Study Guide to Ivanhoe and Other Works by Sir Walter Scott

Intelligent Education

• Publisher: Influence Publishers
• Year: 2020
• eBook ISBN: 9781645424031
• Edition: 1
• Topic: Study Aids
• Subtopic: Study Guides

A comprehensive study guide offering in-depth explanation, essay, and test prep for selected works by Sir Walter Scott, the inventor and greatest practitioner of the historical novel. Titles in this study guide include Ivanhoe, The Heart of Midlothian, and Quentin Durward. As a noteworthy voice of nineteenth century literature, Scott’s writings gave way to a new and vivid telling of history into a recreation of the spirit of the time and events. Moreover, Scott captured the imagination and national pride of a generation of Europe’s politicians. This Bright Notes Study Guide explores the context and history of Scott’s classic work, helping students to thoroughly explore the reasons they have stood the literary test of time. Each Bright Notes Study Guide contains: - Introductions to the Author and the Work
- Character Summaries
- Plot Guides
- Section and Chapter Overviews
- Test Essay and Study Q&As The Bright Notes Study Guide series offers an in-depth tour of more than 275 classic works of literature, exploring characters, critical commentary, historical background, plots, and themes. This set of study guides encourages readers to dig deeper in their understanding by including essay questions and answers as well as topics for further research.

INTRODUCTION TO SIR WALTER SCOTT

 

No man was ever more fortunate in the time and place of his birth than Sir Walter Scott. He was a Scot at a time when Scottish arts and sciences flourished as they never had or would again. Hume in philosophy, Adam Smith in Economics, Sir Humphry Davy in Science, and writers like Thomson, Boswell, Smollett, and Burns, were part of the illustrious tradition into which Scott was born in 1771. His early education was slight, but his mind grew up on the ballads and stories of Scotland’s glorious past. He heard many of them for the first time while recovering from a children’s disease (probably infantile paralysis) at his grandfather’s farm. His illness also gave him the opportunity to read a great deal, and his discovery of Bishop Percy’s Reliques (old English ballads) at the age of twelve awakened him to the possibilities of a similar collection of Scottish balladry. In time he returned to his native Edinburgh to study law, and was admitted to the bar in 1792. But his antiquarian interests prevailed, and in that same year he began a series of annual ballad-hunting expeditions to the countryside. The fruits of these travels appeared first in 1802-3 in his Minstrelsy of the Scottish Border, and later in seven long narrative poems by his own hand.

Beginning in 1805 with the Lay of the Last Minstrel, these brisk tales of border wars and wonders established Scott’s reputation as a poet. Marmion (1808) retold the notorious defeat of Scottish chivalry at Flodden Field in grim Gothic tones; The Lady of the Lake (1810) was a picturesque tale, full of local color and customs, concerning a disguised king who travels among his enemies. (Note, in both works, a foreshadowing of Ivanhoe.) Upon these three poems Scott, a contemporary of Coleridge and Wordsworth at the height of their powers, built a wider fame than any English poet of his generation.

In 1812 Lord Byron’s Childe Harold’s Pilgrimage appeared, and overnight a youth of twenty-four had replaced Scott as England’s first poet. His equipment was comparable to Scott’s, but he dramatized the sufferings and passions of his characters unlike the older, more conservative poet. Scott’s own Bridal of Triermain and Rokeby the following year hastened the decline of his fame. Pressed by financial obligations, notably the construction of a family estate at Abbotsford, Scott wisely returned to complete the twice-discarded manuscript of a novel, and published it anonymously in 1814 as Waverley. Once more his stock began to rise (his authorship was common gossip well before he admitted it publicly in 1827). Although he wrote two more verse tales, a life of Napoleon, and several volumes of short fiction, essays, etc., the remainder of his career is remembered for the monumental production of his thirty-two novels. Apart from literature, it is remembered also as the period of Scott’s greatest suffering and personal triumph as a man. Despite the enormous success of the novels, the expense of Abbotsford and a business collapse in 1825 wiped out Scott’s fortune. Rather than declare bankruptcy he was able to repay nine shillings to the pound (nearly half) on a debt of about 130,000 pounds, by turning out novels with incredible industry and regularity for six hard years. He cleared his name and relieved his beloved Abbotsford of all debts, but at the expense of his health. He died at Abbotsford in 1832 at the age of 62.

