Sir Walter Scott's French Visitors
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Of St Cuthbert'
A Literary Pilgrimage of Durham by Ruth Robson of St Cuthbert' 1. Market Place Welcome to A Literary Pilgrimage of Durham, part of Durham Book Festival, produced by New Writing North, the regional writing development agency for the North of England. Durham Book Festival was established in the 1980s and is one of the country’s first literary festivals. The County and City of Durham have been much written about, being the birthplace, residence, and inspiration for many writers of both fact, fiction, and poetry. Before we delve into stories of scribes, poets, academia, prize-winning authors, political discourse, and folklore passed down through generations, we need to know why the city is here. Durham is a place steeped in history, with evidence of a pre-Roman settlement on the edge of the city at Maiden Castle. Its origins as we know it today start with the arrival of the community of St Cuthbert in the year 995 and the building of the white church at the top of the hill in the centre of the city. This Anglo-Saxon structure was a precursor to today’s cathedral, built by the Normans after the 1066 invasion. It houses both the shrine of St Cuthbert and the tomb of the Venerable Bede, and forms the Durham UNESCO World Heritage Site along with Durham Castle and other buildings, and their setting. The early civic history of Durham is tied to the role of its Bishops, known as the Prince Bishops. The Bishopric of Durham held unique powers in England, as this quote from the steward of Anthony Bek, Bishop of Durham from 1284-1311, illustrates: ‘There are two kings in England, namely the Lord King of England, wearing a crown in sign of his regality and the Lord Bishop of Durham wearing a mitre in place of a crown, in sign of his regality in the diocese of Durham.’ The area from the River Tees south of Durham to the River Tweed, which for the most part forms the border between England and Scotland, was semi-independent of England for centuries, ruled in part by the Bishop of Durham and in part by the Earl of Northumberland. -
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. -
Sir Walter Scott's Templar Construct
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. SIR WALTER SCOTT’S TEMPLAR CONSTRUCT – A STUDY OF CONTEMPORARY INFLUENCES ON HISTORICAL PERCEPTIONS. A THESIS PRESENTED IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN HISTORY AT MASSEY UNIVERSITY, EXTRAMURAL, NEW ZEALAND. JANE HELEN WOODGER 2017 1 ABSTRACT Sir Walter Scott was a writer of historical fiction, but how accurate are his portrayals? The novels Ivanhoe and Talisman both feature Templars as the antagonists. Scott’s works display he had a fundamental knowledge of the Order and their fall. However, the novels are fiction, and the accuracy of some of the author’s depictions are questionable. As a result, the novels are more representative of events and thinking of the early nineteenth century than any other period. The main theme in both novels is the importance of unity and illustrating the destructive nature of any division. The protagonists unify under the banner of King Richard and the Templars pursue a course of independence. Scott’s works also helped to formulate notions of Scottish identity, Freemasonry (and their alleged forbearers the Templars) and Victorian behaviours. However, Scott’s image is only one of a long history of Templars featuring in literature over the centuries. Like Scott, the previous renditions of the Templars are more illustrations of the contemporary than historical accounts. One matter for unease in the early 1800s was religion and Catholic Emancipation. -
Desire, Villainy, and Capital in Eighteenth-Century Fiction
THE UNIVERSITY OF CHICAGO IMAGINARY WANTS: DESIRE, VILLAINY, AND CAPITAL IN EIGHTEENTH-CENTURY FICTION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE BY SAMUEL TOMAN ROWE CHICAGO, ILLINOIS AUGUST 2017 Table of contents List of figures iii Acknowledgements iv Introduction 1 1. Consumptive production 6 2. The persecutory plot 21 3. Tragedy and the other Enlightenment 36 I. Moll’s bundles: desire, tragi-comedy, and criminality in Defoe 42 1. The picaresque, the providential, the tragi-comic 44 2. Fortune, mastery, and the picaresque 54 3. The projector’s fortune, the tradesman’s bait 65 4. Bundles and baits 72 II. “Strange Diligence”: Lovelace and the rake ethic 90 1. The persecutory plot in Richardson 93 2. Strange diligence 99 3. Hedonism without heart 107 4. Smith’s shop 117 5. “Visionary gratification” and tragedy 126 III. Beckford’s insatiable caliph: oriental despotism and consumer society 129 1. The Asiatic mode of consumption 136 2. Luxuriance, privation, and the market 143 3. Beyond the palace of the senses 149 4. Enameling the sensorium 159 5. Damnation, the gaze, and sociality 164 IV. Matthew Lewis and the gothic face 174 1. The persecutory plot in romantic fiction 179 2. Gothic faciality 187 3. Lewis: capital accumulation and the flaming eye 203 Bibliography 217 ii List of figures 1. Sketch of Vathek’s tower attributed to William Beckford, c. 1843-4. Page 151. 2. Bookplate from William Lane’s circulating library. Page 202. -
