Product Name: SIR WALTER SCOTT’S THE WAVERLY NOVELS !Ensemble d’œuvres RELIURES VICTORIENNES 1880 officiel complet
Binding：Fine Binding Place of Publication：London and New York Language：English Special Attributes：Victorian Bindings, Illustrated Author：Sir Walter Scott Topic：Classics Country/Region of Manufacture：United States Subject：Literature & Fiction Year Printed：1880 officiel Original/Facsimile：Original

SIR WALTER SCOTTS:

THE WAVERLY NOVELS!

Complete in 25 volumes.

Bound in the original Victorian Bindings.

Printed in 1880.

A nice complete Victorian, antiquarian set of the Waverly Novels.

Complete with all 25 volumes.

These are the original Victorian Bindings from 1880.

This set is 140 years old.

ILLUSTRATED.

This edition stands out with with STEEL ENGRAVED plates designed by George Cruikshank (the famous Charles Dickens illustrator), and J.M.W. Turner.

This set is 140 years old.

These are the original bindings.

These are theoriginalVICTORIAN BINDINGS from 1880.

Set is complete and in good condition for its age. This set does have some wear. This set is stored in a remote warehouse. More details and pictures will be added later.

There is some wear to these original bindings, with some chipping along the spine extremities.

This edition stands out with With steel plates from designs by George Cruikshank (the famous Charles Dickens illustrator), JMW Turner, and Dennis Maclise.

Each book will be individually wrapped and protected for shipping via Priority Mail.

