DOCSLIB.ORG

L8l7 LETTERS 1 {October 1817 Continued) to JOHN BALLANTYNE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
L8l7 LETTERS 1 {October 1817 Continued) to JOHN BALLANTYNE l8l7 LETTERS 1 {October 1817 continued) TO JOHN BALLANTYNE (5-1)DEAR JOHN,-I think you should answer Rees explaining (5-1)the principle in which we intend acting as to G. M. & (5-1)Wy 1 by dividing them into thirds & continuing the (5-1)management of each with the original house also giving (5-1)them the 3d. at discot. and that this will in all probability (5-1)be a final arrangement although the author retains full (5-1)power to alter it at pleasure. You may further hint that (5-1)probably as Agent both for the authors of these novels & (5-1)of the Tales you may chuse to have only one London (5-1)house engaged in these matters so that it may be subject of (5-1)consideration whether these shares of W[averle]y & G. M. (5-1)with that of the Antiqy. which must soon fall in will not (5-1)follow the fate of the Tales of my Landld. & depend on (5-1)their resolution respecting them. I am perfectly inflexible (5-1)on the subject of their pretended claim-indeed to yield (5-1)one hairs breadth would be to own I had been using them (5-1)ill which I am conscious is not the case. You must make (5-1)them aware of this gently in the manner but strongly in effect (5-1)and I think you may add with propriety that you will be (5-1)very sorry if a long correspondence in the [course ?] of (5-1)which great mutual advantages have accrued & more (5-1)may be expected in the course of events should be broken (5-1)off upon a case of misapprehension which is absolutely (5-1)incapable of being remedied. Indeed I do not see what (5-1)recourse they could have except to you for Damages for (5-1)they have no means to make the author adopt an arrangement (5-1)of which he disapproved from the instant he heard 2 LETTERS OF l8l7 (5-2)of it. But in fact they are giving in as appears from their (5-2)last civil letter. (5-2)I will accept for the 700,, so soon as James draws. (5-2)Dont forget to look over his things & to get bills for (5-2)W[averle]y and Guy. The former may be deliverd to (5-2)Constable directly so soon as the terms are understood (5-2)betwixt you & him one 3d. being reserved for Longmans (5-2)when they come to their stomach : the final destination (5-2)need not be settled till we hear from them. Observe in (5-2)writing to Longmans not to admit the identity of the (5-2)author of the Tales & of the novels but speak of them in (5-2)the plural number as twa folk. They know the contrary (5-2)of course but you need not admit anything. (5-2)I may have occasion to draw on you at a fortnight for (5-2)100,, from hence which can be paid out of the proceeds (5-2)of the bills. Yours ever W SCOTT (5-2)ABBOTSFORD 28 October [1817]. (5-2)I am glad you have settled with Southey & trust you (5-2)will do so with Lundie. This settles the whole affairs (5-2)of Jo: B & Co/ and mutual releases & discharges should (5-2)be executed at this term to put all at rights betwixt heirs (5-2)& successors. [Watson Collection] TO DANIEL TERRY (5-2)ABBOTSFORD, 29th October 1817 (5-2)MY DEAR TERRY,-I enclose a full sketch of the lower (5-2)story, with accurate measurements of rooms, casements, (5-2)door-ways, chimneys, &c., that Mr. Atkinson's good will (5-2)may not want means to work upon. I will speak to the (5-2)subjects of your letters separately, that I may omit none (5-2)of them. 1st, I cannot possibly surrender the window (5-2)to the west in the library,1 although I subscribe to all you SIR WALTER SCOTT 1817 3 (5-3)urge about it. Still it is essential in point of light to my (5-3)old eyes, and the single northern aspect would not serve (5-3)me. Above all, it looks into the yard, and enables me (5-3)to summon Tom Purdie without the intervention of a (5-3)third party. Indeed, as I can have but a few books (5-3)about me, it is of the less consequence. 2dly, I resign (5-3)the idea of cooing the library to your better judgment, (5-3)and I think the Stirling Heads 1 will be admirably disposed (5-3)in the glass of the armoury window. I have changed my (5-3)mind as to having doors on the book-presses, which is, (5-3)after all, a great bore. No person will be admitted into (5-3)my sanctum, and I can have the door locked during my (5-3)absence, 3dly, I expect Mr. Bullock here every day, and (5-3)should be glad to have the drawings for the dining-room (5-3)wainscot, as he could explain them to the artists who are (5-3)to work them. This (always if quite convenient) would (5-3)be the more desirable, as I must leave this place in a (5-3)fortnight at farthest-the more's the pity-and, consequently, (5-3)the risk of blunders will be considerably increased. (5-3)I should like if the pannelling of the wainscot (5-3)could admit of a press on each side of the sideboard. (5-3)I don't mean a formal press