88372296

King Dan and the King’s man: Daniel O’Connell and Sir Walter Scott

Tue, 21 Apr 2026 21:08:40 GMT

Tuesday 21st April 2026

Summary of the Talk:

Dan Mulhall’s central argument was that Daniel O’Connell and Sir Walter Scott were two of the most important public figures of nineteenth-century Ireland and Scotland respectively, and that comparing them helps explain the different political and cultural paths taken by the two countries. O’Connell, born in 1775 in remote County Kerry, became the dominant Irish political figure of the first half of the nineteenth century and, in Mulhall’s view, perhaps the most prominent Irishman of the entire century. Scott, four years older, occupied a similarly towering place in Scottish public life and enjoyed an international reputation through his novels and public influence.

The lecture stressed both similarities and contrasts. Both men came from relatively privileged backgrounds, trained as lawyers, achieved fame beyond their own countries, and were often financially strained. Both also had a horror of political violence, shaped in O’Connell’s case by his experience of the French Revolution and in Scott’s by his deeply conservative reaction to revolution and disorder. Yet they drew very different conclusions from that shared aversion. O’Connell believed reform could and must be won peacefully, through agitation, legal argument and parliamentary pressure. Scott, by contrast, was instinctively conservative and deeply suspicious of radical political change.

Mulhall explored O’Connell’s achievement in securing Catholic Emancipation in 1829, which earned him the titles “King Dan” and “The Liberator”. He argued that O’Connell became important not only in Ireland but across Europe because he seemed to demonstrate that major reform could be achieved without revolution. Scott, meanwhile, rarely engaged directly in party politics, but played a major role in Scottish civic life, especially through orchestrating George IV’s visit to Scotland in 1822. Both men also understood spectacle and pageantry, though they used it for different ends.

A particularly interesting theme was O’Connell’s admiration for Scott. Mulhall noted that O’Connell eagerly read Scott’s novels and even reread the entire set in 1841, declaring that there had never been such a novelist and never would be again. Scott, however, seems never to have formed any real connection with O’Connell. There is no strong evidence that the two men ever met, despite overlapping periods of prominence and Scott’s visit to Ireland in 1825. Mulhall suggested that they moved in different political circles and would likely have regarded each other with a mixture of interest and caution.

The lecture’s most striking contrast lay in culture rather than politics. Scott used literature, history and tradition to preserve and define Scottish national identity in cultural terms, even within the Union. He was deeply attached to Scottish institutions, resisted attempts to anglicise Scottish law and banking, and helped maintain a distinct sense of Scottish nationhood without demanding political separation. O’Connell, by contrast, though Irish-speaking by background and rooted in Gaelic Ireland, showed comparatively little interest in preserving or reviving native Irish culture. His concern was political and practical: improving conditions for Irish Catholics, reforming Parliament, and restoring an Irish legislature. Later Irish nationalists would criticise him for that, especially those involved in the Gaelic Revival and cultural nationalism.

Mulhall argued that this difference mattered historically. Scotland developed a strong cultural nationalism without a serious push towards independence for much of the modern period, whereas Ireland developed a much more politically charged relationship with the Union. He suggested that O’Connell helped set Ireland on a path of constitutional discontent that eventually led, after famine, Home Rule failure and war, towards independence. Scott, in contrast, helped shape a Scotland that remained culturally distinct while politically within the Union.

In the questions, discussion turned to Thomas Moore, the Irish poet and songwriter, who was known to Scott and occupied an interesting middle ground between Irish nationalism and London society. Mulhall also reflected further on why O’Connell, unlike Scott, did not make greater use of national history and legend. He suggested that O’Connell’s cast of mind was intensely practical and lawyerly: he saw politics as a matter of solving immediate problems rather than invoking a romanticised national past. In this, one audience member observed, O’Connell looked forward, seeking practical improvements in ordinary life, whereas Scott looked backwards, preserving memory and tradition.

Interesting points worth mentioning

One of the strongest points in the lecture was the idea that O’Connell mattered far beyond Ireland because he offered Europe a model of peaceful reform. Mulhall made the case that liberals across Europe watched him closely because he appeared to prove that one could pursue major constitutional change without ending in bloodshed or revolution.

Another particularly interesting detail was that O’Connell greatly admired Scott’s fiction, even though politically they stood very far apart. That admiration adds an unexpected layer to the relationship: O’Connell embraced Scott’s imaginative reconstruction of Scotland’s past, but did not attempt anything comparable for Ireland.

Mulhall’s discussion of cultural identity was also very strong. His contrast between Scott as a guardian of national culture and O’Connell as a pragmatic political reformer feels like the lecture’s sharpest insight. It helps explain why Scottish national feeling and Irish national feeling developed so differently during the nineteenth century.

His remarks on monarchy and pageantry were also revealing. Both Scott and O’Connell understood the symbolic power of ceremony, royal visits and public display, even though their politics diverged sharply. That gives the lecture a useful human dimension: both men understood that public life was not only about laws and ideas, but also about theatre.

A memorable point from the Q&A was Mulhall’s suggestion that later Irish cultural nationalists, including the Young Ireland movement and later revivalists, were in some ways closer to Scott than to O’Connell in their use of history, legend and literature. That is a clever and slightly surprising comparison.

Finally, the lecture seems to have offered a strong overarching claim: that Scott and O’Connell did not simply reflect their nations, but helped map out the distinct political and cultural pathways that Scotland and Ireland continued to follow long after both men had died.

Download the [transcript]

Introduction by David McClay:

Daniel Mulhall is a retired Irish Ambassador now living in Edinburgh. He was Ireland’s first Consul General in Scotland and subsequently served as Ireland’s Ambassador in Kuala Lumpur, Berlin, London and Washington.

Upon retirement in 2022 he was appointed by New York University their global distinguished professor in Irish studies, teaching an undergraduate seminar, "Literature as History: Ireland 1880-1940". He is also a Parnell Fellow at Magdalene College, Cambridge.

He has published many books, the most recent Pilgrim Soul: W.B. Yeats and the Ireland of his Time (Dublin, 2023). He is also past honorary president of the Yeats Society.

Download the [transcript]

Tartan in the Age of Scott

Tue, 03 Mar 2026 22:48:20 GMT

Tuesday 3rd March 2026

Summary of the Talk:

Dr Rosie Waine’s lecture explored how Highland dress and tartan evolved during the late eighteenth and early nineteenth centuries, particularly in the period surrounding Sir Walter Scott’s life and the famous visit of George IV to Edinburgh in 1822.

She argued that Highland dress should not simply be viewed as an artificial Victorian invention or a static “national costume”. Instead, it developed through a dynamic interaction between tradition, fashion, politics, military influence, and commercial production. While older Highland clothing traditions existed, the modern forms of Highland dress took shape through adaptation to contemporary tastes and circumstances.

