Castle Dangerous , ed. During the Scottish Wars of Independence, an English knight for a love wager commits himself to defend Douglas Castle against Scottish attempts to retake it. The ballad-like story embraces intriguing elements including national rivalry, and the idealisation and betrayal of love. The Douglas area, seen as an almost surrealist landscape of ravines, trenches, and tombs forms an appropriate setting for an impressively bleak narrative. Chronicles of the Canongate , ed. Chronicles of the Canongate , Scott's only short-story collection, is here published in its original form, complete with its framing narrative, for only the second time since Scott's death.
Claire Lamont traces the long ancestry of tales within a framework in European and Oriental literature, and argues that Scott adapts the genre with consummate skill. Collectively, 'The Two Drovers' , 'The Highland Widow' , and 'The Surgeon's Daughter' constitute a themed work treating cultural conflicts and difficulties of social translation in the new Britain and its growing empire in the thirty years from Based on the Edinburgh Edition also edited by Lamont , reproducing the text of the tales and connecting narrative, historical note, explanatory notes, and glossary.
The critical material from the Edinburgh Edition is expanded into an introduction where the Chronicles is presented as three thematically united tales of protagonists leaving post-Union Scotland to seek their fortune elsewhere. Each tale is, however, tragic in its conclusion, preventing any sense of triumph at Scotland's growing internationalism. Count Robert of Paris , ed. Lockhart and his publisher Robert Cadell. Alexander argues that they produced a bowdlerised, tamed and tidied version of what Scott had written and dictated.
The novel has many roughnesses, but it also challenges the susceptibilities of Scott's readers more directly than any other. It is that which offended the lesser men who condemned it. The Fortunes of Nigel, ed. Well versed in the political literature of the period, Scott draws a detailed picture of London in the early 17th century while charting the effects of Scottish influx into the English capital.
He masterfully traces a complex web of political and sexual intrigue, and of financial dealings and double-dealing. Steeped in Jacobean drama, this tale shows Scott revelling in the linguistic riches of the age. Guy Mannering , ed. Garside, introd. ISBN: X. Based on the Edinburgh Edition also edited by Garside , reproducing the text of the novel, historical note, explanatory notes, and glossary.
The use of two heroes Mannering and Bertram is, in many ways, as innovative as Waverley but it was not until the end of the 19th century that novelists like James learned from Scott's complex representation of a middle-aged hero. The Heart of Mid-Lothian , ed. The first edition of The Heart of Mid-Lothian was peculiarly beset by copy-editing errors. Hewitt and Lumsden here attempt to create an 'ideal first edtion', working from Scott's manuscript and rejecting modifications introduced in the seven subsequent editions published in Scott's lifetime.
The historical note presents the novel as Scott's only chronicle, spanning the life of David Deans, and charting revolutionary changes in the legal, religious, and cultural life of Scotland. The essay on the novel's genesis disputes Lockhart's account, and suggests that Scott took to heart Thomas McCrie's critique of his treatment of the Covenanters and sought to redress the balance through his portrayal of David and Jeannie Deans. Ivanhoe , ed.
Based on the Edinburgh Edition also edited by Tulloch , reproducing the text of the novel, historical note, explanatory notes, and glossary. A new critical introduction by Tulloch explores the conflicts dramatized in Ivanhoe between medieval and modern, history and romance, reality and fantasy, dialogue and revelation, disinheritance and the return of the true heir, and deracination and settlement. He argues that, rather than presenting an unambiguous myth of national unity, the novel's conclusion offers both integration and exclusion, settlement and deracination, peace and the continuing potential for violence.
Ivanhoe , introd. David Blair London: Wordsworth, xxii, p. Wordsworth Classics. Based on the Magnum Opus edition, with corrections made against Scott's working materials and incorporating readings from Scott's manuscript. Reprint of the Signet edition, using the Dryburgh text with a new afterword. Modern Library Classics. A retelling of Scott's novel for a modern audience which cuts its length by more than half. The Lady of the Lake , ed. Thomas Crawford, introd. Douglas Gifford, forward by Alex Salmond, ill. To mark the th anniversary of The Lady of the Lake , the Association for Scottish Literary Studies , in partnership with the Loch Lomond and The Trossachs National Park , has produced a brand-new edition, with newly commissioned illustrations by leading Scottish artist Linda Farquharson.