with a high door, but some (5-3)crypt, or, to speak vulgarly, cupboard, to put away bottles (5-3)of wine, &c. You know I am my own butler, and such (5-3)accommodation is very convenient. We begin roofing (5-3)to-morrow. Wilkie admires the whole as a composition, (5-3)and that is high authority. I agree that the fountain (5-3)shall be out of doors in front of the greenhouse ; there (5-3)may be an enclosure for it with some ornamented mason (5-3)work, as in old gardens, and it will occupy an angle, (5-3)which I should be puzzled what to do with, for turf and (5-3)gravel would be rather meagre, and flowers not easily 4 LETTERS OF 1817 (5-4)kept. I have the old fountain belonging to the Cross of (5-4)Edinburgh,1 which flowed with wine at the coronation (5-4)of our kings and on other occasions of public rejoicing. (5-4)I send a sketch of this venerable relic, connected as it is (5-4)with a thousand associations. It is handsome in its (5-4)forms and proportions-a freestone basin about three (5-4)feet in diameter, and five inches and a half in depth, very (5-4)handsomely hollowed. A piece has been broken off one (5-4)edge, but as we have the fragment, it can easily be (5-4)restored with cement. There are four openings for pipes (5-4)in the circumference-each had been covered with a (5-4)Gothic masque, now broken off and defaced, but which (5-4)may be easily restored. Through these the wine had (5-4)fallen into a larger and lower reservoir. I intend this (5-4)for the centre of my fountain. I do not believe I should (5-4)save 100 by retaining Mrs. Redford,2 by the time she (5-4)was raised, altered, and beautified, for, like the Highland- (5-4)man's gun, she wants stock, lock, and barrel, to put her (5-4)into repair. In the mean time, " the cabin is convenient." (5-4)Yours ever, (5-4)W. S. [Lockhart] SIR WALTER SCOTT 1817 5 TO WILLIAM BLACKWOOD [Extract] (5-5)[? October 1817] (5-5)MR. LAIDLAW projects a series of letters under the (5-5)signature of Maugraby. I shall certainly revise and (5-5)correct them, and if I should write any at length you will (5-5)understand that I reserve the right of printing such (5-5)myself, should I ever think it proper, which is highly (5-5)improbable. Respecting my name in this matter, you (5-5)will understand that I merely assist Mr. Laidlaw, and (5-5)you are quite at liberty to say that I do so. But as to my (5-5)fathering any particular portion of the correspondence, (5-5)you must hold me excused if I leave that matter to your (5-5)own sagacity of detection and that of the public. In (5-5)fact, were I obliged to take pains-and this I must if (5-5)I were to make myself responsible for what I write-my (5-5)contributions would be very few indeed. Besides I may, (5-5)for aught I know, give something or other to Mr. Pringle, (5-5)who would expect me to favour them also ; so I should (5-5)be like the poor fellow who was obliged to fly the country (5-5)in consequence of having rather too numerous an irregular (5-5)progeny. [WALTER SCOTT] [William Blackwood] TO JOHN BALLANTYNE 1 [Undated] (5-5)DEAR JOHN,-I have closed with Usher for his beautiful (5-5)patrimony, which makes me a great laird.
Load more

Recommended publications
  • Ainsley Mcintosh, Ed., Marmion: a Tale of Flodden Field, Edinburgh: Edinburgh UP, 2018, the Edinburgh Edition of Walter Scott’S Poetry
    The Wenshan Review of Literature and Culture．Vol 13.2．June 2020．209-212. DOI: 10.30395/WSR.202006_13(2).0009 Ainsley McIntosh, ed., Marmion: A Tale of Flodden Field, Edinburgh: Edinburgh UP, 2018, The Edinburgh Edition of Walter Scott’s Poetry. Pp. 486. £90. ISBN 9781474425193. Kang-yen Chiu Walter Scott’s Marmion: A Tale of Flodden Field was published in February 1808 when the poet was thirty-seven years old. The first edition of 2,000 copies sold out in less than two months, and with a third edition by the end of May, a total of 8,000 copies were sold in a little over three months. Marmion remained a best-seller throughout the nineteenth century. The Brontë sisters were admirers of the poem and it is mentioned in Charlotte Brontë’s Jane Eyre (1847). Marmion, a historical romance having the Battle of Flodden in 1513 as its focus, along with The Lay of the Last Minstrel (1805) and The Lady of the Lake (1810), has been regarded as the best of Scott’s poetry. These three works were translated into Chinese between the 1980s and 1990s, and they remain the only poems by Scott that have Chinese translations.1 In marked contrast to his novels, with the earliest Chinese translation of the Waverley Novels (Ivanhoe), by Lin Shu ( , 1852-1924), appearing in 1905, the Chinese have been introduced to Scott’s poetry only relatively recently, and it is probably the case that most Chinese speaking readers today are unaware of the fact that Scott began his literary career as a poet, and that writing poetry was an activity that spanned his whole career.
