than might have been expected, only because these romances were called works of entertainment, and there was nothing better to supply their room. Even in the days of the Spectator, Clelia, Cleopatra, and the Grand Cyrus, (as that precious folio is christened by its butcherly translator,) were the favourite closet companions of the VOL. VI. No. 34.-Museum. 20 fair sex. But this unnatural taste began to give way early in the eighteenth century; and, about the middle of it, was entirely su perseded by the works of Le Sage, Richardson, Fielding, and Smollett; so that even the very name of romance, now so venerable in the ear of antiquaries and book-collectors, was almost forgotten at the time the Castle of Otranto made its first appear ance. The peculiar situation of Horace Walpole, the ingenious author of this work, was such as gave him a decided predilection for what may be called the Gothic style, a term which he contributed not a little to rescue from the bad fame into which it had fallen, being currently used before his time to express whatever was in pointed and diametrical opposition to the rules of true taste. Horace Walpole, it is needless to remind the reader, was the son of Sir Robert Walpole, that celebrated minister, who held the reins of government under two successive monarchs, with a grasp so firm and uncontrolled, that his power seemed entwined with the rights of the Brunswick family. Horace was born in the year 1716-17; was educated at Eton, and formed, at that celebrated seminary, a schoolboy acquaintance with the celebrated Gray, which continued during the earlier part of their residence together at Cambridge, so that they became fellow-travellers by joint consent in 1739. They disagreed and parted on the continent; the youthful vivacity, and, perhaps, the aristocratic assumption of Walpole, not agreeing with the somewhat formal opinions and habits of the professed man of letters. In the reconciliation afterwards effected between them, Walpole frankly took on himself the blame of the rupture, and they continued friends until Gray's death. When Walpole returned to England, he obtained a seat in Parliament, and entered public life as the son of a prime minister as powerful as England had known for more than a century. When the father occupied such a situation, his sons had necessarily their full share of that court which is usually paid to the near connexions of those who have the patronage of the state at their disposal. To the feeling of importance inseparable from the object of such attention, was added the early habit of connecting and associating the interest of Sir Robert Walpole, and even the domestic affairs of his family, with the parties in the Royal Family of England, and with the changes in the public affairs of Europe. It is not therefore wonderful, that the turn of Horace Walpole's mind, which was naturally tinged with the love of pedigree, and a value for family honours, should have been strengthened in that bias by circumstances, which seemed, as it were, to bind and implicate the fate of his own house with that of princes, and to give the shields of the Walpoles, Shorters, and Robsarts, from whom he descended, an added dignity, unknown to their original owners. If Mr. Walpole ever founded hopes of raising himself to political eminence, and turning his family importance to advantage in his career, the termination of his father's power, and the personal change with which he felt it attended, disgusted him with active life, and early consigned him to literary retirement. He had, indeed, a seat in Parliament for many years; but, unless upon one occasion, when he vindicated the memory of his father with great dignity and eloquence, he took no share in the debates of the House, and not much in the parties which maintained them. Indeed, in the account which he has himself rendered us of his own views and dispositions with respect to state affairs, he seems rather to have been bent on influencing party spirit, and bustling in public affairs, for the sake of embroilment and intrigue, than in order to carry any particular measure, whether important to himself, or of consequence to the state. In the year 1758, and at the active age of forty-one, secured from the caprices of fortune, he retired altogether from public life, to enjoy his own pursuits and studies in retirement. His father's care had invested him with three good sinecure offices, so that his income, managed with economy, which no one understood better how to practise, was sufficient for his expense in matters of virtu, as well as for maintaining his high rank in society. The subjects of Horace Walpole's studies were, in a great measure, dictated by his habits of thinking and feeling operating upon an animated imagination, and a mind, acute, active, penetrating, and fraught with a great variety of miscellaneous knowledge. Travelling had formed his taste for the fine arts; but his early predilection in favour of birth and rank connected even those branches of study with that of Gothic history and antiquities. His Anecdotes of Painting and Engraving evince many marks of his favourite pursuits; but his Catalogue of Royal and Noble Authors, and his Historical Doubts, we owe entirely to his pursuits as an antiquary and genealogist. The former work evinces, in a particular degree, Mr. Walpole's respect for birth and rank; yet is, perhaps, ill calculated to gain much sympathy for either. It would be difficult, by any process or principle of subdivision, to select a list of as many plebeian authors, containing so very few whose genius was worthy of commemoration; but it was always Walpole's foible to disclaim a professed pursuit of public favour, for which, however, he earnestly thirsted, and to hold himself forth as a privileged author, "one of the right-hand file," who did not mean to descend into the common arena, where professional authors contend before the public eye, but wrote merely to gratify his own taste, by throwing away a few idle hours on literary composition. There was much affectation in this, which accordingly met the reward which affectation usually incurs; as Walpole seems to have suffered a good deal from the criticism which he affected to despise, and occasionally from the neglect which he appeared to court. The Historical Doubts are an acute and curious example how minute antiquarian research may shake our faith in the facts most pointedly averred by general history. It is remarkable also to observe, how, in defending a system which was probably at first adopted as a mere literary exercise, Mr. Walpole's doubts acquired, in his own eyes, the respectability of certainties, in which he could not brook controversy. Mr. Walpole's domestic occupations, as well as his studies, bore evidence of a taste for English antiquities, which was then uncommon. He loved, as a satirist has expressed it, "to gaze on Gothic toys through Gothic glass," and the villa at Strawberry Hill, which he chose for his abode, gradually swelled into a feudal castle, by the addition of turrets, towers, galleries, and corridors, whose fretted roofs, carved pannels, and illuminated windows, were garnished with the appropriate furniture of scutcheons, armorial bearings, shield tilting lances, and all the panoply of chivalry. The Gothic order of architecture is now so generally, and, indeed, indiscriminately used, that we are rather surprised if the country-house of a tradesman retired from business, does not exhibit lanceolated windows, divided by stone shafts, and garnished by painted glass, a cupboard in the form of a cathedral-stall, and a pig-house with a front borrowed from the façade of an ancient chapel. But, in the middle of the eighteenth century, when Mr. Walpole began to exhibit specimens of the Gothic style, and to show how patterns, collected from cathedrals and monuments, might be applied to chimneypieces, ceilings, windows, and balustrades, he did not comply with the dictates of a prevailing fashion, but pleased his own taste, and realized his own visions, in the romantic cast of the mansion which he erected. Mr. Walpole's lighter studies were conducted upon the same principle which influenced his historical researches, and his taste in architecture. His extensive acquaintance with foreign literature, on which he justly prided himself, was subordinate to his pursuits as an English antiquary and genealogist, in which he gleaned subjects for poetry and for romantic fiction, as well as for historical conThese are studies, indeed, proverbially dull; but it is only when they are pursued by those whose fancies nothing can enliven. A Horace Walpole, or a Thomas Warton, is not a mere collector of dry and minute facts, which the general historian passes over with disdain. He brings with him the torch of genius, to illuminate the ruins through which he loves to wander; nor does the classic scholar derive more inspiration from the pages of Virgil, than such an antiquary from the glowing, rich, and powerful feudal painting of Froissart. His mind being thus stored with information, accumulated by researches into the antiquities of the middle ages, and inspired, as he himself informs us, by the romantic cast of his own habitation, Mr. Walpole resolved to give the public a specimen of the Gothic style adapted to modern literature, as he had already exhibited its application to modern archi tecture. As, in his model of a Gothic modern mansion, our author had studiously endeavoured to fit to the purposes of modern convenience, or luxury, the rich, varied, and complicated tracery and carving of the ancient cathedral, so, in The Castle of Otranto, |