The text is extensively annotated. Letters on Demonology and Witchcraft , introd. A reprint of Scott's study with the author's notes.
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Tracing Scott's lifelong interest in magic, P. Maxwell-Stuart argues that he does not simply make a post-Enlightenment distinction between superstitious past and rational present but expresses reservations about the scientific claims of his own day. Letters on Demonology and Witchcraft is at once 'a nineteenth-century demonological treatise in the grand tradition, a collection of stories told by a master of his craft, and an invaluable insight into the continuance of magic and witchcraft in an industrial age'.
Facsimile reprint of the original edition of Marmion , reproduced from the best available copy, digitally enhanced. The Monastery , ed. Clarifying the novel's political background, editor Penny Fielding's historical note analyses how The Monastery is marked by conflict between a Catholic group pursuing the 'auld alliance' between Scotland and France, and a pro-English group who embraced Protestantism and sought to limit the powers wielded by the Catholic Queen Mary Stuart. Struck by the freshness of Scott's views on Napoleon, Richard Michaelis has produced an abridged and annotated edition of The Life of Napoleon Buonaparte Peveril of the Peak , ed.
The historical note to the first scholarly edition of Scott's longest novel outlines how Peveril of the Peak explores the on-going tensions between Cavalier and Puritan loyalties during the fraught years of Restoration England. Ranging from Derbyshire to the Isle of Man and culminating in London, it is a novel which interweaves political intrigue, personal responsibilities and the ways in which the forces of history are played out in the struggles of individual human lives.
But its true subject is perhaps the role of narration and the limits of storytelling itself.
The Pirate , ed. The editors' historical note situates The Pirate in and suggests that Scott intends a parallel between the Glorious Revolution and the passing of the old order in Orkney and Shetland as Norwegian Udaller gives way to Scottish laird. It also stresses a further parallel with agricultural debate in Scott's own day as the novel balances the need to improve the agricultural methods of a subsistence economy against the force of tradition and the human cost of rapid change.
Quentin Durward , ed. Alexander and G. Wood Edinburgh: Edinburgh University Press, p. The historical note shows how in Quentin Durward , his first fictional foray onto the European continent, Scott studies the disintegration of the feudal system in fifteenth-century France, the first modern European state. It goes on to analyze Scott's imaginative use of his principal source, Philippe de Commynes's Chronique et Histoire , generally regarded as the first example of modern analytical history.
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Redgauntlet , ed. Wood and David Hewitt, introd. Penguin Classics. Based on the Edinburgh Edition of Redgauntlet , reproducing the text of the novel, historical note, explanatory notes, and glossary. A new critical introduction by David Hewitt depicts Darsie Latimer as the image of the Romantic artist who rebels against inherited discourses and through writing comes to understand himself but also to isolate himself. Darsie, he argues, articulates the values generated by a profound cultural shift in which the individual becomes more important than society. This is the first complete edition of one of Scott's last works, edited from the manuscript recently relocated in the library at Abbotsford.
Reliquiae Trotcosienses is a guide to Abbotsford and to its collections, and illustrates in miniature all the different ways in which Scott tried to recover the past: in building, in collecting, and in the multiple acts of narration which invest objects with significance. But it is simultaneously a work of fiction, which satirises the impulses of antiquarian collection, and a personal, elegiac creation.
As he approaches death, the narrator recognises that the house, its artefacts, and above all the writings will live on to mourn their begetter. Rob Roy , introd. Follows the text of the first edition , with minor emendations and with a glossary derived from the 'Glossary to the Waverley Novels' published in as part of the Magnum Opus. The volume is bound by Cambridge University Press in buckram with paper sides hand-marbled by Ann Muir.
In his introduction, Allan Massie argues that Rob Roy asserts the moral superiority of commerce over the world of feudal honour represented by Rob. Its true hero is Baillie Nicol Jarvie who forces us to see that civil society has virtues that uncivil society, however glamorous, cannot conceive. Rob Roy , ed. The historical note argues that Rob Roy is less concerned with the Jacobite Rising than with the economic and political conditions which brought it about, and the remarkable entrepreneurial spirit of the new Hanoverian capitalists which resisted it.