    [Show full text]
  • They Were Always Doing Shakespeare: Antebellum Southern
    They Were Always Doing Shakespeare: Antebellum Southern Actresses and Shakespearean Appropriation Robin O. Warren, University of Georgia Abstract Antebellum actresses performed in a wide variety of plays meant to appeal to the diversity of spectators who attended the nineteenth-century theater. Theater historians agree, though, that plays by William Shakespeare dominated standard repertory offerings. No one has recognized, however, that many of the non-Shakespearean plays actually appropriate Shakespearean plots, a phenomenon that may partly account for the popularity of these dramas. While many plays popular on Old South stages appropriated Shakespearean plots, four especially stand out for paralleling closely their early modern inspirations. Evadne (1819), by Richard Lalor Sheil, draws on Much Ado About Nothing (1600); Virginius (1820), by James Sheridan Knowles, uses Titus Andronicus (1592) as a guide; The Wife (1833), also by Knowles, follows the plot of Othello (1603); and The Honey Moon (1805), by John Tobin, corresponds to The Taming of the Shrew (1592). Evadne and Virginius stress the necessity of protecting a young, unmarried woman's purity while The Wife and The Honey Moon emphasize the importance of wifely fidelity and deference. As the experience of antebellum actresses Eliza Logan, Jane Placide, Frances Denny Drake, and Julia Dean Hayne shows, however, women who performed the lead female parts in these plays did not always live up to the expectations espoused in their stage roles; instead, they often exposed the artificiality of rigidly prescribed gender roles in their daily lives by transgressing against the very norms they affirmed on stage. In 1820, Jane Placide, a young actress from Charleston, South Carolina, debuted with Charles Gilfert's Virginia Company in John Tobin's The Honey Moon (1805), an appropriation of William Shakespeare's The Taming of the Shrew (1592).
    [Show full text]
  • One Word More on Scott's Anonymity Thomas R
    Studies in Scottish Literature Volume 14 | Issue 1 Article 12 1979 One Word More on Scott's Anonymity Thomas R. Dale Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Dale, Thomas R. (1979) "One Word More on Scott's Anonymity," Studies in Scottish Literature: Vol. 14: Iss. 1. Available at: https://scholarcommons.sc.edu/ssl/vol14/iss1/12 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Thomas R. Dale One Word More on Scott's Anonymity Mr. Seamus Cooney in his "Scott's Anonymity--Its Motives and Consequences" (BBL, 10 (1973), pp. 207-219) presents a compre- hensive survey of the various motives or implied by Scott for maintaining the anonymity of the Wavepley Novels from 1814 to 1827. Besides the many motives suggested in Scott's prefaces--some obviously playfully, others with some appearance of sincerity--Mr. Cooney points out another more po­ tent motive, probably only partly realized by Scott himself. This is the psychological need for anonymity in the writing process itself. Scott, it appears, adopted a number of narra­ tive personae different from his "real" self and felt that with disclosure of his authorship his novel-writing would corne to an end. (Why this did not apply to the poems is not mentioned.) The intention of this note is to corroborate but modify Mr.