Following the defeat of the Jacobites in 1746, the Dress Act banned Highland dress for civilians, although it remained permitted within the British Army. This exemption played a crucial role in transforming Highland dress from a symbol of rebellion into a military and patriotic emblem associated with the British Empire. When the ban was repealed in 1782, Highland dress re-entered civilian life but was already shaped by military styles and broader British fashion.

During the late eighteenth and early nineteenth centuries, increasing travel to the Highlands, Romantic literature (including works by Walter Scott), and growing antiquarian interest encouraged fascination with Highland culture. Highland dress gradually became a national symbol of Scottish identity rather than a purely regional Highland costume.

Dr Waine illustrated these changes using objects from the National Museums Scotland collections, including early portraits of Highland retainers, surviving eighteenth-century garments, and outfits worn during George IV’s 1822 visit. She also discussed how women’s and children’s clothing adopted tartan as part of romanticised Scottish identity.

A major theme of the lecture was the emergence of the clan tartan system. Rather than being ancient and fixed, clan tartans developed largely in the late eighteenth and early nineteenth centuries through commercial weaving, consumer demand, and antiquarian interest. Patterns were frequently renamed after individuals, places, or events, and only later became standardised through publications and retail practices in the Victorian period.

The talk concluded by emphasising that Highland dress has always been adaptable and responsive to fashion, and that its survival into the modern era reflects this flexibility rather than strict historical continuity.

Interesting points worth mentioning

1. The Dress Act helped create modern Highland dress
Ironically, the 1746 ban and the military exemption helped transform Highland dress from a rebellious symbol into a patriotic British military uniform.

2. Tartan was not completely banned
The Dress Act restricted Highland dress rather than tartan itself, meaning tartan cloth continued to be woven and worn in other forms.

3. Clan tartans emerged through commerce and fashion
Many tartan patterns were created or renamed for marketing purposes. Early designs could change names depending on fashion trends or the identity of the buyer.

4. Consumers sometimes designed their own tartans
One example showed a customer sending detailed diagrams and colour instructions to a weaver to produce a personalised tartan.

5. Highland dress survived because it adapted to British fashion
By the early nineteenth century, Highland dress had incorporated contemporary tailoring styles. Without this adaptation it might not have survived.

6. Early evidence of “proto-clan” tartans
An early eighteenth-century portrait of a clan retainer suggested that some form of household or livery tartan may have existed before the formal clan system.

7. Tartan became a national symbol during Scott’s era
By the time of George IV’s visit in 1822, many Lowlanders were wearing Highland dress to express Scottish identity, not clan affiliation.

8. Early children’s Highland outfits existed
A rare early nineteenth-century toddler outfit shows how Highland identity was expressed even through children’s clothing.

9. Kilt pins are relatively modern
They appear only in the nineteenth century as decorative accessories rather than practical necessities.

10. Debate about who has the “right” to wear tartan
Concerns about cultural authenticity and appropriation were already being discussed during the 1822 celebrations.

Download the [powerpoint] (full text coming soon)

Introduction by Madeleine Mackenzie:

Dr Rosie Waine is a fashion historian and museum professional. She was the William Grant Foundation Research Fellow at the National Museums of Scotland, which included co-curating the major exhibition 'Wild and Majestic: Romantic Visions of Scotland' (2019) and her book Highland Style: Fashioning Highland Dress, c.1745-1845. She was also on the advisory committee for the major exhibition 'TARTAN' at the V&A Dundee (2023-2024).

A Sir Walter Scott Walking Tour of Edinburgh 1971

Wed, 25 Feb 2026 08:25:17 GMT

1971

Following in the Footsteps of Scotland’s Greatest Storyteller

In 1971, to mark the bicentenary of Sir Walter Scott’s birth (1771–1832), the Edinburgh Sir Walter Scott Club produced a small guide to the city he helped immortalise. Distributed free of charge — with a modest £50 contribution from the Scottish Tourist Board — it traced the principal places in Edinburgh associated with Scott’s life and work.

More than fifty years later, that route remains one of the richest literary walks in Europe.

This tour invites you to retrace those steps — from the closes of the Old Town to the ordered elegance of the New Town — through the city that shaped Scott, and which he in turn helped define for the world.

Parliament House & St Giles’ Cathedral

The Working Lawyer

Before he became the most celebrated novelist in Europe, Scott was first and foremost a lawyer.

As Clerk of the Court of Session, he spent long hours in Parliament Hall, just behind St Giles’ Cathedral, immersed in legal argument and public affairs. These daily scenes of debate, character and conflict furnished him with a deep understanding of Scottish society — material that would later animate novels such as The Heart of Midlothian.

Within Parliament Hall stands a statue of Scott carved by the young stonemason-sculptor John Greenshields — a fitting tribute in the very space where Scott served with diligence and distinction.

Nearby, the National Library of Scotland holds original manuscripts of Marmion, Waverley, The Heart of Midlothian, and Redgauntlet . In the adjoining Signet Library is the manuscript of The Bride of Lammermoor , along with a fine portrait of Scott. Few cities can so closely unite the places of creation and preservation.

Greyfriars & the Old Town

Gravestones and Imagination

Scott loved the Old Town — its closes, its kirkyards, its sense of layered history.

Greyfriars Kirkyard, with its weathered stones and Covenanter associations, embodies the atmosphere that fed his romantic imagination. Here the past feels near at hand. It is easy to see how such surroundings nurtured the dramatic historical sensibility that became Scott’s hallmark.

Other Old Town associations include High School Yards, where Scott was educated, and Canongate Churchyard, rich in literary and historical memory. Guthrie Street and the surrounding streets remind us how closely Scott’s life was interwoven with this part of the city.

High School Yards

The Young Scott

Scott attended the Royal High School. A childhood illness left him lame, yet it also fostered habits of reading and reflection. Deprived of vigorous play, he turned instead to ballads, legends and border tales.

In these formative years began his lifelong devotion to Scotland’s history and oral tradition — foundations upon which his poetry and fiction would later be built.

25 George Square

The Student Years

As a law student at Edinburgh University, Scott lodged in George Square.

The Enlightenment capital buzzed around him: philosophers, advocates, men of letters. Though Scott would later become the great romanticiser of Scotland’s past, he was formed in this rational, intellectually rigorous climate. The blend of romance and reason that marks his writing owes much to these student years.

The Mound & Princes Street Gardens

Scott’s Edinburgh in View

From the foot of the Mound, walk west along Princes Street and pause.

To the south rises the Old Town ridge — medieval, irregular, storied.
To the north stretches the New Town — ordered, Georgian, Enlightenment.

Scott loved both. He understood both. In many ways, he embodied the bridge between them.

Princes Street Gardens, private in his day, were nevertheless open to him; the proprietors gave him a key. He strolled there frequently, beneath the Castle Rock he knew so well.

39 Castle Street

“Dear 39”

Scott lived at 39 Castle Street from 1802 until the financial crash of 1826.

