w—
THE FiiMlNIMS HOLE IN SIR WALTER SCOTT*S NOVELS
AUKREY GREEN, B.A.
A THESIS IN ENGLI^:H
Bubaltted to the Graduate Faeulty of Textts Technelojorical College in Partial FulfillMnt of the Hequlremente for the Dogroo of MASTER OF ARTS
Approved AB.(7'-\iZH Ac
73 I9CC No-32
ACKNOWLEDGMEHT
I Bffl de«ply Indebted to Professor 0. Boss Hoy for his kind and aeholarljr dtrootlon of this th,sls.
11 y
C0RTF;NTS
ACKNOWI£DGMENT ii
CHAPTERS
I, Introduction 1
II, The Benign Heroine, , , , • 6
III, The Female Villain 28
IV, The Outlaw Wox an, , 43
V, The Servant-class Incidental Wcman. , . 59
VI, The Opper-'Class Incidental Woman, , . . 76
VII. Conclusion , , . 82
BIBLIOGHAPHT §5
111 CHAPTiCR I
INTRODUCTION
Publications on the subject indicate that the femi nine role In novels by sir Walter Scott has received little investigation by scholars. That Scott's use of the feminine role In the development of his novels is important is a basic premise of this thesis. 'Riere are several reasons why such a study Is valuable: (1) the feminine role in literature is significant; (2) the writings of Scott con tinue to influence literature; (3) Gcott'p feminine char acters influence his novels; (4) ^'cott's feminine charac ters reflect the historical, social, religious, and polit ical views of nineteenth century ocotlejid. In most of his novels, Scott's creation of the femi nine role is influenced by numerous, often contradictory, ideas. Foremost among these concepts is a prominent dualism that is reflected in both his writings r.nd his life, Alexander Velsh contends that ;.cott held the "concept of tT.o worlds I law versus lawlessness, "^ Sir Herbert Grlerson
1Alexander Welsh, The Hero of the Waverley Novels (LondonI Yale University Press, l5o3)• P• 90, asserts that Scott, the romantic, was countered by Scott, the realists There was In Scott's mind a dualism v;hlch he made no attempt to bridge, of which he was not himself fully conscious. In the novels It shows Itself In the con tradiction between his romantic sympathies and his sober Judgment. , . * Tho dualism I have In view pervad* ed Scott•s life as well as his work, , , ,1 am thinking rather of his outlook on life and politics. , , ,2 other critics Illustrate Scott's concept of two conflicting worlds, one of violence and the other of order. In a review ^or Stud:^es ^ Scottish Literature. David Daiches claims that Scott's passive heroes and heroines are acted on rather than act because they should be consld* ered symbolic observers through whose innocent and law- abiding eyes the reader is allowed to see the tensions between picturesque violence and civilized order (with the latter In the end approved and victorious) that con stitute the them® of most of Scott's best work,3 Grlerson criticizes Scott's failure to adhere to any view with emphatic and clear singleness of mind. He claims that had there been less of division between his Imagination and his sense of the reality of things. It might or would have lent to his herofes, and not to these alone but to the historical characters, more Intensity and Interest.^ Elsewhere Grlerson asserts that "Scott's conservatism had
2Sir Herbert J. B» Grlerson, s^v Walter Scott, Bart, (New Yorkt Columbia University Press, 1938), p, 307. ^Davld Daiches, **Hevlew of The Hero of the Waverley Hovels by Alexander Welsh," studies in Scottish Literature. II (October 1964), p, 133- Grlerson, p, 312, Its root In the romantic oast of his sentiments and Imagina tion, "5 "Hius, Scott contends on the one hand with his real istic logic towELTd the violencA, vice, and difficulties of life and on the other hand with his romantic Idealism toward beauty and harmony, Dalohes points out that, while Scott's conflicts between realism and Idealism are recognizable there Is another klna of reality at work In the novels, built up by the racy Scots dialogic of characters who may In themselves be offensive or ridiculous; and this Is surely worth some examination, for this Is why the novels are read," The Ixaportance of this conflict between rsallsm and romanticism lies In the fact that It Influenced Scott's development of feminine characters. Caught as he was ^between these conflicting worlds, It Is Inevitable that Scott would be inconsistent In his development of character. On the one hand are the stereotyped ilfures of the dpper-class, whereas on the other hand are the vigorous, lifelike, believable ohairacters of the lower-class. Of course, there are many reasons why Scott Is unable to depict the upper-class, but his vacillation between romanticism and realism Is one of the most Important of these reas<»i6. This duality In Scott's
5H, J. C, Grlerson (ed,), The Letters of Sir W Scott. I987-I80L987-18077 (London!! ConstaiiConstafle and Co.,T[952Tf «i. I, XXX,. I(HencefortT h cited as Letters) ^Dalohes, p, I36. life and wor^s Is reflected, as one would expect, In his feminine characters. It would be impossible to study the significant role of women In all of Scott's novels. This study, there fore, will concentrate upon four novels: Guy Mannering(1815). Old Mortality (18l6), Tho^ Heart $1 Mld-Lothlan (1818), and The Br;ide pf Lammermoor (1819), The role of every signifi cant woman In each of these novels has been studied, her characteristics noted and her influence upon the novel indi cated. These studies of individual women have been grouped Into categories In which the women display similar roles, characteristics, or Influences, Five such categories have resulted and each category comprises a separate chapter In the thesis. The categories are: (1) the benign heroine; (2) the female villain| (3) the outlaw woman| {k) the servant class Incidental woman; (5) the upper class Inci dental v7oman. The final chapter will point out In detail the major conclusions of the study. The following Is a listing of the feminine characters studied In this thesis In the order of presentation, giving the major category, name, and source of each woman. The categories are listed In descending order of Importance and the novels within these categories cure studied In chronologi cal order. 5 CATEGORY WOMAN SOURCE The Benign Heroine Lttey Bertram Julia Mannerlng 9uy Mannerlng Edith Bellenden Old Mortality Jeanle Deans TJhe Heart of Mid« Itiothlan Lucy Ashton The Bride of Lamopermioor
The Female Villain Lady ^iargaret Old Mortality Bellenden Effle Deans The Heart of Mid. Lady Ashton The Bride of
TtiO Outlaw Woman Meg Merrllles Itedge Murdockson Tht Heart of Mid- Meg Murdockson Tha Heart of Kid* Lothian
The Servaint Class Incidental Woman Mrs, MacCandllsh Guy Mannerlng M3P8, Alison Wilson old Mortal I t3r Mause Headrigg o53r Mortality Jenny Dennison Morf Elizabeth Maclure Mortality Alice G^ray ^futioao^ otmaaf'f''ieaaoemSaaHi'o/mmm Lammenpoor
The Upper Class Incidental Woman Mrs, Margetret Bertram SHS: msfmiim. Mrs, Godfrey Bertram Lady Emily Hamilton Mrs. Saddletree t of Mid- CHAPT'd-H II
THE BENIGN HEROINE
Several women In the Waverley Novels are heroines. Among these women are the docile, romantic, benign heroines whose roles are Important In the novels. The benign heroine Is amiable, trustworthy, loyal, ethical, and conscientious. To fulfill her role, she must be Infectuous so that the reader will sjrmpathlze with her position, and she must be Intelligent to fulfill the requirements of her role. The benign heroine Is one of the most admirable women Scott depicts. Frequently, hers Is one of the most significant roles In the novel. She Is often the best developed person ality the author presents. Prom the novels selected for this study, the benign heroines are Lucy Bertram, Julia Mannerlng, Edith Bellenden, Jeanle Deans, and Lucy Ashton,
^^ ^^y Mannerlng. Lacy Bertram Is bom Into the family of an upper-class land-owner who has vast properties. Combined with this natural advantage are several admirable characteristics which Identify Lucy Bertram as a genuine heroine In the novel, Scott says that Lucy Bertram Is "a beautiful young woman of seventeen."! Even though Lucy and
Isir Walter Scott, Guy Mannerlng (London: Macmlllan and Co., 1905)» P« 1^« (Henceforth cited as Guy Mannerlng) 7 her father lose their possessions, she Is accustomed to upper-class living In most of the novel, Lucy Bertram utilizes the good books collected and prized by Dominie Sampson, and she Is taught with special Interest by Dominie Her teacher claimsi You will find Miss Bertram perfect In the tongues of Prance and Italy, and even of Spain, in reading and writing her vernacular tongue, and In arithmetic and bookkeeping by double and single entry, I say nothing of her talent of shaping, and hemming, and governing a household.2
She Is skilled In the art of writing and the habit of walk ing, both of which she willingly teaches Julia Mannerlng, On several occasions Lucy sings her native melodies "very sweetly" for Guy Mannerlng and Lawyer Pleydell, Mrs, MacCandllsh, an Innkeeper In Guy Mannerlng. praises Lucy Bertram for her habit of regular church attendance. She tells Guy Mannerlng, Miss Bertram comes on the white powny Ilka day to the kirk, and a constant klrk-kaeper she le, and It's a pleasure to hear her singing the psalms, winsome young thing that she be.3 Another commendable attribute of Lucy Bertram Is Colonel Guy Mannerlng's assertion that"her genuine prudence and good sense can so surely be relied upon,"^ Scott praises
^Guy Mannerlng, p, 529.
3G|UC Kai^enmt P- 100.
^Guy MgaS££lSfiL» P- 102. 8 Lucy by writing, , , • penniless Lucy Bertrsun, who had nothing on earth to recommend her, but a pretty face, good birth, and a most amiable disposition,5 Melancholia Is a significant aspect of Lucy Bertram's role In G^y Mannerlng, She reflects often on the sad reali zation "ttiat her birth caused her mother's death, leaving Mr. Bertram the heavy i^sponslbillty of rearing a motherless daughter. After her father's death, Lucy Is often pensive when she is being oonsigned to one family and then another. She knows that she Is accepted by her hosts as an object of benevolence rather than hospitality. Her disappointment In the rejection given her by Mrs, Margaret Bertram, Lucy's nearest relative, oasts I^cy deeper Into her gloom. Lucy Bertram reveals her attitudes toward the other characters In the novel. Her first reaction to Julia Mannerlng Is, "X shall not like her, and yet I rather think I shall, *»^ After making the latter siirmlse, Lucy Is true to her pledge of love for Julia throughout the novel, Lucy accepts Colonel Mannerlng's Invitation to reside with Julia by rationalizing that the Colonel's principal motive is a generous desire to afford her his countenance and protection. She frequently expresses admiration of Colonel Mannerlng and
^SM, ^^annerlng. p. 180, Illustrates that she has confidence In his wisdom and judg ment, Lucy reveals her seldom used capacity to anger when she receives the cold-hearted epistle and rejection from Mrs, Margaret Bertram, Lucy Bertram was strongly inclined to return the paultry donation, which, after some stmiggles vrlth avarice, pride, had extorted from the old lady,7 Lucy shows compassion for Dominie Sampson, first by poEr.chaslng new clothes for him and, secondly, by requesting each of her hosts to provide quarters and work for Dominie. Lucy obviously considers Dominie to be harmless, and she recognizes her obli gations to the old teacher, "Lucy Indulged to the uttermost," wiltes Scott, "her affection for her recovered brother,"^ To Harry Bertram Lucy states, God knows, my dear brother, 1 do not covet in your behalf the extensive power which the lords of these ruins are said to have possessed so lang and sometimes to have used so ill. But, oh, that I may see you in possession of such relics of their fortune as should give you an honourable independence, and enable you to stretch your hand for the protection of the old and destitute dependents of our family,9
Even though Lucy longingly seeks restitution of her lands, h«r title, and her influence she ddes not assert her wishes fiurbltrarlly, but works with patience and charity for the ends
I I.II II ••
Julia Mannerlng is also an Important character In the novel, Q}^ y^annerlng. We learn about her through her letters to her close friend, Miss Matilda Marchmont of England, Scott furnishes sufficient extracts from these letters to give the reader insight into the characteristics and person ality of Julia Mannerlng, "Miss Mannerlng's letters throw light upon her natural good sense, high principles, and feelings,'*10 The girl of eighteen Is the principal heroine of the novel, Julia Is described by the author to be: , . . of a middle-size but formed with much eloquence; piercing dark eyes, and jet black hair of great length which corresponds with the vivacity and Intelligence of feattires In which were blended a little haughtiness and a little bashfulness, a great deal of shrewdness, and some power of humourous sarcasm. ^^ Arthur Kervyn reveals,through his letter to Guy Mannerlng, that Julia "is a charming girl, as generous and spirited as she Is lovely. "12 q^^ villagers In this novel consider
.••Ma*M*MK.MMHMMMnMi*WMWaananMMw,MMWMHaaa,M*a«nHWM
^^Cuy Mannerlng, p. 155,
^^SJJZ E^MEiHSLi P- 529. l^w. D. Howells, Heroines 2t Fiction (London 1 Harper and Brothers Foundation, 1901), p, 100. 5M, Sssasiiaat ?• 5oo, 12 Julia shows her fear of Meg when she asks Dominie to •'give that dreadful woman something and bid her go away,"17 in a letter to Matilda Marchmont, Julia asserts, Lucy Bertram has not the materials I must seek for In a bosom confidante. She Is a charming girl, and I like her very much. But she is totally devoid of elegant accomplishments, excepting the knowledge of French and Italian.18 In another letter to Miss Marchmont, Julia contends, Perhaps I admire Miss Bertram more for the accomplish ments she wants, than for the knowledge she possesses,19 Julia has her greatest difficulty In trying to analyze her father. Colonel Guy Mannerlng, To Matilda she writes. It Is part of my father's character, of whom it is impossible to say whether I love, admire or fear him the most,20
Julia expresses consternation to her father by saying, "Lord Papa, thlnl: how entangled all my Ideas are; and you to propose to comb them out In a few minutes,"21 Finally Julllf. tells her father, "I understand you, and you shall be Implicitly obeyed, •*22 Then she walls, "0, my dear,
^^Guy I4annerlng. p. 5^9. SM, bannering, p, 263. 19Giaac Mannerlng. p. 26^^, 20Guy Mannerlng. p, 153- ^^Gu2: Mai^erlnff, p, 532.