The Ancient Parish of Kirkby Ravensworth
THE ANCIENT PARISH OF KIRKBY RAVENSWORTH by The Reverend Norman Butcher This book is dedicated to Mr. T.W. Metcalfe without whose inspiration and encouragement it would not have been written. I am greatly indebted to Mr. J. Merryne Watson of Newsham for his constant guidance and revision in the compilation of this exercise and for communicating to me his unrivalled knowledge of the life, history and geography of this parish, without which this work could not have been written. I am also indebted to Mr. E.T. Oram of Barwick-in-Elmet for his invaluable assistance in resolving the architectural nomenclature and kindred problems of this exercise. To each of the above and to all those who assisted me in this exercise, I express my thanks. Norman Butcher 1985 THE EARLY YEARS 6 THE PARISH OF KIRKBY RAVENSWORTH 15 THE PARISH CHURCH 17 Rectors 21 Perpetual Curates 22 Curates, ie Vicars 22 Parish Clerks 23 The Dedication of the Church 23 The Nave 26 The Chancel 31 The Porch 37 The Font 39 The Tower 40 Monuments 42 Furnishings 44 The Churchyard 46 Church Records 47 THE DAKYN TRUST 50 The Hospital 55 The School 57 KIRKBY HILL 62 RAVENSWORTH 65 THE FITZHUGHS 73 The Castle 79 WHASHTON 83 DALTON 89 GAYLES 103 NEWSHAM 111 NEW FOREST 120 ARCHITECTURAL NOTES 129 GLOSSARY 130 HISTORICAL TERMS 134 BIBLIOGRAPHY 137 POSTSCRIPT 139 THE EARLY YEARS There have probably been people living in this Parish for thousands of years but man’s first significant visits to this area were doubtless made during the summer months when he could fish and hunt the red deer, the roe deer, the wild ox and the wild pig, in addition to a great variety of small animals and birds. -
Scott and the Biographers
Scott and the Biographers ROBERT SPEAIGHT HE life of Sir Walter Scott is an invitation to biography. The story is essentially a success story, although it began T with disappointment in love and very nearly ended in bankruptcy. The mixture of romance and realism that Scott's latest biographer1 discovers in his novels was the determining constituent of his character. Abbotsford may stand as its epitome. Scott made the money to build it, and his fervent historical imagination decreed the way it should be built. When his fortunes crashed and his powers began to fail, it still stood as it stands today. The interesting question is whether his work stands with it. Our knowledge of Scott, and our answer to the question, will now depend upon two major biographies. Each is a classic in its kind. For many of us Lockhart's life of his father-in-law has a place only a notch or two below Boswell. Lockhart was a con• troversial character, and his accuracy cannot always be relied upon. 'To be one of the best and one of the kindest as well as one of the cleverest men I know,' Scott wrote to his daughter, 'John's taste and talent for making enemies and powerful enemies is something extraordinary.' His gifts were those of the satirist, and the satirist — unlike the story-teller — takes unpopularity in his stride. Yet the note of Lockhart's life of Scott is a pietas that never cloys, and a judgement that rarely loses it balance. He is writing from a close knowledge of his subject, and of events still recent in memory. -
The Graphic Art Consciousness of Sir Walter Scott
<M 2- The Graphic Art CovN^eioo^nes^ Of Sir Waller ^eott THE GRAPHIC ART CONSCIOUSNESS OF SIR WALTER SCOTT BY THOMAS BLAINE STANLEY A. B. Earlham College, 1913 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN ENGLISH IN THE GRADUATE SCHOOL OF THE UNIVERSITY OF ILLINOIS 1916 UNIVERSITY OF ILLINOIS THE GRADUATE SCHOOL Oo CM 1 HEREBY Ria'OMMIiNl) Tl I AT THE THESIS PREPARED UNDER MY SUPER- VISION BY J^~//Uhl<^<a^. /^C^ ENTITLED yJpC BE ACCEPTED AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE OF In_Qiarge of Thesis Head of Department Recommendation concurred in :* Committee on Final Examination* *Required for doctor's degree but not for master's. TABLE OF CONTENTS. PAGE FOREWORD iv I. SCOTT'S ATTITUDE TOWARD ART 1 II. SCOTT'S PERCEPTION OF FORM .... 20 III. SCOTT'S PERCEPTION OF LIGHT AND SHADE . 45 IV. SCOTT'S PERCEPTION OF COLOR .... 60 V. SCOTT'S PERCEPTION OF PICTORIAL COMPOSITION . 77 BIBLIOGRAPHY 39 Digitized by the Internet Archive in 2014 http://archive.org/details/graphicartconsciOOstan . iv Foreword In several passages of the writings of Sir Walter Scott are found statements disclaiming technical knowledge of graphic art. This paper is the record of an investigation made to dis- cover whether there is not evidence to be set over against Scott's personal disclaimer,- evidence either showing that the great nov- elist knew more of the principles of graphic art than his humility allowed him to own, 1 or indicating the possession on his part of instinctive perception in artistic matters of which he was actually unaware. -
