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 CHAPTER 10:
Cost Functions

10.1 The opportunity cost of producing a bicycle refers to the

a. out-of-pocket payments made to produce the bicycle.

b. value of the goods that were given up to produce the bicycle.

c. bicycle's retail price.

d. marginal cost of the last bicycle produced.

ANSWER: b

10.2 A firm's economic profits are given by

a. total revenue minus total accounting cost.

b. the owner's opportunity cost.

c. total revenue minus total economic cost.

d. total revenue minus the cost of capital.

ANSWER: c

10.3 In order to minimize the cost of a particular level of output, a firm should produce where

a. labor input equals capital input.

v
b. the RTS (of L for K) = .
w

© 2012 Cengage Learning. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly
accessible website, in whole or in part.
 Chapter 10: Cost Functions 39

w
c. the RTS (of L for K) =
v

v
d. the MRS = .
w

ANSWER: c

10.4 The firm's expansion path records

a. profit-maximizing output choices for every possible price.

b. cost-minimizing input choices for all possible output levels for when input rental
rates expand along with production.

c. cost-minimizing input choices for all possible output levels for a fixed set of input
prices.

d. cost-minimizing input choices for profit-maximizing output levels.

ANSWER: c

10.5 The expansion path for a homothetic production function

a. is a straight line through the origin with a slope greater than one if w > v.

b. is a straight line through the origin with a slope less than one if w < v .

c. is a straight line through the origin though its slope cannot be determined by w
and v alone.

d. has a positive slope but is not necessarily a straight line.

ANSWER: c

10.6. A firm whose production function displays increasing returns to scale will have a total
cost curve that is

a. a straight line through the origin.

b. a curve with a positive and continually decreasing slope.

© 2012 Cengage Learning. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly
accessible website, in whole or in part.
40 Chapter 10: Cost Functions

c. a curve with a positive and continually increasing slope.

d. a curve with a negative and continually decreasing slope.

ANSWER: b

10.7 A linear total cost curve which passes through the origin implies that

a. average cost is constant and marginal cost is variable.

b. average cost is variable and marginal cost is constant.

c. average and marginal costs are constant and equal.

d. need more information to answer question.

ANSWER: c

10.8 As long as marginal cost is below average cost, average cost will be

a. falling.

b. rising.

c. constant.

d. changing in a direction that cannot be determined without more information.

ANSWER: a

10.9 As long as marginal cost is less than average variable cost,

a. both average total costs and average variable costs will be falling.

b. average total costs will be falling but average costs may be rising or falling.

c. average fixed costs are rising.

d. average total costs are falling but average fixed costs may be rising.

ANSWER: a

© 2012 Cengage Learning. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly
accessible website, in whole or in part.
 Chapter 10: Cost Functions 41

10.10 The average fixed cost curve always has a negative slope because

a. marginal costs are below average fixed costs.

b. average variable costs exceed marginal costs.

c. total fixed costs always decrease.

d. total fixed costs do not change as output increases.

ANSWER: d

10.11 The shape of a firm's long-run average cost curve is determined by

a. the degree to which each input encounters diminishing marginal productivity.

b. the underlying nature of the firm's production function when all inputs are able to
be varied.

c. how much the firm decides to produce.

d. the way in which the firm's expansion path reacts to changes in the rental rate on
capital.

ANSWER: b

10.12 For a constant returns to scale production function

a. marginal costs are constant but the average cost curve has a U-shape.

b. both average and marginal costs are constant.

c. marginal cost has a U-shape; average costs are constant.

d. both average and marginal cost curves are U-shaped.

ANSWER: b

10.13 For any given output level, a firm's long-run costs

a. are always greater than or equal to its short-run costs.

© 2012 Cengage Learning. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly
accessible website, in whole or in part.
42 Chapter 10: Cost Functions

b. are usually greater than or equal to its short-run costs except in the case of
diminishing returns to scale.

c. are always less than or equal to its short-run costs.

d. are usually less than or equal to its short-run costs except in the case of
diminishing returns to scale.

ANSWER: c

10.14 An increase in the wage rate will have a greater effect on average costs

a. the larger the proportion labor costs are of total costs and the easier it is to
substitute capital for labor.

b. the larger the proportion labor costs are of total costs and the harder it is to
substitute capital for labor.

c. the greater is the diminishing marginal product of labor.

d. the greater are returns to scale.

ANSWER: b

10.15 Technical progress will

a. shift a firm's production function and its related cost curves.

b. not affect the production function, but may shift cost curves.

c. shift a firm's production function and alter its marginal revenue curve.

d. shift a firm's production function and cause more capital (and less labor) to be
hired.

ANSWER: a

10.16 The Cobb-Douglas production function q = k .5 l .75 yields the cost function C =
(where B is a constant).

a. Bq v1 2 w3 4 .

© 2012 Cengage Learning. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly
accessible website, in whole or in part.
 Chapter 10: Cost Functions 43

5/4
b. Bq v1 2 w3 4 .

4/5
c. Bq v1/2 w3/4 .

4/5
d. Bq v 2/5 w3/5 .