“Dear 39,” he called it.

Here, in the summer of 1814, Waverley was published. From a back window overlooking George Street, John Gibson Lockhart recalled seeing Scott seated at his desk, unremittingly filling page after page of manuscript.

From this address flowed the Waverley Novels — including Guy Mannering, The Heart of Midlothian, Rob Roy, and Redgauntlet . Alongside his beloved Abbotsford, this house ranks among the most significant literary addresses in Europe.

The Assembly Rooms

The Great Reveal

In 1826 financial disaster struck. Scott’s publishers collapsed, and with them much of his fortune. 39 Castle Street had to be relinquished.

From then until his death in 1832, Scott had no house of his own in Edinburgh. He lived in various residences, including Mrs Brown’s lodgings at 5 North St David Street, 3 Walker Street, with his publisher Robert Cadell at 16 Atholl Crescent, and, on his final return from Italy in 1832, at the Douglas Hotel near St Andrew Square.

Yet it was in the Assembly Rooms that one of the most dramatic moments of his career unfolded. At a Theatrical Fund Dinner in February 1827, Scott publicly acknowledged that he was “The Author of Waverley.” The secret he had guarded for years was revealed, and he was greeted with uproarious acclaim.

Even amid ruin, he stood honoured.

The Scott Monument

Edinburgh’s Gothic Tribute

Rising from Princes Street Gardens, the Scott Monument remains one of the most striking literary memorials in the world.

Designed by George Meikle Kemp (1795–1844), it houses a seated statue of Scott by Sir John Steell (1804–91), with his beloved deerhound Maida at his feet. The monument’s niches contain dozens of carved figures representing characters from Scott’s novels — a stone gallery of his imagination.

It is not merely a memorial. It is a sculpted testament to the breadth of his creative vision.

The Final Years

Scott’s response to financial collapse was characteristically resolute. He refused bankruptcy and undertook to repay his debts through writing. The final years of his life were marked by relentless labour, declining health, and extraordinary dignity.

He died in 1832.

What he left behind was more than poetry and novels. Through his storytelling, he reshaped Scotland’s image — both at home and abroad. He revived interest in the nation’s past, dignified its traditions, and placed its history at the centre of European literature.

The 1971 bicentenary guide traced these places in modest form, made possible by a small Tourist Board contribution and the dedication of the Edinburgh Sir Walter Scott Club. The route remains as compelling today as it was then.

To walk it is not merely to follow a map.

It is to step into the landscape of a literary imagination that helped define a nation.

The Ballantyne Plaque in Canongate Kirkyard

Tue, 24 Feb 2026 18:31:47 GMT

Unveiled: 20th June 1953

A memorial to Sir Walter Scott’s printer and friend

Near the grave of John Ballantyne in Canongate Kirkyard stands a bronze plaque erected by the Edinburgh Sir Walter Scott Club.

It records the famous words spoken by Scott when standing beside Ballantyne’s open grave in June 1821:

“I feel as if there would be less sunshine for me from this day forth.”

For many years the grave of the Ballantyne brothers — John and James — lay in the kirkyard with little to mark its literary significance. In 1953 the Scott Club resolved to change that.

The Decision to Erect a Plaque

The story begins in the Council minutes of the Edinburgh Sir Walter Scott Club in 1952.

During a meeting held at 10 Atholl Crescent on 7 July 1952, Dr Oliver reported that he had visited the Canongate churchyard with Mr Laurie and had brought before the Council a draft design for a commemorative plaque to mark the Ballantyne grave.

Technical advice had already been sought from Mr Robert Hurd, and the Council agreed to obtain competitive estimates from Edinburgh firms before proceeding.

A small sub-committee was appointed to take the matter forward.

Planning the Memorial

By October 1952 the proposal had progressed further.

The Council formally referred the matter of the Ballantyne grave to a sub-committee consisting of:

Dr Oliver, Mr D. G. Scott Moncrieff and the Secretary.

Two estimates had been received for the production of the plaque, and the committee recommended accepting the quotation from a Scottish firm.

Members attending the Club’s annual dinner were to be invited to contribute towards the cost.

The Plaque Commissioned

At the Council meeting of 12 February 1953, the plaque — supplied by Messrs McDonald & Enewick Ltd. — was presented for approval.

The cost was recorded as £33 12s 6d.

The Council approved the design and arrangements were made for the unveiling.

It was agreed that the plaque should be unveiled in June, the anniversary month of John Ballantyne’s death.

Preparations for the Ceremony

At a further meeting on 23 March 1953, the Secretary reported that subscriptions were being collected to help meet the cost.

The Reverend Selby Wright, minister of Canongate Kirk, offered the use of the church for the occasion.

The Council also agreed to invite Eric Linklater, the Club’s President for 1952–53, to preside if available.

Arrangements for the ceremony were placed in the hands of a small organising committee.

The Unveiling on 20th June 1953

The plaque was unveiled in Canongate Kirkyard on the afternoon of 20 June 1953 during a small but dignified ceremony organised by the Edinburgh Sir Walter Scott Club. The memorial was unveiled by Miss Christine Orr, who delivered an address recalling the long friendship between Sir Walter Scott and the Ballantyne brothers.

The Rev. Selby Wright, minister of Canongate Kirk, introduced Miss Orr and dedicated the plaque. The unveiling itself was assisted by Anthony Inglis, Dux of the Royal High School, who handed Miss Orr the cord used to reveal the memorial, while members of the school choir attended in their robes.

Those present included Sir Alexander Gray, Dr and Mrs A. L. F. Smith, Mr T. P. McDonald, Q.C., Mr J. P. Shaw, and Mr Robin Stark, Miss Orr’s husband. The vote of thanks was proposed by Alan C. Frazer, Secretary of the Edinburgh Sir Walter Scott Club.

In her speech Miss Orr reminded those present that the friendship between Scott and James Ballantyne began during their schooldays in Kelso, when Scott would whisper to his friend, “Come, slink over beside me, Jamie, and I’ll tell you a story.” James Ballantyne later declared Scott to be “the best storyteller I had ever heard.” The friendship, she observed, endured through both literary triumph and financial adversity, and it was in recognition of that lifelong partnership that the plaque was erected.

Key Quotes from Miss Christine Orr’s Address

On Scott and Ballantyne as schoolboys:

“Walter Scott, a lame fair-haired schoolboy, was passing happy days devouring ancient ballads in his aunt’s garden at Kelso… It was then his friendship with James Ballantyne began.”

On their lifelong friendship:

“It was a friendship keenly tested by misfortune, but even in dark hours Scott notes in his Journal how much comfort came to him from James Ballantyne’s manly honest bearing against adversity.”

On the character of the brothers:

About James Ballantyne:

“Sometimes also his critic… the bass to his brother John’s tenor in the Ballantyne duet.”