    [Show full text]
  • 'A' That's Past Forget – Forgie': National Drama and the Construction of Scottish National Identity on the Nineteenth
    Studies in Scottish Literature Volume 44 Article 5 Issue 2 Reworking Walter Scott 12-31-2018 ‘A’ that’s past forget – forgie’: National Drama and the Construction of Scottish National Identity on the Nineteenth-Century Stage Paula Sledzinska University of Aberdeen Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the Literature in English, British Isles Commons, and the Theatre History Commons Recommended Citation Sledzinska, Paula (2019) "‘A’ that’s past forget – forgie’: National Drama and the Construction of Scottish National Identity on the Nineteenth-Century Stage," Studies in Scottish Literature: Vol. 44: Iss. 2, 37–50. Available at: https://scholarcommons.sc.edu/ssl/vol44/iss2/5 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. “A’ THAT’S PAST FORGET—FORGIE”: NATIONAL DRAMA AND THE CONSTRUCTION OF NATIONAL IDENTITY ON THE NINETEENTH-CENTURY STAGE Paula Sledzinska For centuries, theatre has provided a space for a discussion of social, cultural and political affairs. The link between theatre and politics is of a particularly critical kind, as it is often within the dramatic texts, and on the stage, that the turmoil of revolutionary transformations, historical tragedies, and future visions were portrayed or challenged, and the shapes and images of communities, or indeed nations, explored.1 The
    [Show full text]
  • A Comparative Analysis of the Medieval Element in the Prose of Sir Walter Scott and John Henry Newman
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1949 A Comparative Analysis of the Medieval Element in the Prose of Sir Walter Scott and John Henry Newman Margaret B. Kearney Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the English Language and Literature Commons Recommended Citation Kearney, Margaret B., "A Comparative Analysis of the Medieval Element in the Prose of Sir Walter Scott and John Henry Newman" (1949). Master's Theses. 767. https://ecommons.luc.edu/luc_theses/767 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1949 Margaret B. Kearney JIIIj. A COMPARATIVE ANALYSIS OF THE MBDIEV AI.. ElEMENT IN THE PROSE OF SIR WALTER SCOTT AND JOHN REh'RY NEWMAN By Margaret B. Kearney A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIHEMENTS FOR THE DEGREE OF MASTER OF ARTS Il~ LOYOLA UNIVERSITY February J949 TABIE OF CONTENTS CHAPTER PAGE I Introduotion • • • • • • • • • • • • • • • • • • • 1 Presentation of the problem - Definition of Medievalimn - Reaotion against Classioism - Soott a pure romantioist rather than a striot medievalist - ~ew.man a late echo of the period. II The Medievalism of Soott and Ne~n As a Natural Outgrowth of Their Environmental and Literary Ute • • • • • • • • • • • • • . • • • • • • • . • 16 Scott: AIloe stry - home and family - Border in­ fluence - early reading habits - diversified education - value derived - influenoe of eighteenth-oentury novelists - as oompared with Ne'Wll18.n: Home and family - early reading habi ts­ Oxford eduoation - influenoe of Oriel Masters - stu~ of early Fathers - Mediterranean voyage - Oxford Movement - R a spiritual awakening of spiritual wants" - personal conclusions.
    [Show full text]
  • Sir Walter Scott - Poems
    Classic Poetry Series Sir Walter Scott - poems - Publication Date: 2004 Publisher: Poemhunter.com - The World's Poetry Archive Sir Walter Scott(1771-1832) Walter Scott, born in College Wynd, Edinburgh, was the son of a lawyer. Educated first at Edinburgh High School and then University he was apprenticed to his father and called to the bar in 1792. An avid reader of poetry, history, drama and romances, the young Scott read widely in Italian, Spanish, Latin and German. In his twenties he was influenced particularly by the German Romantics and his first published works were translations of G.A. Bürger and Goethe. These were followed by the collections of border ballads and the narrative poems, written between 1805 and 1815, that first made him famous. By by this time he had also married Margaret Charlotte Charpenter, of a French Royalist family, and became sheriff-deputy of Selkirkshire, in 1797 and 1799 respectively. In 1809 Scott became partners with John Ballanytne in a book-selling business and also, as an ardent political conservative, helped to found the Tory 'Quarterly Review'. In 1811 he built a residence at Abbotsford on the Tweed. By 1815, beginning to feel eclipsed as a poet by Byron, he turned to the novel form for which he is now chiefly famous. A vast number of these were published, anonymously, over approximately the next fifteen years. In 1820 Scott was made a baronet and seven years later, in 1827, he first gave his name to his works. However, in 1826 the book-selling business became involved in the bankruptcy of another company, leaving Scott with debts of approximately £114,000.
