Chronicles of the Canongate, 1st Series

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Вальтер Скотт. Chronicles of the Canongate, 1st Series

INTRODUCTION TO CHRONICLES OF THE CANONGATE

INTRODUCTION

APPENDIX TO INTRODUCTION

CHRONICLES OF THE CANONGATE – INTRODUCTORY

CHAPTER I. MR. CHRYSTAL CROFTANGRY’S ACCOUNT OF HIMSELF

CHAPTER II. IN WHICH MR. CROFTANGRY CONTINUES HIS STORY

CHAPTER III. MR. CROFTANGRY, INTER ALIA, REVISITS GLENTANNER

CHAPTER IV. MR. CROFTANGRY BIDS ADIEU TO CLYDESDALE

CHAPTER V. MR. CROFTANGRY SETTLES IN THE CANONGATE

CHAPTER VI. MR. CROFTANGRY’S ACCOUNT OF MRS. BETHUNE BALIOL

CHAPTER VII. MRS. BALIOL ASSISTS MR. CROFTANGRY IN HIS LITERARY

THE HIGHLAND WIDOW

CHAPTER I

CHAPTER II

CHAPTER III

CHAPTER IV

CHAPTER V

THE TWO DROVERS

CHAPTER I

CHAPTER II

NOTES

NOTES TO CHRONICLES OF THE CANONGATE

NOTES TO THE HIGHLAND WIDOW

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All who are acquainted with the early history of the Italian stage are aware that Arlecchino is not, in his original conception, a mere worker of marvels with his wooden sword, a jumper in and out of windows, as upon our theatre, but, as his party-coloured jacket implies, a buffoon or clown, whose mouth, far from being eternally closed, as amongst us, is filled, like that of Touchstone, with quips, and cranks, and witty devices, very often delivered extempore. It is not easy to trace how he became possessed of his black vizard, which was anciently made in the resemblance of the face of a cat; but it seems that the mask was essential to the performance of the character, as will appear from the following theatrical anecdote: —

An actor on the Italian stage permitted at the Foire du St. Germain, in Paris, was renowned for the wild, venturous, and extravagant wit, the brilliant sallies and fortunate repartees, with which he prodigally seasoned the character of the party-coloured jester. Some critics, whose good-will towards a favourite performer was stronger than their judgment, took occasion to remonstrate with the successful actor on the subject of the grotesque vizard. They went wilily to their purpose, observing that his classical and Attic wit, his delicate vein of humour, his happy turn for dialogue, were rendered burlesque and ludicrous by this unmeaning and bizarre disguise, and that those attributes would become far more impressive if aided by the spirit of his eye and the expression of his natural features. The actor’s vanity was easily so far engaged as to induce him to make the experiment. He played Harlequin barefaced, but was considered on all hands as having made a total failure. He had lost the audacity which a sense of incognito bestowed, and with it all the reckless play of raillery which gave vivacity to his original acting. He cursed his advisers, and resumed his grotesque vizard, but, it is said, without ever being able to regain the careless and successful levity which the consciousness of the disguise had formerly bestowed.

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[This speech, though rather inadequately reported, was one of the best delivered on this occasion. That it was creditable to Mr. Vandenhoff’s taste and feelings, the preceding sketch will show; but how much it was so, it does not show.]

Mr. J. CAY gave “Professor Wilson and the University of Edinburgh, of which he was one of the brightest ornaments.”

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