ANSWER: d

.8
10.17 For the cost function C = q v .4 w.6 consider the following statements:

I. The function exhibits decreasing average cost.

II. The function is homogeneous of degree 1 in v and w.
III. The elasticity of marginal cost with respect to v exceeds the elasticity with respect
to w.

a. None is true.

b. All are true.

c. Only I is true.

d. Only I and II are true.

ANSWER: d

10.18 For the cost function C = 100 + .3q,

a. marginal cost is constant.

b. average cost is U-shaped.

c. fixed costs diminish with q.

d. all of the above are true.

ANSWER: a

10.19 The input demand functions that can be derived from cost functions are referred to as
“contingent” demand functions because the functions:

© 2012 Cengage Learning. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly
accessible website, in whole or in part.
44 Chapter 10: Cost Functions

a. assume input costs are constant.

b. express input demand as a function of output.

c. depend on the assumption of profit maximization.

d. assume constant returns to scale in production.

ANSWER: b

10.20 The cost function C = q (v1 2 + w1 2) 2 arises from

a. a Cobb-Douglas production function.

b. a CES production function.

c. a fixed proportions production function.

d. a Translog production function.

ANSWER: b

© 2012 Cengage Learning. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly
accessible website, in whole or in part.
Exploring the Variety of Random
Documents with Different Content
The Project Gutenberg eBook of The
Centenary Garland
This ebook is for the use of anyone anywhere in the United States
and most other parts of the world at no cost and with almost no
restrictions whatsoever. You may copy it, give it away or re-use it
under the terms of the Project Gutenberg License included with this
ebook or online at www.gutenberg.org. If you are not located in the
United States, you will have to check the laws of the country where
you are located before using this eBook.

Title: The Centenary Garland

Editor: Charles Rogers

Illustrator: George Cruikshank

Release date: December 15, 2013 [eBook #44435]

Most recently updated: October 23, 2024

Language: English

Credits: Produced by David Widger

*** START OF THE PROJECT GUTENBERG EBOOK THE CENTENARY

GARLAND ***
 THE CENTENARY GARLAND
Being Pictorial Illustrations of the Novels of Sir Walter Scott,
in Their Order of Publication.
By George Cruikshank, and Other
Artists of Eminence.
With Descriptions, Memoir, Etc.
Edinburgh:

William P. Nimmo.

1871.

Who comes, alone, with soul of fire,

And in his hand the Border lyre?
He sweeps the strings, and in his strain
Old times and manners live again;
'Tis Scott! great Master of his art,
He fires, subdues, or storms the heart!
Rapt by the magic of his rhymes,
I seem to live in feudal times;
I hear the swelling bugle's call,
And see the warder on the wall;
And many a squire, and many a knight,
In mail and gloves of steel bedight,
Impatient for the fiery fight.

Captain Charles Gray.

The land was charm'd to list his lays;

It knew the harp of ancient days.
The Border chiefs, that long had been
In sepulchres unhearsed and green,
Passed f rom their mouldy vaults away,
In armour red and stern array,
And by their moonlight halls were seen,
In visor helm, and habergean.
Even fairies sought our land again,
So powerful was the magic strain.

The Ettrick Shepherd.

Enlarge
Enlarge
Enlarge
 Enlarge

PREFATORY NOTE,

BY THE EDITOR.

T
HE enthusiasm with which Scotsmen and others have hailed
the proposal to celebrate in public demonstration the
Centenary of Sir Walter Scott's birth, has suggested the
publication of this little work. The Memoir includes some
interesting particulars omitted by preceding biographers; while a
history of the Scott Monument at Edinburgh has been prepared from
original materials. The illustrations are printed on stone by Messrs
Schenck & M'Farlane, from steel plates by artists of eminence. The
spirited etchings by Mr George Cruikshank will be especially
welcomed by the numerous admirers of that distinguished artist. It
has been the Editor's aim to produce a souvenir worthy of the
occasion, and he is inclined to believe that his intentions have been
in some measure realised.
 CHARLES ROGERS.
Snowdoun Villa,
Lewisham, Kent,
June 1871.

CONTENTS
MEMOIR.
THE CENTENARY GARLAND.
WAVERLEY.
GUY MANNERING.
THE ANTIQUARY.
ROB ROY,
OLD MORTALITY.
A LEGEND OF MONTROSE,
THE BLACK DWARF,
THE HEART OF MID-LOTHIAN.
THE BRIDE OF LAMMERMOOR.
IVANHOE.
THE MONASTERY.
THE ABBOT.
KENILWORTH.
THE PIRATE.
FORTUNES OF NIGEL
PEVERIL OF THE PEAK.
QUENTIN DURWARD.
ST RONAN'S WELL
RED GAUNTLET.
THE BETROTHED.
THE HIGHLAND WIDOW.
THE TALISMAN.
WOODSTOCK.
THE FAIR MAID OF PERTH.
ANNE OF GEIERSTEIN.
THE SURGEON'S DAUGHTER.
COUNT ROBERT OF PARIS.
 MEMOIR.