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#2235OOT REV

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Waverley Novels From Wikipedia, the free encyclopedia This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2010) (Learn how and when to remove this template message) Scenes from the Illustrated London News of Arthur Sullivans operatic adaptation of Ivanhoe. The Waverley Novels is a long series of novels by Sir Walter Scott (1771–1832). For nearly a century, they were among the most popular and widely read novels in all of Europe. Because Scott did not publicly acknowledge authorship until 1827, the series takes its name from Waverley, the first novel of the series released in 1814. The later books bore the words "by the author of Waverley" on their title pages. The Tales of my Landlord sub-series was not advertised as "by the author of Waverley" and thus is not always included as part of the Waverley Novels series. Contents [hide] 1 Order of publication 2 Chronological order, by setting 3 Editions 4 Placenames 5 Other uses of names 6 See also 7 Notes and references 8 External links Order of publication[edit] Title Published Main setting Period Waverley, or, Tis Sixty Years Since 1814 Perthshire (Scotland) 1745–1746 Guy Mannering, or, The Astrologer 1815 Galloway (Scotland) 1760-5, 1781–2 The Antiquary 1816 Angus (Scotland) 1790s Tales of My Landlord, 1st series: The Black Dwarf 1816 Scottish Borders 1707 The Tale of Old Mortality 1816 Southern Scotland 1679–89 Rob Roy 1818 Northumberland (England), and the environs of Loch Lomond (Scotland) 1715–16 Tales of My Landlord, 2nd series: The Heart of Midlothian 1818 Edinburgh and Richmond, London 1736 Tales of My Landlord, 3rd series: The Bride of Lammermoor 1819 East Lothian (Scotland) 1709–11 A Legend of Montrose 1819 Scottish Highlands 1644-5 Ivanhoe 1819 Yorkshire, Nottinghamshire and Leicestershire (England) 1194 The Monastery 1820 Scottish Borders 1547–57 The Abbot 1820 Various in Scotland 1567-8 Kenilworth 1821 Berkshire and Warwickshire (England) 1575 The Pirate 1822 Shetland and Orkney 1690s The Fortunes of Nigel 1822 London and Greenwich (England) 1616–18 Peveril of the Peak 1822 Derbyshire, the Isle of Man, and London 1658–80 Quentin Durward 1823 Tours and Péronne (France) Liège (Wallonia/Belgium) 1468 St. Ronans Well 1824 Southern Scotland 19th century Redgauntlet 1824 Southern Scotland, and Cumberland (England) 1766 Tales of the Crusaders: The Betrothed 1825 Wales, and Gloucester (England) 1187–92 The Talisman 1825 Syria 1191 Woodstock, or, The Cavalier 1826 Woodstock and Windsor (England) Brussels, in the Spanish Netherlands 1652 Chronicles of the Canongate, 2nd series:[1] St Valentines Day, or, The Fair Maid of Perth 1828 Perthshire (Scotland) 1396 Anne of Geierstein, or, The Maiden in the Mist 1829 Switzerland and Eastern France 1474–77 Tales of my Landlord, 4th series: Count Robert of Paris 1831 Constantinople and Scutari (now in Turkey) 1097 Castle Dangerous 1831 Kirkcudbrightshire (Scotland) 1307 The Siege of Malta 2008 Malta and Southern Spain 1565 Chronological order, by setting[edit] 1097: Count Robert of Paris 1187–94: The Betrothed, The Talisman, Ivanhoe 1307: Castle Dangerous 1396: The Fair Maid of Perth 1468–77: Quentin Durward, Anne of Geierstein 1547–75: The Monastery, The Abbot, Kenilworth, The Siege of Malta 1616–18: The Fortunes of Nigel 1644–89: A Legend of Montrose, Woodstock, Peveril of the Peak, The Tale of Old Mortality, The Pirate 1700–99: The Black Dwarf, The Bride of Lammermoor, Rob Roy, Heart of Midlothian, Waverley, Guy Mannering, Redgauntlet, The Antiquary 19th century: St. Ronans Well Editions[edit] Originally printed by James Ballantyne on the Canongate in Edinburgh, brother of one of Scotts close friends, John Ballantyne ("Printed by James Ballantyne and Co. For Archibald Constable and Co., Edinburgh"). Some of the early editions were lavishly illustrated by George Cattermole. The two definitive editions are the 48-volume set published between 1829 and 1833 by Robert Cadell (the "Magnum Opus"), based on previous editions, with new introductions and appendices by Scott, and the 30-volume set, based on manuscripts, published by the Edinburgh University Press and Columbia University Press in the 1990s. Placenames[edit] View from the Scott Monument of the Waverley Station roof, in Edinburgh, with Arthurs Seat in the background The towns of Waverly, Nebraska; Waverley, New York; Waverley, Nova Scotia; Waverly, Ohio; and Waverly, Tennessee,[2] take their names from these novels, as does Waverley Station and Waverley Bridge in Edinburgh. Waverley School in Louisville, Kentucky, which later became the Waverly Hills Sanatorium, was named after the novels as well.[3] Other uses of names[edit] Many British railway locomotives were given names from the novels. Over two thousand streets in Britain have names from titles of individual novels, with 650 from Waverley alone. See also[edit] icon Novels portal Tales of my Landlord Tales of the Crusaders Chronicles of the Canongate Walter Scott From Wikipedia, the free encyclopedia For other people named Walter Scott, see Walter Scott (disambiguation). Wiki letter w.svg This articles lead section may not adequately summarize key points of its contents. Please consider expanding the lead to provide an accessible overview of all important aspects of the article. Please discuss this issue on the articles talk page. (February 2017) Sir Walter Scott, Bt Sir Henry Raeburn - Portrait of Sir Walter Scott.jpg Raeburns portrait of Sir Walter Scott in 1822 Born 15 August 1771 College Wynd, Edinburgh Scotland Died 21 September 1832(aged 61) Abbotsford, Roxburghshire Scotland Occupation Historical novelist Poet Advocate Sheriff-Depute Clerk of Session Nationality British Alma mater University of Edinburgh Period 19th century Literary movement Romanticism Spouse Charlotte Carpenter (Charpentier) Signature Sir Walter Scott, 1st Baronet, FRSE (15 August 1771 – 21 September 1832) was a Scottish historical novelist, playwright and poet. Many of his works remain classics of both English-language literature and of Scottish literature. Famous titles include Ivanhoe, Rob Roy, Old Mortality, The Lady of the Lake, Waverley, The Heart of Midlothian and The Bride of Lammermoor. Although primarily remembered for his extensive literary works and his political engagement, Scott was an advocate, judge and legal administrator by profession, and throughout his career combined his writing and editing work with his daily occupation as Clerk of Session and Sheriff-Depute of Selkirkshire. A prominent member of the Tory establishment in Edinburgh, Scott was an active member of the Highland Society and served a long term as President of the Royal Society of Edinburgh (1820–32). Contents [hide] 1 Life and works 1.1 Early days 1.2 Meeting with Blacklock and Burns 1.3 Start of literary career, marriage and family 1.4 Poetry 1.5 Novelism 1.6 Recovery of the Crown Jewels, baronetcy and ceremonial pageantry 1.7 Financial problems and death 2 Personal life 3 Abbotsford 4 Legacy 4.1 Later assessment 4.2 Memorials and commemoration 4.3 Literature by other authors 5 Bibliography 5.1 Novels 5.2 Poetry 5.3 Short stories 5.4 Plays 5.5 Non-fiction 6 See also 7 References 8 Further reading 9 External links Life and works[edit] Early days[edit] Scotts childhood at Sandyknowes, in the shadow of Smailholm Tower, introduced him to the tales and folklore of the Scottish Borders. The son of a Writer to the Signet (solicitor),[1] Scott was born in 1771 in his Presbyterian familys third-floor flat on College Wynd in the Old Town of Edinburgh, a narrow alleyway leading from the Cowgate to the gates of the University of Edinburgh(Old College).