^^Guy Mannerlng, p, 537. 13 generous father, why have I ever for an Instance mlsimder- stood you?"23
Julia Mannerlng, through her compassion for and protectlveness of Lucy Bertram, Dominie Sampson, Harry Bertram, and Guy Mannerlng, reveals those traits ^:hlch make her one of the novel's most sympathetic characters. Howells summarizes her significance and effect when he writes. She Is a genuine personality, and she carriers off an Impossible part In the plot vlth so much vivacity and naturalness that one is almost as much in love with her as with any of the Ignorant and amusing housewives and farmbodles.2^
Her wealth, education, talents, and ambitions place her socially among the upper-class. The consistency of charac teristics becoming to an upper-class heroine solidly estab lishes Julia Mannerlng in her role, Edith Bellenden, in OJld Mortality, is a young, impressionable woman who Is thrust Into a trying role by clrctunstances she cannot control. Sir V.alter Scott uses the beauty, youthfulness, social class, and ambitions of dith to entwine a central aspect of his novel around. That central aspect is the conflict and rivalry between Henry Morton and Lord .vandale Involving each man's love for Edith,
23Guy Mannerlng. p, 539. 2%owells, p, 100, Ik Edith Is swept from one event to another, from one regret table decision to another, from one heartache to another. And, all the while, Scott focuses the reader's attention upon Edith's every action, thought, and impulse. That Edith Bellenden has deep compassion for persons of lower rank Is evidenced by her attempt to Intercede for Cuddle Headrigg whan Edith's grandmother, Lady Margaret Bellenden, expels Cuddle and his mother from the Tlllle- tudlem estate, "Miss Bellenden alone ventures to say any thing In behalf of the accused,"25 Edith Bellenden's note to Henry Morton, on behalf of Cuddle and Mause, shows her compassion for them. The note simply reads, "If you can serve these poor helpless fpople, you will oblige E.B,"26 Then, when Edith learns that Henry Morton's life Is threatened by his captors, she reflects genuine Interest In Morton's case. "His life I" exclaims Edith, starting hastily up and speaking with a hurried and tremulous accent, "they cannot, they shall not; I will speak for him; they shall not hurt himl''27 Edith's vehement crying upon visiting Morioii In his cell at Tlllletudlem confirms her strong affection for him. Near the end of the novels Edith's compassion for I —"^—•——^—• ------•- • - 25sir Walter Scott, OM Mortality (Londont Macmlllan and Co., 1907) t P» 82. (Henceforth cited as o:^.d Mortality) ^^ojd Mo£taliJte» V* 93. 27oid Mortality. ^. 13^. • • 15 Evandale emerges when Evandale is shot. *'But the clamorous grief of Lady Emily was far exceeded In Intensity by the silent agony of Edith,"28 Edith Bellenden Is shown In several Instances In OjLd Mortality to be a person of action. Her intervention between Cuddle leadrlgg and Lady Margaret Bellenden Is an example of Edith's ittstantaneous action for a cause that interests her. Her subsequent unc .mmmimmmmmmm-immmMiitmmmm'immtitmtmmt 28oii Mortality4 p. 589. 16 she tries to break her engagement to Evandale, One other significant aspect about -dith Bellenden Is her strict code of ethics, which comes to light In her dealings with her two suitors. Lord Evandale and Henry Morton, Edith realizes that her womanly characteristics can Influence Lord Evandale to help hor^ though to ask him would obligate her to him. Edith had now the opportunity she wished to bespeak the young nobleman's Intercession and protection for Henry Morton, and It seemed the only remaining channel of Interest by which he could be rescued from Impending destruction. Yet she felt at that moment as If, In doing so, she was abusing the partiality and confidence of the lover, whose heart was as open before her as If his tongue had made an express declaration. Could she with honotor engage Lord Evandale In the service of a rival; or could she with prudence make him any request, or Isiy herself under any obligation to him, without affording ground for hopes which she could never realize?29 Edith becomes bolder when she feels Morton's death is nearer, so she asks Lord Evandale to Intervene for hoot asJso. Later, however, Edith confides to Lady Smily that her conscience bothers her. I own, my dear Emily, that, even engaged as we are to each other, and with the sanction of your presence, I do not feel that I have done quite right in indulging him.30 Further evidence of Edith Bellenden's strong ethical 29oid Mortality, p, I76, 30Old Mortality, p, 503. 17 standards is given in her admission that she cannot marry Lord Evandale, You have my friendship, my highest regard, my most sincere gratitude; you have more, you have my word and my faith, but you ifeve not my love and I cannot marry you without a sin.31 Because of her conscientious attitude in her dealings with * ^ Lord Evandale, Edith'ia final decision not to marry him involves all her emotions. She is under extreme and conflict ing press\ires as she wrestles with the several Intricate aspects of her problem, Edith Bellenden makes a noticeable transition In O^d 2o££giiJZ* "^^ upper-class heroine Is Introduced as a young woman, then she progresses through several situations requiring mature judgment and felicity. Ultimately she emerges as a* seasoned wife, happily wed to Henry Morton, Her role as seott's pivotal feminine character In the novel is enhanced by the several aspects of her personality, Jeanle Deans Is a sliqple, resourceful, doolie woman In The Heart g£ Mld«»Lothian whose loyalty and ethics Identify her as a benign heroine. Unlike the other two heroines, she is not from the upper-class. She displays an openness of character which marks her as understanding and trustworthy, George Staunton, a young squire with whom Effle Deans, Jeanle's younger sister, has an affair, confesses his guilt with Effle 3l0id Mortality, p, 51^. 18 and tells Jeanle, You are a sensible as well as a good woman, Jeanle Deans, and I will tell you more of my story than I have told to anyone,32 Reverend Staunton, who Is a justice of the peace, clergyman and father of George Staunton, says to Jeanle, Young woman, there Is something In your face and appear ance that marks both s^nse and simplicity, and If I am not deceived. Innocence also,33^ To describe Jeanle Deans, Scott tells us that her only peculiar charm was an air of inexpressible serenity which a good conscience, kind feelings, contented temper, and a regular discharge of her duties spread over her features, Itiere was nothing. It may be supposed, very appalling In the form or manners of this rustic heroine, 3*^ An appropriate description of the worthy characteristics of Jeanle Deans Is given when the author writes that our simple and unpretending heroine had the merit of those peacemakers to whom It Is announced as a bene diction that they shall Inherit the earth,35 James Hlllhouse points out that FrattOes, Lord Jeffrey, wrote in his "Contributions to the Edinburgh Review" that Jecmle 4HMI*«Mai never sentimental, nor refined nor elegant, and though she shines in difficult situations, she seems to act merely xflth a natural good sense quite characteristic of many In her station,36 John Buchan enhances the significance of Jeanle's character when he writes. She Is such a figure as Is not found elsewhere to my knowledge in literature; the puritan In whom there Is neither sourness nor fanaticism, whose severity Is for herself alone and not for others,37 Scott notes that Jeanle Deans Is resourcefuli Jeanle, from the time she could walk, upwards, was dally employed In some task or other suitable to her age and capacity.3° It is the "unceasing industry and activity of Jeanle that makes the most of her family's produce,"39 Jeanle's resourcefulness reaps great rewards when she pleads her sister's cause to Queen Caroline *'wlth a pathos which was at once simple and solemn."^ While talking with Queen Caroline Jeanle avoids Imapproprlate and unpopular comments so that her position with the Queen may be more secure. When Jeanle marries Reuben Butler 36James T, Hlllhouse, The Waverley Novels and Their (Critics (Minnesota: Unlversliy of Mnnesota Press, 193^), p. 44, (Henceforth cited as Hlllhouse) 37ac^n Buchan, Sfy Wa^tey Scott (London: Cassell and Co., 1932), p. 189. (Henceforth cited as Buchan) 3Q'0ie Heart of Mld-Lothlan. p, 11^. 39.^ ® ^^^^^ of Mld-Lothlan, p. 129. ^OThe Heart o£ Mld-Lothlan. p, 56^, 20 She brl^e into the lasmage "the same natural good sense and 9piT%t of exerticoi, all the doaestio coo^t Qu^lltieo of which she has ?rive» proof during her maiden llfe."^^ Buohan obf^ervea tliat It le iM>t a ^een or a great lady who l®y« down the profonndeet Xamo of oonduet, but Jeanle De^te, the peasant glrl.^» Jeanle ^^eans i« embmltted to several teats of loyalty la thla novel, imen ehe dlseovera ; ffie^s guilt, and learns b^ grvm^mm detalle of her plight, Jeanle rmnt leoide whether to eosBsute Bffie'a mla t© her father or to conceal it from hiiB. Jeanle is i^jfiared the deelaion when David l^ told of hla daughter's ein* Baehiim*e view that ''Jeanle la i|«lelt««lttea and etemly logieal*^3 Is subotantteted when Jeanle says, ^1 will go to L0aden» and iNig her pardon fren the king and ^neen***^^ while traveling to LOf^en« Jeanle laeete George Stannton. *^he imet then detersine wlie^ier or not she should reveal his guilt, but eh# deeldes to be loyal to Staunton and Effle• During her sojoom, Jeanle showsr her loyalty to David a»d Reuben Butler by writing letters to them to encourage them while she Is away. ^23iiehan, p. 352. ^3|M^ban, p. 190* ^JM iiSft£t St m^imAm* P* 3^9. 21 Jeanle wrote letters In which she expressed, perhaps, more hopes, a firmer courage, and better spirits than she actually felt.45 Then when Effle•s pardon Is granted, Jeanle Immediately writes David, Reuben, and Staunton, again showing her loyalty and consideration for them, Jeanle specifically asserts her loyalty and devotion to Reuben Butler when ehe declares. But ye maun keep up your heart for Jeanle's sake, for If she Isna your wife, she will never be the wife of living man,4o In later years, Jeamle Deans names her children In honor of David, Reuben, and Effle as an expression of her love for them, ^7 The role of Jeanle Deans In The Heart of Mid-Lothian «*M.wM» «aMW.M.Mi» mmmm »mmiimmmmiummmmtSmmmmm> is to provide the novel with an active, consecrated conscience. Hers is the conscience which reacts to the controversies in the novel and which gives Insight Into the conflict and turmoil experiences by Christians who must answer to God's laws and man's laws, A critic writes, Scott gives her a homely person and few feminine graces but he makes her adorable from her Invincible goodness. Her deep religious beliefs are revealed when she kneels and M^M MThe Seart $1 Mid-Lothian, p, ^16. ^mL Hipart sL Mid-Lothian, p. 407. ^7The Heart ^f Mld-Lothlan. p, 685. ^^Buchan, p, 189. 22 prays fervently that God would direct her course to follow In her distressing situation. Wlien George Staunton urges Jeanle to perjure her court testimony for Effle Deans's 'benefit, Jeanle replies, "I can promise nothing which is unlawful for a Christian."^9 Then she tells Staunton, 'It Is fitter for me to pray to God to forgive you,"50 Jei&ile laments her plight to her father, 0 Father, we are cruelly sted between God's laws and man's laws. What shall we do? What can we do? Then, when Jeanle Deans must testify In court, she shocks her audience, but retains her Christian ethics, when she declares about Effle, "Aleick, alack! she never breathed a word to me about It. "52 iieanie remembers her faith when Effle's pardon Is granted. She shouts, "0 god be pralsedl God be pralsedl"53 Finally, after Jeanle marries Reverend Butler, we learn that she remains faithful to the church and frequently meditates there alone. Her convictions keep her from testifying falsely, and her faith keeps her working for Effle•s pardon, A person of weaker convictions or lesser faith would not fulfill the role Scott designs for 49ihe Heart ^f Mld-Lothlan. p, 223. 50The Heart s£ Mld-Lothlan. p, 223. 