Enlarge

O
N the 15th of August 1771, at Edinburgh, it is believed, Sir
Walter Scott was born, but his birth does not seem to have
been entered in any Register. The Scots Magazine recorded
only births in families of distinction, and Edinburgh
newspapers had not yet begun to notify domestic changes. The Kirk-
session Registers of the capital were indeed well kept, but parents
who claimed for their children baptism in the Established Church
were those only who systematically enrolled the names of their
offspring in the Presbyterian Records. The father of the great
novelist, Walter Scott, Writer to the Signet, was a member of the
Scottish Episcopal Church, in which, doubtless, his children were
baptized. He therefore ignored the Presbyterian registers; yet it is
sufficiently singular that, albeit a man of business of good capacity,
he was not careful to secure elsewhere a record of his children's
births.
Sir Walter was born in a house which has long ago disappeared; it
stood at the head of the College Wynd, and was removed to make
room for the northern front of the University buildings. On his
father's side he was descended from the Scotts of Harden, the elder
branch of the great Border sept of that name. In his personal
aspects he much resembled his paternal ancestry, his features being
of the Saxon type, rugged, massive, heavy,-almost stolid. Through
his paternal grandmother, he traced an old lineage in the Haliburtons
of Newmains, a considerable family of Berwickshire landowners. Of
the Haliburtons he printed for family use a volume of "Memorials,"
and he rejoiced, through his descent from that sept, to possess a
right of sepulture in Dryburgh Abbey. On his mother's side, his
progenitors were likewise respectable; his maternal grandfather, Dr
John Rutherford, was Professor of the Practice of Physic in
Edinburgh University, and his mother's brother, Dr Daniel Rutherford,
an eminent chemist, occupied the Chair of Botany. His mother
possessed a vigorous intellect, which she had successfully cultivated.
Of a family of twelve, six of whom survived infancy, Walter alone
evinced the possession of genius. Born a healthy child, he became
exposed to serious peril by being intrusted to a consumptive nurse.
When under two years old, he was seized with an illness which
impaired the use of his right limb, a misfortune which continued
during his life. With the view of restoring his strength, he was placed
with his paternal grandfather, Robert Scott, who rented the farm of
Sandyknowe, near Smailholm Tower, Roxburghshire. At Sandyknowe,
he narrowly escaped destruction through the violence of a servant
who had become insane; but he had afterwards to congratulate
himself on having formed an early acquaintance with rural scenes.
No advantage arising to his lameness, he was, in his fourth year,
removed to Bath, where he remained some time without
experiencing benefit from the thermal waters. The three following
years were chiefly spent at Sandyknowe. In his eighth year he
returned to Edinburgh, with his mind largely stored with Border
legends derived from his grandmother, a person of romantic humour
and sprightly intelligence. At this period, Pope's translation of Homer,
and the songs of Ramsay's "Evergreen," were his favourite studies;
he took delight in reading aloud the more striking passages. In 1779
he was sent to the High School, where he had the advantage of
being taught by Mr Luke Fraser, an able scholar, and Dr Adam, the
erudite Rector. His scholastic progress was not equal to his talents;
he was devoted to romance, and experienced greater pleasure in a
country ramble, than in giving due attention to the business of the
class-room. As he became older, his love of miscellaneous literature
amounted to a passion; and as his memory was singularly retentive,
he accumulated a store of knowledge.
On the completion of his High School attendances, he was sent to
reside with relatives at Kelso; and in this interesting locality his early
attachment to legendary lore experienced a revival. Returning to
Edinburgh, he, in October 1783, entered the University. Here his
progress was even less marked than it had been at school. Mr
Dalzell, the Professor of Greek, spoke of his hopeless incapacity. The
Professor survived to make reparation for prophesying so rashly.
The aspirations of the future poet turned to a military life; but his
lameness interposed a barrier. At length he adopted a profession
suitable to his physical capabilities; in his fourteenth year he entered
into indentures with his father.
To confinement at the desk, irksome to one of his peculiar tastes,
he was reconciled by the consideration that his fees enabled him to
add to his library.
Rapid growth in a constitution which continued delicate till his
fifteenth year, led to his bursting a blood-vessel. While precluded
from active duty, being closely confined to his bed, and not allowed
to exert himself by speaking, he was yet permitted to read, a
privilege of which he largely availed himself. To complete his
recovery, he was recommended exercise on horseback; and in
obeying his physician, he gratified his own inclinations by visiting
localities famous in history or tradition. When his health was
restored, he engaged in the study of law, which he did seriously.
After passing the requisite examinations, he was on the 10th July
1792, called to the Bar. At the age of twelve he had composed some
verses for his preceptor, Dr Adam; but he seems in early life to have
written little poetry, while his prose compositions lacked force of
thought and ease of diction. As an advocate his manner was not
very attractive, and both suitors and their agents had obtained the
notion, not quite unfounded, that the young barrister was more
inclined to literary than legal pursuits. Scott was not unconscious of
the popular judgment, and began to dream of independence in other
spheres. He thought of marriage. He courted unsuccessfully Miss
Williamina Stuart, whose mother had been his own mother's early
friend, and who was personally an heiress. She refused him, and
with a heart stung by disappointment, and ready to seek relief on
the first fitting opportunity, he at the rising of the Court in July 1797,
joined a little party of friends in a tour to Cumberland. Not long after,
a charming brunette at Gilsland Spa arrested his fancy and stole his
affection. She was an attractive young Frenchwoman, a ward of Lord
Downshire, and under the temporary protection of a respected