[2] He survived a childhood bout of polio in 1773 that left him lame,[3] a condition that was to have a significant effect on his life and writing.[4] To cure his lameness he was sent in 1773 to live in the rural Scottish Borders at his paternal grandparents farm at Sandyknowe, adjacent to the ruin of Smailholm Tower, the earlier family home.[5] Here he was taught to read by his aunt Jenny, and learned from her the speech patterns and many of the tales and legends that characterised much of his work. In January 1775 he returned to Edinburgh, and that summer went with his aunt Jenny to take spa treatment at Bathin England, where they lived at 6 South Parade.[6] In the winter of 1776 he went back to Sandyknowe, with another attempt at a water cure at Prestonpans during the following summer.[5] The Scotts family home in George Square, Edinburgh In 1778, Scott returned to Edinburgh for private education to prepare him for school, and joined his family in their new house built as one of the first in George Square.[2] In October 1779 he began at the Royal High School of Edinburgh (in High School Yards). He was now well able to walk and explore the city and the surrounding countryside. His reading included chivalric romances, poems, history and travel books. He was given private tuition by James Mitchell in arithmetic and writing, and learned from him the history of the Church of Scotland with emphasis on the Covenanters. After finishing school he was sent to stay for six months with his aunt Jenny in Kelso, attending the local grammar school where he met James and John Ballantyne, who later became his business partners and printed his books.[7] Meeting with Blacklock and Burns[edit] Scott began studying classics at the University of Edinburgh in November 1783, at the age of 12, a year or so younger than most of his fellow students. In March 1786 he began an apprenticeship in his fathers office to become a Writer to the Signet. While at the university Scott had become a friend of Adam Ferguson, the son of Professor Adam Ferguson who hosted literary salons. Scott met the blind poet Thomas Blacklock, who lent him books and introduced him to James Macphersons Ossiancycle of poems. During the winter of 1786–87 the 15-year-old Scott saw Robert Burns at one of these salons, for what was to be their only meeting. When Burns noticed a print illustrating the poem "The Justice of the Peace" and asked who had written the poem, only Scott knew that it was by John Langhorne, and was thanked by Burns.[8] When it was decided that he would become a lawyer, he returned to the university to study law, first taking classes in Moral Philosophy and Universal History in 1789–90.[7] After completing his studies in law, he became a lawyer in Edinburgh. As a lawyers clerk he made his first visit to the Scottish Highlands directing an eviction. He was admitted to the Faculty of Advocates in 1792. He had an unsuccessful love suit with Williamina Belsches of Fettercairn, who married Scotts friend Sir William Forbes, 7th Baronet. Start of literary career, marriage and family[edit] A copy of Scotts Minstrelsy in the National Museum of Scotland As a boy, youth and young man, Scott was fascinated by the oral traditions of the Scottish Borders. He was an obsessive collector of stories, and developed an innovative method of recording what he heard at the feet of local story-tellers using carvings on twigs, to avoid the disapproval of those who believed that such stories were neither for writing down nor for printing.[9] At the age of 25 he began to write professionally, translating works from German,[10] his first publication being rhymed versions of ballads by Gottfried August Bürger in 1796. He then published an idiosyncratic three-volume set of collected ballads of his adopted home region, The Minstrelsy of the Scottish Border. This was the first sign from a literary standpoint of his interest in Scottish history. As a result of his early polio infection, Scott had a pronounced limp. He was described in 1820 as tall, well formed (except for one ankle and foot which made him walk lamely), neither fat nor thin, with forehead very high, nose short, upper lip long and face rather fleshy, complexion fresh and clear, eyes very blue, shrewd and penetrating, with hair now silvery white.[11] Although a determined walker, on horseback he experienced greater freedom of movement. Unable to consider a military career, Scott enlisted as a volunteer in the 1st Lothian and Border yeomanry.[12] On a trip to the Lake District with old college friends he met Charlotte Genevieve Charpentier (or Carpenter), daughter of Jean Charpentier of Lyon in France, and ward of Lord Downshire in Cumberland, an Episcopalian. After three weeks of courtship, Scott proposed and they were married on Christmas Eve 1797 in St Marys Church, Carlisle (a church set up in the now destroyed nave of Carlisle Cathedral).[13][14] After renting a house in George Street, they moved to nearby South Castle Street. They had five children, of whom four survived by the time of Scotts death, most baptized by an Episcopalian clergyman. In 1799 he was appointed Sheriff-Depute of the County of Selkirk, based in the Royal Burgh of Selkirk. In his early married days Scott had a decent living from his earnings at the law, his salary as Sheriff-Depute, his wifes income, some revenue from his writing, and his share of his fathers rather meagre estate. After their third son was born in 1801, they moved to a spacious three-storey house built for Scott at 39 North Castle Street. This remained Scotts base in Edinburgh until 1826, when he could no longer afford two homes. From 1798 Scott had spent the summers in a cottage at Lasswade, where he entertained guests including literary figures, and it was there that his career as an author began. There were nominal residency requirements for his position of Sheriff-Depute, and at first he stayed at a local inn during the circuit. In 1804 he ended his use of the Lasswade cottage and leased the substantial house of Ashestiel, 6 miles (9.7 km) from Selkirk. It was sited on the south bank of the River Tweed, and the building incorporated an old tower house.[2] Scotts father, also Walter (1729–1799), was a Freemason, being a member of Lodge St David, No.36 (Edinburgh), and Scott also became a Freemason in his fathers Lodge in 1801, albeit only after the death of his father.[15] Poetry[edit] Sir Walter Scott, novelist and poet - painted by Sir William Allan In 1796, Scotts friend James Ballantyne[16] founded a printing press in Kelso, in the Scottish Borders. Through Ballantyne, Scott was able to publish his first works, including "Glenfinlas" and "The Eve of St. John", and his poetry then began to bring him to public attention. In 1805, The Lay of the Last Minstrel captured wide public imagination, and his career as a writer was established in spectacular fashion. He published many other poems over the next ten years, including the popular The Lady of the Lake, printed in 1810 and set in the Trossachs. Portions of the German translation of this work were set to music by Franz Schubert. One of these songs, "Ellens dritter Gesang", is popularly labelled as "Schuberts Ave Maria". Beethovens opus 108 "Twenty-Five Scottish Songs" includes 3 folk songs whose words are by Walter Scott. Marmion, published in 1808, produced lines that have become proverbial. Canto VI. Stanza 17 reads: Yet Clares sharp questions must I shun Must separate Constance from the nun Oh! what a tangled web we weave When first we practise to deceive! A Palmer too! No wonder why I felt rebuked beneath his eye.