5^The Heart oH Mld-Lothlan. p. 292, 52The Heart of Mld-Lothlan. p, 346, 53The Heart of Mid-Lothian, p, 566, 23 Jeanle Deans In 3}je Heart of Mld-Lothlan, Lucy Ashton, In T3he ^Ide of Lammermoor. Is a beauti ful, talented, sympathetic, and loyal girl who Is exasperated to frency through a long tract of unremitted persecution. Miss Ashton's role dii the novel is that of bride, not of the suitor she chooses but of the one her tyrannical mother, Lady Ashton, chooses for her. llie resultant conflict between Luoy and her family reflects Lucy's sense of loyalty to her pledge to her suitor, the Master of Ravenswood, and her filial obligations to her parents, Scott describes Lucy Ashton's features as "exqui sitely beautiful, yet somewhat girlish, and formed to express peace of mind, serenity, and Indifference to the tinsel of worldly pleasure,"54 He contends that the expression of Lucy's countenance Is In the last degree gentle, soft, timid, and feminine. Something there was of a Madonna cast, perhaps the result of delicate health, and of residence in a family, where the dispositions of the Inmates were fiercer, more active, and energetic, than her own.55 John Buchan claims that Lucy Ashton is a passive creature, a green-slok girl unfit to strive with destiny, but her weakness does not make her uncommon, and there Is poignancy In her sad Submissivenese n^ 54sir Walter Scott, 2l2L Bride of Lammermoor (Londont Macmlllan and Co., 1908), p. 39•(Henceforth cited as The pride of Lamimermoor) 55The Bride o£ Lammermoor, p, 39. 56Buchan, p. 195* 2k Lucy Ashton spends much of her time in building dream- castles and myths. Her secret delight was In the old legendary tales of ardent devotion and unalterable affection, chequered as they so often are with strange adventures and supernatural horrors,57 The wealth acquired by her parents, especially the possess ions of her mother, surrounds Lucy with exquisite finery and luxuries. She assumes few personal responsibilities, exaept for developing talents In the arts and music when her father. Sir William Ashton, urges her to do so. Sir William Ashton heaard the sound of his daughter's lute. , , , He stopped and listened, while the silver tones of Lucy Ashton's voice mingled with the accooipanl- ment In an ancient air,58 Lucy Ashton through her actions reveals a tendency to be sympathetic and tenderhearted. When Sir William Ashton asks his daughter why she Inquires so often about the old women th the nelghbortiood, i^y she so often visits these women, and If she knows all the old women In the country, Luoy replies, "To be sure I do, or how could I help the old creatures In hard times?"59 Lucy shows her feelings for the plight of Alice Gray when she asks Sir William Ashton to repair the blind old domestic's cottage. When the Master 57The Bride of Lammermoor. p, 39. 5QThe Bride of Lammermoor. p. 38. 59The Bride s£, Lammermoor. p, 47, 25 of Ravenswood and Sir William Ashton shake hands In agree ment to the transfer of properties, Lucy Ashton's tender heartedness Is revealed. Sir Walter Scott writes, "the tears began already to start from Lucy's blue eyes at viewing this unexpected and moving scene,"60 During a visit to the cottage of old Alice, Lucy tells Ravenswood about her sense of the pain he must feel In visiting scenes so well known to him. The author notes. , , , and so gently was her sympathy expressed, that Ravenswood felt it for a moment as a full requital of all his misfortunes,61 lilBtcy Ashton is shown to be obedient and loyal to her parents, she is careful not to invoke the displeasure of her family, especially that of her parents, as shoi^ when Scott writes: Lucy, naturally timid and bred up In those Ideas of filial awe and Implicit obedience which were Inculcated upon the youth of that period, did not venture to interrupt her father's thoughts.62 When Lucy Ashton and the Master of Ravenswood are betrothed and exchange the gold drops, she avows. And never shall this leave my bosom until you, Edgar Ravenswood, ask me to resign it to you; and while I wear it, nejor shall that heart ac3cnowledge another love than yours.63 60The Bride £f Lammermoor. p, 227, 3te Q>^icte 2f Lanmeraoor. p, 251. SaSL Bride ££ Lammermoor, p, 59. ^3The Bride of Lammermoor. p, 267, 26 Later when Lady Ashton^ forces Lucy to accept Bucklaw's proposal, Lucy remains faithful to her pledge to Ravens wood, Lucy Ashton then attains the pinnacle In her role as the t3*aglc heroine of ^e Bride of Lammermoor when she withstands numerous treacherous acts from her mother. Lady Ashton thwarts Lucy's every attempt to gain aid, yet Lucy clings to the hope that Ravenswood will fulfill his pledge to her. This uji^leldlng faith In her lover, coupled with her will to live, causes Lucy to endure the punishments invoked by Lady Ashton, Even as Lucy signs, unwillingly, the last page of her agz*eement to marry Bucklaw, she rejoices^ at the bustle of Ravenswood's arrival. Through gross mls- imderstandings created by Lady Ashton, Ravenswood brings the final defeat to the heroine when he releases Lucy from her pledge to him and refuses to marry her. With the ribbon broken from her neck, Lucy laments, "It was the link that bound me to life,"64 ge^. role In the novel being that of the central figure, Lucy hopelessly and helplessly sutolts to her marriage to Bucklaw. However her belief that such a marriage is sinful causes mental collapse and death. Through the persistent conniving of her mother, Lucy Ashton Is driven to distraction and helplessness, but her ^^ma Bylde 2£ LammeiTaoor. p, 430, 27 continued allegiance to her betrothal vow and her submls- slveness to Lady Ashton raise Lucy to the heights of a tragic heroine. It is Howells' contention that she is almost purely tragical, , . , She has fewer words in her tragedy than even Ophelia In hers; but she remains In the memory wl^ the like clinging hold upon ^e pity of the witness.65 It Is through her rold as tragic heroine that Lucy Ashton shows the depths of love and devotion that can be reached by the human heart. ^SEowells, p. 95* CHAPTER III THE FEKALE VILLAIN A study of the women in the Waverley Novels reveals several who are sinister, corrupt, and self-centered. These women are egotistical, recalcitrant, and deceitful, and occasionally reveal a tendency toward diabolical villainy. Some of the women are actual villains, while others function merely as accessories to the villain or by their actions make villainy possible. It Is through the corrupt woman that Scott reflects social customs, historical data, character and family relationships, and human insight. He uses these women to influence his various themes, to Illustrate his points, and to enhance the Intrigue of the novels. The sinister woman wields an Influence that Is an Important as that of the benign heroine, however her distasteful charac teristics make her less acceptable. The corrupt or sinister women studied here are Lady Margaret Bellenden, Effle Deans, and Lady Ashton, We visualize Lady Margaret Bellenden, In Old Mortality, as a respectable, upper-class royalist who Is conscientious, ssrmpathetlc, demanding, and cantankerous. The old woman Is Introduced In contrast to her youthful 28 29 granddaughter, Edith Bellenden, as "Winter placed close to Spring,"! Throughout the novel, the contrasts between these two outstanding women are utilized, showing the trends and Influences of changing times. Lady i^-argaret is from the outset a devotee of the Crown; her granddaughter sympathizes with a Dissenter, Henry Morton, Lady Margaret possesses vast lands, and an unquenchable hatred for the opposing party. Lady Margaret feels and reflects the full agony of great personal loss In that her husband and two promising sons have been killed In civil wars prior to our meeting the old woman. It Is not Infrequent that the reader Is reminded, by Lady Margaret herself, of the great sacrifice she has made for her country. Only two factors satiate and salve her wounds: 1) the unprecedented visit of His Royal Highness to the Tower of Tlllletudlem and his subsequent dining there; 2) the possession and control of her revered estate, the Tower of Tlllletudlem, Repeatedly in the novel. Lady Margaret recounts every act and word of His Majesty during his visit, to the extent that all her acquaintances quickly divert her from the subject whenever the toolc is introduced,2 / We see Lady Margaret as an extrovert who is frequent ly assuming self-appointed roles of leadershipt she is Ipid Mortality, p, 21, 2#M Mortality, p, 34. 30 In comnand of activities when we meet her at ttxo Waplnschaw aeetf she directs and supervises every detail of the king's visit; she leads the procession to welcome guests to the Tower; she Intercedes be •Tureen Edith Bellenden and her suitors; she exertr severe pressure upon Edith to marry l^rd Evandale Instead of Henry Morton; she haughtily expels Mause Headrigg and Cuddle from her lawls; she bitterly assails all the rebels and their cause. Yet we know Lady Margaret to be sympathetic and com passionate on occasion, one such Instance being her assiurlng Mause Headrigg that she would not "order anything against conscience,"3 Another example of Lady Margaret's generosity Is reflected In a soldier's praise of her for her caring for him at Tillietudlem when he was wounded, "Sh^'s one of the best-affected women in the eountry, and one that's a soldier's friend,"^ Even though Lady Margaret has become a ohlldless widow by the uprisings of lower-class people, she is com passionate in asking Claverhouse to deal lightly with Cuddle Headrigg, Also, Lady I'largaret begs Grahame to spare Morton's life, desiring to witness no violence or bloodshed,5 While defending Tlllletudlem, Lady Margaret avows "I shall dress his wounds myself, It Is all that an old wife Is fit for In 32|d mSiSillSSLf P* 84. ^Si£ Mortality, p. 122. 5oid Mortality, p, 190. 31 war time."6 Lady Margarefefcitlmately shows sincere com passion when she "In spite of her rhumatlsm caused herself to be transported thither (Tlllletudlem) when she heard of her granddaughter's Illness,"7 Something of a cantankerous spirit In Lady Margaret Is shown In her decision to stay in the old castle at Tlllletudlem. She asserts that she prefers to stay In the castle and try to defend It rather than desert It without a fight* "They shall never drive Margaret Bellenden from her aln hearth-stane while there's a brave man that says he can defend It."8 Another aspect of Lady Margaret's cantankerous spirit Is her lengthy letter to Edith Bellenden, In which Lady Margaret pointedly suggests Edith•s marrying Lord Evandale,9 Laty Margaret negates Edith's feelings In the matter, laplying that practicality, social status, and honor should take precedence over trivial matters of the heart,10 Her letter places Edith in an embarrassing situation and causes the young girl many Inner conflicts. The latter part of pl ^SM foy^^^ty. p- 320. ^SM nsEismi, P' 520. °^i Hortallty. p. 26?. 9S24 Mortality, p. 50?. ^°0M Moytpajl^. p. 507. 32 Cuddle Headrigg explains to Henry Morton, "She lives, but in a very small way. They hae been a sad changed family since thae rough times began; they hae suffered enough first and last, and to love the auld Tower, , ,"11 The final scenes of the novel show Lady Margaret back In control of her lands, servants, and Tower, "and again preparing break fast as she did for His Majesty at Tlllletudlem,"12 Also we see Lady Margaret's approval of Morton Isecause "Edith was her only lUlpe, and she wished to see her happy, "13 The roles of Lady Margaret Bellenden In O^d Morta^ty are several. She Is a staunch royalist, an Influential land holder, a doting grandmother, a demanding hostess, a self- serving friend to people of all ranks, and a contrary "die hard." Her primary role In the novel Is one of unifying and centralizing the several themes of Old Mortality. It Is her property which Is passed to and fro In the conflicts >lth rebel forces, consequently her actions and influences have a considerable Impact on the working out of the novel. She exerts whatever Influence necessary to turn the events in her favor. Soott uses Lady Margaret Bellenden for her forth- rightness, her integrity, her good conscience. We remember I III,* wiiiii >m> •• » iim iiiiiiii I.WIII II •• I • .HW..IIII 'I- Ill— II .iH ,1 ^^iM Mortality, p. 581. ^'&3& Bortallty. p. 581. i3ojd ^i^r^jl^^. p. 59'^. 