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It celebrates the freebooting daring of the hero's father in the City of London and, in the figure of the Glasgow merchant Nicol Jarvie, the robust balancing of generosity and selfish calculation which is required in successful enterprise. Contains a lyric sung by Harold, Bard to the St. The Shorter Fiction , ed.
This collection of eight pieces of shorter fiction from periodicals extends from a satirical piece appearing in in The Edinburgh Annual Register through stories from The Sale-Room and Blackwood's Edinburgh Magazine to four stories published late in his life in The Keepsake. Only three of these stories were regularly reprinted.
The other five are here made readily available for the first time, and show both Scott's versatility and his continuous exploration of the possibilities of fiction. The Siege of Malta, and, Bizarro , ed. The Edinburgh Edition of the Waverley Novels. Although extracts from the former have been published, this is the first complete edition. The Siege of Malta begins as a novel but ends as a historical account of the defence of Malta by the Order of St John of Jerusalem against much larger Muslim forces.
It is an epic tale of endurance, resulting in the most hard-won of victories and setting the scene for the subsequent development of the Maltese nation. In the incomplete novella 'Bizarro', here published for the first time, Scott takes up the story of a notorious Calabrian brigand. He draws upon his experience of visiting Naples and its surroundings and pre-exising knowledge of Neapolitan history to tell a tale of passion, murder and revenge with a level of violence rarely seen in his earlier work.
An accompanying CD-Rom provides access to a digital reproduction of the manuscripts. Annotated reprint of Sir Walter Scott's edition of the medieval romance fragment Sir Tristrem see Scott the Poet , together with most of Scott's introductory essay. The editor's own introductory notes comment on the extraordinary persistence of Scott's vision of a Scottish Sir Tristrem , the work of Thomas of Ercildoune, rather than a Middle-English one.
Includes suggestions for further reading on Scott's medievalism. Set in Constantinople at the time of the First Crusade, Count Robert of Paris portrays the impact of Western medieval values and attitudes on the sophisticated Romano-Greek classical society of the Byzantine Empire. Count Robert was an actual but minor historical figure who disrupted negotiations between the Crusader leaders and the Emperor by occupying the latter's throne when it was temporarily vacated. This section of the article includes text from the revised edition of Henry Grey's A Key to the Waverley Novels , now in the public domain.
At the end of the 11th century, the Byzantine capital of Constantinople was threatened by Turkic nomads from the east, and by the Franks from the west. Unable to rely on his Greek subjects to repel their incursions, the emperor was obliged to maintain a body-guard of Varangians , or mercenaries from other nations, of whom the citizens and native soldiers were very jealous.
One of these, the Anglo-Saxon Hereward, had just been attacked by Sebastes, when a Varangian officer, Tatius, intervened and led him to the palace. Here he was introduced to the imperial family, surrounded by their attendants; and the Princess Anna was reading a roll of history she had written, when her husband Brennius entered to announce the approach of the armies composing the first Crusade.
Convinced that he was powerless to prevent their advance, the emperor offered them hospitality on their way; and, the leaders having agreed to acknowledge his sovereignty, the various hosts marched in procession before his assembled army. As Emperor Comnenus , however, moved forward to receive the homage of Count Bohemond , his vacant throne was insolently occupied by Count Robert of Paris, who was with difficulty compelled to vacate it, and make his submission. The defiant knight, accompanied by his wife Brenhilda, afterwards met the sage Agelastes, who related the story of an enchanted princess, and decoyed them to his hermitage overlooking the Bosphorus.
Here they were introduced to the empress and her daughter, who, attended by Brennius, came to visit the sage, and were invited to return with them to the palace to be presented to the emperor.
Letters on Demonology and Witchcraft by Sir Walter Scott (Illustrated)
At the State banquet which followed, the guests, including Sir Bohemond, were pledged by their royal host, and urged to accept the golden cups they had used. On waking next morning, Count Robert found himself in a dungeon with a tiger, and that Ursel was confined in an adjoining one. Presently an aggressive orangutan descended through a trap-door, soon followed by the armed Sebastes. Both were overpowered by the Count, when Hereward made his appearance, and undertook to release his Norman adversary.
