I have already made a complete search among some hundred pamphlets of that pamphlet-writing age, and with considerable success, as I have found several which throw light on my author."[161] He added that another edition of Dryden was proposed, and Ellis wrote in answer, "With regard to your competitors, I feel perfectly at my ease, because I am convinced that though you should generously furnish them with all the materials, they would not know how to use them; _non cuivis hominum contingit_ to write critical notes that anyone will read."[162] When Scott's Dryden was reedited and reissued in 1882-93 by Professor Saintsbury, the new editor said: "It certainly deserves the credit of being one of the best-edited books on a great scale in English, save in one particular,--the revision of the text."[163] The elaborate historical notes are left untouched, as being "in general thoroughly trustworthy,"[164] though the editor considers them somewhat excessive, especially as sometimes containing illustrative material from perfectly worthless contemporaries.

On the other hand, the "explanation of word and phrase is a little defective."[165] The most notable quality of the _Life of Dryden_ which composes the first of the eighteen volumes is its breadth of scope.

Scott's aim may best be given in his own words in the Advertisement: "The general critical view of Dryden's works being sketched by Johnson with unequalled felicity, and the incidents of his life accurately discussed and ascertained by Malone, something seemed to remain for him who should consider these literary productions in their succession, as actuated by, and operating upon, the taste of an age where they had so predominant influence; and who might, at the same time, connect the life of Dryden with the history of his publications, without losing sight of the fate and character of the individual."[166] Errors of judgment appear in places; sometimes they are due to the imperfect scholarship of the time; sometimes they arise from prejudices of Scott's own.

In the very first chapter we find him condemning Lyly and all writers of "conceited" language--particularly of course the Metaphysicals--with a thoroughness that a truly catholic critic ought probably to avoid.

Scott had a constitutional dislike for a labored style, and at the same time a fondness for the direct and straightforward way of looking at things.