33 her iFprudent dealings with Edith Bellenden and ue consider her undesirable characteristics sufficient to classify her as a stubborn and troublesome old woman, Effle Deans, In T^ Heart of Mld-Lothlan, Ic a mischievous, deceitful person whose actions and characteris tics make her a social outcast and a corrupt woman, Effle's youth Is Insecure, her early adulthood Is disastrous, her womanhood Is unhappy, and her death is tragic. Her role in the novel is that of an obstinate character who rebels against her family, the law, society, and mankind. Her plight is the primary theme In the novel, creating- Intrigue end con troversy, and giving Insight Into the social itesres of the times. Hirough Effle Deans, Sir Walter Scott shows the influence of sin upon a person, her associates, and society, as well as the reactions of these elements toward misbehavior and the misbeftaved. Effle Deans reveals her characteristics at a very -? early age, Scott tells us that the Illy of St, Leonard's possessed a little fund of self-conceit and obstinacy, and some warmth and irri tability of temper, partly natural perhaps, but bertalnly much Increased by the unrestrained freedom of her child hood. 14 That Effle Deans is spoiled Is realized by Buchan, but he I'^TSiS Heart si M^d-I^l^lan. p. I36. 34 olalms that Effle herself is true woman, the passionate spoiled beauty, with the good breeding which In any class may accompany bodily loveliness.15 These aspects of Effle's character cause great concern for David Deans, whose Ideas are rigid, but also cause serious apprehension to Jeanle Deans, who Is more Indulgent than her elderly father. Following the exposure of Effle Deans as the mother, and accused murderer, of an Illegitimate child, Effle Is considered a social outcast. Her father asks. Where Is she, that has no place among us, but has come foul with her sins, like the evil one, anong the children of God? Bring her before me that I asay kill her with a word and a lookt Where Is the vile harlot, that had dlsgraged the blood of an honest man?i^ • Frequent referencenitcj Effle Deans Imply that she Is regarded as vile, wicked, slnftl, and corrupt, Bffle Is shimned and shamed, Even her pardon by the king requiring that she leave the ootmtry for fourteen years Illustrates that she Is a social outcast, Effle Deans Is Insecure while she is growing up. Her mother's death removes a vital source of love and counsel which Is not balanced or overcome by Jeanle's careful devotion to Effle. David Deans, being of advanced age when Effle Is bom, mourns his wlfe*s dea^h and remains distant •mmmmmmimmmmmmmmmmmmmmiimtmmmmmimi 15Buchan, p. 191, l^lhe Heart st Mld-Lothlan. p. 150, 35 from his young daughter's nc€ds. The old-fashioned Ideas of David Deans do not produce the results he desires In Effle, so he Is often critical of her, Effle does not confide In Jeanle because of the close relationship between the older girl and David Deans, Effle's attitude Is revealed when Scott asserts, David Deans's lecture created a division of feelings In Effle's bosom and deterred her from her Intended confi dence In her sister. Effle reasoned, 'She wad baud me nae better than the dirt below her feet were I to confess' Early In the adulthood of Effle Deans, disaster strikes her and alters her entire life, George Staunton, a wealthy swain, admits to Jeanle Deans his guflt with 3ffle while they were courting. Various situations arise which prevent Staxinton's marrying Effle or helping her beer her guilt until her banishment from the country, Effle walls, "He hath stripped me of my glory, and taken the crown from my head."18 But she also defends her suitor, "I may blame my self mair than him; I was bred up to ken better,"19 We are told that 17The Heart of Mld-Lothlan. p, 142, ^^The Heart of Mld-Lothlan. p, 302, 19Tlie l^art o£ Mld-Lothlan. p, 247, 36 Effle claimed she had no right to blame that person's conduct more than she did her own, and that she was willing to confess her own faults, but not to say any thing which might criminate the absent,20 Welsh writes In ^he Herofes o£ ttieWaverle y Novels. "Effle Deans Is the one principal female In the Waverley Novels who has willingly conwented to her seduction, "21 During this time of trial, Effle Beans suffers for the disgrace and heartache she brings to her father and Jeanle. Effle also laments the loss of her child and the desertion of her lover. She declares that she loves her suitor and yeama for him to come to her defense.22 Upon Effle's release from prison, she begins as Lady Staunton, her lengthy extle and the tinhappy last years of her life. She writes Jeanle that she "could not endure that her father and sister should go Into banishment,"23 The Duke of Argyle reports about Lady Staunton's success as a wit and beauty in London, ", . , her manner was easy, dignified, and commanding, and seemed to evince high birth and the habits of elevated society."24 sffle writes to Jeanle, mmmm ^^Sl£ fiSS£t sji ^\d^^t^\B^, p. 335. 2lAlexa«ler Welsh, The Here of the Waverley Novels (Londont Tale University Press, 1^63Tf p. 70. (Henceforth cited as Welsh) ^^The Heairt of Mld-Lothlan. p. 304, mmmmm^ a«*M*..l*MW •—•» tmSmmmmmmmmmmmmmmmmm' * '^ ^^The Heart ££ Mld-Lothlan. p, 648, ^^S^ Heart o£ Mld-Lothlan. p. 721, 37 I rank higher than I can expect or merit. If wealth, honor, distinction, and honorable rank could make a woman happy, I have them all.25 ^t Effle Deans does not find happiness In her false social world for fear of being recognized and defamed. She writes to Jeanle, Scarce all that I endured is eqaal to this state of Irritation, Then It was blows and stabs: now It Is pricking to death with needles and pins.26 Scott explains Effle Deans»B last years when he writes. After blazing nearly ten years in the fushienable world, and hiding an aching heart with a gay demeanor, , . Lady Staunton betrayed the Inward wound by retiring to the Continent, and taking up her abode In the convent where she had received her education. She noror took the veil, but i:ved and died In severe seclusion, , ,27 TkuB we see the unliappy ending of a troubled and saddened life. Lady Ashton, In 2!£ Bride o£ hsmmovmoeT. Is driven by an unresting desire to attain and maintain social rank for herself, her lUiaband, and her children. Further, she works relimtlessly to propel her husband{d name, ind that of her children, into the limelli^t of high society. • • . so mediated a mother to whom the qualities of her children's hearts as well as the peospect of their domestic happiness, seened light in comparison to their rank and teaqperal greatness. . .28 MMMWMMMM 25The Heart o£ Mid«»Lothiant p. 692, 2^The Heart o£ Hld-Lethlan. p, 694. ^The Hei^ 2jf Mld-Lothlan. p. 777. ^^the Bride of Lamatermooy. p, 42, 38 In canning her desires to thett attainment, Lady Ashton reveals the characteristics of a diabolical vlllalness, of a caustic and sinister woman who herself becomes a major character In Scott's novel, lliat Lady Ashton Is ambitious Is concluded by Buchan vrtien he writes. Lady Ashton Is a female of the same breed whose pxlde had been hajmaered Into a hard mercantile ambition,29 Apparently Lady Ashton has tasted the sneet morsels of high society early In her life, for It Is her constant ambition to elevate her husband's fortimes so that his name will be recognized as significant. To this end. Lady Ashton cultivates friendships with aristocratic families In Edin burgh and subsequently us?s these connections to her own advantages, Lady Ashton was now absent, • , the business which had long detained her In Edinburgh had afterwards Induced her to travel to London not without the hope that she might contribute her share to disconcert the Intrigues of the Marquis at court for she stood high In favor with the celebrated Sarah, Duchess of Marborough,30 In these activities we see Lady Ashton as the conniving, self»eentered egotist who later produces an unjustifiable scheme to attain her goals. Even the Marquis In Edinburgh speaks of Lady Ashton as "the lady who is tongue of the trump,"31 _ 111.. II I II I I I.I II Ill II I - -rfniiiir ••-«• mr • iwr - - ~ii i --in --i i i i L i. 29Buchan, p, 195. 30si£ M^ St ymsmssLf P« 207. ^^SiS. SCMi 21 limS£32SLf P* 342. 39 Lady Ashton's villaliiy is hinted at by her husband and daughter when the pair are forced by foul weather to stay with Edgar, the Mastdtr of Ravenswood, at Wolf's Crag, While there, William Ashton Invites Edgar to return to Havenswood's Castle for a visit. Intimating 'hat an opportune time for the visit would be while Lady Ashton is in London. Lucy Ashton winces at the mention of her mother's name, and the action does not go unnoticed by Edgar, The auttior noises. By dent of gold and authority Lady Ashton contrived to possess herself of such a coa^lete command of all who were placed around her.32 •Wie deep-rooted villainy of Lady Ashton Is not fully evident until the reader must acknowledge that Lady Ashton uses deceit and falsehood to prevent communication between Lucy and Edgar. From the author we learn that Lady Ashton alone did not feel that distinguished and predominating affection, wl^ which the rest of the family cherished Lucy. She regarded what she termed her daughter's want of spirit, as a decided mark, that the more plebeian blood of her father predominated In Lucy's veins and used to call her, In derision, Lammermoor Shepherdess.33 Lady Asht^i's persistence In domineering the lives of her family desKjnstrates her cold, calculating connivance to achieve her goals. The ugly soene created by the simultaneous arrival II u iimmmmmmmmmmmmmmmmmiiiiimimmmimmmmmmmmmm^^-tmmt^mmmmmtmmmmmmmmmamt^^ ^^3M Bride of. Lammermoor. p. 399- 33]E£ySt mA&, 21 ^ffffeymffoy, P* 4i. 40 at ^-avanawood'e Castle of trnSty Aahton and Mgajr illtietrates wo/ro eleaily the true intent of lady Ashton. Christina lel^ writes, in S& j^yo S£ lESSHliiX* Long befoape 0m appeara« L©dy Ashton*,*^ srh^ow falls heavy ai^ minister over tha earlier scenes of iimoeent happiness, mid iJh^wi at l«^igth, not till threat-quarters tte way th:roii|i^ ^e bookf in her cocich and Bix she actually thunders upi •It le n^ ©other. . .it le »y tao^ieri* aald tmtf tumi!^ pale asj ashes? trhile, as for lady Ashton*s tma^and» the Lord Keeper, 'aense, spirit, and etpreaeion aaam^ to have left his face and wm&mT^* slnoe he had the firet glii^G© of l«dy *ishton'r. eat *Tiaj^. i34 It is here ToirmiXM timt Lady Aehtcwi desiai^n the starriage of l^oy to BueldUiw beaause of the social favor to be gained froii the ssarriage. Lady Alston deolares. Poor Lucy Is unfit fc«» courts ISKP OTGWOIO^ IMRIIS. -^oiae eoiintry l&ird isasat IMI li^r huaband, rich enou.'^h to supply her with eveify e^nf^rtt wit!M»ut an effort on her part, so that ahe way have nothing to mhad r^ tear for but ^e tender apgawaiaael-aB lest h*^ m^y break his neck in a feat ohaae,35 Lady Asht > iwwi I Ml"—*1rliW'rt-|>i,i|rin fni-iii itrtlWifrnrTrii WT'rifi I'Tl'T •••••.».— •• • -niniWiii i **WM«M«M«niwHiWi—M ••> iiwn l>'f At no time does she consider her iamilj and friends as fellow human beings, possessing Individual desires and ^^apacltles. Apparently she considers all creatures to be maSe for her convenience, for her personal use. Certainly she does not hesitate to use everyone ^he knows to satisfy her selfish desires. Never does Lady Ashton reveal a glimmer of motherly love, of wifely attention, of neighborly concern. Constantly she is propelled by a desire for sacletal glory, without reflection and without remorse. Ravenswood tells Lady Ashton, Your evil wishes and your worse offices. Lady Ashton, I will only return by hoping these will be your l&at masclnations against your daughter's honor and happiness,37 We observe that she endures much loneliness In her late years, after she has destroyed every symbol of her early yearnings. The author writes of her last years. mm> 3^Tl^e Bride o£ Lammermoor. p. 383. ^"^aie JSsMS. 2L ISBSiaoor, p, 428, 42 Lady Ashton lived to the verge of extreme old age, the only survivor of the group of tui.iappy persons whose mlsfortimes were owing to her Implacability, That she might Internally feel compunction and reconcile herself with heaven whom she had offended, we will not, and we dare not, deny; but to those around her, she did not evince the slightest symptom either of repentance or remorse. In all her external appearance, she bore the same bold, hatighty, unbending bharacter which she had displayed before these unhappy events. A splendid marble monument records her name, titles, and virtues, while her victims remain undistinguished by tomb or epitaph,38 38The Bride gf Lammermoor, p. 455- CHAPTER IV THE OUTLAW WOMARI Scott also depicts a class of women who character istically operate outside the law. These women act with deep feeling; their Intentions are good, though fierce and mistaken. Usually the reader can associate with the plight of the outlaw woman, which is that of a person outside society. The outlaw woman tends to oversee the Interests and fortunes of certain characters In the novels, yet she does not Intentionally Interfere with the lives of these characters, Scott also uses the outlaw woman to attack the harsh treatment of witches that prevailed in Scotland dming the author's life. As Christina Keith points out In The The Infamous treatment of witches - not only condoned, but actively approved by public taste - always roused Scott to fiercest angjer,2 To illustrate his views on this subject, Scott places his il.wi——MiMiWWWW.