English clergyman. After a short acquaintance Scott proposed and
was accepted. He was married in St Mary's Church, Carlisle, on the
24th December 1797. With less haste he might have married more
advantageously. As it was, he was now free from any apprehension
about the means of living, for his wife, Charlotte Charpentier,
possessed an annuity of £200. His own finances were materially
increased in 1800, when he became Sheriff of Selkirkshire, with a
salary of £300.
While in his father's office Scott had studied French and Italian,
and made himself familiar with the writings of Tasso and Ariosto.
Afterwards he obtained an acquaintance with German ballad poetry,
through the translations of Mr Lewis. In 1796, he made his début as
an author, by publishing translations of "Lenoré" and "The Wild
Huntsman" of Bürger. The attempt was unsuccessful. A second time
he essayed his skill as a translator, by publishing in 1799, an English
version of Goethe's "Goetz of Berlichingen." It was better received,
but his fame was destined to rest on a more substantial basis than
on the art of translation.
The ballads and songs of the south of Scotland, preserved among
the peasantry, had at an early period occupied his attention. He now
made excursions to Liddesdale in quest of these interesting remains;
and the fruits of his research, along with much curious information,
he gave to the world in 1802, in two octavo volumes, entitled
"Minstrelsy of the Scottish Border."' He afterwards added a third
volume, consisting of imitations of ancient ballads, composed by
himself and others. These volumes were issued from the printing
press of his early friend, James Ballantyne of Kelso, who had already
begun to indicate his skill as a typographer.
In 1804, he published from the Auchinleck Manuscript, the ancient
metrical tale of "Sir Tristrem." In an introduction, he endeavoured to
show that it was composed by Thomas of Ercildoune, better known
as the Rhymer. "The Lay of the Last Minstrel," a ballad poem,
appeared from his pen in 1805, and obtaining an extensive
circulation, procured for him poetical fame and an immediate profit
of £600.
Scott's prosperity rose with his reputation. In 1806 he was
appointed a principal clerk in the Court of Session, an office which
afterwards yielded him £1200 per annum. To literary work he
henceforth dedicated the intervals of leisure. In 1808 he produced
"Marmion," his second great poem, which brought him £1000, and
materially increased his fame. During the same year he edited the
works of Dryden, in eighteen volumes. In 1809 he edited the "State
Papers and Letters of Sir Ralph Sadler," and became a contributor to
the "Edinburgh Annual Register," conducted by Southey. "The Lady
of the Lake," the most happily-conceived of his poetical works,
appeared in 1810; "Don Roderick," in 1811; "Rokeby," in 1813; and
"The Lord of the Isles," in 1814. "Harold the Dauntless," and "The
Bridal of Triermain," appeared subsequently.
After the publication of "Marmion," Mr Alexander Gibson Hunter of
Blackness, partner in the publishing house of Constable & Co., a
gentleman of superior culture, entreated the author to dedicate his
talents to prose fiction, with the prediction that he would in this
department attain an eminence unrivalled in literature.* Scott did
not readily accept the proffered counsel; he dreaded that by sailing
in unexplored waters he might make shipwreck of his poetical
laurels. A prose tale which he had commenced in 1805, was on this
account laid aside; and when it was again taken up and completed,
and under the title of "Waverley" given to the world, it was without
the authors name. This was in 1814, when Sir Walter was in his 43rd
year. "Waverley" sold slowly at first, but after some favourable
criticisms the demand steadily increased till twelve thousand copies
were put into circulation. Having attained such an earnest of success
as a writer of fiction, he chose in this department to maintain his
original incognito, abundantly content to rest his personal distinction
on his celebrity as a poet. The author of "Waverley" accordingly soon
passed into "The Great Unknown;" and the rapidity with which this
mysterious character produced a succession of entertaining
romances became one of the marvels of the age; while attempts to
withdraw the curtain which concealed his individuality proved
comparatively unavailing. Each year gave birth to one-often two-
novels, of a class infinitely superior to the romances of the past age,
and all having reference to the manners and customs of the most
interesting and chivalrous periods of Scottish or British history.
Subsequent to the publication of "Guy Mannering" and "The
Antiquary," in 1815 and 1816, and as an expedient to sustain public
interest, a series of novels was commenced, under the title of "Tales
of my Landlord," these being professedly written by a different
author; but this resort was afterwards abandoned. Every romance by
the author of "Waverley" awakened renewed enthusiasm, and
commanded a universal circulation throughout Britain and America.
In 1814 Scott published an edition of Swift's works in nineteen
octavo volumes. For some years after his marriage he occupied a
cottage at Lasswade; in 1804 he removed to Ashestiel, a mansion
situated on the banks of the Tweed, near Innerleithen, where for
several years he continued to reside during the vacation of the
Court. His ruling desire was, to acquire an ample demesne, and thus
to realise in his own person, and by his representatives, somewhat
of the territorial importance of those old barons, whose wassails and
feuds he delighted to celebrate. To attain such a distinction he was
prepared to incur many sacrifices; nor in comparison did he value
the highest literary honours. In 1811 he purchased, on the south
bank of the Tweed, near Melrose, the little farm of Clarty Hole, the
first portion of that estate which under the name of Abbotsford has
become indelibly associated with his name. The soil was wet and
unpromising, but by a course of agricultural appliances the place
began to display considerable amenities. The mansion, a curious
amalgamation of different styles of Scottish manorial architecture,
was partly built in 1811, and gradually extended with the increasing
emoluments of the owner. By successive purchases the Abbotsford
property was increased till the rental amounted to about £700 a
year, a return not too great for an expenditure of at least £50,000.