[17] In 1809 Scott persuaded James Ballantyne and his brother to move to Edinburgh and to establish their printing press there. He became a partner in their business. As a political conservative,[18] Scott helped to found the Tory Quarterly Review, a review journal to which he made several anonymous contributions. Scott was also a contributor to the Edinburgh Review, which espoused Whig views. Scott was ordained as an elder in the Presbyterian Church of Duddington and sat in the General Assembly for a time as representative elder of the burgh of Selkirk. When the lease of Ashestiel expired in 1811 Scott bought Cartley Hole Farm, on the south bank of the River Tweed nearer Melrose. The farm had the nickname of "Clarty Hole", and when Scott built a family cottage there in 1812 he named it "Abbotsford". He continued to expand the estate, and built Abbotsford House in a series of extensions.[2] In 1813 Scott was offered the position of Poet Laureate. He declined, due to concerns that "such an appointment would be a poisoned chalice", as the Laureateship had fallen into disrepute, due to the decline in quality of work suffered by previous title holders, ", as a succession of poetasters had churned out conventional and obsequious odes on royal occasions."[19] He sought advice from the Duke of Buccleuch, who counseled him to retain his literary independence, and the position went to Scotts friend, Robert Southey.[20] Novelism[edit] A Legend of Montrose, illustration from the 1872 edition Although Scott had attained worldwide celebrity through his poetry, he soon tried his hand at documenting his researches into the oral tradition of the Scottish Borders in prose fiction—stories and novels—at the time still considered aesthetically inferior to poetry (above all to such classical genres as the epic or poetic tragedy) as a mimetic vehicle for portraying historical events. In an innovative and astute action, he wrote and published his first novel, Waverley, anonymously in 1814. It was a tale of the Jacobite rising of 1745. Its English protagonist, Edward Waverley, like Don Quixote a great reader of romances, has been brought up by his Tory uncle, who is sympathetic to Jacobitism, although Edwards own father is a Whig. The youthful Waverley obtains a commission in the Whig army and is posted in Dundee. On leave, he meets his uncles friend, the Jacobite Baron Bradwardine and is attracted to the Barons daughter Rose. On a visit to the Highlands, Edward overstays his leave and is arrested and charged with desertion but is rescued by the Highland chieftain Fergus MacIvor and his mesmerizing sister Flora, whose devotion to the Stuart cause, "as it exceeded her brothers in fanaticism, excelled it also in purity". Through Flora, Waverley meets Bonnie Prince Charlie, and under her influence goes over to the Jacobite side and takes part in the Battle of Prestonpans. He escapes retribution, however, after saving the life of a Whig colonel during the battle. Waverley (whose surname reflects his divided loyalties) eventually decides to lead a peaceful life of establishment respectability under the House of Hanover rather than live as a proscribed rebel. He chooses to marry the beautiful Rose Bradwardine, rather than cast his lot with the sublime Flora MacIvor, who, after the failure of the 45 rising, retires to a French convent. There followed a succession of novels over the next five years, each with a Scottish historical setting. Mindful of his reputation as a poet, Scott maintained the anonymity he had begun with Waverley, publishing the novels under the name "Author of Waverley" or as "Tales of..." with no author. Among those familiar with his poetry, his identity became an open secret, but Scott persisted in maintaining the façade, perhaps because he thought his old-fashioned father would disapprove of his engaging in such a trivial pursuit as novel writing. During this time Scott became known by the nickname "The Wizard of the North". In 1815 he was given the honour of dining with George, Prince Regent, who wanted to meet the "Author of Waverley". "Edgar and Lucie at Mermaidens well" by Charles Robert Leslie (1886), after Sir Walter Scotts Bride of Lammermoor. Lucie is wearing a full plaid. Scotts 1819 series Tales of my Landlord is sometimes considered a subset of the Waverley novels and was intended to illustrate aspects of Scottish regional life. Among the best known is The Bride of Lammermoor, a fictionalized version of an actual incident in the history of the Dalrymple family that took place in the Lammermuir Hills in 1669. In the novel, Lucie Ashton and the nobly born but now dispossessed and impoverished Edgar Ravenswood exchange vows. But the Ravenswoods and the wealthy Ashtons, who now own the former Ravenswood lands, are enemies, and Lucies mother forces her daughter to break her engagement to Edgar and marry the wealthy Sir Arthur Bucklaw. Lucie falls into a depression and on their wedding night stabs the bridegroom, succumbs to insanity, and dies. In 1821, French Romantic painter Eugène Delacroix painted a portrait depicting himself as the melancholy, disinherited Edgar Ravenswood. The prolonged, climactic coloratura mad scene for Lucia in Donizettis 1835 bel canto opera Lucia di Lammermoor is based on what in the novel were just a few bland sentences. Tales of my Landlord includes the now highly regarded novel Old Mortality, set in 1679–89 against the backdrop of the ferocious anti-Covenanting campaign of the Tory Graham of Claverhouse, subsequently made Viscount Dundee (called "Bluidy Clavers" by his opponents but later dubbed "Bonnie Dundee" by Scott). The Covenanters were presbyterians who had supported the Restoration of Charles II on promises of a Presbyterian settlement, but he had instead reintroduced Episcopalian church government with draconian penalties for Presbyterian worship. This led to the destitution of around 270 ministers who had refused to take an oath of allegiance and submit themselves to bishops, and who continued to conduct worship among a remnant of their flock in caves and other remote country spots. The relentless persecution of these conventicles and attempts to break them up by military force had led to open revolt. The story is told from the point of view of Henry Morton, a moderate Presbyterian, who is unwittingly drawn into the conflict and barely escapes summary execution. In writing Old Mortality Scott drew upon the knowledge he had acquired from his researches into ballads on the subject for The Minstrelsy of the Scottish Border.