    [Show full text]
  • Scotland ; Picturesque, Historical, Descriptive
    t=3 V^\ » JEDBURGH ABBEY. 225 sixth Duke, who succeeded his father in 1823, it would be superfluous to attempt a description. The additions to this grand mansion render the edifice of great extent, and the situation is one of the most delightful in the vicinity of " pleasant Teviotdale." JEDBURGH ABBEY. Jedbukgh, the country town of Roxburgh, and a royal burgh, is two miles aoove the influx of the river Jed with the Tweed, ten miles from Kelso, and forty-six miles by Lauder from Edinburgh. The ancient name was Jedworth, and the district was known as the Forest of Jedworth ; but another Jedworth represented by a hamlet called Old Jedworth, is about five miles farther up the vales of the Jed. 1 The origin of the burgh, like that of many others, was the Castle of Jedburgh, the founder of which is unknown. This extinct edifice was one of the favourite residences of David I., who by the advice of his preceptor John, also designated Achaius, afterwards Bishop of Glasgow, induced a colony of Canons-Regular, or Augustines, of the Order of St. Augustine, Bishop of Hippo, from the Abbey of St. Quentin at Beauvais in the department of the Oise, to settle at Jedworth near his Castle. The exact date is variously stated in 11 18 and 1147." The first may be the year of the arrival of the Canons, and the second that of the foundation of the Abbey, which was at first a Priory. Few particulars are recorded of the Abbots of Jedburgh, whose names are involved in obscurity.
    [Show full text]
  • Sir Walter Scott and Cinema Page 1 of 14
    The Great Uncredited: Sir Walter Scott and Cinema Page 1 of 14 • Current Issue • Back Issues • Occasional Papers • Publications • Webteque • Events • About Us • Archives The Great Uncredited: Sir Walter Scott and Cinema Tim Dolin Scott’s reputation in the film age When Sir Walter Scott died in 1832 he was the most famous novelist the world had ever known. Remarkably, Scott took up fiction only in middle age, after abandoning narrative poetry when he found himself eclipsed by Byron’s mega-celebrity and greater poetic originality and vigour. Over a twenty-year long career as a novelist he achieved phenomenal popularity and esteem, producing some twenty-five novels and collections of tales.[1] His first novel, Waverley, appeared anonymously in 1814, when he was 42 years old, and sold out six editions in its first year.[2] Having established what was then an entirely new literary form, a hybrid of history and fiction, he wrote eight further novels set in Scotland and for the most part in the eighteenth century, and transformed attitudes to Scottish culture and history in the process.[3] With the publication of Ivanhoe in 1820, where he was still identified on the title page only as “By the Author of http://www.screeningthepast.com/2012/08/the-great-uncredited-sir-walter-scott-and-ci... 12/03/2013 The Great Uncredited: Sir Walter Scott and Cinema Page 2 of 14 Waverley &c.,” Scott began to adapt his historical fiction to other places and other periods, shifting with apparent ease from medieval England to the France of Louis XI to the Palestine of the Crusades.
    [Show full text]
  • Doc < Marmion (Paperback) » Download
    D3LGB5NLWN < Marmion (Paperback) > eBook Marmion (Paperback) By Sir Walter Scott Createspace Independent Publishing Platform, United States, 2015. Paperback. Condition: New. Language: English . Brand New Book ***** Print on Demand *****. Marmion is an epic poem by Walter Scott about the Battle of Flodden (1513). It was published in 1808. The poem tells how Lord Marmion, a favourite of Henry VIII of England, lusts for Clara de Clare, a rich woman. He and his mistress, Constance De Beverley, forge a letter implicating Clara s fiance, Sir Ralph De Wilton, in treason. Constance, a dishonest nun, hopes that her aid will restore her to favour with Marmion. When De Wilton loses the duel he claims in order to defend his honour against Marmion, he is obliged to go into exile. Clara retires to a convent rather than risk Marmion s attentions. Scott started writing Marmion, his second major work, in November 1806. When Archibald Constable, the publisher, learnt of this, he offered a thousand guineas for the copyright unseen. William Miller and John Murray each agreed to take a 25 share in the project. Murray observed: We both view it as honourable, profitable, and glorious to be concerned in the publication of a new poem by Walter Scott. Scott later said... READ ONLINE [ 5.31 MB ] Reviews A brand new eBook with a brand new point of view. It is rally fascinating throgh reading through time period. You will like the way the article writer compose this ebook. -- Ciara Senger It in just one of the most popular ebook. It usually fails to price an excessive amount of.
