was visiting Italy for the first time, Scott delighted in Malta, for it recalled to him Vertot’s Knights of Malta, and much, other mediaeval story which he had pored over in his youth.  But when his friends descanted to him at Pozzuoli on the Thermae—­commonly called the Temple of Serapis—­among the ruins of which he stood, he only remarked that he would believe whatever he was told, “for many of his friends, and particularly Mr. Morritt, had frequently tried to drive classical antiquities, as they are called, into his head, but they had always found his skull too thick.”  Was it not perhaps some deep literary instinct, like that here indicated, which made him, as a lad, refuse so steadily to learn Greek, and try to prove to his indignant professor that Ariosto was superior to Homer?  Scott afterwards deeply regretted this neglect of Greek; but I cannot help thinking that his regret was misplaced.  Greek literature would have brought before his mind standards of poetry and art which could not but have both deeply impressed and greatly daunted an intellect of so much power; I say both impressed and daunted, because I believe that Scott himself would never have succeeded in studies of a classical kind, while he might—­like Goethe perhaps—­have been either misled, by admiration for that school, into attempting what was not adapted to his genius, or else disheartened in the work for which his character and ancestry really fitted him.  It has been said that there is a real affinity between Scott and Homer.  But the long and refluent music of Homer, once naturalized in his mind, would have discontented him with that quick, sharp, metrical tramp of his own moss-troopers, to which alone his genius as a poet was perfectly suited.

It might be supposed that with these romantic tastes, Scott could scarcely have made much of a lawyer, though the inference would, I believe, be quite mistaken.  His father, however, reproached him with being better fitted for a pedlar than a lawyer,—­so persistently did he trudge over all the neighbouring counties in search of the beauties of nature and the historic associations of battle, siege, or legend.  On one occasion when, with their last penny spent, Scott and one of his companions had returned to Edinburgh, living during their last day on drinks of milk offered by generous peasant-women, and the hips and haws on the hedges, he remarked to his father how much he had wished for George Primrose’s power of playing on the flute in order to earn a meal by the way, old Mr. Scott, catching grumpily at the idea, replied, “I greatly doubt, sir, you were born for nae better then a gangrel scrape-gut,”—­a speech which very probably suggested his son’s conception of Darsie Latimer’s adventures with the blind fiddler, “Wandering Willie,” in Redgauntlet.  And, it is true that these were the days of mental and moral fermentation, what was called in Germany the Sturm-und-Drang, the “fret-and-fury” period of Scott’s life, so far as one so mellow