About John Ballantyne:

“John, shorter in build, thin and lively, had a cleverness, an unaffected zeal… a buoyant elasticity of spirit.”

Scott and the Ballantyne Brothers

Miss Orr’s address reminded those present that Scott’s friendship with the Ballantyne family began during his schooldays in Kelso, where he and James Ballantyne were pupils together.

In later life the Ballantynes became central figures in Scott’s literary career.

J ames Ballantyne acted as Scott’s printer and editorial adviser, while John Ballantyne served as publisher and business partner.

Their partnership helped bring many of Scott’s greatest works into print.

Yet it also bound them together during the financial crisis of 1826, when the collapse of the Ballantyne printing business left Scott burdened with enormous debts.

“Less Sunshine”

John Ballantyne died on 26 June 1821.

Scott stood beside the grave in Canongate Kirkyard and spoke the words that now appear on the plaque:

“I feel as if there would be less sunshine for me from this day forth.”

The sentiment captured the deep personal loss Scott felt at the death of one of his closest friends.

The Cost of the Memorial

The Club accounts for 1953 record the financial side of the project.

The Ballantyne plaque appears in the payments column as:

Ballantyne Plaque — £30 17s 6d (after subscriptions)

This reflects the balance paid by the Club after contributions from members helped meet the overall cost.

A Memorial Rediscovered

Today the plaque remains a quiet but powerful memorial in Canongate Kirkyard.

It commemorates not only John Ballantyne, but also the extraordinary literary partnership that helped bring the works of Sir Walter Scott to the world.

By marking the grave in this way, the Edinburgh Sir Walter Scott Club ensured that the friendship between Scott and the Ballantyne brothers would not be forgotten.

The Club Minute Bookings showing the paper-trail.

Research Note:

For many years the exact origins of the Ballantyne plaque were uncertain. The Club’s published Annual Reports make only brief financial reference to the memorial, and no narrative description of the ceremony appears in them.

By consulting the original Council minute books of the Edinburgh Sir Walter Scott Club, however, the full story can now be reconstructed. These handwritten records show the proposal first discussed in July 1952, the commissioning of the plaque in early 1953, and the arrangements made for its unveiling in June of that year.

The minutes confirm that the plaque was unveiled in Canongate Kirkyard on 20 June 1953. Contemporary newspaper reports and the Canongate Chronicle account of the ceremony further illuminate the occasion, recording the address given by Miss Christine Orr and the presence of members of the Club and invited guests.

Together these sources restore the forgotten story behind one of the Scott Club’s most significant memorials in Edinburgh.

Special thanks to Eric Drake (a volunteer guide at Canongate Kirk) who help solve this mystery by discovering these newspapers articles:

The Scotsman , 21 February 1953

Announcement of the forthcoming plaque

In the column “Story-Teller and Recreator of History — Mr Eric Linklater on Scott”, the article ends with the following notice:

“BALLANTYNE PLAQUE.

The Edinburgh Sir Walter Scott Club is arranging for a bronze plaque to be placed in the Canongate Kirkyard marking the grave of John Ballantyne, Scott’s publisher and friend, and recording the words spoken by Scott at the graveside.”

The Scotsman, 22 June 1953

Report of the unveiling

The Ballantyne plaque in Canongate Kirkyard was erected by the Edinburgh Sir Walter Scott Club and unveiled on 20 June 1953 to honour Scott’s publisher John Ballantyne.

The memorial was erected by the Edinburgh Sir Walter Scott Club.

Eric Linklater was the Club President at the time of this event.

Scott’s View from the Wicks of Baiglie

Tue, 24 Feb 2026 15:09:44 GMT

1935

The Edinburgh Sir Walter Scott Club and the preservation of a forgotten panorama

When people speak of “Scott’s View”, they usually mean the famous vista near Bemersyde in the Borders. Yet Sir Walter Scott himself praised another prospect — one he described as “one of the most beautiful points of view in Britain.”

This is the view from the Wicks of Baiglie , reached by the old Wallace Road above Glenfarg, on the slopes of Dron Hill.

Scott and the Wallace Road

In 1796, Scott travelled north using the Wallace Road to reach Invermay. The memory of that journey stayed with him. In the opening pages of The Fair Maid of Perth , he evokes the prospect from this height — looking across the hills and straths around Perth and onward towards the Highlands.

Importantly, the “Wicks of Baiglie” refers not simply to the road that now bears that name (which lies some distance east), but to a specific summit viewpoint on Dron Hill.

For many years the spot was physically marked with a plaque identifying it as Scott’s View. Today, only fragments of iron- and stone-work survive.

The Club’s Involvement in 1935

In the Thirty-Sixth Annual Report (1935) of the Edinburgh Sir Walter Scott Club, members were informed of a movement to preserve the view from the Wicks of Baiglie.

The initiative appears to have been associated with the Rev. J. W. Jack, who had written on the subject in 1933. That same year he published a booklet titled Scott’s View from the Wicks of Baiglie , discussing the roads and the viewpoint.

By 1935, a scheme was underway which included:

Preserving the outlook itself
Providing or improving access
Constructing a roadway to the viewpoint
Meeting an estimated cost amounting to several hundred pounds

The Club made the project known to members so that personal donations could be made.

This was not merely antiquarian enthusiasm. It was practical landscape stewardship — protecting a specific literary prospect associated with Scott’s imagination.

That a plaque once stood there strongly suggests that the scheme bore fruit.

Reaching Scott’s View (Wicks of Baiglie)

The viewpoint lies on Dron Hill , above Glenfarg, in Perthshire (now Perth and Kinross).

Starting Point

A practical approach is from the Glenfarg area, accessing the old Wallace Road. Modern walkers often use routes described by ScotWays (Heritage Path HP07) .

General Route Guidance

Begin near Glenfarg and locate the Wallace Road track.
Follow the historic road uphill towards Dron Hill.
Near the summit, look westward for the high ground traditionally identified as the Wicks of Baiglie viewpoint.

There is no prominent modern marker. You may notice remnants of old ironwork or stone fittings — thought to be associated with the former plaque marking Scott’s View.

The panorama opens west and north-west:

The rich agricultural straths around Perth
Rolling hills beyond
Distant Highland outlines on a clear day

It is easy to see why Scott remembered it decades later.

A Second “Scott’s View”

It is worth noting that this Perthshire viewpoint is sometimes overshadowed by the more famous Scott’s View in the Borders. Yet the Wicks of Baiglie view is directly embedded in Scott’s own prose.

In some ways, it is the more intimate of the two — tied to his youthful travels and literary recollection.

Why It Matters

The 1935 involvement of the members of the Edinburgh Sir Walter Scott Club shows that the preservation of literary landscapes is not a recent idea. Nearly a century ago, members recognised that:

Views associated with Scott were culturally significant
Access and visibility required active care
Local initiative and voluntary subscription could safeguard heritage

Today the plaque has gone. The ironwork is fragmentary. The road is walked rather than driven.