«WM«ii»——«•!*—.iwa>IIWI—"iW-——»w«i^^ I I •mm—mmmmmmmmmmmm—^mmmmmuii i ii —i———i——*•» IcoleBian 0, Parsons, Witchcraft and Demonolop^y In Seott's Fiction, wit]^ Chapters on the "Supernatural In Scottlsh Literature (Edinburgh: Oliver ani Boyd, 1964). iSe' book was ordered by the College Library but had not been received when this thesis was written. 2Kelth, p. 67. 43 44 outlaw women In situations that reflect the public's treatment of them and attitude toward them. Through the outlaw woman, Scott reveals the superstitious beliefs and characteristics of most of the people In Scotland at this time. The outlitiff'^ woman Is superstitious, mysterious, and revengeful, but Is not without good qualities. The women of this category In this study are Meg Merrllles, Madge Murdockson, and Meg Murdockson, Meg Merrllles, a superstitious, mysterious, vindic tive gypsy In Guy Mannerlng. is a central character in the novel. Through this woman, Soott illustrates the activities of the class of people who operated outside the law In Scotland dtirlng early times. In appearance Meg Ferrllles has all the trappings of a person of her rank and class. She was full slxxfeet high, wore a man's great-coat over the rest of her dress, and In her hand a goodly sloe- thorn cudgel, and In all points of equipment, except her petticoats, seemed rather masculine than feminine. Her dark elf-locks shot out, like the snakes of the Gorgon, between an old-fashioned bonnet called a •bongrace,' heightening the singular effect of her strong and weather-beaten features, which they partly shadowed, while her eye had a wild roll that Indicated something like reel or affected Insanity,3 Dominie Sampson, irtio fears Meg, says she Is a "harlot, thief, witch and gypsy, "4 Later In the novel, Meg t'errllles Is 3Guy Mannerlng, p. 20. ^9M Mannerlng. p, 22, 45 descrlbad by Rebecca, a servant girl of Mrs, Margaret Bertram, as being the tallest woman I ever saw, and her hair was as black as midnight, unless where It was gray and she had a scare abune the brow, that ye might hae laid the 11th of your finger In. Naebody that's seen her will ever forget her.5 Scott describes the effect the passerje of time has on the old gypsy when he writes that time has grizzled her raven locks and added wrinkles to :ier wild features; but her height remained erect; and-her activity was unimpaired. It was remarked of this woman, as of others of the same description, that a life of action, though not of labor, gave her the perfect command of her limbs and figure, so th^^t the attitudes into which she most naturally threw herself were fre?, uncorstrained, and picturesque,6 Buchan notes that F'>g Is half-erazy, wild as a hawk, savage yet with nobility In her savagery, when she appears the eery light of romance *falls on the scene,/ Meg Merrllles reveals that she Is superstitious by predict ing future events, by asserting that she has special powers, and by making unustial arrangements for her death, J'he spins three colors of thread, measures the thread, and predicts Harry Bertram's future. Meg tells Godfrey Bertram, A hanki but not a halll ane, the full years B' three- scores and ten, but thrice broken, and thrice to unite; he'll be a lucky lad an he win through wl't^B . II mr mill *• ' "* ~-~ 1 r- —' fflj H n 1 ~ Tl—- 52H3t Mannerlng. p, 391. ^GUJ: Mamgrlng, p. 203. 7Baehan, p. 141. ^Guy Mannerlng. p. 37* 46 Meg brags to Colonel Mannerlng, I can do what good women canna and dauma do. I can do what would freeze the blooded them that Is bred In blgglt wa's for naethina to bind balms' heads and to hapttiem I n the cradle.9 Meg believes she has special powers, as reflected In her saying, Wha was to hae keeplt awa the worrlecows, I trow? Ay, and the elves and gyre-carllngs frae the bonny balm, grace be wl' lt?10 Finally, Keg Merrllles shows that she Is supersti tious by demanding special arrangements for her death. To her companions she yells, "to the Kalmo' Demcleugh; the pplrlt will n^t free Itself o' the flesh but there I "H Then as death comes, Meg thinks she must acknowledge It by saying, "Pass breath, come death,"12 Meg Merrllles Is a mysterious character. Colonel Mannerlng concedes, "She certainly Is a most mysterious and unaccountable person6Lge."13 Captain Dirk Hatteralck addresses the old gypsy as, '•Meg, Meg Merrllles^ Gypsy, hat* tousand deyvllsl"l4 Dirk then asks Meg to come bless his ^SSSL Mannerlng. p. 480. lOgHX M^^^r^mt P- 20. ^^Gja: mnnerlng. p. 5^9. l^Guy Mannerlng. p. 575- l^Guy Mannerlng. p. 553. l^Gjgx M^iaesliis, p. 37. 47 ship, thinking the foul weather he experienced on an earlier voyage was the result of his crossing her. Dominie Sampson proclaims that Meg Merrllles Is Beelzebub's post mistress. 15 Scott es^haaizes the mysterious aspects of Meg Merrllles when he writes that ^ere was something frightful and unearthly In the rapid and undevlatlng course which she pursued, undeterred by any of the Impediments which usually Incline a traveller from the direct path. Her way was as straight aAd nearly as swift as that of a bird through the alr.l6 Her words, though wild, were*too plain'ajidlnteliiglble for actual sadness, end yet too tehement and extravagant for sober-minded communication. She seemed acting under the Influence of an Imagination rather strongly excited than deranged.17 Young Charles Hazlewood is aware of Meg Kerrilies' mysterious characteristics as shown In his decision to keep at such a cautious distance as not to appear to watch Meg or Interrupt any communications which she may make.io Hie author describes Meg's strange features, sharpened by death, which retained the stem and energetic character through which she had maintained her superiority as the wild chieftalness of her lawless people. Buchan tells us that "wherever we meet her. . .she Is the fate that presides over 15gsg[ Mani^emifs, p. 475. ^^SlS: Mannerlng, p, 551. 17ai3r Mamey;i,p^, p, 552, ^^2M ^mSSiMf P» 1^2. 48 the action, an embodied destiny working her secret purpose . . ,"19 Meg Merrllles possesses a vindictive attitude toward Godfrey Bertram and Dirk Hatteralck. In her famous "Ride Your Ways" speech, Meg attacks Godfrey Bertram's decision to rid his property of Meg's lawless tribe. Upon ending her speech, Meg departs In such a manner that the author claims, Margaret of Anjou, bestowing on her triumphant foes her keen-edged malediction, could not have turned from them with a gesture more proudly contemptuous.20 To Dirk Hatteralck, Meg proclaims, "It's sown, and It's grown, and It's heckled, and It's twisted, "21 Then we see Meg inorlmate Dirk by telling of his earlier vMatlons of the law, Meg Merrllles, though a superstitious, mysterious gypsy. Is highly ethical. Her high ethics are revealed when Dirk Hatteralck says. Not she, she won't start; she swore by the salmon. If we did the klnshen no harm, she wotild never tell how the gauger got It, Why, man, though I gave her a wipe with my hemger. In the heat of the matter, and cut her arm, and though she was so long after In trouble about It up at your borough-town there, der deyvlll Old Meg was as true as steel,22 19Buchan, p, 142, 20Guy Mannerlnfc. p, 73. 21 Guy Mannerlng. p, 564, 22Guy Mannerlng, p, 326, 49 Lawyer Pleydell claims that Meg thinks she is obligated to act In character at all times, Meg confirms her high sense of ethics when she does not tell the secrets of her ccnapan- lons, "I swore my tongue should never tell; but I never said my finger would never show,"23 Meg Merrllles Is a prophetess on several occasions. One such occasion Is her repeated prophecies that "Young Mr, Harry Bertram will be the pride o' the family, "24 Meg notices Vanbeest Brown and quickly concludes that he Is Harry Bertram, Meg tells Dominie Sampson to tell Colonel Mannerlng that I ken he's seeking me. He kens, and I ken, that the blood will "be wiped out, and the lost will be found.25 When Meg Is shot by Dirk, she declares that she had predicted her death accurately, "I kenn'd it would be this way, and It's even this way that it should be, "26 in summarizing her own life, Meg says. When I was In life, I was the mad, randy gypsy that had been scourged and banished and branded, that had begged from door to door, and been hoimded like a stray from parish to parlsht wha would hae minded her tale? But now I am a dying woman, and my words will not fall to the ground, any more than the earth will cover my blood,27 232aj: MaaSSIiSfit P- 555* ^^^l Mannerlng. p, 66. 25Q2IX. Mannorlngf P* 466, ''^QnyL Wannftring, p, 565, ^7Guy Mannerlng. p. 572, X£XAS TECHNOLOGICAL GOUU£(i& UUBaOCK, TEXAS UBMHt 50 A final characteristic of Meg Merrllles Is her extreme devotion to the few people she respects. Meg's affection for Harry became a matter of suspicion to Godfrey Bertram's wife, who had indifferent health and poor spirits.20 On <»ie occasion, >rhen Harry Bertram was til, Meg lay all night below the window, chanting a rhyme. She refused to leave her position until she was told Harry was Improving, Meg protected Harry on different occasions while he was young. Little Harry Bert3?aja, at the age of five often ran off to the gjrpsy hamlet on his father's estate. On these occasions he was generally brought back by Meg Merrllles, who apparently did not extend her resentment to the child,29 Later we know that Meg conceals Bertram, lies for his pro tection, and guides him out of dense woods so that he can reach safety. On several occasions in the novel a character will assert the belief that Meg knows much more about Harry's disappearance than she will admit. This profound loyalty of Meg Merrllles Is responsible for the happy outcome of the novel. Buchan ascribes great significance to her role when he writes, Meg Merrllles Is Neatest figure that Scott has drawn from the back-world ai^ the underworld of Se6t4!^- land. 30 28guy Maimerlng. p. 66, ^9Guy Mannerlng. p. 65. ^Buchan, p. 141. 51 Madge Murdockson, who Is more commonly known as Madge Wildfire, Is a young, deranged and capricious girl In TOM^ Heart of Mld-Lothlan, Wildfire, according to Coleman Parsons, is a term meaning "summer lightning; a wlll-o'-the-wlsp,"31 Madge Is the daughter of a rascalous outlaw, Meg Murdockson, Scott describes Madge as, a tall, strapping winch of eighteen or twenty, dressed fantastically in a sort of blue riding j^ket, with tarnished lace, her hair clubbed like that of a man. Highland bonnet and a bunch of broken feathers, a rldlng-sklrt (or petticoat) of scarlet camlet, embroidered with tarnished flowers. Her features were coarse and masculine. . .32 Lawyer Sharpltlaw regards Madge as "this mad, claverlng Idiot."33 Jailer Ratcllffe tells the judge, "But I was gaun to tell your honour of ane that hae malr skeel o' the gate than me, and that's e'en Madge Klldflre,"34 TO empha size her characteristics, the author contends that of all the mad women who have sung and said since the days of Hamlet the Dane, If Ophelia be the most affected, Madge Wildfire was the most provoking,35 Parsons describes Madge as "a beautiful but very giddy girl. 3icoleman Oscar Parsons, "Character Names In the Waverleyr Novels," PublleatloiPubllCj ^ of Modem Language Association. Vol. XLiX (March 1934), p '. (Henceforth cited as Parsons) ^^The Heart of Mid-Lothian, p, 238, 33The Heart of Mld-Lothlan. p, 253, 34The Heart Qi, Mld-Lothlan. p, 251, ^^2lSL Heart sj; Mld-Lothlan. p. 244. 52 with very bright wlld«looklng eyes. . . ."36 scott reveals Madge's charaoteristlcs by claiming. To silence her by fair means seemed Impossible; authoritative commands and coaxing entreaties w^|e set alike at defiance, and threats only made her sulky, and altogether Intractable.37 Madge Murdockson shows a distinct sense of pride In her family and herself. When Sharpltlaw asks Madge If she calls herself Madge Wildfire, she asserts, "Ah, that I am, and that I have been ever since I was something better. "38 She then urges Reuben to look at her. "Do see, I am as weel worth looking at as any book In your aught, "39 Madge then haughtily boasts about herself: I can say the single carrltch, and the double carrltoh, and justification, and effectual calling, and the assembly of divines at Westminster. » .40 She assxires the law officials, But we are a hopefu' family, to twa o' us In the Guard at ance. • . .But there were better days wl' us emoe, vere there na, mlther?4i When Meg Murdockson*s gang of outlaws causes Joanle Deans and Madge Wildfire to spend the night with them In a deserted bam, Madge asserts, «iMHMiMiaMaaHMB.