And then? The French are reported to be landing. And then? Lovel rides into the district leading the British troops. He calls himself "Major Nevile" now. But even "Major Nevile" is not his right name, for he is who but the lost child of Lord Glenallan, he is none other than the legitimate heir to an earldom. Partly through Elspeth Mucklebackit, partly through her fellow servant whom he meets as a nun abroad, pardy through an uncle who has died, partly through Edie Ochiltree, the truth has come out. There are indeed plenty of reasons for the dénouement, but Scott is not interested in reasons; he dumps them down without bothering to elucidate them; to make one thing happen after another is his only serious aim. And then? Isabella Wardour relents and marries the hero. And then? That is the end of the story. We must not ask "And then?" too often. If the time-sequence is pursued one second too far it leads us into quite another country.

The Antiquary is a book in which the life in time is celebrated instinctively by the novelist, and this must lead to slackening of emotion and shallowness of judgment, and in particular to that idiotic use of marriage as a finale. Time can be celebrated consciously also, and we shall find an example of this in a very different sort of book, a memorable book: Arnold Bennett's The Old Wives' Tale. Time is the real hero of The Old Wives' Tale. He is installed as the lord of creation—excepting indeed of Mr. Critchlow, whose bizarre exemption only gives added force. Sophia and Constance are the children of Time from the instant we see them romping with their mother's dresses; they are doomed to decay with a completeness that is very rare in literature. They are girls, Sophia runs away and marries, the mother dies, Constance marries, her husband dies, Sophia's husband dies, Sophia dies, Constance dies, their old rheumatic dog lumbers up to see whether anything remains in the saucer. Our daily life in time is exactly this business of getting old which clogs the arteries of Sophia and Constance, and the story that is a story and sounded so healthy and stood no nonsense cannot sincerely lead to any conclusion but the grave. It is an unsatisfactory conclusion. Of course we grow old. But a great book must rest on something more than an "of course," and The Old Wives' Tale is very strong, sincere and sad—it misses greatness.