But the view remains.

And so does the memory of those who acted to preserve it.

If any reader possesses a photograph of the original Dron Hill plaque, or documentary material relating to the 1935 scheme, the Club would be very glad to hear from you.

AI generated recreation imagining the plaque in 1935.

A private viewing of the Interleaved Set of the Waverley Novels (the so-called ‘Magnum Opus’) and the Pforzheimer Scott Manuscripts repatriated from the United States

Mon, 23 Feb 2026 21:23:08 GMT

A report on the importance of the 1986 event

The Exile and Return of Scott’s Magnum Opus: The 1986 Repatriation

On 28th March 1986, the National Library of Scotland formally received Scott’s interleaved Magnum Opus and the Pforzheimer manuscripts, marking their return to Scotland after decades in exile.

Later in the year on 10th December 1986 , members of the Edinburgh Sir Walter Scott Club were given a rare privilege: a private viewing of two of the most significant Scott acquisitions of the twentieth century — the Interleaved Set of the Waverley Novels, known as the ‘Magnum Opus’, and the Pforzheimer Scott manuscripts, newly returned from the United States. The viewing was conducted by Dr Iain Gordon Brown of the National Library of Scotland, who had been closely involved in securing their acquisition.

What the Club saw that evening represented not merely rare books and manuscripts, but the closing of a long historical circle.

What is the ‘Magnum Opus’?

The so-called ‘Magnum Opus’ refers to Sir Walter Scott’s final collected edition of his novels, published between 1829 and 1833. Formally titled the Magnum Opus edition of the Waverley Novels, it was far more than a simple reprint.

After the financial crash of 1826, Scott undertook the enormous labour of revising, annotating and contextualising his earlier fiction. He added introductions, historical notes and corrections, shaping how posterity would read his work. To do this, he used a specially prepared interleaved set — printed volumes with blank leaves inserted between printed pages — on which he wrote extensive annotations and revisions in his own hand.

These interleaved volumes are the working foundation of the Magnum edition. They contain Scott not as the romantic novelist of legend, but as a disciplined editor, scholar and craftsman, labouring under financial strain and failing health to restore his fortunes and define his literary legacy.

Dispersal and disappearance

After Scott’s death, many of his manuscripts and annotated volumes passed through the hands of his publisher Robert Cadell and subsequently into private collections. Over the decades, portions of the interleaved Magnum set were exhibited, sold, and dispersed.

By the twentieth century, the full set had effectively vanished from scholarly view. Bibliographers speculated about its whereabouts. Individual volumes surfaced occasionally, but the integrity of the collection seemed lost. Like so many British literary manuscripts, parts of Scott’s legacy had crossed the Atlantic into American collections.

Among these was the distinguished collection of Carl H. Pforzheimer in New York, whose library contained important Scott manuscripts and related material.

The turning point

The dramatic change came in the mid-1980s. In 1984, part of the Interleaved Set was identified in private hands. The discovery triggered urgent negotiations by the National Library of Scotland. What followed was a complex and delicate process, culminating in 1986 in the successful acquisition — by private treaty — of all forty-one volumes of the interleaved Magnum set.

Almost immediately thereafter, the Library also secured the Pforzheimer Scott manuscripts from the United States. The proximity of the two acquisitions was remarkable. Within a short span, Scotland regained two major bodies of Scott material that had long been beyond its borders.

The acquisitions were commemorated in a 1986 publication issued by the National Library of Scotland, containing essays by Iain Gordon Brown and others. Brown’s contribution, titled “The Exile and Return of the ‘Magnum Opus’”, traced the wanderings of the set and reflected on its significance as both literary artefact and national treasure.

Why it mattered

The return of the Interleaved Set was not merely symbolic. For textual scholarship, it was transformative.

The volumes preserve Scott’s working process in unprecedented detail. They show his corrections, expansions, reconsiderations and historical clarifications. They illuminate how he reshaped earlier texts in light of later reflection. They reveal the intellectual discipline behind the popular romances.

Biographically, the volumes also document Scott’s extraordinary resilience after the crash of 1826. The Magnum project was part of his determined effort to repay his debts in full. The annotations are therefore not only literary revisions; they are evidence of endurance.

The repatriation also had cultural significance. At a time when many major literary archives had been dispersed abroad, the return of such a substantial body of material marked a decisive moment in the consolidation of Scotland’s national collections.

The 1986 viewing

When Dr Iain Gordon Brown presented the material to the Edinburgh Sir Walter Scott Club in 1986, members were not simply being shown rare books. They were witnessing the re-gathering of a dispersed inheritance.

The interleaved volumes — once scattered and nearly forgotten — had come home. The Pforzheimer manuscripts, long housed in America, now stood alongside them in Edinburgh. For scholars, librarians and Scott enthusiasts alike, the event represented the restoration of continuity: Scott’s hand, his revisions, his final shaping of his fiction, once more accessible in the city that had formed him.

Nearly four decades on, that moment still resonates. The story of the Magnum Opus is itself Scottian in character — involving loss, wandering, rediscovery and return. It reminds us that literary history is not static. Manuscripts travel. Collections fragment. Scholarship waits.

And sometimes, against the odds, the pieces come back together.

From the Club Minute Books - 5th November 1986

While a commemorative booklet was issued in 1986 to mark the acquisition of the Interleaved Set and the Pforzheimer manuscripts, the definitive scholarly treatment followed the next year.

In 1987, Iain Gordon Brown edited Scott’s Interleaved Waverley Novels : An Introduction and Commentary (Aberdeen and Oxford: Aberdeen University Press and Pergamon Press). This substantial volume brought together major essays by Professor Jane Millgate, Dr Claire Lamont and Dr J. H. Alexander, alongside Brown’s own extended study and three further major sections.

The book remains the foundational modern account of the Interleaved Set and its significance for Scott’s editorial practice.

Sir Walter Scott’s Magnum Opus and the Pforzheimer Manuscripts:

Essays to Commemorate the Acquisition of Two Great Collections by the National Library of Scotland

The essays in the 1986 National Library of Scotland publication explain both the scholarly importance of the Interleaved Waverley Novels and the remarkable circumstances that led to their return to Scotland. Jane Millgate describes how Sir Walter Scott used the interleaved volumes as working copies while preparing the Magnum edition of his novels (1829–1833), inserting corrections, new introductions, and extensive historical notes that shaped the final form of his fiction. Iain Gordon Brown traces the later history of these annotated volumes, which passed from Scott’s publisher Robert Cadell to A. & C. Black before being quietly sold to America in 1929 and effectively disappearing from scholarly view for decades. Their rediscovery in the library of the American collector Doris Louise Benz in 1984 led to a major campaign that secured their return to Edinburgh in 1986. Patrick Cadell’s essay describes the related group of manuscripts assembled by the American bibliophile Carl H. Pforzheimer, including manuscripts of Quentin Durward, The Betrothed, The Fair Maid of Perth, and The Lord of the Isle s. Together these acquisitions significantly strengthened the National Library of Scotland’s already outstanding Scott collections and provided scholars with new insight into the author’s working methods and literary legacy.