* See Letter from Archibald Constable to Mr Hunter's son,

David Hunter, Esq., now of Blackness, dated "Edinburgh, 26th
March 1825: Century of Scottish Life, Edinb. 1871, pp. 82,
83." Mr A. G. Hunter of Blackness died on the 9th March
1812, aged forty-one. His remains were interred in the
Greyfriars Churchyard.

At Abbotsford Scott maintained the character of a country

gentleman. He was visited by distinguished persons from the sister
kingdom, from the Continent, and from America, all of whom he
elegantly entertained. Nor did his constant intercourse with his
visitors interfere with the regular prosecution of his literary labours:
he rose at six, and engaged in composition till breakfast, and
afterwards till one o'clock. While in the country he devoted the rest
of the day to exercise on horseback, the superintendence of
improvements on his estate, and the entertainment of his guests. In
March 1820, George IV., to whom he was personally known, and
who was a warm admirer of his genius, created him a baronet, the
first titular honour which he bestowed after his accession. Besides
the works enumerated, he had already given to the world his
romances of "The Black Dwarf," "Old Mortality," "Rob Roy," "The
Heart of Midlothian," "The Bride of Lammermoor," "A Legend of
Montrose," and "Ivanhoe." The attainment of the baronetcy
stimulated him to increased literary ardour. "Ivanhoe" appeared early
in 1820, and during the same year he produced "The Monastery"
and "The Abbot;" and in the beginning of 1821, the romance of
"Kenilworth," being twelve volumes within twelve months. "The
Pirate" and "The Fortunes of Nigel" appeared in 1822; "Peveril of the
Peak" and "Quentin Durward" in 1823; "St Ronan's Well" and
"Redgauntlet" in 1824; and the "Tales of the Crusaders" in 1825.
During the royal visit to Scotland in 1822, Sir Walter was, by
general consent, constituted Master of Ceremonies, and the duties
he discharged to the entire satisfaction of his sovereign and of the
nation. But while prosperity seemed to smile upon him with
increasing lustre, adversity hovered near. In 1826, Archibald
Constable & Company, the publishers of his works, became
insolvent, involving in their bankruptcy the printing firm of the
Messrs Ballantyne, of which he was a partner. For the sum of
£120,000, Sir Walter was found to be individually responsible. On a
mind less securely balanced, the wrecked hopes of a lifetime would
have produced irretrievable despondency; but Sir Walter bore his
misfortune with magnanimous resignation. To both the
establishments which had involved him in their fall, he had been
largely indebted, and he felt bound in honour, not less than by legal
obligation, fully to discharge his debt. An offer by the creditors to
accept a composition he declined, and claiming only to be allowed
time, applied himself to his undertaking, with the full determination,
if his life was spared, to cancel every obligation. At the crisis of his
embarrassments, he was engaged in the composition of
"Woodstock," which soon afterwards appeared. The "Life of
Napoleon," which had for a considerable time occupied his attention,
was published in 1827, in nine octavo volumes. In the course of
preparing it, he visited London and Paris in search of materials. In
the same year he produced "Chronicles of the Canongate," first
series; and in the year following, the second series of those
charming tales, and the first portion of his "Tales of a Grandfather."
A second portion of these latter tales appeared in 1829, and the
third and concluding series in 1830, when he also contributed a
"History of Scotland," in two volumes, to "Lardner's Cyclopedia." In
1829 likewise appeared "Anne of Geierstein," and in 1830 the
"Letters on Demonology and Witchcraft." In 1831 he produced a
series of "Tales on French History," uniform with the "Tales of a
Grandfather," and his novels "Count Robert of Paris," and "Castle
Dangerous," as a fourth series of "Tales of my Landlord." Other
productions of less importance appeared from his pen: he
contributed to the Edinburgh Review, during the first year of its
existence; wrote the articles "Chivalry," "Romance," and "Drama," for
the sixth edition of the "Encyclopaedia Britannica;" and during his
latter years frequently contributed to the Quarterly Review.
At a public dinner in Edinburgh, for the benefit of the Theatrical
Fund, on the 23d of February 1827, Sir Walter first publicly avowed
himself author of the Waverley Novels-an announcement which
scarcely took the public by surprise. His physical energies were now
suffering a rapid decline, and in his increasing infirmities, and liability
to sudden and severe attacks of pain, and even of unconsciousness,
it became evident to his friends that in the praiseworthy effort to
liquidate his obligations he was sacrificing his health. Those
apprehensions proved not without foundation. In the autumn of
1831, his health became so lamentably broken, that his medical
advisers recommended a residence in Italy, and entire cessation
from mental labour, as the only means of restoring his energies. This
counsel came too late; the patient proceeded to Naples, and
afterwards to Rome, but experiencing no benefit from the change,
he was rapidly conveyed home in the following summer, in
obedience to his own express wish, that he might close his eyes at
Abbotsford. The wish was gratified; he arrived at Abbotsford on the
11th of July 1832, and survived till the 21st of the ensuing
September. As he had desired, his remains were interred in an aisle
