He brought his wide knowledge of contemporary Scottish life "from the peer to the ploughman;" he brought his well-digested wealth of antiquarian lore, and the poetic skill which had just been busied with the "Lay of the Last Minstrel," and was still to be occupied, ere he finished his interrupted novel, with "Marmion," "The Lady of the Lake," "Rokeby," and "The Lord of the Isles." The comparative failure of the last-named no doubt strengthened his determination to try prose romance.

He had never cared mach for his own poems, he says, Byron had outdone him in popularity, and the Muse--"the Good Demon" who once deserted Herrick--came now less eagerly to his call.

It is curiously difficult to disentangle the statements about the composition of "Waverley." Our first authority, of course, is Scott's own account, given in the General Preface to the Edition of 1829.

Lockhart, however, remarks on the haste with which Sir Walter wrote the Introductions to the magnum opus; and the lapse of fifteen years, the effects of disease, and his habitual carelessness about his own works and mode of working may certainly to some extent have clouded his memory.

"About the year 1805," as he says, he "threw together about one third part of the first volume of 'Waverley.'" It was advertised to be published, he goes on, by Ballantvne, with the second title, "'T is Fifty Years since." This, obviously, would have made 1755 the date of the events, just as the title "'T is Sixty Years since" in 1814 brought the date of the events to 1754.