THE WAVERLEY NOVELS

The thirty-two Waverley novels (so-called because all were attributed to the anonymous “author of Waverley”) stand as a milestone of English literature. Their bulk alone is staggering, but Scott’s achievement is as varied as it is large. During the nineteenth century his popularity was built upon the historical romances: Ivanhoe, Quentin Durward, The Talisman, etc. Alongside this vogue grew the misconception that Scott’s range as a novelist was narrow, that he was simply a medievalist content with a serene vision of a past too remote and perfect to be real. One look at a list of his total production will dispel this fallacy. Many of his novels are set in the seventeenth and eighteenth centuries, and two (The Antiquary and St. Ronan’s Well) are nearly modern. It is true that he preferred Scottish settings and characters, but several of his books travel to the continent-one as far as Palestine. Another kind of breadth is apparent in his characterizations. His best characters are spread across the entire face of society, from Madge Wildfire, an impoverished madwoman, to heads of state like Louis XI of France, and the Moslem Sultan, Saladin.

CATEGORIES

One convenient method of classifying the Waverley novels is to divide them chronologically according to date of composition into two groups: the nine Scottish novels of 1814-19, and the historical romances. Those written before Ivanhoe are set in Scotland at a time not much earlier than the present. Among these The Heart of Midlothian is generally esteemed as Scott’s finest book; and Rob Roy has always been a favorite. Starting with Ivanhoe in 1820, Scott broke new ground in setting, time, and tone. Many regard this shift as the beginning of a decline in the quality of his work that continued to his death. The enduring appeal of Ivanhoe has made it the best-known and most influential of Scott’s works. It is the first novel of the second group; Quentin Durward, another medieval tale, is probably the best.

STYLE

In his heyday, Scott wrote twenty of his best books over a period of eleven years: nearly two a year between 1814-15. It follows that Scott, who wrote many other things during these years, was a hasty and careless writer. His daily work quota amounted to thirty printed pages, and he claimed to have written two-thirds of Waverley, his first novel, inside of two weeks. As a result there are errors and contradictions in detail in even his best books. His prose style is flabby and tedious to the modern ear. He often bores us with long, involved sentences, too many of which never quite make grammatical sense. Digressions are frequent-descriptions of architecture, costumes, and landscape, for example, interrupt his action continually. His plots are slipshod and seem to have been improvised as he went along. As a rule his stories are slow getting started and interminable as they drag toward a foregone conclusion. There is a limit to the faults we can blame on hasty composition, however. The moral issues that he raises seem superficial and unreal, and his heroes and heroines lack depth and interest, as a rule.

Rather than prolong this catalogue of faults we must ask why, despite them, Scott’s name survives along with a substantial part of his work. Why do we read him at all? One answer is that his name has not survived in any meaningful sense, that the development of the novel since Scott’s day has relegated his books to the shelf of heavy, unread “classics.” When the grain of truth in this is admitted, the fact remains that Scott continues to entertain and charm vast numbers of adult readers. Despite the heavy style in which they are written, Scott’s historical romances are among the most stirring and unforgettable stories in English. If nothing else, Scott knew how to tell a story (after all, his models were Homer, Shakespeare, and Ariosto). The elaborate costumes and architectural descriptions are as appealing to the sympathetic reader of Scott as the shield of Achilles is to a fancier of Homer. Indeed, they frequently help to enrich our sense of setting and social history. As for characters, it is true that Scott rarely saw beneath the surface of their actions-but what a surface he did see! The very superficiality of his characters makes it possible for him to focus on their manners and gestures, to show us how they appeared to others in their society. He is at his best with lower-class Scottish characters whose dialects and eccentricities he copied with great skill and affection. His comic figures are often successful; and the gallery of fine historical portraits in the Waverley novels is impressive. If his heroes and heroines seem pale, we must remember that such “good” characters are always the hardest to make interesting. It is to Scott’s credit that he ever succeeded with them; yet Jeanie Deans (The Heart of Midlothian) and Rebecca (Ivanhoe) are among his masterpieces.