A treasonable conference was meanwhile taking place between Tatius and Agelastes, who had failed in endeavouring to tamper with the Anglo-Saxon; and the countess had been unwillingly transported by the slave Diogenes to a garden-house for a secret interview with Brennius, whom she challenged to knightly combat in the hearing of her husband.
Having hidden the count, Hereward encountered his sweetheart Bertha, who had followed Brenhilda as her attendant, and then obtained an audience of the imperial family, who were discussing recent events, including a plot in which Brennius was concerned for seizing the throne, and received permission to communicate with the Duke de Bouillon. Bertha volunteered to be his messenger, and, at an interview with the council of Crusaders at Scutari , she induced them to promise that fifty knights, each with ten followers, should attend the combat to support their champion.
Having made his confession to the Patriarch, while Agelastes was killed by the orangutan as he argued with Brenhilda respecting the existence of the devil, the emperor led his daughter to the cell in which Ursel was confined, with the intention of making him her husband, instead of Brennius. She had, however, been persuaded by her mother to intercede for the traitor, and Ursel was merely placed under the care of the slave doctor Douban to be restored to health after his long imprisonment.
The emperor had decided that Brennius should fight the Count of Paris, instead of the countess, and all the preparations for the combat had been made, when the ships conveying the Crusaders hove in sight; and, after defeating the Greek fleet, they landed in sight of the lists. Brennius, in the meantime, was pardoned, and, in answer to shouts of discontent from the assembled crowd, Ursel was led forth to announce his restoration to liberty and the imperial favour, and the conspiracy was crushed.
Hereward then appeared to do battle with Count Robert, and, saved from the knight's axe by Bertha, he joined the Crusaders, obtaining on his return the hand of his betrothed, and, ultimately, a grant of land from William Rufus, adjacent to the New Forest in Hampshire, where he had screened her when a girl from the tusk of a wild boar. The chapter numbering follows the Edinburgh Edition. In other editions where there are substantial differences in the text, especially towards the end of the novel Chapters 24 and 25 are not divided: the different numbers are given in square brackets.
He repels an attack by Sebastes, one of the guard under the centurion Harpax, before being escorted to the imperial palace by Achilles, who fills him in on procedures. Hereward gives his unfavourable view of the Normans. After transmitting this welcome news to his fellow-Varangians, Hereward is conducted by a black slave to the ruins of the temple of Cybele. Achilles and Agelastes plot against Alexius. Achilles teases Hereward about Agelastes. On their way back to Constantinople they meet Agelastes, who tells them the story of the sleeping princess of Zulichium, resulting in Robert's expression of unflinching devotion to his wife.
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They accept his invitation to visit his kiosk. On the way back to the city, Hereward quarrels with Count Robert as a Norman. Agelastes advises Alexius that Robert and Brenhilda may be tamed by appealing to their love of fame. Robert breaks one of the mechanical lions of Solomon. Alexius and Agelastes plan how to deal with the Crusaders, and Alexius makes Robert and Bohemond uneasy with each other.
He kills a tiger and makes contact with Ursel in a neighbouring cell. He then fights Hereward, but they agree to join forces to seek Brenhilda and help Ursel. The sage's servant Dionysus informs him that Brenhilda is in the garden-house, to which he admits Nicephorus by unblocking a postern. They go to the garden-house, where they overhear Brenhilda preparing for Nicephorus' arrival. Brenhilda offers to fight Nicephorus herself, in the absence of her husband.
Hereward returns to Agelastes' garden, where he reports to Achilles that Robert is at liberty and receives a warrant to apprehend him. The narrator relates their story. Bertha expresses her anxiety about Brenhilda's readiness for combat for a reason she cannot divulge, and Hereward offers himself as a reserve champion if Robert doesn't appear to do battle in her stead.
Hereward tells Robert he will arrange for the Count and himself to be present at the combat. He agrees that Robert should be at Hereward's disposal, and that a contingent of troops under the Duke of Bouillon should attend the lists in case of treachery against Brenhilda.