    [Show full text]
  • Plimpton Collection of Dramas 1675-1920 (Bulk 1850-1900)
    AMHERST COLLEGE ARCHIVES AND SPECIAL COLLECTIONS Plimpton Collection of Dramas 1675-1920 (bulk 1850-1900) Summary: A collection of 1429 plays, largely from nineteenth century American and Brisish popular theater. Quantity: 14 linear feet Listed by: Neha Wadia, AC 2013, Student Assistant Note: These plays are cataloged in the Amherst College online catalog. To find the complete listing in the catalog, do a basic keyword search for “Plimpton collection of dramas”. Individual plays can be searched by title and author. The call number for the collection is PN6111.P5 © 2013 Amherst College Archives and Special Collections Page 1 Plimpton Collection of Dramas INTRODUCTION THE PLIMPTON COLLECTION OF PLAYS by Curtis Canfield Originally published in the Amherst Graduates’ Quarterly, May 1932 Mr. George A. Plimpton, ’76, recently presented to the college a large collection of material relating to the English and American theatre of the nineteenth century. More than 1200 plays are represented in the collection in addition to numerous playbills, programs, libretti, histories, and after-pieces, as well as an autographed photograph of Edwin Booth as Richelieu. The collection seems to have been a part of the extensive theatrical library of Mr. Edward Boltwood of Pittsfield, whose father was born in Amherst in 1839 and moved to Pittsfield in 1870. Mr. Boltwood, although an active member of the Berkshire bar, made the theatre his avocation and found time to write a number of small pieces for the stage, one of which is included in the present collection. He was also instrumental in establishing the William Parke Stock Company in Pittsfield, and continued his connection with this company by writing reviews of its plays.
    [Show full text]
  • Introduction: Reworking Walter Scott Daniel Cook University of Dundee
    Studies in Scottish Literature Volume 44 Article 2 Issue 2 Reworking Walter Scott 12-15-2018 Introduction: Reworking Walter Scott Daniel Cook University of Dundee Lucy Wood Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the Literature in English, British Isles Commons Recommended Citation Cook, Daniel and Wood, Lucy (2019) "Introduction: Reworking Walter Scott," Studies in Scottish Literature: Vol. 44: Iss. 2, 3–9. Available at: https://scholarcommons.sc.edu/ssl/vol44/iss2/2 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. INTRODUCTION: REWORKING WALTER SCOTT Daniel Cook and Lucy Wood In two years’ time, on the fifteenth of August 2021, Walter Scott turns 250. Edinburgh, the world’s first designated UNESCO City of Literature, will lead the celebrations with a series of public events and publications in honour of one of Scotland’s most noteworthy authors. In a sense, this work of commemoration began long ago. Waverley, Edinburgh’s main railway station, remains the only station on the planet to take its name from a literary character—in this case the eponymous hero of Scott’s first novel. Near the station stands the Scott Monument, the world’s tallest shrine to an author, in which Scott and his beloved hound Maida have been regally rendered in thirty tons of Carrara marble. They’ve been sitting there, in Princes Street Gardens, overlooking countless passers-by, since the 1840s, barely a decade after the writer’s death.
    [Show full text]
  • The Sublime Uniting Romanticism and Feminism in Jane Austen
    W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 12-2011 The Sublime Uniting Romanticism and Feminism in Jane Austen Elizabeth Brooke Powell College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Recommended Citation Powell, Elizabeth Brooke, "The Sublime Uniting Romanticism and Feminism in Jane Austen" (2011). Undergraduate Honors Theses. Paper 458. https://scholarworks.wm.edu/honorstheses/458 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. 1 The Sublime Uniting Romanticism and Feminism in Jane Austen A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in English from The College of William and Mary by Elizabeth Brooke Powell Accepted for ___________________________________ (Honors, High Honors, Highest Honors) ________________________________________ Professor Kim Wheatley, Director ________________________________________ Professor Adam Potkay ________________________________________ Professor Deborah Morse ________________________________________ Professor Timothy Costelloe Williamsburg, VA December 12, 2011 2 In a letter to her nephew in 1816, Jane Austen describes her work as “the little bit (two Inches wide) of Ivory” in contrast to her nephew’s “strong, manly, spirited Sketches” (Austen Letters 323). Through her characteristic playful wit and irony, Austen reiterates the stereotypical difference between a masculine and feminine writing style while simultaneously downplaying the actual broad and diverse array of issues addressed in her work. Austen’s irony and understatement perhaps then explain partially why, despite the fact that she has always been considered canon-worthy, scholars excluded her from a place within the Romantic circle.
    [Show full text]