«*awaiWM>M*MMWni*MWiMnM««ia>««aMiWMi^^ 3^a3Paons, p. 287. ^'^S& mS£k 21 Mld-Lothlan. p. 253. ^^m. ^iSSl 2t Mid-Lothlan. p. 240. ^^22£ Heayt ^ Hld-I^t|ian. p. 240. ^The Heart sL Mid-Lothlan. p. 24o, ^iThe Heart o£ Mid-Lothlan. p. 274. 53 It's no for decent Christian young leddles like her and me, to be keeping the like o' you and Tyl)um Tam company at this time o» night.42 Madge Wildfire Is the victim of the schemes of fear mother and George Staunton. Staunton courted Madge, Kith the approval of Meg Kxirdockson, and subsequently seduced her. Parsons points out that 'Madge's mind had been totally alienated by George Staunton's treatment of her,"43 in fact Staunton admits this himself when he says that Madge s<:,emed hardly even to know her seducer, far less to retain any sense of the Injury she had received. Her mind is totally alienated, x^ich Is my doing.44 Scott reveals Meg Murdockson's role in this matter when he writes. To conceal her shame and promote the advantageous match she heid planned, her mother had not hesitated to destroy the offspring of their Intrigue,45 Madge admits that she would have married Staunton, But then came In the story of my poor balm, and my mother thought he wad be deaved wl' its skirling, and she pat It away In below the bit courock of turf yonder, just to be out o' the gate; and I think she burled my beet wits wl* it, for I have never been just mysell since#46 ^^SSia ssajii 2t M^d-Lo^i^i^, p, 433. 43parsons, p, 287. ^mt Hffayt o£ Mld-Lothlan. p, 496, ^5The Heart o£ Mld-Lothlan. p, 456, ^^The Heart of Mld-Lo^lan. p. 456, 54 Hera is a arole that shows ^e difficult and tuttultuous 3*elatioti0hipa wMah existed between nenbers of the outlaw elaas of people in Scotland. Buohan contends that "Soott shows that sure hand In portraying nadness which belongs only to the eminently sane. "4? g^j, nf^ reflects the oonse-> quenoes tkmt thievery and deceit can have upon a mind that Is impressed by such behavior, Christina Keith gives additimfml Inalglit into practices and attitudes toward wltehee, as well as Indioating Scott's position cm the sub- |#ot, when she writes t o when Madge Wildfire«»-the girl whose every word Is of a moonligltt baauty««ls dueked Inaimaible for a witch by a jSKib of Cumbrian butchers, and dies of It, It is thair oruelty that seott floodlights oven aa he puts on Madge *s dying llpa, the finest song he ever wrote** •Proud Maisie, Meg Murdoekaont the mother of Madge, la a wretohad, f*atimgefalt and proad old vagabond imo lives and dies out* aide the laar* Seott deseribee Meg as **an old woman of a XofwoT rank, extramaXy haggard in look, and wretched in her apparel. "49 Heg*s oentmipt iaar the law officials is revealed In her identifioation of herself and her dat^i^ter, Wha am I? Wha auld I be but Meg Murdockson, and wha said my balm be but Mggdalen Murdoekecm? Your guard •MMt—«M*M*M*.—MWaMNItal>M«MlMaafHW*MHMIWnNMM««|WM^^ ^^Biiohan, p.»191« 48Kaith, p. 67* ^mt asKi St m-ffimm% p- 270. 55 soldiers and yaor constables and your offloera ken us weel mqaugh when they rive the bit o* duds aff our baoka, mA take what penny o* siller we hae, and harle us to the Correction-house in Lelth l^ynd, ^d pettle tts up ml* bread and water, and sielike eunkets.50 When Jeanle Deane la held oaptive by K©g*s bend of outlaws, aha observes that "the features of the old woman had a hideous oast of hardened and inveterate malioe and ill- humour. "5i Heg Murdooks «iM|lta**M, ^Sbft SXlSl SSL ^i^ffilMW^t V. 271. ^^2&& 1SSX& SH Kld-lothlnn. p. 439. ^^IM. ISSEi SL KKl.Lettilan. p. k26. 53ais ^^jgt SL Bld-tothlan. p. 479. %t£ ISS££ St mfl-to«tlaH. p. 431. 552S}£ s«s£t St Md-LBthiBH. p. 500. 56 her natural affection, like that of the tigress, could not be displayed without a strain of ferocity that again stirred her fierce and savage temper.56 We again see Meg's savagery when she flashes th« lighted candle over Jeanle Deans's closed eyes, while brandishing a dagger In her other hand. Though the role of Meg Murdockson is that of a vaga bond outlaw, she has not SkLways been one. Madge Murdockson says of her mother. But we are a hopefu' family, to be twa o» us in the Guard at ance. But there were better days wl' us ance, were there na, mlt^er?57 The author notes that Meg Murdockson was a Scotchwoman by birth, and married a soldier In the Cineronlan regiment. • .that she long followed the camp, and had doubtless acquired In fields of battle, and similar scenes, that ferocity and love of plunder for which she had afterwards been distinguished. . • she acquired the confidence and esteem of the family of an beneficed clergyman. . , ,After this, she had led a wandering life both In England and Scotland,58 When Meg Is upbraided by the constable for calling herself honest, she asserts, "If I am no honest now, i was honest ance."59 Meg Murdockson ireveals a characteristic loyalty to Wilson and George Staunton by supplying v.'ilson with a file and Staunton with a spring-saw so they can escape MMMMMWH—WMMWa.—««*«••—*Nm——Ml—MM—•^—•MMMInMa—lnaWIIBMa—^ ^^The Heart st Mid-Lothian, p, 274. 57The H^art St Mld-Lothlan. p, 274. 582220 Hear^ sL m^J^mm* P* 717. ^^2fe« Haart o£ Mid-Lothian, p. 272. 57 from jail. Further, Staunton claims he knew this woman Murdockson was an Infernal hag, but I thou^t she loved me, and that money would i^ake her true. , . .She undertook readllybto take charge of Effle during her Illness in which she had skill enough to give the necessary rjsslstance.60 Ratcllffe, a jailer who holds Effle Deans prisoner, loq^lles Meg's significance by telling Effle Deans, in reference to her child, *Ye maun ask that of auld Meg Murdockson, If ye dinna ken ower muckle about It yoursell."6l Meg Murdock. son's Influence In the novel Is evidenced In her desire to be revenged. She asserts, Revenge, why it is the best reward the devil gives us for our time here and hereafterl, I have wrought for it; I have suffered for it, and I have sinned for it; and I will have It, or there Is neither justice In heaven nor In hellI62 Meg seeks revenge against George Staunton for the crime he committed against Madge, "And she crazed and I a beggar and all along of him, "^3 she seeks revenge against Effle Deans for Effle's crime with Staunton, because of the shame Staunton has caused Madge Murdockson, Meg declares, "I care; and I will strangle her with my own hands, rather than she should come to Madge's preferment,"64 When Meg Is «,MMaaMiM«awMiMaaMnawaMMMaMaMwaiMiWM*iiiMMMMniHM«a*aH«MHnM«a*>Hii^^ 60The Heart of Mld-Lothlan. p. 497. ^iThe Heart 2f Mld-Lothlan. p. 305- TJJ^Ikeart ££ Mld-Lothlan. p. 443. ^3TS^ Heart ^f Mid-Lot^ilan. p. 442. ^^Sje Heayt o£ Mld-Lothlan. p. 442. 58 asked why she has caused Effle Deans to suffer, she reveals that she has a deep and revengeful hatred against the yotmg person whom she had thus Injured.65 Meg's attitude of revenge Is typified In the report that She had died game, that Is, sullen, reckless, €md liapenltent, neither fearing God nor regarding man.66 65The Heayt gg Mid-Lothian, p. 718. ^!me Heart £f Mld-Lothlan. p. 596. CHAPTER V THE SERVANT-CLASS INCIDENTAL WOMAN Among the numerous women In the Waverley Novels whose roles are Incidental to the novels are those from the servant-class. These women usually have been born Into their servitude and have lived there all their lives. Buchan praises Scott's portrayal of lower class women: All his women of lower station, especially those that come casually Into the story, are alive, and speak a tongue as different from the literary language of their betters as nature Is from artlflce.l These women possess a variety of characteristics. One woman Is an Indulged, recalcitrant domestic; another Is a staunch and rebellious fanatic; another is a light-hearted, contented servant; another is a poor widow who is beseiged with sor row; another Is a superstitious prophetess. Each woman wields a specific Influence upon the novel In which she appears. This woman often gives Insight Into the natures of the other characters and Into the historical background of the novels. The women from the servant class who have Incidental roles and who will be studied are: Mrs, MacCandllsh, Mrs, Alison Wilson, Mause Headrigg, Jenny Dennison, Elizabeth ^Buohan, p. 100. 59 60 Maolure, and Alice Gray, Mrs, MacCandllsh Is an understanding, authoritative landlady In Guj Mannerlng whose quick wit permits her to analyze her guests. As proprietor of the Gordon Arms at Klppletrlngan, a small but comfortable Inn, Mrs, MacCandllsh, throned In a comfortable easy-chair lined with black leather, was regaling herself and a neighboring gossip or two with a cup of genuine tea, and at the ssime time keeping a sharp eye upon her domes tics as they went and came In prosecution of their various duties and commissions,2 The author describes Mrs, MacCandllsh's analytical tenden- clest long habit had given Mrs, MacCandllsh an acute tact In asoertalning the quality of her visitors, and propmrtlonlng her reception accordingly.3 On one occasion, when Colonel Guy Mannerlng lodges at the Gordon Arms^ Mrs, MacCandllsh Is low in her courtsy, and profuse In her apologies for her humble accommodations. She Is so Impressed by Colonel Maucmerlng that when he asks that his horse be attended to, she goes herself to Instruct the hostler of his special duties. However, her attitude changes when she deals with Glossln, a dishonest lawyer: "Mrs. MacCandllsh was cold and uncooperative with Glossln, , , , '*^ fhen she tries to dismiss Glossln's questions 2Guy MgffiSliS&t P* 99. 3Guy Mannerlng. p. 102, ^SM Ma^eylaff, p. 291. 61 abruptly. But when Glossln tells her that VanBeest Brown has committed a crime, the landlady aids Glossln by naming Brown and giving his destination. Mrs, MacCandllsh Is shown to be understanding on several occasions - one being when she says of her servant- girls, "Ane wadna be uncivil to them, especially Ir their distress,"5 She realizes Colonel Mannerlng's need to learn the details of Harry Bertram's disappearance, so, being a gossip, she presents her version of the event. When the Dominie needs additional students, Mrs, MacCandllsh "helps Sampson pick up some other scholars,"6 Finally hor sympathy for orphaned Lucy Bertram Is shown when she observes that when Miss Lucy grew up, she tried to keep order within^ doors. But what eould she do, poor thing? So now she's out of house and hauld,7 Mrs, MacCandllsh, though a minor character, Is used by Scott to reveal the habitat, customs, and characteristics of lower-class people. Hers Is one of many Incidental roles which the author Imaginatively develops Into a distinct personality by supplying realistic characteristics, M«i»..>w—*—— " I mtmmmmmmmmmmmm»mmmmtimmmmmmimmm''mmmimmmmmmtmt .M—i———iim in ,i ^SS£ Ma|^erlM> P* 100. ^ffifflt M^msHs&t P- 144. ^SM M^n^ey^qg, p, II3. 62 A significant minor character In Old Mortality Is Mrs, Alison Wilson, an old housekeeper for Mlnwood. Alison Is a spoiled domestic with many years of service to Milnwood and Henry lorton, and her role is that of mediator between the old man and his nephew, and between the estate and society. Hers is a role in which she must coordinate tact with positive action, and she has a noticeable impact upon Scott's novel. As a trusted, lower-class servant, Alison displays a keen love of power, tempered with genuine compassion for people, Morton briefly describes Mrs. Wilson when he seeks her aid. He concedes that "getting foods depended upon the humour he might happen to find his uncle's sole confident, the old housekeeper."8 Henry continues, -^ If she chanced to be a-bed, which was very likely, or out of humour, which was not less so, the case would be at least problematical,9 Alison Wilson's immediate scolding of Henry Morton reveals that she pos e ses "the tyrannic Insolence of a spoilt and favourite domestic,"10 . cott explains the significance of domestics such as Alison: Sold Mortality, p, 58. 