Jane Millgate - The Interleaved Waverley Novels

(Summary of Essay)

Jane Millgate explains that the interleaved set of the Waverley Novels was created to prepare Sir Walter Scott’s final collected edition of his fiction, known as the Magnum Opus edition (1829–1833). Scott had originally published the novels anonymously, and only publicly acknowledged authorship in 1827 after the financial collapse of his publishers forced him to reveal himself as the “Author of Waverley”.

The idea for an annotated edition had first been suggested by Scott’s publisher Archibald Constable in 1823. After Constable’s bankruptcy in 1826, Robert Cadell eventually revived the plan and became Scott’s principal publisher. To produce the new edition, Cadell supplied Scott with printed copies of earlier editions of the novels in which blank pages had been inserted between the printed leaves. These interleaved volumes allowed Scott to revise the texts and compose extensive new introductions, notes, and appendices.

The forty-one-volume set preserves the working process behind this monumental editorial project. The first thirty-two volumes contain Scott’s manuscript revisions and annotations, while the remaining volumes contain supplementary material for the later novels. Scott used the blank leaves to write corrections, new historical notes, and commentary explaining sources and background for the stories. Additional material—sometimes written on separate sheets—was inserted into the volumes and later bound into place.

Millgate shows that the interleaved set does not consist of specially printed books but rather of earlier collected editions assembled together for Scott’s working use. The surviving volumes also reveal details of how the Magnum edition was physically produced: different paper stocks, inserted sheets, and later bindings demonstrate how the material was gathered and organised during the editorial process.

The manuscripts show Scott working intensively between about 1828 and 1831, revising the novels while also adding large amounts of historical and antiquarian commentary. Even late in the printing process he continued inserting new material, determined that the edition should contain every useful piece of information he could provide. Proof sheets and inserted documents show that he continued refining the notes even while the volumes were going through the press.

The interleaved set therefore provides exceptional evidence of Scott’s methods as an editor. It reveals how carefully he reconsidered the language and structure of his novels and how he reshaped them with introductions and explanatory notes designed to guide readers’ understanding of the historical settings.

Millgate concludes that the significance of the interleaved volumes lies not simply in their relationship to the published Magnum edition, but in the detailed insight they provide into Scott’s creative and editorial process. They document the enormous labour he invested in the project during the final years of his life, when financial pressure and declining health might easily have led him to treat the task superficially. Instead, the manuscripts demonstrate Scott’s determination to produce a definitive and authoritative edition of his works.

Iain Gordon Brown - The Exile and Return of the Magnum

(Summary of Essay)

Iain Gordon Brown traces the remarkable history of Sir Walter Scott’s interleaved set of the Waverley Novels — the working volumes used to prepare the Magnum edition (1829–1833) — from the nineteenth century to their return to Scotland in 1986.

After Scott’s death, the interleaved volumes formed part of the literary papers collected by his publisher Robert Cadell. When Cadell’s trustees sold the copyrights and related materials in 1851 to the publishing firm of A. & C. Black, the forty-one interleaved volumes passed with the transaction. They were recognised as a valuable record of Scott’s final corrections and annotations, and some volumes were exhibited publicly, including at the Scott Centenary Exhibition in Edinburgh in 1871 and at the Scottish Exhibition in Glasgow in 1911.

Despite their importance, the set gradually faded from scholarly awareness. In 1929 A. & C. Black quietly sold the entire collection to the American bibliophile J. H. Isaacs (known as “Temple Scott”), who soon produced a descriptive pamphlet celebrating the acquisition. The set was later acquired by the New York bookseller James F. Drake and eventually sold to Doris Louise Benz of Massachusetts, a private collector whose remarkable library remained largely unknown to scholars.

For decades the whereabouts of the Magnum set remained uncertain, and it effectively disappeared from view. During this period Scottish literary scholarship was flourishing, particularly around the centenary of Scott’s death in 1932, yet remarkably little attention was paid to the disappearance of these crucial manuscripts.

The mystery was finally resolved in 1984 following the death of Doris Benz. When her library was examined in preparation for sale, part of the Magnum set unexpectedly surfaced. After extensive searches, the remaining volumes were also located. Recognising the extraordinary importance of the discovery, the National Library of Scotland moved quickly to secure the collection for the nation.

Negotiations with the trustees of the Benz estate and with Christie’s eventually resulted in a private treaty sale rather than a public auction. The Library launched a major fundraising campaign and public appeal to raise the necessary funds. In March 1986 the entire interleaved set returned to Edinburgh, more than half a century after leaving Britain.

Brown concludes that the return of the Magnum volumes represents far more than the recovery of a rare book collection. The manuscripts contain the detailed record of Scott’s final revisions, introductions, and annotations for the definitive edition of his novels. Their rediscovery opens new possibilities for scholarship and promises to play an important role in the future editing and study of Scott’s works.

Patrick Cadell - The Pforzheimer Scott Manuscripts

(Summary of Essay)

Patrick Cadell describes the origins and significance of the group of Sir Walter Scott manuscripts collected by the American bibliophile Carl H. Pforzheimer and later acquired by the National Library of Scotland. Pforzheimer (1879–1957) was one of the great twentieth-century collectors of English literature, assembling a remarkable private library with particular strength in Romantic authors such as Shelley. His Scott manuscripts were gathered gradually between 1919 and 1956 through major auctions and private purchases.

The core of the collection includes manuscripts of several important works: Quentin Durward, The Lord of the Isles, The Betrothed, and The Fair Maid of Perth, together with proofs, articles, and other literary pieces by Scott. Many of these manuscripts had earlier belonged to Scott’s publisher Robert Cadell and were dispersed during nineteenth-century sales of Cadell’s literary papers. Some were later reunited within Pforzheimer’s library after passing through the hands of various collectors and dealers.

Cadell notes that Pforzheimer collected Scott manuscripts selectively and with clear purpose rather than simply acquiring autograph material indiscriminately. His collection therefore represents a carefully chosen cross-section of Scott’s literary career, including works from different periods and genres. The manuscripts also reflect the wide range of Scott’s writing—from major historical novels to poetry and occasional prose pieces.

Although the Pforzheimer collection contained some letters by Scott, correspondence was not a major focus of the acquisition that came to Scotland. Instead, the strength of the material lies in literary manuscripts and proof material showing Scott’s working methods. When these manuscripts were acquired by the National Library of Scotland they complemented an already strong Scott archive, which included important novel manuscripts such as Waverley, The Heart of Midlothian, and Redgauntlet, as well as extensive correspondence and poetry.