of Dryburgh Abbey, which had belonged to his ancestors, and had
been specially granted him by the Earl of Buchan. A massive block of
marble rests upon the grave, in juxtaposition with another which has
been laid on that of Lady Scott, who died in May 1826.
 In stature, Sir Walter Scott was above six feet; but his form which
had otherwise been commanding, was marred by the lameness of
his right limb, which caused him considerably to limp, and ultimately
to walk with difficulty. His countenance, so correctly represented in
his portraits and busts, was remarkable for depth of forehead; his
features have been described. His eyes, covered with thick
eyelashes, were dull, unless animated by congenial conversation. He
was of a fair complexion; and his hair, originally sandy, became grey
after a severe illness which he suffered in his forty-eighth year. His
conversation abounded in anecdotes of the old times. His memory
treasured up accurately, and could readily recall, all that he had
read. In fertility of invention he surpassed all his contemporaries. As
a poet, if he does not possess the graceful elegance of Campbell and
the fervid energy of Byron, he excels the latter in purity of
sentiment, and the former in vigour of conception. His style was well
adapted for the composition of lyric poetry; but as he had no ear for
music, his songs are few. Several of them have been set to music,
and are frequently sung. But Sir Walter's skill as a poet, great as it
is, has been eclipsed by his power as a writer of fiction; the
Waverley Novels will be forgotten only when the English language is
disused. A cabinet edition of his novels, illustrated with elegant
engravings, appeared in forty-eight volumes shortly before his
decease. Numerous editions were issued by Mr Cadell; and Messrs
Adam and Charles Black, the present possessors of the copyright,
have distinguished themselves not only by producing several elegant
library editions, but by placing within reach of the humblest artisan
those instructive, interesting, and admirable works. From a
gentleman, who was many years manager of Mr Cadell's publishing
house, we have received some details respecting the production of
Sir Walter's publications, which seem worthy of being recorded.
Down to October 1856 there had, writes our informant, been printed
of his Works and Life, 7,967,369 volumes, in which had been used
99,592 reams of paper, weighing 1245 tons. Mr Cadell's "People's
Editions" exhausted 227,631 reams, or 2848 tons. The gross weight
of paper in Mr Cadell's original and cheap editions amounted to 4093
tons. The sheets of paper used in the entire works were
106,542,438, which, laid side by side, would cover 3363 square
miles.
Sir Walter Scott lived at a period when indifference to religion
among men of letters, even in Scotland, was by no means
uncommon, and many of his contemporaries were, it is to be feared,
most imperfectly influenced with proper views of Christian
obligation. With sentiments of indifference on a theme so important,
Sir Walter had no sympathy. While contemning sectarian
exclusiveness, and abhorring superstition, he was zealous in
maintaining sound Scriptural doctrine, and he discouraged the
utterance of every sentiment which savoured of profanity or
bordered on scepticism. His "Religious Discourses," published
anonymously, indicate deep moral earnestness, while his hymn on
the "Day of Judgment" attests the sincerity of his devotion.
Desirous that these brief memorials might contain some additional
testimony to the religious earnestness of one who occupies so
prominent a place in national and literary history, we requested our
venerated friend Dean Ramsay to state his impressions of Sir
Walter's personal bearing during his residence at Abbotsford after
Lady Scott's death, and before her funeral. To our request the Dean,
with his usual courtesy, acceded. He writes thus:
"You ask me the impression left on my mind by my visit to
Abbotsford on the occasion of Lady Scott's death. It is indeed a very
easy and a very pleasing office to give you that impression. I could
not but feel all the time I was there that our great Sir Walter was as
much to be loved for the qualities of his heart as he had been
admired for the high gifts of his intellect and his genius. He
displayed throughout the whole time the subdued and calm spirit of
a Christian mourner. There was manifest an entire acquiescence in
the wisdom and goodness of his heavenly Father, who had bereaved
him of the wife and companion of his early years. His kind, gentle
manner to his domestics; his devoted attention to his daughter, who
was in deep distress; his serious appearance during the funeral
service; his own proposal in the evening to have domestic worship,
and his devotional manner at the time, have left a deep and pleasing
impression on my mind—the impression that I had witnessed so
much gentleness and so much right feeling, which, I could not but
perceive, were the genuine emotions of his heart. Sir Walter Scott
was one of the good and the great of his race and country."
During his last illness, Sir Walter desired portions of the New
Testament and of the Church Service to be frequently read to him,
and when free of pain he repeated portions of the Scottish version of
the Psalms and of evangelical hymns. To Mr Lockhart, his son-in-law,
he said: "Be a good man-be virtuous-be religious-be a good man!
Nothing else will give you any comfort when you come to lie here."
These were among his last words.
For sterling integrity, Sir Walter Scott requires no eulogy from his