9oid Mortality, p. 58, lOpid Mortality, p. 58, 63 Such were the manners of a certain class of domestics, once common In Scotland and perhaps still to ha found In some old manor-houses In its remote counties. They were fixtures In the family they belonged to; and as they never conceived the possibility of such a thing as dismissal to be within t^e chances of their lives, «iey were of course sincerely attached to every member of It, On the other hai^d, when spoiled by the Indulgence or Indoleaceeof their superiors, they were very apt to become Ill-tempered, self-sufficient, and tyrannical, so much so that a mistress or master would sometimes almost have wished to exchange their cross-grained fidelity for the smooth and accommodating duplicity of a modem menial.H inirough such characters as Mrs, Alison Wilson, Scott pre sents htmcur and comedy. Predominantly, these aspects are revealed through the charaoters' dialect and speech, as oonflrmed b: Buchan who writes, "The Scot's speech (of Mrs, Wilson) Is beyond praise,*12 A specific Illustration of comic speech Is seen when Alison Wilson says of the Duke, That was him that lost his head at London, , .folk said It wasna a very gude man. but It was aye a salr loss to him, pulr gentleman,13 Mrs. Wilson shows a distinct love of power In her dealings • t as Milnwood's housekeeper,' "In fact," writes the author, "the principal object of her maundering was to display her consequence of ppwer,''l'^ Also, Mrs, Wilson resents Morton's calling her Alison, even though she is dependent upon Morton's and Milriwood's properties for her support, mmmmmmmim'immaimmmm>mm0mmmmt0mmmmmmmmmm0mmmmmm»mmmmmmm'*mmmmmmmmmm0mmmmmmmmmmmmm»mmmi^^ ^^m. > Another characteristic of Mrs, Wilson Is her genuine compassion for people. The author writes, Mrs, Wilson was not, at the bottom, an Ill-tempered woman, and certainly loved her old and young master better than anyone else In the world,17 She frequently asserts her love for Morton by helping him when necessary, (me example being her sneaking sliver to Morton without old Mllnwood's knowing It, When Morton was arrested by the soldiers, Alison's actions are detailed. MWI l5o;>,d Mortality, p. 59. ^^m, Mortality, p, 531. 17oid Mortality, p, 61, 65 Mrs. Wilson, with weeping eyes, made up a small parcel of necessaries for Henry's compelled journey; and as she bustled about, took an opportunity, unseen by the party, to slip Into his hand a small sum of money, lo She also defends Morton's preference of v^ar duty to plowing his uncle's lands, asserting that there i:ere starving peasants who needed the jobs for a livelihood; hence, she reflects an understanding of Morton's ambitions and a compassion for the needs of others, A final evidence of Alison's affection for Morton Is registered In her greetings to him after she had considered him dead. So saying, the poor old woman threw herself arotmd Mort<>n*s neck, cltmg to him, kissed him as he had actually been her child, and wept for joy,19 This significant old housekeeper culminates her role In the novel by retiring Into a comfortable status of hostess for an annual banquet. From this position, various aspects of the novel are assembled through Mrs, Wilson's reflections and observations. It Is primarily her role as a unifying force In the novel that maked Alison Wilson an Important character In 01^ pp;rta}.itj. Mause Headrigg Is a staunch, stubborn, out-spoken covenanter In Old Mortality who serves as a unifying force In much of the novel, though she Is only of Incidental significance. Mause Is first presented when Lady Mar-^^rTf^ ^^Old Mortality, p, 116, 19oid Mortality, p, 533. 66 Bellenden Inquires of her why Cuddle Headrigg did not join the Tower's forces at the Waplnschaw, Mause feigns timidity In lady Margaret's presence, attempts to change the subject, but finally produces Cuddle's excuse, "He canna go against the will of God. Cuddle canna serve two malsters,"20 This statement reveals the strong religious views which Mause espouses throughout the novel. The acknoviledges that her conscience and values differ from Lady Margaret's when she admits she does not feel Lady Margaret would order her servants to do anything against conscience, "not your conscience, but mine,"21 Even though Mause Is a servant of Lady Margaret Bellen den, she asserts that Cuddle shall not gird armor to fight In the cause,of Lady Margaret, Mause Is so vehement In her assertion that she haadly respondd at all to Lady Margaret's ordering Cuddle and Mause to leave Tlllletudlem, Mause exists In a world of religious fanaticism, where ranting and raving at corruption In the church are commonplace. Frequently Mause meets a fellow believer, notably Reverend Poundtext, and their outcries are multiplied and amplified. When Mause and Cuddle find refuge at Mllnwood's, Mause Immediately assails the old man's religion, even though 20Old Mortality, p, 84, 21Old Mortality, p, 85. 67 her doing so risks expulsion from the estate. After Mause attacks old Mllnwood's religion. Cuddle laments, "She has her leg ower the harrows now, stop her wha can. "22 Mause and her comrades espouse the belief that people will be punished for evil-doing. They'll get a back-cast o' his hand yet, that think sae muckle o* the creature and sae little o' the Creator, sae muckle o' walrd's gear and sae little o' a broken covenant.23 Finally Mause joins the happy fellowship of her comrades and she continues to attack and assail those people who oppose her views, Mause Headrigg Is a unifying force In Old Mortality for several reasons, one being that she and Cuddle travel from one estate to another, thereby observing the various characters. She characterizes the religious and social conflicts existent at the time of this novel and reflects the depths of compassion felt by the Individuals concerned. She also serves as an Instrument of humor through which Scott depicts comic speech of the lower-class Scotswoman, Mause's staunch religious views fa?equently cause her to embark on lengthy spiels of Biblical references, which are enhanced by her Scotch dialect and which plunge her listener Ini^o a vocal hodge-podge, Buchan claims that 22pld Mortality, p, 109. 23oid mortality, p, 115. 68 above all Mause Headrigg, torn between piety and maternal cares. Is the element needed to relax the tension of the grim hill-folk,24 Mause comically asserts to Cuddle *'Nonconformity, hlnnle. Is the name that war Idly men gle us, "25 When Mause Is unable to withhold her Indignation at the Insults of the King's soldiers, Scott demonstrates his varied ability In presenting Mause's comical retort: "I will uplift my voice and spare not, , , .1 will confound the man of sin, even the scarlet man, and through my voice shall Mr, Henry be freed from the net of the fowler."26 we see here comical use of Biblical phraseology frequently observed among the lower-classes In Scotland, where often the only book In the household was a Bible, Though she holds a minor place in Old Mortality. Mause Headrigg Is responsible for adding much colorful, comical, but valuable Insight Into the story through her role as a servant-class woman, Jenny Dennison, In Old Mortality. Is a light-hearted servant girl whose role emphasizes the Interplay between social classes of the times, Jenny Is shown to be a simple, unconcerned. Impulsive servant. She reveals a lack of com passion regarding Morton's fate, believing that she would Mil illl.l I Iim..*—ItMM —I IWMIMMWWIWMWWI—•»*—••—l»M—W»IMM>IMi • III! I II » —• i 24Baohan, p. 163. 25oid Mortality, p, 90. 2^214 M^rtal^ty, p, 109. 69 benefit more if Lard Evandale beocHRes "dltdh Bellenden's husband. Seott explains that "if Edith Bellenden marries Lord Evandale, Jenny Demiison will be yra. Dennison, lady Edith*s own woBjan."27 However, Jenny Dennison does not display overt partiality between Lord Evandale and Morton. Even when Jjyrd Evandale is wounded, Jenny i:>cnnlson registers no alarm but retreats •Vith her usual air of officious simplicity. "20 Several examples can be cited In support of the thesis that Jenny Dennison is a person of impulsive aetion. Her rapid development of a plan of escape for i^orton from hla benda at the Tower of Tillietudlem is one example. Her utiliiation of her friendfldhiip with various eountry lads to aid her in l^ey mohmaaa is another. Her throwing the soalding hale*brose ^^SSUL ByyWtlr. P- 514. 70 Buchan claims that "Scott shows the greatness of his art In the skill In which he blends the tragic and the comic. , . ."-^0 The role of Scott's domestic servant Is well des- crlt>ed by Welsh when he writes. The usual facility and 'address' of the lower ranks In the Waverley Novels allow Cuddle Headrigg and Jenny Dennison to slip between enemy lines. . .and to trespass the moral lines of Scott's romance, , ,wlth much greater agility than the hero or heroine dare to display,31 Another significant characteristic of Jenny Is her possession of ethical values and her air of respectable breeding \mcommon to her ranks. She determinedly tells Edith Bellenden "I'll never desert a true-love cause,"32 And the reader knows that Jenny keeps her promise, in the latter part of the novel she Is a handsome yotmg coimtry woman, to whose features, originally sly and esplegle In expression, matrimony had given the decent matronly air which particularly mark the peasant's wife of Seceland,33 Jenny addresses Morton "with an air of respectful breeding not quite common In her raiik of life, but without anything resembling forwardness,"34 in stumary, Jenny Dennison Is one of several persons of the servant-class who sheds under standing upon the Interplay between this class and persons mmmmmm,mmmmm»''mm'mmmmmmmm,'mmtmmmmmiimmammttmmmmmmmtmm IMIM HM—IMMM—M—... H IMH I m*i i ii n i ..——«w——^M—» 30Buchan, p. 164, 31Welsh, p. 233* ^^2ii Mortality, p, 135. 33oid Mortality, p. 487. 3^fiii Mortality, p. 487. 71 of other ranks. In (gia Mortality. Soott uses characters such as Jenny Dennison to give a feeling of everyday life to the novel, Elizabeth Maclure Is a noteworthy character In Old M^rtal^ty, Bessie, as she Is known by her neighbors. Is an honest widow who has been beseiged with troubles. Including the deatheof her husband and the loss of her two sons during the times of the uprisings In the countzy. Her brother-in- law, Nell Blane, sees her as: Doumely and decently she has borne her burden, blaming nane and condemning nane. If there's an honest woman In the world, It's Bessie Maolure, And to lose her twa sons, as I was scrying, and to hae dragoons clinked down on her for a month bypast, for, be Whig or Tory upper most, they ajre queirter that* loons on victuallers, to lose, , .35 Bessie describes herself to Morton as "a poor widow, with a widow's cake, sind a widow's cruse, "36 she explains why she no longer needs to see, "I hae witnessed sae muckle 111 wl' dodgerlng In this pulr land that I am e'en content that I can see nae malr o*t wl' these sightless organs,"37 Then Bessie discusses her sons. I had anes twa fine sons that lokklt after a' thl But God gives and takes away. His name be praised?! s 'mim^ 35034 Mortality, p. 54?. ^^OM Mortality, p. 551. ^OM Itertallty. p. 551. ^£M msm^it* P> 553. 72 Buchan praises Scott's portrayal of Bessie when he writes. In his picture of Bessie Maclure, Scott has revealed tenderly and subtly the beauty of holiness In the most humble • Jr Apparently Scott has devised for Bessie Maclure the task of helping Morton realize that his cause is or will be lost. While the two are dlscusslng| the war, Bessie Maclure's Information confirms Morton's Impressions that his cause Is lost. But Bessie goes beyond hhls jfiijst step In showing Morton his errors when she cautions! him not to curse men, because she believes he would be euirsed In return. After Bessie fulfills her purpose she Is provided for In the most comfortable manner and Is dismissed from the novel, Buchan effectively summarizes Bessie's role when he writes, "It Is Bessie Maclure, a lone widow among the hills, who In the Covenant strife has the vision of peace through a wider charity."40 Another blind woman, Alice Gray,in Ihe Bride ^f Lammermoor has the role of a prophetess. Blind Alice lived sixty years at Ravenswood, remaining there against her will. Lucy Ashton claims, "for the poor old creature is always regretting the ohange of time and of property, "^1 The author writes of Alice t MMMMMnnn——MM••««iMma**nMHiiMwn^MiMM«a*M.«aMMw—ManaMMi^iM^ 39Buchan, p, I63, ^Buohan, p, 353. ^^aui S£U£ 2t I^SSS&oor, p, 47. 73 Mhatever there had been which was disastrous In her fotume, whatever there was miserable In her dwelling. It was easy to judge, by the first glance, that neither years, poverty, misfortune, nor Infirmity had broken the spirit of this remarkable woman,42 Her figure was tall, commanding/and but little bent* by the infirmities of old age. Her dress, though that of a peasant, was uncommonly olean, forming In that particular a strong contrast to most of her rank, and was disposed with an attention to neatness, and even to taste, equally unusual. But It was her expression of countenance which chiefly struck the spectator and induced most persons to address her with a degree of deference and civility very Inconsistent with the miserable state of her dwelling, and which,»vertheless, she received with that easy composure which showed she felt it to be her due.