Cadell concludes that the arrival of the Pforzheimer manuscripts significantly strengthened the National Library’s Scott holdings. By bringing together manuscripts of both novels and long poems, the acquisition deepened the Library’s representation of Scott’s creative work and enhanced its role as a central repository for the study of Scotland’s most influential literary figure.

Eildon Hills Indicator

Sun, 22 Feb 2026 19:33:32 GMT

Unveiled 3rd June 1927

The Eildon Mountain Indicator (1925–1927): A Collaborative Tribute to Scott

The Indicator on Eildon Mid Hill, unveiled in June 1927, remains one of the most fitting tributes to Sir Walter Scott. Rather than commemorating him in stone alone, it interprets the very landscape that shaped his imagination.

Recent examination of contemporary sources — including the Club’s Twenty-seventh Annual Report and the account published in the History of the Berwickshire Naturalists’ Club — allows us to tell the story more fully and accurately.

The Origin of the Scheme

The idea was first mooted in September 1925.

It came from John Clarke, LL.D., of Old Aberdeen , who had been struck by the absence of any visible record on the hills themselves of the role they played in Scott’s daily life at Abbotsford. Scott was fond of leading guests to the Eildons, from which he could point out the forty-three sites “famous in war and verse”. Yet there was no permanent guide to help visitors identify them.

Clarke did not merely suggest the idea — he became its organiser and secretary. A past President of the Cairngorm Club, he devoted considerable energy to bringing the proposal to fruition.

A Joint Effort

The scheme was not the work of a single body. It was warmly supported by:

Provost Curle and the Town Council of Melrose
Lord Dalkeith, who offered the site and material assistance
The Scott and Border Clubs
The Edinburgh Sir Walter Scott Club

At the time, Lord Sands , President of the Edinburgh Sir Walter Scott Club, acted as Chairman of the Committee in charge of the project.

The Royal Scottish Geographical Society was also closely involved: George Walker, its Secretary, acted as Treasurer for the scheme.

Subscriptions flowed in — small and large — chiefly from the surrounding district but also from further afield. The total required, a little over £140, was successfully raised.

The Club’s own Abstract of Accounts for the year ending 31 December 1926 records a payment of £5 5s 0d “Subscription towards erection of Indicator on the Eildon Hills”, confirming its financial contribution.

The Making of the Indicator

The technical and artistic execution of the Indicator was entrusted to John Mathieson, F.R.S.E. , a distinguished geographer, who undertook the survey work, identification of sites, and numerous visits connected with its erection.

The bronze plate forming the index was cast by Charles Henshaw of Edinburgh .

The Aberdeen granite pedestal was the work of G. Sutherland & Sons of Galashiels .

The finished Indicator was more than a simple compass. It became a permanent map of the Border country, showing:

directions
distances
elevations
and more than double the number of sites pointed out by Scott

It even included important places not directly visible from the summit.

The Unveiling: 3 June 1927

The unveiling took place on 3rd June 1927 .

The ceremony was performed by Lord Henry Scott , and the address was delivered by the Master of Polwarth (Captain the Hon. Walter Thomas Hepburne-Scott).

Though the full text of the speech has not yet been located, contemporary accounts describe the occasion as marking not merely the installation of a physical object, but the dedication of a permanent interpretative map of Scott’s Border country. The Indicator was presented as a tribute both to Scott’s genius and to the landscape that inspired it.

In effect, the hills themselves became annotated — a geographical companion to Scott’s poetry and prose.

A Landscape Interpreted

From the summit of Eildon Mid Hill, the view stretches across abbeys, battlefields, rivers, and Lammermuir heights. With the installation of the Indicator, that view was given structure and narrative.

The project stands as an example of early twentieth-century civic collaboration:

local government
landowner
geographical society
literary clubs
and public subscribers

all united in honouring Scott not by erecting a statue in a city square, but by illuminating the country he loved.

Nearly a century later, walkers who pause at the summit may not know the names of Clarke, Mathieson, Henshaw, or Sutherland. But they still benefit from the care with which those forty-three sites — and more — were fixed upon bronze.

The Eildon Mountain Indicator remains what it was intended to be -- a permanent map of Scott’s world.

AI generated image... pending real one.

“IN MEMORY OF SIR WALTER SCOTT FROM THIS SPOT HE WAS WONT TO VIEW AND POINT THE GLORIES OF THE BORDERLAND”

Obituary

Mon, 02 Feb 2026 16:05:53 GMT

2026

Lt Cdr Dairmid Gunn OBE

It is with deep respect that we record the life and legacy of Lieutenant Commander Dairmid Gunn OBE, whose death in January 2026 (aged 92) marks the passing of a remarkable Scottish public servant, scholar and cultural bridge-builder.

Dairmid Gunn’s life was defined by service — to his country, to international understanding, and to the life of the mind.

His distinguished career began when he entered the Royal Naval College, Dartmouth as an executive officer cadet in 1949. After graduation he served for more than twenty years in the Royal Navy , seeing active service in Korea and in the Mediterranean at Port Said and Cyprus during pivotal moments of mid-20th-century history. He pursued advanced language study, spending two years learning Russian at London University and in Paris , a decision that would shape much of his later work. In the 1960s he served as a naval attaché in the British embassies in Moscow and Helsinki , representing the United Kingdom at a sensitive time during the Cold War and deepening his understanding of Russian language and culture.

After leaving full-time naval service in 1973, he channeled his leadership and organisational skills into the agricultural and commercial sectors in Scotland. He became director of an organisation dedicated to improving the commercial position of Scottish farmers in the United Kingdom and European Union , and in 1988 he coordinated the British Food and Farming Campaign in Scotland. For these services he was appointed Officer of the Order of the British Empire (OBE) in the 1990 New Year Honours.

Dairmid’s deep engagement with Russia and Scottish-Russian cultural relations was another defining strand of his life. In 1980 he became chairman of the Scottish branch of the GB-USSR Association , a non-political organisation devoted to fostering cultural relations between the United Kingdom and the Soviet Union. After the dissolution of the USSR in 1991, he continued this work as chairman and later vice-president of the Scotland-Russia Forum , promoting mutual understanding through dialogue, cultural exchange, and shared history. In recognition of his long-standing contributions to cultural relations between Scotland and Russia, he was awarded the Pushkin Medal by the Russian government in 2018, a state honour recognising achievements in arts, culture and education.

He was also a renowned literary custodian and interpreter. Dairmid served as literary executor of the estate of his uncle, the distinguished Scottish author Neil M. Gunn , and contributed many articles and booklets on Gunn’s life and work, ensuring that his literary legacy remained alive for new generations.

His passion for culture extended into academic and public forums. He participated in university symposia, such as one on cultural perception between Scotland and Russia , and delivered numerous lectures exploring the intersections of literature, national identity and cross-cultural influence.