[21] Scotts background as a lawyer also informed his perspective, for at the time of the novel, which takes place before the Act of Union of 1707, English law did not apply in Scotland, and afterwards Scotland has continued to have its own Scots law as a hybrid legal system. A recent critic, who is a legal as well as a literary scholar, argues that Old Mortality not only reflects the dispute between Stuarts absolute monarchy and the jurisdiction of the courts, but also invokes a foundational moment in British sovereignty, namely, the Habeas Corpus Act (also known as the Great Writ), passed by the English Parliament in 1679.[22] Oblique reference to the origin of Habeas corpus underlies Scotts next novel, Ivanhoe, set during the era of the creation of the Magna Carta, which political conservatives like Walter Scott and Edmund Burke regarded as rooted in immemorial British custom and precedent. Ivanhoe (1819), set in 12th-century England, marked a move away from Scotts focus on the local history of Scotland. Based partly on Humes History of England and the ballad cycle of Robin Hood, Ivanhoe was quickly translated into many languages and inspired countless imitations and theatrical adaptations. Ivanhoe depicts the cruel tyranny of the Norman overlords (Norman Yoke) over the impoverished Saxon populace of England, with two of the main characters, Rowena and Locksley (Robin Hood), representing the dispossessed Saxon aristocracy. When the protagonists are captured and imprisoned by a Norman baron, Scott interrupts the story to exclaim: It is grievous to think that those valiant barons, to whose stand against the crown the liberties of England were indebted for their existence, should themselves have been such dreadful oppressors, and capable of excesses contrary not only to the laws of England, but to those of nature and humanity. But, alas ...fiction itself can hardly reach the dark reality of the horrors of the period. (Chapter 24.33) The institution of the Magna Carta, which happens outside the time frame of the story, is portrayed as a progressive (incremental) reform, but also as a step towards the recovery of a lost golden age of liberty endemic to England and the English system. Scott puts a derisive prophecy in the mouth of the jester Wamba: Norman saw on English oak. On English neck a Norman yoke; Norman spoon to English dish, And England ruled as Normans wish; Blithe world in England never will be more, Till Englands rid of all the four. (Ivanhoe, Ch. xxvii) Although on the surface an entertaining escapist romance, alert contemporary readers would have quickly recognised the political subtext of Ivanhoe, which appeared immediately after the English Parliament, fearful of French-style revolution in the aftermath of Waterloo, had passed the Habeas Corpus Suspension acts of 1817 and 1818 and other extremely repressive measures, and when traditional English Charter rights versus revolutionary human rights was a topic of discussion.[23] Ivanhoe was also remarkable in its sympathetic portrayal of Jewish characters: Rebecca, considered by many critics the books real heroine, does not in the end get to marry Ivanhoe, whom she loves, but Scott allows her to remain faithful to her own religion, rather than having her convert to Christianity. Likewise, her father, Isaac of York, a Jewish moneylender, is shown as a victim rather than a villain. In Ivanhoe, which is one of Scotts Waverley novels, religious and sectarian fanatics are the villains, while the eponymous hero is a bystander who must weigh the evidence and decide where to take a stand. Scotts positive portrayal of Judaism, which reflects his humanity and concern for religious toleration, also coincided with a contemporary movement for the Emancipation of the Jews in England. Recovery of the Crown Jewels, baronetcy and ceremonial pageantry[edit] Rediscovering the lost Honours of Scotland in 1818 George IV landing at Leith in 1822 Scotts fame grew as his explorations and interpretations of Scottish history and society captured popular imagination. Impressed by this, the Prince Regent (the future George IV) gave Scott permission to conduct a search for the Crown Jewels ("Honours of Scotland"). During the years of the Protectorate under Cromwell the Crown Jewels had been hidden away, but had subsequently been used to crown Charles II. They were not used to crown subsequent monarchs, but were regularly taken to sittings of Parliament, to represent the absent monarch, until the Act of Union 1707. Thereafter, the honours were stored in Edinburgh Castle, but the large locked box in which they were stored was not opened for more than 100 years, and stories circulated that they had been "lost" or removed. In 1818, Scott and a small team of military men opened the box, and "unearthed" the honours from the Crown Room in the depths of Edinburgh Castle. A grateful Prince Regent granted Scott the title of baronet,[24] and in March 1820 he received the baronetcy in London, becoming Sir Walter Scott, 1st Baronet.[25] After Georges accession to the throne, the city council of Edinburgh invited Scott, at the Kings behest, to stage-manage the 1822 visit of King George IV to Scotland.[24] With only three weeks for planning and execution, Scott created a spectacular and comprehensive pageant, designed not only to impress the King, but also in some way to heal the rifts that had destabilised Scots society. He used the event to contribute to the drawing of a line under an old world that pitched his homeland into regular bouts of bloody strife. He, along with his "production team", mounted what in modern days could be termed a PR event, in which the King was dressed in tartan, and was greeted by his people, many of whom were also dressed in similar tartan ceremonial dress. This form of dress, proscribed after the 1745 rebellion against the English, became one of the seminal, potent and ubiquitous symbols of Scottish identity.[26] In his novel Kenilworth, Elizabeth I is welcomed to the castle of that name by means of an elaborate pageant, the details of which Scott was well qualified to itemize. Much of Scotts autograph work shows an almost stream-of-consciousness approach to writing. He included little in the way of punctuation in his drafts, leaving such details to the printers to supply.[27] He eventually acknowledged in 1827 that he was the author of the Waverley Novels.[26] Financial problems and death[edit] Sir Walter Scotts grave at Dryburgh Abbey In 1825 a UK-wide banking crisis resulted in the collapse of the Ballantyne printing business, of which Scott was the only partner with a financial interest; the companys debts of £130,000 (equivalent to £9,600,000 in 2015) caused his very public ruin.[28] Rather than declare himself bankrupt, or to accept any kind of financial support from his many supporters and admirers (including the king himself), he placed his house and income in a trust belonging to his creditors, and determined to write his way out of debt. He kept up his prodigious output of fiction, as well as producing a biography of Napoleon Bonaparte, until 1831. By then his health was failing, but he nevertheless undertook a grand tour of Europe, and was welcomed and celebrated wherever he went. He returned to Scotland and, in September 1832, during the epidemic in Scotland that year, died of typhus[29] at Abbotsford, the home he had designed and had built, near Melrose in the Scottish Borders. (His wife, Lady Scott, had died in 1826 and was buried as an Episcopalian.) Two Presbyterian ministers and one Episcopalian officiated at his funeral.