*»^3 Lucy Ashton says of hart And as to old Alice, she Is the very empress of old women, and queen of gossips, as far as legendary lore Is concerned. She Is blind, poor old moul, but when she speaks to you, you would think she has scnne way of looking Into your very heart,44 Shd old woman aeveals an Insight toward life that Is coura geous and loving. It Is here that I drank the cup of joy and of sorrow which heaven destined for me. I was here the wife of an upright and affectionate husband for more than twenty years, I was here the mother of six promising children. It was here that God deprived me of all these blessings. It was here they died, and yonder, bjr yon ruined chapel, they He all burled, I had no country but theirs while they lived. I have none but theirs now they are no more. They will last my time, my dear Miss Lucy,43 To reveal her contentment with life, old Alice Gray does not ^^Sbs. S^iist 2t bm^sass^* P* 5O. ^^2l2£ aiftl fit Lammermoor. p, 51. ^^2&£ aSJii 2l X4MBmermoor. p. 47. ^iSiS, S£X^ 21 Lammermoor. p, 53. 74 want her cottage and grounds Improved, Alice Gray reveals herself as a prophetess In her dealings with Edgar, Master of Ravenswood, She tells him, "If my mortal side Is closed to objects present with me. It may be I can look with more steadiness Into more future events,-'46 Alice's first warning to Ravenswood, "My lord, take oure of what you do. You are on the brink of a preci pice f "47 startles Edgar, but does not deter his actions. Then Alice warns that the Mermalden's Well Is a place fatal to the race of Ravenswood, She stresses, "Often has It proved so, but never was It likely to verify old sayings as much as on this day, "^8 Ravenswood's reply shows his reaction to the old dame, "You are more silly and more super, stltlous than old Balderstone!"49 Finally, Alice's role In The Brl^g of Lammermoor Is conrpleted when she assures Ravenswood that Lucy Ashton loves him and that he must either leave the region or be prepared for the destruction of himself, of Lucy, or of both, Ramvnswood ponders the appearance of Alice's ghost at the Mermalden's Well, and fixes much Importance to the mysterious sitylngs of the old woman. Old Alice creates Intrigue, stimulates projections, MMMMMM—M«**i—••MM*MMMhMMIMH*«MMB«IMW r CHAPTER VI THE UPPER-CLASS INCIDENTAL WOMAN Throughout the Waverley Novels are numerous upper- class women whose roles are Incidental to the novels. These women possess wealth, properties, titles, hlgh-blrth, good educations, and exquisite taste. They reflect the attitudes of their economic class toward the political, social, and religious aspects of Scottish life. Particularly signifi cant Is their reflection ^f upper-class attitudes toward people, both In and out of their social class. They are, however, the least Importcmt group studied In this thesis. The upper-elass women who have Incidental roles and who will be studied are Mrs. Margaret Bertram, Mrs. Godfrey Bertram, Lady Emily Hamilton, and Mrs. Saddletree. Mrs. Margaret Bertram, in Guy Mannerlng, Is revealed through her letters and her actions, and by comments about her, to be a tyrannical, sefrfish, heartless spinster whose influence upon the novel is of incidental significance. Mrs# Margaret Bertram Is introduced when Lucy Bertram seeks her aunt's counsel at the death of Lucy's father. Scott describes Mrs. Bertram's letter to Lucy to be 'fas cold and comfortless as could be well Imagined,"1 Mrs. Bertram aaaM^MMMlMaaMMMMt,—••M*M*M*,«M*MMa.MMMnMM*aaM •••M>.Man«aa*MMa,**«MtMW*WllMM«MII**MM*ai|l.«*IWHW>MBMiMaWM«M.wMM^ 2GH£ Mmixm^ p* 327. 3222X MSQS£yE2&f P* 370. ^SB£ Wa?#ayl^, p. 363. 78 kinswoman want, "5 She Is praised by Attorney Pleydell as "a good and prudent and well-judging woman who knew feow to choose friends and deposlto: les,'6 ^t Mrs, Bertram's funeral, Jenny Gibson acknowledges that Mrs, Bertram was her protectress and had been helpful to her, Mrs. Bertram's compassion Is reflected In her giving various sums of money to her servants, including sufficient funds to give Jenny Gibson an apprenticeship, Mrs, Bertram also shows strong feelings for the Ellangowam estate and for her nephew, Harry Bertram. In her will, she gives her properies to Bertram, making It possible for him to claim the estate and provide an Impressive Inheritance for Luoy, Althou^ Mrs. Margaret Bertram uses selfish and tyrannical means to attain her objectives, her efforts ultimately facilitate the pieaaant settling of the vailous conflicts in the novel and enable Lucy Bertram to mmrry Charles Hazlewood, Mrs. Godfrey Bertram Is a character of little signi ficance In Guy Mfmnering. She is typical of the upper- class woman In Scott's novels, as revealed in several in- stanoes. She is greatly Is^ressed by the propheoies of Colonel Mannerlng and Meg Merrllles at the birth of Harry Bertram, concerning the future of the child, 5aay Mannerlng. p. 171. ^SM, fiimiSIlMi P* 371. 79 ^oott notes that **the good lady had no email store of ettp*.>ratitic«,**? fhe daree not break the seal of the scheme of nativil^ for fear of the eonaequenoes. several refemenaes are made to t*ie oharitable and friendly dispaaition of l^ya. Bertram, about her ptofielenaies as a housewife and mother, about her interest in art and music, ei^ abemt her influential d^neanor. for yole in QSSL anni*rlni? Is one that gives human*intere8t and «vaiyd«^ a^aal to the novel. Lady Emily Hamilton, a slater of lord Evandale, is a eharae^M of ineidantal significaiiMN» in (^ Mortality. Hera is the tai^ of drawing out faelii^e rind attitudes froci idi«i Bell«R^«at af defending her brother's role in the war, ai^ of revealing hidden eharaotenatiee about Lord Evandale and his family. Lady iMIy staunchly aupporte her family's traditional layal^ to ^se crown and therein supports Lord E^midale*a interest in l^e battle at hand, ^he telle ^i^, Tou must be aware, my dear Mitht ho»f often family oonneoti^eis &mA a«urly pyedila|tions influence our actions more than abatract argin»anta*a ocott refers to Lady fiJmily as "^a lively young lady."f He also writes that lady iHmily la "one of ^ose damsels who thir^ there ia nothing either wonderful or terrible in *M*Hw.>l*—•!*—M* •l*MIWMII«M«M»M—»—••'H*>t».«M«.««M**Mi—••»IWW»*i**«IMI^^ „, •».—liW I ,*WI«*, ^W»—.|MM> ^^£li Mortality, p. 511* ^^m If^yrtaXlty, p. 511. ^^Old Mortaj^^ty. p. 581. 81 as shown in her defense of Effle Deans at the trial of the unfortunate girl. The author notes, "Testimony for iffle's character was good. , .but none with more feeling than worthy Mrs, Saddletree, , ,"13 Mrs, Saddletree's role in the novel Is of Incidental significance, even though she Is active throughout the novel. Through her, Soott reveals compassion and sympathy. •MMM«MiMaiMlB«ltoiaMMWaM*MMaatlM«WnMMiiaWa«««MaMMM,HaM««Ma*MI»aa^ ^3The Heart of Mld-Lo^Mfcan. p, 340. CHAPTER VII CONCLUSION After a survey of the role of each significant woman In these selected novels, with her characteristics noted, her Importance evaluated, and her Influence upon the novel detailed. It remains to consider Scott's specific use of feminine characters. Only two characters, Jeanle Deans of jgie Heart *of Mld-Lothlan and Lucy Ashton of The Bride of Lammermoor, have principal roles In the novels. Each of these heroines wields a notloeable action and Influence In the novels. Their thoughts, characteristics, and reactions thread throughout Scott's stories to give them Integral roles4 The fact that, out of the four novels examined In this thesis, only two primary or lead ing roles are given to women verifies Christina Keith's claim that "the Waverley Novels are primarily a man's world,"1 Through other feminine characters Scott describes specific aspects of Scottish society, beliefs, and customs. The upper-class Is revealed through several womeni Julia Mannerlng, Lucy Bertram, Mrs, Margaret Bertram, and Mrs, iKelth, p, 56. 82 83 Lady Margaret Bellenden, and Lady Emily Hamilton of Old Mortality! Lucy ashton and Lady Ashton of 2}£ Bride of Lammermoor! Mrs, Saddletree of The Heart of Mld-Lothlan, To Indicate the public's treatment of witches, and the author's objection to such treatment, Scott develops such characters as Meg Merrllles of gtjj; Mannerlnfg. and Madge Wildfire and Meg Murdockson of The^ Heart of Mld-Lothlan, Scott's attitude toward the suwmatural is shown through his giving actual mystic powers to Blind Alice of The Bride o£ Lammermoor and Meg Merrllles, The Scots' belief In the supernatural Is Illustrated through various charac ters! the several gossips who are associates of Blind Alice In The Bride of Lammermoor; Blind Alice; Mrs, Godfrey Bertram and Meg Merrllles; Mause Headrigg of Old Mortality; and Meg Murdockson and Madge Wildfire, Scott's development of lower-class and lower middle class characters comprises his best work, Grlerson observes, "The strength of the Waverley Novels lies In the plcttre of common people,"2 Scott presents the role of the domestic servant and her Influence upon her associates and the novel, through the lives of Jenny Dennison and Mrs. Alison Wilson tmmmmmmmm''imimm^mmm.mi i IMI Iimmmi0mmmmm»mmmmmmmmmmmmmm0mmmmmmmmmmmmmmmm'mmmmmmmmm,mmmmmmmmmmmmtmmmmmmmm^mmmmmmm^0mmmmmmmmmm 2Grlerson, Letters. Vol. It p. Ixxv. 84 °^ 01<1 Mortality and Blind Alice. Through his presentation of lower-class women, Scott demonstrates his proficiency In creating humor and comedy, primarily through the dialects and archaic words of these women. Finally the author dftplcts the role of the unrepent- Ing woman. This Is the woman whose characteristics while she IF living are In some ways unbecoming. Then In death, this woman retains her recalcitrant traits and dies as Impenitent as she has lived. The women of this study who display these characteristics are: Meg Merrllles and Mrs, Margaret Bertram; Meg Murdockson, Madge Wildfire, and Efxie Deans of The Heart of Mld-Lothlan; and Lady Ahhton of The Bride of Lam^ermooy. Sir Walter Scott respects and admires women, as reflected in his treatment of them through their roles in his novels. He knows the significance of their Influence upon life and society, and he regards them worthy of care ful development and portrayal. Though often overlooked by critics, the feminine role In the works of Sir Walter Soott offers insight Into the author, his writings, and his times, BIBLIOGRAPHY Books Buchan, John. Sir Walter Scott, Londont Cassell and Co,, LTD,, 1932. Corson, James Clarkson, ^ Bibliography of Sir Walter Scott Edinburght Oliver and Boyd, LTD., I943, Grlerson, Sir Herbert J, C, SJ^^ Walter Seott. Bart. New York! Columbia University Press, 19*o, Grlerson, H.J,C,(ed,) ^ tMtp^ra of SjL£ Waltey y^ptt, 1707*^1807# 12 vols, London: Constable and Co., Hlllhouse, James T. ^S Wayei').ey Novels ^i^ 1 lelr Sjijlfia. Minnesota: Jhiverelty of Minnesota Press, 1936, Howells, W,D, Heroines of Fiction. London: Harper and Brothers, 1901, Keith, Christina, fha Hero of Waverley. London: Harper and Brothers, l^fe4, Lockhart, John G. Life st 8|y Salter Scott, London: J,M, Dent and Sons, LTD.,1931, Parsons, Coleman 0. Witchcraft an^ Demonology l|i Scout's Supernatural M "^ hiOliver and Boyd, examined and is Included for documentary purposes only,) Scott, Sir Walter. Tjie Bride of Lam^nermoor, Londont Macmlllan and Co,, 19087 Scott, Sir Walter. Giay Mannerlng. Londont Macmlllan and Co., 1905. Scott, Sir Walter, The Heart of Mld-Lothlan. London: Macmlllan and Co,, 19067 85 86 Scott, Sir Walter, Oid Mortality, Londont T^.acmil^an and Co., 1907. Tate, John Guthrie (ed,). The Journal of sir l^'alter Scott. Minburghi Oliver anS. Soyd, l9?0. Welsh, Alexander, The Hero ojf the Waverley Novels, London: Yale University Press, 1^63, Articles and Periodicals Mlahnell, Nelson S, "Walter Scott's Adventas Novelist of Manners," Studies in Scottish Literature, I (July, 1963), 15-3^5^; Crespl, A,T,H, "Scott's Female Characters, The New Monthly Magazine. VII (March, 1965)» 2?^272T Daiches, David, Review of The Mro of the Waverley Novels by Alexander Welsh, StudiesTn Scottish Literature. II (October, 1964), 133--136, Macleod, K,D, "Sir Walter Scott's Madfold." The Caledonian Journal. IX (January, 1914), 393-403. Parsons, Coleman Oscar, "Character Names in the Waverley Novels," PMLA. SLIX (March, 1934), 276-294, Wenger, Jared. •'Character Types of Scott, Balzac, Dickens, Zola," PMLA. LXII (March, 1947)» 213-^32.