THE HISTORICAL NOVEL

Scott’s innovations in the novel form have a great deal to do with the permanence of his fame. Unquestionably his most significant contribution was the invention of the modern historical novel. Many had made the attempt before Scott, but their works failed, either from dullness, unreality, or sensationalism, to recapture the mood of the past. Using the techniques Fielding and Smollett had applied to modern life, Scott set his stories in the past. He invented characters and projected their stories against some great historical event, with great men in secondary roles whenever possible. He loaded his books with descriptions and paid particular attention to the customs and peculiarities of the time. He modified the dialogue of his characters to the closest modern equivalent of their actual speech. At its best this method produced a sense of having lived in the past. Making good use of the traditions of the eighteenth century novel and the resources of his own imagination, therefore, Scott set the fashion in historical fiction for a century to come.

SCOTT’S INFLUENCE

Scott’s influence on later writers was extensive. His romances captured the imagination of a generation of Europeans who memorialized their esteem for him with flattering imitations and even non-literary tributes like The Abduction of Rebecca (a famous painting by Delacroix) and Lucia di Lammermoor (Donizetti’s opera). England and America responded with Bulwer-Lytton, James Fennimore Cooper, Dickens, Hawthorne, Kingsley, Thackeray, and Stevenson-all tried their hand at Scott’s new form in the spirit he had pioneered. The continent produced Hugo, Merimee, and Dumas in France; Gogol and Tolstoy in Russia; and numerous others in Italy and Germany. Besides their literary importance, the Waverley Novels also had an impact upon political life during the nineteenth century. The revolutionaries in Europe’s emerging nation-states took heed of Scott’s patriotism. His portrait of Scotland’s past glories stimulated them to do the same in their countries, as a means of establishing or reawakening a sense of national pride in their people. A third area in which Scott left his mark was historical writing itself. Dull chronicles and lifeless compilations of fact gave way to a new and vivid kind of history in the nineteenth century. Spearheaded by such students of Scott as Carlyle, Prescott, macaulay and Parkman, history became the story of the past, a recreation of the spirit of the time, as well as an account of its events. Even in religion, Scott helped touch off the Oxford movement in England by his celebration of a ritualistic past when men and morals were better than they are today. There was, in short, little about European life that did not feel the effect of Scott’s novels.

SCOTT’S PLACE IN ROMANTICISM

Scott was the most popular writer in the Romantic period (ca. 1798-1825) and a cardinal influence in the spread of Romantic ideas and feelings. By rescuing the Middle Ages from the shadows of mystery and terror he came to be regarded by some as “the middle point and culmination of English Romanticism” (Beers). Scott, Ernest Baker observes, opened up the dimension of time for his generation just as Byron was to open up geography. Yet Scott seems to have had nothing else in common with the movement he led than an interest in the past. Even at that, he was interested for vastly different reasons. To poets like Keats, Wordsworth, and Coleridge, the Middle Ages were a refuge for troubled minds; a time when the Industrial Revolution and the Napoleonic Wars had not yet been heard of and men were free and uncorrupted. For Scott it was a gimmick for repeating the success of his Scottish novels. (If anything, he was more concerned with the similarities between past and present than their differences.) He had run out of Scottish materials and feared that he would lose his public if he did not try a new approach. Beyond this Scott seems to have been an eighteenth century man in all respects. For the most part he disliked what the Romantic poets were doing (Coleridge, and perhaps Byron, excepted). He saw no need to return to the language of real speech in order to trace the fundamental laws of human nature. Dialect interested him well enough for its sound and charm, but for no deeper reason. Otherwise his prose was as ponderous as Samuel Johnson’s, his dialogue as formal as Milton’s. Nature, the Romantic idol, did not interest him on its own account; he saw no immanent deity or “sense sublime of something far more deeply interfused” in “rocks, and stones, and trees.” He disapproved of extremes of emotion; intuition seemed to him a poor substitute for common sense; and he never cared for artistic egotism. A Romantic strictly by adoption, Scott “brought to bear on romantic materials a mind humorous and worldly-wise, extrovert and sane.”