The Three Oxfo?·D Ref 0?'Mers
82 The Three Oxfo?·d Ref0?'mers. sary to the success of the other's work. Unless the minds of men had been first aroused and enlightened by the writings of the earlier Reformers, Luther, when he made his grea~ stand, would have failed from want of support. A.s the monks said, "Erasmus laid the egg, and Luther hatched the cockatrice." A.nd unless a more vigorous hand had carried on the earlier work, it would have failed of its due effect. Erasmus' mainly destructive criticism might have driven some unstable souls into partial infidelity, or have thrust back others, in despair, into deeper darkness. In times of darkness and death two things are needed-light and life. If the special characteristic of the former movement was light, that of the later was life. There have been times in the history alike of states and of churches, when quiet constitutional methods of reform seem unavailing, when the slumber of men's souls has been too pro found to be shaken by anything less than the shock of some great convulsion. The Reformer for such times must be a son of thunder, a man of sterner stuff than the noble Colet, or the tolerant Erasmus, or the polished More. Such a time was that which preceded the Protestant Reformation: such a Reformer was Martin Luther. W. E, PLATER. ---'!>-•0<>•>---- ART. III.-SIR WALTER S00TT-(CONTINUED). "THE Lady of the Lake," which depends for its chief interest on incident and romantic situation, but which is also full of light and colour, martial ardour, and national feeling, was published in May, 1810. -
Towards the Edinburgh Edition of Walter Scott's Poetry ALISON
Towards the Edinburgh Edition of Walter Scott’s Poetry ALISON LUMSDEN University of Aberdeen In 1807 Scott was given an advance of one thousand guineas for Marmion, an unprecedented sum of money for any poem; in 1810 the publication of The Lady of the Lake was the media event of the year and at least six editions (over 25,000 copies) were sold in the first year.1 As Nicola Watson has demonstrated, the poem caused a wave of tourists to visit the region in which it is set.2 In fact, readers could not get enough of Scott’s poetry and his dazzling success in the field culminated in 1813 when he was offered, but declined, the poet laureateship. However, in spite of Scott’s significance in the early nineteenth century his role in shaping our constructions of Romanticism has been occluded; Scott is only given passing reference in accounts of Romantic poetry, until recently there has been very little critical work on his poems and Scott’s work seldom appears in anthologies of Romantic verse. But why has Scott’s poetry been so eclipsed? This question can, of course, only be speculated upon. Scott’s own, typically self-effacing position was that the emergence of 1 For a full account of the publishing history of the poem see William B. Todd and Ann Bowden, Sir Walter Scott: A Bibliographical History 1796 – 1832 (Newcastle DE, 1998). Editions were being produced so rapidly between May and November of 1810 that sheets were being recycled from one to the other but there are at least six genuine new editions. -
Ancient Poems, Ballads and Songs of the Peasantry of England
Ancient Poems, Ballads and Songs of the Peasantry of England Taken down from oral recitation and transcribed from private manuscripts, rare broadsides and scarce publications. INTRODUCTION. IN 1846, the Percy Society issued to its members a volume entitled ANCIENT POEMS, BALLADS, AND SONGS OF THE PEASANTRY OF ENGLAND, edited by Mr. James Henry Dixon. The sources drawn upon by Mr. Dixon are intimated in the following extract from his preface:- He who, in travelling through the rural districts of England, has made the road-side inn his resting-place, who has visited the lowly dwellings of the villagers and yeomanry, and been present at their feasts and festivals, must have observed that there are certain old poems, ballads, and songs, which are favourites with the masses, and have been said and sung from generation to generation. This traditional, and, for the most part, unprinted literature, - cherished in remote villages, resisting