[30] Scott died owing money, but his novels continued to sell, and the debts encumbering his estate were discharged shortly after his death.[28] Personal life[edit] Scotts eldest son Lt Walter Scott, inherited his fathers estate and possessions. He married Jane Jobson, only daughter of William Jobson of Lochore (died 1822) and his wife Rachel Stuart (died 1863) on 3 February 1825.[31] Scott, Sr.s lawyer from at least 1814 was Hay Donaldson WS (died 1822), who was also agent to the Duke of Buccleuch. Scott was Donaldsons proposer when he was elected a Fellow of the Royal Society of Edinburgh.[32] Abbotsford[edit] Abbotsford House Tomb of Walter Scott, in Dryburgh Abbey by Henry Fox Talbot, 1844 When Scott was a boy, he sometimes travelled with his father from Selkirk to Melrose, where some of his novels are set. At a certain spot the old gentleman would stop the carriage and take his son to a stone on the site of the Battle of Melrose (1526).[33] During the summers from 1804, Scott made his home at the large house of Ashestiel, on the south bank of the River Tweed 6 miles (9.7 km) north of Selkirk. When his lease on this property expired in 1811, Scott bought Cartley Hole Farm, downstream on the Tweed nearer Melrose. The farm had the nickname of "Clarty Hole", and when Scott built a family cottage there in 1812 he named it "Abbotsford". He continued to expand the estate, and built Abbotsford House in a series of extensions.[2] The farmhouse developed into a wonderful home that has been likened to a fairy palace. Scott was a pioneer of the Scottish Baronial style of architecture, therefore Abbotsford is festooned with turrets and stepped gabling. Through windows enriched with the insignia of heraldry the sun shone on suits of armour, trophies of the chase, a library of more than 9,000 volumes, fine furniture, and still finer pictures. Panelling of oak and cedar and carved ceilings relieved by coats of arms in their correct colours added to the beauty of the house.[34][verification needed] It is estimated that the building cost Scott more than £25,000 (equivalent to £1,900,000 in 2015). More land was purchased until Scott owned nearly 1,000 acres (4.0 km2). A Roman road with a ford near Melrose used in olden days by the abbots of Melrose suggested the name of Abbotsford. Scott was buried in Dryburgh Abbey, where his wife had earlier been interred. Nearby is a large statue of William Wallace, one of Scotlands many romanticised historical figures.[35] Abbotsford later gave its name to the Abbotsford Club, founded in 1834 in memory of Sir Walter Scott.[36] Legacy[edit] Part of the Politics series on Toryism The Royal Oak in which Charles II hid to escape capture by the Roundheads is a prominent symbol of Toryism Characteristics[show] General topics[show] People[hide] Robert Filmer1st Earl of ClarendonRoger LEstrange1st Earl of Rochester1st Viscount Bolingbroke3rd Earl of Bute1st Duke of WellingtonWalter ScottStanley BaldwinG. K. ChestertonWinston ChurchillEnoch PowellGeorge GrantRoger ScrutonPeter HitchensJacob Rees-Mogg Related topics[show] British portal Canadian portal Politics portal vte Walter Scott - Project Gutenberg eText 18396.jpg Although he continued to be extremely popular and widely read, both at home and abroad,[37] Scotts critical reputation declined in the last half of the 19th century as serious writers turned from romanticism to realism, and Scott began to be regarded as an author suitable for children. This trend accelerated in the 20th century. For example, in his classic study Aspects of the Novel (1927), E. M. Forster harshly criticized Scotts clumsy and slapdash writing style, "flat" characters, and thin plots. In contrast, the novels of Scotts contemporary Jane Austen, once appreciated only by the discerning few (including, as it happened, Sir Walter Scott himself) rose steadily in critical esteem, though Austen, as a female writer, was still faulted for her narrow ("feminine") choice of subject matter, which, unlike Scott, avoided the grand historical themes traditionally viewed as masculine. Nevertheless, Scotts importance as an innovator continued to be recognized. He was acclaimed as the inventor of the genre of the modern historical novel (which others trace to Jane Porter, whose work in the genre predates Scotts) and the inspiration for enormous numbers of imitators and genre writers both in Britain and on the European continent. In the cultural sphere, Scotts Waverley novels played a significant part in the movement (begun with James Macphersons Ossian cycle) in rehabilitating the public perception of the Scottish Highlands and its culture, which had been formally suppressed as barbaric, and viewed in the southern mind as a breeding ground of hill bandits, religious fanaticism, and Jacobite rebellions. Scott served as chairman of the Royal Society of Edinburgh and was also a member of the Royal Celtic Society. His own contribution to the reinvention of Scottish culture was enormous, even though his re-creations of the customs of the Highlandswere fanciful at times, despite his extensive travels around his native country. It is a testament to Scotts contribution in creating a unified identity for Scotland that Edinburghs central railway station, opened in 1854 by the North British Railway, is called Waverley. The fact that Scott was a Lowland Presbyterian, rather than a Gaelic-speaking Catholic Highlander, made him more acceptable to a conservative English reading public. Scotts novels were certainly influential in the making of the Victorian craze for all things Scottish among British royalty, who were anxious to claim legitimacy through their rather attenuated historical connection with the royal house of Stuart.[citation needed] At the time Scott wrote, Scotland was poised to move away from an era of socially divisive clan warfare to a modern world of literacy and industrial capitalism. Through the medium of Scotts novels, the violent religious and political conflicts of the countrys recent past could be seen as belonging to history—which Scott defined, as the subtitle of Waverley ("Tis Sixty Years Since") indicates, as something that happened at least 60 years ago. Scotts advocacy of objectivity and moderation and his strong repudiation of political violence on either side also had a strong, though unspoken, contemporary resonance in an era when many conservative English speakers lived in mortal fear of a revolution in the French style on British soil. Scotts orchestration of King George IVs visit to Scotland, in 1822, was a pivotal event intended to inspire a view of his home country that, in his view, accentuated the positive aspects of the past while allowing the age of quasi-medieval blood-letting to be put to rest, while envisioning a more useful, peaceful future. After Scotts work had been essentially unstudied for many decades, a revival of critical interest began from the 1960s. Postmoderntastes favoured discontinuous narratives and the introduction of the "first person", yet they were more favourable to Scotts work than Modernist tastes. While F. R. Leavis had disdained Scott, seeing him as a thoroughly bad novelist and a thoroughly bad influence (The Great Tradition [1948]), György Lukács (The Historical Novel [1937, trans. 