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Summary of the Speech:

Lord Guthrie celebrated Sir Walter Scott not just as a writer, but as an exemplary human being. He argued that while Scott’s literary genius is renowned, it is his character—his honesty, modesty, sense of duty, and moral integrity—that most distinguishes him.

Rather than focus on Scott’s work, Guthrie paid tribute to Scott the man: loyal friend, devoted family member, conscientious public servant, and morally upright Christian. He emphasised Scott’s humility despite fame, his refusal of honours (such as the Poet Laureateship), and his deep integrity—evident in his monumental efforts to repay enormous debts not of his own making.

He compared Scott’s ability to capture the Scottish character in prose to Sir Henry Raeburn’s portraits in paint, arguing that Scott became the very embodiment of Scottish identity abroad. Guthrie personally traced a connection to Scott through his mother’s cousin, the novelist Susan Ferrier, and recalled stories from those who knew Scott directly, suggesting that such links, now fading, made their Club all the more valuable.

He contrasted Scott favourably with Robert Burns and Lord Byron, highlighting Scott’s moral discipline, religious grounding, and positive choices in the face of personal misfortune (lameness, financial ruin, heartbreak). Guthrie claimed Scott’s success owed much to the Christian values instilled in him from youth, and that these shaped not only his personal life but the tone and influence of his work.

He also acknowledged Scott’s flaws—such as his outdated loyalty to monarchy, disdain for the Covenanters, and his willingness to duel—but suggested these were of their time and did not tarnish his greatness.

Guthrie closed with a call for more Scott Clubs worldwide and declared Scott’s legacy to be one of honour, humanity, and enduring inspiration.

Noteworthy Points

• Character Over Genius: Guthrie’s central theme is that Scott’s personal character—his honour, loyalty, humility, and religious faith—outshines even his literary genius.
• Financial Integrity: He emphasises Scott’s refusal to take bankruptcy protection, choosing instead to labour in failing health to repay £130,000, a moral example admired even in business contexts.
• Christian Faith: Guthrie presents Scott as an exemplary Christian, albeit a moderate one, who lived by the principles he professed—culminating in his deathbed affirmation of faith.
• Self-effacing Humour: Scott is quoted calling literary fame “an Open Sesame” to transient popularity, but also showing distaste for celebrity.
• Unsentimental Realism: Guthrie praises Scott’s rejection of “fine folk” in favour of real Scots, and his recognition of Burns and Chatterton’s struggles as partially shaped by environment and temperament.
• Raeburn Comparison: An inspired analogy compares Scott’s depiction of Scottish life to Raeburn’s idealised portraits—both helping to shape Scotland’s image at home and abroad.
• Cultural Legacy: Guthrie claims Scott is more globally representative of Scotland than Burns, especially in Continental Europe, where the perception of Scots is softened thanks in part to Scott’s legacy.
• Personal Connection: Guthrie’s anecdote about Susan Ferrier and Parliament House gives a tangible, touching link to Scott’s world.

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Subsidiary Toasts Summary

1. “The Imperial Forces” — Proposed by Rev. John Wallace; Response by Brigadier-General L. B. Friend

• Rev. Wallace emphasised the clergy’s support for national service as a means of national defence, moral discipline, and physical well-being.
• Brigadier-General Friend praised the success and public support of the Territorial Forces, expressing optimism about continued enlistment as the initial four-year service term came to an end.

2. “Literature” — Proposed by Professor Bernard Bosanquet; Response by J. W. Comyns Carr

• Bosanquet described literature as having grown closer to the lives of ordinary people over the last century, with Scott as a key pioneer.
• He praised modern British literature for its sincerity, craftsmanship, and emotional power, particularly in poetry and drama.
• Comyns Carr offered a more cautious view, noting that contemporary writers seemed overly moralising and eager to create a new morality. He contrasted this with earlier writers (e.g. from Queen Anne’s era), who were content to reinforce existing values while joyfully revealing life in its richness.

3. “The City of Edinburgh” — Proposed by R. S. Horne, K.C.; Response by Treasurer Leishman

• Leishman compared Scott-era Edinburgh finances (£25,000 annual income, £150,000 debt) with 1911 (£2 million income, £10 million debt), noting the latter was more manageable.
• He credited Scott with involvement in the city’s first gas works and commented on his likely distaste for the unlit streets of his youth.
• Leishman paid tribute to the Town Council’s vision in creating the New Town, forgiving their other faults in light of this contribution.
• He warned against letting Scott’s romantic legacy distract citizens from practical work and social improvement, urging that beauty and romance must be balanced with efforts to reduce poverty and crime.

4. Toast to the Chairman — Proposed by Mr F. Faithfull Begg.

Noteworthy Points

• National Service: Even in 1911, there was concern about defence and discipline; the clergy's strong endorsement of national service is striking.
• Territorial Forces: The Territorial Army was still relatively new (established in 1908), and the optimism about its future in Scotland is historically valuable.
• Literary Morality Shift: Comyns Carr raised concerns about a trend in literature towards didacticism and new moral frameworks—a tension still debated in literary circles today.
• Scott and Civic Development: Treasurer Leishman’s observation that Scott helped establish Edinburgh’s first gas works is a fascinating footnote in the city's infrastructure history.
• Romance vs. Realism: Leishman’s warning that Scott’s influence might lead Edinburghers to “live in the clouds” rather than focus on real work is an early critique of romanticised heritage overwhelming practical urban needs.
• Menu Card Art: The menu featured a portrait of the President (Lord Guthrie) by James Hay, and a back sketch by T. Marjoribanks Hay—suggesting a touch of artistic pride in the evening’s presentation.
• Cultural Programme: The evening included live music by Mr Dambmann’s Band and songs by Miss Kate Wallace, contributing to the elegant and celebratory atmosphere.

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