everywhere the invasion of modern namby-pamby verse and jaunty melody, and possessing, in an historical point of view, especial value as a faithful record of the feeling, usages, and modes of life of the rural population, - had been almost wholly passed over amongst the antiquarian revivals which constitute one of the distinguishing features of the present age. While attention was successfully drawn to other forms of our early poetry, this peasant minstrelsy was scarcely touched, and might be considered unexplored ground. There was great difficulty in collecting materials which lay scattered so widely, and which could be procured in their genuine simplicity only from the people amongst whom they originated, and with whom they are as 'familiar as household words.' It was even still more difficult to find an editor who combined genial literary taste with the local knowledge of character, customs, and dialect, indispensable to the collation of such reliques; and thus, although their national interest was universally recognised, they were silently permitted to fall into comparative oblivion. -
Sir Walter Scott 1771- 1832
Sir Walter Scott 1771- 1832 Contents: Biography.................................................................................................................................................................Page 1 Sir Walter Scott and the Reinvention of Scotland.................................................................Pages 2 - 5 Sir Walter Scott and the Honours of Scotland.......................................................................Pages 5 - 6 Lochinvar.......................................................................................................................................................Pages 7 - 8 Further Reading / Contacts.............................................................................................................Pages 9 - 12 Biography: Sir Walter Scott (1771 - 1832) : Born in 1771 in Edinburgh. At the age of 1 year, Scott suf- fered from polio and lost the use of his right leg. In order to recuperate, his parents sent him to Sandyknowe, his grandfather’s sheep farm in the Borders, where he had an early exposure to Border lore and legend, and began a fascination with the Jacobite cause. After moving between the Borders, Edinburgh and Bath to improve his health, Scott fi nally returned to Edinburgh in 1778, where he was educated privately for admission to the High School of Edinburgh, which he entered the following year. At the age of 12, he matriculated at Edinburgh University, and entered his father’s legal practice at 15. A talented and energetic person, Scott became a lawyer, and pursued this profession all his adult life, in spite of his numerous social commitments and prolifi c writing. He made his fi rst literary appearance withThe Minstrelsy of the Scottish Border, a collection of bal- lads, but his fi rst success as an author was in poetry withThe Lay of the Last Minstrel, and most outstandingly, The Lady of the Lake, a bestseller. Scott promoted an image of a wild, bloody, romantic, mysterious Scotland, which is still a valid stereotype of the country today. -
The Law and Lawyers of Sir Walter Scott
THE LAW AND LAWYERS OF SIR WALTER SCOTT. "If it isna weel bobbit We'll bob it again." Walter Scott occupies a unique position in literature. His fame rests on his poems and novels, but he was also an historian, an antiquarian, a lawyer, a judge and a clerk of the highest Court in Scotland. No less a man than Emerson said that Scott, in the number and variety of his characters, approached Shakespeare, and Scott's flatterers were fond of making a closer comparison, but Scott, himself, with the natural modesty of a Scotchman, and the true self appreciation of a genius, said he was not fit to tie Shakespeare's brogues. He surely could not have written Hamlet, nor indeed could he have written Rabbi ben Ezra, nor yet, In Memoriam; but the Lady of the Lake, Marmion and the Lay of the Last Min- strel, with their smooth verse and charming ballads, have never been equalled. His novels are wonderful. No writer has produced so much that is so uniformly good. He hits the gold every time. Stevenson, no mean critic, called him, "out and away the king of the Roman- tics" and "the best of novelists," but maintains that Scott was wrong in his history, and picks the Lady of the Lake and Guy Mannering to tatters, for their "bad English, bad style, and abominably bad narrative." Macaulay, on the other hand, was amazed by Scott's skilful use of history in his novels. "Scott has used," says Macaulay, "those fragments of truth which his- torians have scornfully thrown behind them, in a manner which may well excite their envy.