biographer. To the effort to cancel his pecuniary obligations he fell a
martyr; while to his survivors it was a source of satisfaction to know
that, by his extraordinary exertions, the policy of life insurance
payable at his death, and the sum of £30,000 given by Mr Cadell for
copyrights, his debt was fully discharged.
The object of his original ambition, Sir Walter did not attain: no
family of his descent and name has been planted at Abbotsford to
point to him as their founder. His children, two sons and two
daughters, died young. His eldest daughter, Sophia, married to Mr
Lockhart, gave birth to several children, all of whom are dead. Her
only daughter married Mr James Hope, Q.C., who has added to his
patronymic the name of Scott, and made Abbotsford his autumnal
residence. Mrs Hope Scott died at Edinburgh on the 26th October
1858, leaving three children. One child, a daughter, Mary Monica,
survives, Sir Walter's only living descendant.
But Sir Walter has obtained posthumous honours far exceeding
those of establishing a landed family in Tweedside. His name is
imperishable in his works-of which the popularity is steadily on the
increase. Nor have his fellow-countrymen lacked in evincing their
vigorous appreciation. Besides several local memorials of respectable
construction, the most graceful monument ever raised by human
instrumentality, has been dedicated to his memory.
 An account of that monument will form no inappropriate sequel to
the present narrative. On the 24th day of September 1832, being
the third day after Sir Walter's death, a circular letter was issued
convening a meeting at the Rooms of the Royal Society of
Edinburgh, to consider the best means of honouring his memory. At
this meeting a committee was appointed to arrange a convocation of
the citizens. This took place on the 5th of October, under the
presidency of the Lord Provost, when a resolution in favour of a
national monument to Sir Walter, was moved by the Duke of
Buccleuch, and seconded by Lord Rosebery. Sir John Forbes, Bart.,
announced that the Bank of Scotland and other banks in Edinburgh,
Sir Walter's creditors, would subscribe £500, in token of their
appreciation of the honourable feelings which induced the deceased
Baronet to dedicate his talents in insuring the full payment of his
debts. Differences arose as to the character of the monument By a
London Committee, of which the Bishop of Exeter and Sir Robert
Peel were conspicuous members, nearly £10,000 were collected. A
portion of this sum was embezzled by a young person unhappily
intrusted with the secretaryship. The balance, amounting to nearly
£8000, was employed in liquidating the debt on the library and
museum at Abbotsford. At Glasgow the subscriptions amounted to
about £1200, and a handsome Corinthian column, surmounted with
a statue, has been erected in the chief square of that city, which is
likewise adorned with elegant monuments to royal personages and
national celebrities.
In the market-place at Selkirk, a statue in freestone, by Handyside
Ritchie, commemorates Sir Walter in his capacity of Sheriff of "The
Forest."
In November 1833, the Edinburgh committee had collected £5534,
a sum sufficient to insure the construction of a substantial cenotaph.
The question of a site arose next. Among those suggested were the
space in the Lawn Market, bounded on the east by St Giles' Church;
the west end of Princes Street opposite to St John's Church; the foot
of St David Street near Queen Street Gardens; the open space at
Picardy Place; the rocky angle at the north-east corer of the Calton
Hill; Charlotte Square, Moray Place, and Randolph Crescent. The
committee suspended their decision, and in thirty-two newspapers
advertised for designs. These were lodged with the secretary on the
1st September 1836. Fifty-five were offered. For each of the three
best the committee adjudged prizes of fifty guineas. One of these
bore the signature "John Morvo," the name of a master mason,
commemorated in the abbey of Melrose. It was assumed by George
Meikle Kemp, then a working joiner. Kemp had studied the
peculiarities of Gothic architecture in different parts of the kingdom,
and latterly added to his emoluments by architectural sketching.
The committee, not quite satisfied with any of the designs
received, advertised a second time. Among those who joined in the
new competition were Sir William Allan, David Roberts, R.A., and
William H. Playfair, the well-known architect. Kemp lodged his former
design, considerably amended. It was adopted by the committee on
a majority of twenty-one to ten, in April 1838. At the same time Mr
John Steell, the distinguished sculptor, was commissioned to prepare
a marble statue of Sir Walter, to be placed under the canopy of the
structure. The site was fixed in Princes Street, opposite to South St
David Street. The architect had designed the monument to reach the
height of 180 feet, but the committee's funds did not justify their
proceeding on so large a scale. In May 1840 an auxiliary committee
undertook to procure the balance.
An Act of Parliament securing the site having been obtained, the
foundation stone was, on the 15th August 1840, laid by Sir James
Forrest of Comiston, Bart., Lord Provost of the city, and Grand
Master Mason. A metallic plate deposited in the foundation stone
bore the following inscription, composed by Lord Jeffrey: "This
graven plate, deposited in the base of a votive building on the 15th
day of August 1840, and never likely to see the light again till all the
surrounding structures are crumbled to dust by the decay of time or
