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44,573
The Entail; or, The Lairds of Grippy
E-text prepared by Henry Flower and the Online Distributed Proofreading Team (http://www.pgdp.net) from page images generously made available by Internet Archive/American Libraries (https://archive.org/details/americana)
44,573
The Entail; or, The Lairds of Grippy
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The Entail; or, The Lairds of Grippy
See 44573-h.htm or 44573-h.zip: (http://www.gutenberg.org/files/44573/44573-h/44573-h.htm) or (http://www.gutenberg.org/files/44573/44573-h.zip) Images of the original pages are available through Internet Archive/American Libraries.
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The Entail; or, The Lairds of Grippy
See https://archive.org/details/entailorlairdsof1913galt Transcriber's note:
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Text enclosed by underscores is in italics (_italics_).
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Text enclosed by tilde characters is in bold face (~bold~).
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The Entail; or, The Lairds of Grippy
THE ENTAIL by JOHN GALT Oxford:
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Horace Hart Printer to the University [Illustration] THE ENTAIL Or
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The Lairds of Grippy by JOHN GALT With an Introduction by John Ayscough
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[Illustration] Henry Frowde Oxford University Press London, Edinburgh, Glasgow New York, Toronto, Melbourne & Bombay JOHN GALT Born, Irvine, Ayrshire May 2, 1779 Died, Greenock April 11, 1839 _'
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The Entail; or, The Lairds of Grippy
The Entail' was first published in 1822.
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The Entail; or, The Lairds of Grippy
In 'The World's Classics' it was first published in 1913.
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The Entail; or, The Lairds of Grippy
_ INTRODUCTION For many years I have been wondering why John Galt's works are fallen into such neglect: that they should be almost wholly forgotten, even by readers to whom Scott and Jane Austen, Fanny Burney and Miss Edgeworth are indispensable, is what I cannot understand.
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If his Autobiography were not a rare book, an explanation might suggest itself.
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For supposing that the public, before reading _The Entail_, _Annals of the Parish_, or _
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The Ayrshire Legatees_, had been so unfortunate as to attempt the reading of the Autobiography, no one could be surprised that it made up its mind to read no more of him.
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A more tedious, flat, and dull book was never written by a man of genius: it is never interesting, never amusing, and always exasperating to any one who knows what he could do, and has done.
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To wade through it is very nearly impossible, and there is nothing to be gained by the achievement.
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Galt's life was not particularly interesting in itself, but many lives less eventful have been so written as to be worth reading, and easy to read.
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There is, however, little danger of Galt's now losing possible admirers by the unlucky accident of their stumbling on his Autobiography before making his acquaintance in the right way--by reading his really excellent works of fiction: for copies of the Autobiography are not at all easy to come at.
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I suppose they have mostly been burned by his admirers.
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There is not much to be told about him; his life does not matter to my purpose.
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John Galt was one of the sons of a sea-captain, in the West India trade, and was born on May 2, 1779, at Irvine in Ayrshire.
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When he was ten years old the family moved to Greenock, where the boy had his schooling and became a clerk in the Custom House.
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At five and twenty he carried himself and an epic poem to London, in quest of literary fame.
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The epic, on the Battle of Largs, he had printed, but it did not establish his repute as a poet, and, to judge by the specimens I have read, the indifference of the public was not a malicious affectation.
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Later on he produced half a dozen dramas, which deserved, and met with, as much success as the epic.
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Falling into bad health he made a tour through the Mediterranean and Levant, and had Byron and Hobhouse for fellow-travellers during a part of it.
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In the Autobiography he does not heap flattery on either 'Orestes or Pylades': perhaps, though he does not confess it, he extracted from his brother poet an opinion on his own muse.
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His experiences of travel were given to the world in _Letters from the Levant_, and the book was by no means a failure, and is much easier reading than the Autobiography.
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In 1820 appeared, in _Blackwood_, _
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The Ayrshire Legatees_: and in it he first showed the real power that was in him.
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It has been reprinted in recent years and can easily be read, and should be read by every one.
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The book has the rather tiresome form of letters: and the letters of the young lady and young gentleman are not always particularly entertaining: those of Dr. Pringle and his wife are invariably excellent.
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None better of the sort exist anywhere in fiction.
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It is astounding that a man of genius, whose fiction is so extraordinarily real, could, when writing of his own real life, make it inhumanly dull and artificial.
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In the Autobiography there is nothing quaint, and nothing witty: Dr. and Mrs. Pringle are inimitably quaint and funny.
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It would seem that when Galt looked at life, at men and manners, and things, through imaginary eyes he could see everything there was to be seen, and see it in a light intensely simple and vivid and real: that when he looked at anything through his own eyes he saw nothing at all.
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The doctor and Mrs. Pringle are indispensable to all readers who love dear oddities, and they are Galt's very own: you shall not find them anywhere else.
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He borrowed them nowhere, but made them himself in a jocund humour of affectionate creation.
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In 1821 _
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The Ayrshire Legatees_ was followed up by the _Annals of the Parish_, which displayed Galt's singular and original genius in fuller perfection.
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That his epic failed, and the _Annals_ marked a literary success, is much to the credit of his contemporaries.
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Perhaps if Crabbe had not perversely insisted on being a poet we might have had country tales of his as worthy of immortality as the _Annals of the Parish_.