1962]) and David Daiches (Scotts Achievement as a Novelist [1951]) offered a Marxian political reading of Scotts fiction that generated a great deal of genuine interest in his work. Scott is now seen as an important innovator and a key figure in the development of Scottish and world literature, and particularly as the inventor of the historical novel.[38] Memorials and commemoration[edit] The Scott Monument on Edinburghs Princes Street Statue by Sir John Steellon the Scott Monument in Edinburgh Scott Monument in Glasgows George Square Statue on the Glasgow monument During his lifetime, Scotts portrait was painted by Sir Edwin Landseer and fellow-Scots Sir Henry Raeburn and James Eckford Lauder. In Edinburgh, the 61.1-metre-tall Victorian Gothic spire of the Scott Monument was designed by George Meikle Kemp. It was completed in 1844, 12 years after Scotts death, and dominates the south side of Princes Street. Scott is also commemorated on a stone slab in Makars Court, outside The Writers Museum, Lawnmarket, Edinburgh, along with other prominent Scottish writers; quotes from his work are also visible on the Canongate Wall of the Scottish Parliament building in Holyrood. There is a tower dedicated to his memory on Corstorphine Hill in the west of the city and, as mentioned, Edinburghs Waverley railway station takes its name from one of his novels. In Glasgow, Walter Scotts Monument dominates the centre of George Square, the main public square in the city. Designed by David Rhind in 1838, the monument features a large column topped by a statue of Scott.[39] There is a statue of Scott in New York Citys Central Park.[40] Numerous Masonic Lodges have been named after him and his novels. For example: Lodge Sir Walter Scott, No.859, (Perth, Australia) and Lodge Waverly, No.597, (Edinburgh, Scotland).[41] The annual Walter Scott Prize for Historical Fiction was created in 2010 by the Duke and Duchess of Buccleuch, whose ancestors were closely linked to Sir Walter Scott. At £25,000 it is one of the largest prizes in British literature. The award has been presented at Scotts historic home, Abbotsford House. Scott has been credited with rescuing the Scottish banknote. In 1826, there was outrage in Scotland at the attempt of Parliament to prevent the production of banknotes of less than five pounds. Scott wrote a series of letters to the Edinburgh Weekly Journal under the pseudonym "Malachi Malagrowther" for retaining the right of Scottish banks to issue their own banknotes. This provoked such a response that the Government was forced to relent and allow the Scottish banks to continue printing pound notes. This campaign is commemorated by his continued appearance on the front of all notes issued by the Bank of Scotland. The image on the 2007 series of banknotes is based on the portrait by Henry Raeburn.[42] During and immediately after World War I there was a movement spearheaded by President Wilson and other eminent people to inculcate patriotism in American school children, especially immigrants, and to stress the American connection with the literature and institutions of the "mother country" of Great Britain, using selected readings in middle school textbooks.[43] Scotts Ivanhoe continued to be required reading for many American high school students until the end of the 1950s. Literature by other authors[edit] In Charles Baudelaires La Fanfarlo (1847), poet Samuel Cramer says of Scott: Oh that tedious author, a dusty exhumer of chronicles! A fastidious mass of descriptions of bric-a-brac ... and castoff things of every sort, armor, tableware, furniture, gothic inns, and melodramatic castles where lifeless mannequins stalk about, dressed in leotards. In the novella, however, Cramer proves as deluded a romantic as any hero in one of Scotts novels.[44] In Anne Brontës The Tenant of Wildfell Hall (1848) the narrator, Gilbert Markham, brings an elegantly bound copy of Marmion as a present to the independent "tenant of Wildfell Hall" (Helen Graham) whom he is courting, and is mortified when she insists on paying for it. In a speech delivered at Salem, Massachusetts, on 6 January 1860, to raise money for the families of the executed abolitionist John Brown and his followers, Ralph Waldo Emerson calls Brown an example of true chivalry, which consists not in noble birth but in helping the weak and defenseless and declares that "Walter Scott would have delighted to draw his picture and trace his adventurous career".[45] In his 1870 memoir, Army Life in a Black Regiment, New England abolitionist Thomas Wentworth Higginson (later editor of Emily Dickinson), described how he wrote down and preserved Negro spirituals or "shouts" while serving as a colonel in the First South Carolina Volunteers, the first authorized Union Army regiment recruited from freedmen during the Civil War (memorialized in the 1989 film Glory). He wrote that he was "a faithful student of the Scottish ballads, and had always envied Sir Walter the delight of tracing them out amid their own heather, and of writing them down piecemeal from the lips of aged crones". According to his daughter Eleanor, Scott was "an author to whom Karl Marx again and again returned, whom he admired and knew as well as he did Balzac and Fielding".[46] In his 1883 Life on the Mississippi, Mark Twain satirized the impact of Scotts writings, declaring (with humorous hyperbole) that Scott "had so large a hand in making Southern character, as it existed before the [American Civil] war", that he is "in great measure responsible for the war".[47] He goes on to coin the term "Sir Walter Scott disease", which he blames for the Souths lack of advancement. Twain also targeted Scott in Adventures of Huckleberry Finn, where he names a sinking boat the "Walter Scott" (1884); and, in A Connecticut Yankee in King Arthurs Court (1889), the main character repeatedly utters "great Scott" as an oath; by the end of the book, however, he has become absorbed in the world of knights in armor, reflecting Twains ambivalence on the topic. The idyllic Cape Cod retreat of suffragists Verena Tarrant and Olive Chancellor in Henry James The Bostonians (1886) is called Marmion, evoking what James considered the Quixotic idealism of these social reformers. In To the Lighthouse by Virginia Woolf, Mrs. Ramsey glances at her husband: He was reading something that moved him very much ... He was tossing the pages over. He was acting it – perhaps he was thinking himself the person in the book. She wondered what book it was. Oh, it was one of old Sir Walter's she saw, adjusting the shade of her lamp so that the light fell on her knitting. For Charles Tansley had been saying (she looked up as if she expected to hear the crash of books on the floor above) that people don't read Scott any more. Then her husband thought, “That's what they'll say of me;” so he went and got one of those books ... [Scotts] feeling for straight forward simple things, these fishermen, the poor old crazed creature in Mucklebackit's cottage [in The Antiquary] made him feel so vigorous, so relieved of something that he felt roused and triumphant and could not choke back his tears ... It fortified him. He clean forgot all the little rubs and digs of the evening ... and his being so irritable with his wife and so touchy and minding when they passed his books over as if they didn't exist at all. Raising the book a little to hide his face, he let them fall and shook his head from side to side and forgot himself completely (but not one