by human or elemental violence, may then testify to a distant
posterity that his countrymen began on that day to raise an effigy
and architectural monument to the memory of Sir Walter Scott,
part., whose admirable writings were then allowed to have given
more delight and suggested better feeling to a larger class of
readers in every rank of society, than those of any other author, with
the exception of Shakspeare alone, and which were therefore
thought likely to be remembered long after this act of gratitude on
the part of the first generation of his admirers should be forgotten.
He was born at Edinburgh, 15th August 1771, and died at
Abbotsford 21st September 1832."
The monument was, at the cost of upwards of £1500, founded on
the solid rock, fifty-two feet under the level of Princes Street. It
assumes the form of a Gothic spire, and may be thus described.
From each corner of a raised platform of masonry rise elegantly
clustered columns, from which spring four grand Early English
arches, which converge into a vaulted roof crossing each other by
ribbed groinings with beautifully-carved bosses, and terminating in a
richly ornamented pendant or drop centre. The arches are
successively supported by projecting buttresses also arched upon
clustered columns, and after ascending to the first gallery spring into
the open air to the height of ninety-eight feet, and terminate in
pinnacles carved with crockets and crowned with richly ornamented
finials. The connecting buttresses are decorated with large niches
adorned with brackets and canopies, and each of the abutment
towers at the height of the first gallery has two chaste and
tastefully-wrought gargoyles in the form of grotesque griffins. The
pilasters which separate the different clustered pillars that support
the roof of the structure, are crowned with finely-ornamented
capitals, containing likenesses of sixteen Scottish poets.
The lateral towers are connected with the central one by means of
flying buttresses, and with spandrils and crockets. The four principal
arches and buttresses sustain an open trellis, which extends round
the building in front of the first gallery. On a level with this gallery is
an apartment used as a Waverley Museum. From the gallery rises
the principal tower. On each side is an arched window. A flying
staircase leads to the third gallery. Around are towers, buttresses,
pinnacles, arches, crockets, corbels and finials-in all the rich
profusion of Gothic architecture. On reaching the fourth gallery the
view is grand in the extreme. At each successive stage are elegantly-
sculptured niches, intended for statues illustrative of the poet's
works. The height of the Monument (increased beyond the original
design) is two hundred feet six inches above the level of Princes
Street. It is ascended by 289 steps.
The monumental statue under the canopy represents Sir Walter in
a sitting attitude, with the ample folds of a Scottish plaid hanging
loosely about him, and his favourite hound Maida at his feet. Mr
Steell has seized the moment when the great novelist has just
recorded some of his imperishable thoughts in the volume which is
in his hand, and he has communicated to the features a look of
complete abstraction, while the dog, as if startled by the closing of
the book, is in the act of lifting up its head to catch the expression of
its master's countenance. The statue was inaugurated in 1846. The
block of marble from which it was chiselled, contained 200 cubic
feet, and weighed upwards of 25 tons. The monument is
constructed of sandstone from Binny Quarry. The funds raised by the
original and auxiliary committees amounted to £17,243, 4s. The sum
of £1871, 12s. 8d., was expended in procuring subscriptions. For the
statue, Mr Steell received £2000-eight small statues cost £179, 5s.
10d. a sum of £460, 3s. 5d. was lost by a contractor, and a railing
was constructed at the expense of £147, 13s. 6d. The balance,
amounting to £13,584, 8s. 6d., was expended in the monumental
fabric.
Persevering as were their labours, the auxiliary committee were
unable to procure funds sufficient to provide statues for all the
niches. Thirty niches are still unoccupied, but Mr James Ballantyne,
the esteemed Scottish poet, is now exerting himself to complete the
work. The sum of £2000, Mr Ballantyne believes, will suffice to
provide the remaining statues.
On the memory of Sir Walter Scott is to be conferred a new
honour. There is to be a centenary celebration of his birth. All
classes, including the most illustrious, have resolved, on the
hundredth anniversary of his natal day, co testify their hearty
appreciation. His praise will be celebrated in every town—descanted
on in every hamlet His poetry will be rehearsed in scenes which his
poetical descriptions have rendered famous; and in every spot
celebrated by his pen, flying banners and an assembled population
will testify to the potency of his' enchantment. The keenest trader
will for a time sacrifice before the shrine of genius; abandoning his
counting-house and his ledger to do reverence to the memory of one
whose writings have cheered his home circle, and amidst corroding
cares awakened within him pleasurable emotions.
Nor may the ordinary caviller begrudge the tribute. Of these
centenary honours three Britons only have been deemed worthy;
Shakspeare, Burns, and Walter Scott. All these have exalted and
purified human nature, and, by the force and splendour of their
genius, fitted mankind more fully to appreciate and enjoy the
forthgivings of a higher and nobler inspiration.
Enlarge
THE CENTENARY GARLAND.