INTRODUCTION TO IVANHOE

IVANHOE

Scott’s own introduction to the 1830 edition of his novels is the best account of the genesis of Ivanhoe. He had fared extremely well with the Scottish novels, but now he wanted to change his formula. Why should he be typed as a “Scottish” novelist? Why couldn’t he look elsewhere for the materials of his art? The obvious direction in which to move was South-to England. The Heart of Midlothian and Rob Roy both had had English scenes, but Ivanhoe was the first of Scott’s novels set entirely in England. Scott says the idea of his story was suggested by a second-rate tragedy named Runnamede. The name of Ivanhoe is from an old ballad about a dispute between Lord Hampden and the Black Prince (son of Edward III):

Tring, Wing, and Ivanhoe, For the striking of a blow, Hampden did forego, And glad he could escape so.

Front-de-Boeuf had a more likely origin in the Auchinleck manuscript roll of ancient English names. And the episode in Friar Tuck’s cell was suggested by “the disguised expeditions of Haroun Alraschid,” the caliph of the Arabian Nights. Oddly enough, Scott’s rather bright tale was written during a painful illness. He had been bedridden because of stomach cramps during the winter of 1818, and was so weak and distracted by agony that he could not hold a pen; so he dictated the book to a secretary. Published on December 18, 1819, in three volumes, Ivanhoe quickly outsold any of his earlier novels-12,000 copies, an unparalleled commercial success. Scott had become possibly the first best-seller in literature and reached the high-tide of his popularity. After Scott, novelists needed have no shame for their genre, or doubts about the possibility of making a living by their art.

SOURCES

Aside from Runnamede and the random sources Scott acknowledged in his introduction, several additional ones should be noted. A number of characters and incidents are drawn directly from life. Rebecca is modeled after a Philadelphia lady, Rebecca Gratz, described to Scott by Washington Irving, the American humorist. The idea of using Jewish characters in the book grew out of a conversation between Scott and Skene and Rubislaw. And the Templar’s miraculous death seems to have occurred to Scott after witnessing Mr. Elphistone of Glack fall dead in the Edinburgh Parliament. Most of Scott’s specific literary debts, from Homer to Goethe, have been cited in the commentary after the chapter summaries following. In general, Scott’s narrative approach derives from the English novel from as he inherited it. He has Fielding’s eye for human peculiarity and his fondness for concealed identities and surprise endings. With Smollett he shares a love of Scotland, and especially of the Scottish character and idiom. Mrs. Radcliffe’s landscapes, which reflect and harmonize with the mood of her novel’s action, occasionally appear to good advantage in Scott. She, together with the other prominent traffickers in horror and mystery fiction (“Gothic” novelists), may be held to account for Scott’s feeble attempts in this vein. Of Jane Austen, Scott’s greater contemporary, it can be said that he admired her work, but he seems to have learned nothing from her. More useful, no doubt, was the failure of Queenhoo Hall, a historical novel by Strutt, which Scott finished and published in 1808.

Other sources include Homer, Shakespeare, Ariosto, Chaucer, and Goethe. Chaucer provided the portrait of Prior Aymer; Goethe and Schiller lent one or two specific episodes. Ariosto was the “pattern” for Scott’s sprawling narrative. Shakespeare, like Scott an adapter of history, seems never to have been out of Scott’s mind. To Homer’s Odyssey he owes the general plot of a homecoming hero, disguised to prevent premature identification, recognized by a swineherd, and eventually successful in restoring peace to his nation and order to...

Table of contents

• Front Cover
• Title Page
• Copyright Page
• Contents
• 1) Introduction to Sir Walter Scott
• 2) Introduction to Ivanhoe
• 3) Textual Analysis
• 4) Character Analyses
• 5) Essay Questions and Answers
• 6) The Heart of Midlothian
• 7) Quentin durward
• 8) Critical Commentary
• 9) Bibliography