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But it had never been done with really commanding ability on the great scale. In Waverley Scott supplied these two aspects, the historical-romantic and the national-characteristic, with a felicity perhaps all the more unerring in that it seems to have been only partly conscious. The subject of 'the Forty-five' was now fully out of taboo, and yet retained an interest more than antiquarian.
On my name and "past performances" I could still dispose of what I wrote, but only to magazines that were just starting. The others knew I no longer was a best-seller. All the real editors knew it. So did the theatrical managers. My books and plays had flourished in the dark age of the historical-romantic novel. My heroes wore gauntlets and long swords.
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