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The book is commonly said to be Galt's masterpiece: which it is not.
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But it is unique and perfect.
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That _
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The Entail_ is really Galt's masterpiece seems to me clear: nevertheless there are weak parts in it, and the less good chapters are lamentably unequal to the best: whereas the _Annals of the Parish_ has no weak chapters, and the balance of excellence is maintained throughout.
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But there is no story in the _Annals_; and, though it is a long gallery of perfect portraits, it has no characters that can even be compared with Watty and the Leddy o' Grippy.
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Where the _Annals_ peculiarly excel is in the rare quality of _charm_:
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it has no hero, and the central figure is enriched with foibles that do not lean to heroism's side: but they are quaintly attractive, and no one but Galt has given to literature any one like him.
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Of pathos Galt is shy in the _Annals_; nowhere is he at all disposed to 'wallow' in it: but he draws reverently near, and moves away as reverently.
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Nor is he boisterously funny: his wit is all his own, and it crops up at every corner, but not noisily: it cuts few capers, and has a pawky discretion.
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It is singularly void of malice and haughtiness, and has a Shakespearian humanity and blandness that fails to remind one of Thackeray.
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The _Annals of the Parish_ prove that a great writer can make a whole book intensely amusing and extraordinarily amiable: that perfectly clear sight need not be merciless, nor wit remorselessly cruel.
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The great and just success of the _Annals of the Parish_ made Galt prolific: and in rapid sequence came _
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Sir Andrew Wylie_, _
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The Entail_, _
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The Steamboat_, _
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The Provost_, _Ringan Gilhaize_, _
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The Spaewife_, _Rothelan_, and _
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The Omen_.
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Almost all of these are worth reading, and to read them is no trouble: but they are of very unequal merit: and only one of them is worthy of being grouped with _
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The Ayrshire Legatees_ and the _Annals_.
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_
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Sir Andrew Wylie_ is extremely good, and much of it shows Galt in his best vein.
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The more romantic tales, _Ringan Gilhaize_, _
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The Spaewife_, _Rothelan_, and _
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The Omen_, have the defects of their qualities, and the more Galt submits to those qualities the less we are pleased.
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To be romantic was, perhaps, a pardonable compliance with fashion: but Galt had little to make with romance, and idealism was his easiest road to failure.
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To be Ossianic may have seemed to him a literary duty, but the performance of some duties is hard on the public: as the district-visited might plead, to whom the perfecting of district-visitors appeals less than it ought.
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Galt had not a rich imagination; what he possessed in a rare degree was the faculty of representation.
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In his works of fiction we find a gallery of portraits of singular variety and perfection: of all of them he had seen the originals.
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When he chose to add characters invented by himself his success was not great.
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It must not, however, be supposed that he could only reproduce with pedestrian fidelity: there can be no doubt that from a mere hint in actual experience he could draw a vivid portrait of absolute and convincing reality.
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He himself placed _
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The Provost_ higher than the _Annals of the Parish_ and _
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The Ayrshire Legatees_, but no one will agree with him.
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Almost the only interesting thing he tells us in the Autobiography is that the _Annals_, though published in 1821, the year following the appearance of _The Ayrshire Legatees_, were written in 1813, and laid aside and forgotten.
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Of _
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The Entail_
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he tells us little, except that the scene of the storm was introduced to admit of the description of a part of Scotland he had never seen.
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He speaks complacently of the praise accorded to that description, but betrays no pride in Watty or the Leddy, whom, indeed, he does not mention.
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He has plenty to say about _Ringan Gilhaize_, and evidently believes that the book was not accorded its due proportion of praise; chiefly, it would seem, because the thing he tried to do in it was difficult, and success the more meritorious.
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Probably Watty and the Leddy were thoroughly spontaneous, as they are inimitably real, and Galt thought the less of them on that account.
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He left England for Canada in 1826, _
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The Last of the Lairds_ appearing just before his departure.
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Three years later he came back ruined, and set to work again, his pen being as industrious as ever.
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_
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Lawrie Todd_ was followed by _Southennan_, and these two novels by his _Life of Lord Byron_.
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In 1839, on April 11, he died at Greenock.
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Anthony Trollope injured himself with critics of a certain class by a too frank disclosure of his methods of production: and Galt may well have done his literary reputation harm by his oft-repeated assertion that with him literature was always a secondary interest.
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Commerce, he would have us believe, was what came first.
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He never depreciates his own literary work, but he so speaks of it as to tempt others to belittle it: this was not modesty but sheer blundering.
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Congreve in his old age was more eager to shine in Voltaire's eyes as a social personage than as a famous dramatist; and Galt appears to have cared more to be regarded as a statistician than as an unequalled master of fiction in his own region of it.
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These perversities in men of genius are not so rare as they are provoking.
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_
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The Entail_ was published in 1822, and, disregarded as it has long been, its merit was not ignored then.
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Gifford, Mackenzie, Lord Jeffrey, and Sir Walter Scott helped to spread its fame.
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In January, 1823, 'Christopher North' reviewed it at great length in _Blackwood_, and declared it 'out of all sight the best thing he [Galt] has done'--_The Ayrshire Legatees_ and the _Annals of the Parish_, be it remembered, having already appeared.