or two reflections about morality and French novels and English novels and Scott's hands being tied but his view perhaps being as true as the other view), forgot his own bothers and failures completely in poor Steenie's drowning and Mucklebackit's sorrow (that was Scott at his best) and the astonishing delight and feeling of vigor that it gave him. Well, let them improve upon that, he thought as he finished the chapter ... The whole of life did not consist in going to bed with a woman, he thought, returning to Scott and Balzac, to the English novel and the French novel. In 1951, science-fiction author Isaac Asimov wrote Breeds There a Man...?, a short story with a title alluding vividly to Scotts The Lay of the Last Minstrel (1805). In To Kill a Mockingbird (1960), the protagonists brother is made to read Walter Scotts book Ivanhoe to the ailing Mrs. Henry Lafayette Dubose, and he refers to the author as "Sir Walter Scout", in reference to his own sisters nickname. In Mother Night (1961) by Kurt Vonnegut, Jr., memoirist and playwright Howard W. Campbell, Jr., prefaces his text with the six lines beginning "Breathes there the man..." In Knights of the Sea (2010) by Canadian author Paul Marlowe, there are several quotes from and references to Marmion, as well as an inn named after Ivanhoe, and a fictitious Scott novel entitled The Beastmen of Glen Glammoch. Bibliography[edit] Sir Walter Scott by Robert Scott Moncrieff. Novels[edit] The Waverley Novels is the title given to the long series of Scott novels released from 1814 to 1832 which takes its name from the first novel, Waverley. The following is a chronological list of the entire series: 1814: Waverley 1815: Guy Mannering 1816: The Antiquary 1816: The Black Dwarf and The Tale of Old Mortality – the 1st installment from the subset series, Tales of My Landlord 1817: Rob Roy 1818: The Heart of Midlothian – the 2nd installment from the subset series, Tales of My Landlord 1819: The Bride of Lammermoor and A Legend of Montrose – the 3rd installment from the subset series, Tales of My Landlord 1820: Ivanhoe 1820: The Monastery and The Abbot – from the subset series, Tales from Benedictine Sources 1821: Kenilworth 1822: The Pirate 1822: The Fortunes of Nigel 1822: Peveril of the Peak 1823: Quentin Durward 1824: St. Ronans Well 1824: Redgauntlet 1825: The Betrothed and The Talisman – from the subset series, Tales of the Crusaders 1826: Woodstock 1828: The Fair Maid of Perth – the 2nd installment from the subset series, Chronicles of the Canongate (sometimes not considered as part of the Waverley Novelsseries) 1829: Anne of Geierstein 1832: Count Robert of Paris and Castle Dangerous – the 4th installment from the subset series, Tales of My Landlord Other novels: 1831–1832: The Siege of Malta – a finished novel published posthumously in 2008 1832: Bizarro – an unfinished novel (or novella) published posthumously in 2008 Poetry[edit] Many of the short poems or songs released by Scott were originally not separate pieces but parts of longer poems interspersed throughout his novels, tales, and dramas. 1796: "Translations and Imitations from German Ballads" 1796: "The Chase" – an English-language translation of the German-language poem by Gottfried August Bürger entitled "Der Wilde Jäger" (or, "The Wild Huntsmen", its more common English translation) 1802–1803: "The Minstrelsy of the Scottish Border" 1805: "The Lay of the Last Minstrel" 1806: "Ballads and Lyrical Pieces" 1808: "Marmion" 1810: "The Lady of the Lake" 1811: "The Vision of Don Roderick" 1813: "The Bridal of Triermain" 1813: "Rokeby" 1815: "The Field of Waterloo" 1815: "The Lord of the Isles" 1817: "Harold the Dauntless" Short stories[edit] 1827: "The Highland Widow", "The Two Drovers", and "The Surgeons Daughter" – the 1st installment from the series, Chronicles of the Canongate 1828: "My Aunt Margarets Mirror", "The Tapestried Chamber", and "Death of the Lairds Jock" – from the series, The Keepsake Stories Plays[edit] 1799: Goetz of Berlichingen, with the Iron Hand: A Tragedy – an English-language translation of the 1773 German-language play by Johann Wolfgang von Goetheentitled Götz von Berlichingen 1822: Halidon Hill 1823: MacDuffs Cross 1830: The Doom of Devorgoil 1830: Auchindrane Non-fiction[edit] 1796 Translations & imitations of German Ballads Librivox audio 1814–1817: The Border Antiquities of England and Scotland – a work co-authored by Luke Clennell and John Greig with Scotts contribution consisting of the substantial introductory essay, originally published in 2 volumes from 1814 to 1817 1815–1824: Essays on Chivalry, Romance, and Drama – a supplement to the 1815–1824 editions of the Encyclopædia Britannica 1816: Pauls Letters to his Kinsfolk 1819–1826: Provincial Antiquities of Scotland 1821–1824: Lives of the Novelists 1825–1832: The Journal of Sir Walter Scott 1826: The Letters of Malachi Malagrowther 1827: The Life of Napoleon Buonaparte 1828: Religious Discourses 1828: Tales of a Grandfather; Being Stories Taken from Scottish History – the 1st installment from the series, Tales of a Grandfather 1829: The History of Scotland: Volume I 1829: Tales of a Grandfather; Being Stories Taken from Scottish History – the 2nd installment from the series, Tales of a Grandfather 1830: Essays on Ballad Poetry 1830: The History of Scotland: Volume II 1830: Tales of a Grandfather; Being Stories Taken from Scottish History – the 3rd installment from the series, Tales of a Grandfather 1830: Letters on Demonology and Witchcraft 1831: Tales of a Grandfather; Being Stories Taken from the History of France – the 4th installment from the series, Tales of a Grandfather Tales of a Grandfather From Wikipedia, the free encyclopedia This article has multiple issues. Please help improve it or discuss these issues on the talk page. (Learn how and when to remove these template messages) This article needs more links to other articles to help integrate it into the encyclopedia. (September 2016) This article does not cite any sources. (May 2015) Tales of a Grandfather is a series of books on the history of Scotland, written by Sir Walter Scott beginning around 1827, and published by A & C Black; and still in print into the 21st century. Publication[edit] First Edition, First Impression: Scott, Walter, Sir. Tales of a Grandfather; Being Stories Taken from Scottish History. Humbly Inscribed to Hugh Littlejohn, Esq. In Three Vols. Vol. I[II-III]. Printed for Cadell and Co. Edinburgh; Simpkin and Marshall, London; and John Cumming, Dublin. 1828. Scott, Walter, Sir. Tales of a Grandfather; Being Stories Taken from Scottish History. Humbly Inscribed to Hugh Littlejohn, Esq. In Three Vols. Vol. I[II-III]. Second Series. Printed for Cadell and Co. Edinburgh; Simpkin and Marshall, London; and John Cumming, Dublin. 1829 Scott, Walter, Sir. Tales of a Grandfather; Being Stories Taken from Scottish History. Humbly Inscribed to Hugh Littlejohn, Esq. In Three Vols. Vol. I[II-III]. Third Series. Printed for Cadell and Co. Edinburgh; Simpkin and Marshall, London; and John Cumming, Dublin. 1830. Scott, Walter, Sir. Tales of a Grandfather; Being Stories Taken from the History of France. Inscribed to Master John Hugh Lockhart. In Three Vols. Vol. I[II-III]. Printed for Robert Cadell. Edinburgh; Whittaker and Co., London; and John Cumming, Dublin. 1831.

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