In parallel with these pursuits he was deeply committed to the Edinburgh Sir Walter Scott Club, serving on its Council from 1988 until 2020 and as Chairperson from 1999 to 2002 . He delivered ten memorable lectures to the Club, blending historical insight with cultural breadth. His talks ranged from Scott’s perceptions of Russia and the Highlands to explorations of Scott’s influence on Russian literature and the works of Pushkin.

Lieutenant Commander Gunn’s life was characterised by a rare combination of service, scholarship, and international engagement . He operated comfortably across the worlds of military service, civic life, cultural diplomacy and literary study, always guided by integrity, intellectual curiosity and a desire to build understanding between peoples and traditions.

He will be remembered not only for his accomplishments, but for the quiet generosity, patience and clarity of mind with which he pursued them. His legacy endures in the organisations he strengthened, the audiences he educated, and the institutions that benefited from his steadfast commitment.

His lectures to the Club:

Scott and Classics

Thu, 06 Nov 2025 21:57:04 GMT

Thursday 6th November 2025

Summary of the Talk:

Dr Kerr explored the often-overlooked influence of classical literature and education on Sir Walter Scott’s life and writing. She argued that while Scott is usually viewed as a romantic medievalist , his deep grounding in the Greek and Roman tradition profoundly shaped both his imagination and moral framework.

She began by noting that Scott’s education at the Royal High School of Edinburgh —a bastion of classical learning—instilled in him not just language proficiency but a lifelong sense of order, civic virtue, and historical continuity derived from antiquity. Kerr compared this to the influence of classical models on other writers of the Enlightenment, suggesting that Scott stood at a crossroads between classical and romantic traditions , embodying both.

Scott’s engagement with the classics was not confined to youthful schooling: he maintained an active dialogue with ancient authors throughout his career. Kerr cited passages from Redgauntlet and The Lay of the Last Minstrel where Scott invoked ancient heroes and rhetorical forms, not merely as ornament but as part of a moral and narrative architecture rooted in classical virtue.

She also discussed how Scott’s sense of historical cycle and fate echoed classical historians like Livy and Tacitus , while his sympathy for national character owed something to Herodotus and Polybius . Yet Scott never imitated blindly; he filtered classical values through a distinctly Scottish lens , blending stoicism with humour and local colour.

Kerr observed that the classical balance between reason and passion is mirrored in Scott’s prose style—lucid and disciplined even when describing tumult. This quality, she argued, links Scott to Byron , who also struggled between romantic excess and classical restraint. In Redgauntlet , the theme of rebellion versus order parallels the Greek concept of hubris followed by nemesis .

Lockhart’s Life of Scott was discussed as a text that sometimes downplayed Scott’s classical dimension , portraying him more as a man of instinct and nature than of learned reflection. Kerr suggested this was a distortion, since Scott’s notebooks and marginalia reveal considerable familiarity with Virgil, Cicero, and the dramatists .

The lecture concluded with remarks on how Scott’s classical inheritance lived on through the Edinburgh Academy and later figures such as John Stuart Blackie , who sought to unite Scottish patriotism with Hellenic ideals. In this sense, Scott became a bridge between Athens and Abbotsford , joining moral seriousness with imaginative freedom.

Interesting Points Worth Mentioning

Scott’s schooling at the Royal High School placed him in one of the most rigorous classical curricula in Europe, yet he later played down his learning to project an image of accessibility.
Kerr described Scott as a “humanist in disguise” —a writer who cloaked ancient virtues in Border ballad form.
The comparison between Redgauntlet’s rebellion and hubris in Greek tragedy was particularly striking, framing Jacobitism as both political and moral drama.
Scott’s treatment of national history as moral exemplum reflects Roman historiography rather than purely romantic mythmaking.
Lockhart’s biography, while affectionate, may have contributed to the “anti-intellectual” image of Scott that persists today.
The connection drawn between Scott and Byron —both haunted by the classical ideal of moderation—offered a fresh reading of Scott as a writer of restraint, not excess.
The legacy of classical humanism continued through institutions inspired by Scott’s example, notably the Edinburgh Academy, where the Greek and Latin moral ideal fused with a patriotic Scottish ethos.

Download the [powerpoint] ( full text coming soon)

Introduction by Madeleine Mackenzie:

Dr Kristian Kerr is currently Head of Marketing and Communications at Calton, an Edinburgh Financial Planning and Investment Management firm. having previously worked in publishing with Edinburgh University Press and Birlinn. She is an alumnus of the universities of Oxford and Chicago having studied Classics and English Language and Literature. Her doctoral research was into the rise of the novel, literary bestsellers and 18-19 ^th century review culture in her thesis " Novel Classicism: British Historiography and the Empire of Prose ." She is the editor of John Gibson Lockhart’s Valerius, A Roman Story .

Out-of-the-way Reading and Hoary-headed Tradition: Walter Scott’s Supernatural Scholarship and Poetry

Thu, 02 Oct 2025 21:09:31 GMT

Thursday 2nd October 2025

Summary of the Talk:

Dr Harries explored Walter Scott’s lifelong engagement with supernatural belief , tracing how his reading habits and scholarship on witchcraft, demonology, and folklore shaped his poetry and prose.

Scott’s idea of “ out-of-the-way reading ” referred to his deliberate choice to read neglected or esoteric works—particularly Scottish texts about witches, fairies, and folklore—rather than the classical or philosophical sources favoured by his Romantic contemporaries. His term “ hoary-headed tradition ” captured the oral and local nature of these superstitions.

Harries argued that Scott balanced rational scepticism and imaginative belief , and that his poetry mediates between scholarship and superstition. His handling of the supernatural was never credulous, but neither was it dismissive: it occupied a middle ground between Enlightenment reason and Romantic imagination.

Key Points by Section

1. Supernatural Scholarship

Scott’s Abbotsford library reveals a methodical study of supernatural material—his “Witch Corner” contained hundreds of books on demonology and folklore.
He distinguished between moral, scholarly works (like Francis Hutchinson’s Historical Essay Concerning Witchcraft , 1718) and sensationalist or exploitative ones (such as Boulton’s Compleat History of Magick , 1715).
His marginalia show concern for authorial integrity and the social consequences of reviving superstition irresponsibly.

2. Authorial Responsibility

Scott believed authors had a duty to present supernatural material responsibly, aware of how credulous readers might misinterpret it.
He saw literature as a form of enchantment that could be morally uplifting or harmful, depending on how it was handled—a theme symbolised by the spell-book in The Lay of the Last Minstrel .

3. Reading Circles

Scott circulated rare supernatural texts (e.g., Robert Kirk’s Secret Commonwealth ) only among trusted “initiated” scholars and antiquarians.
This reflects his view that such material required context and careful framing.

4. The Function of Notes in Scott’s Poetry

Scott’s extensive poetic notes (especially in The Lay of the Last Minstrel and The Lady of the Lake ) were not just explanatory but creative—parallel narratives that reveal his thinking.
These notes blend folklore, scholarship, and anecdote, allowing him to explore superstition critically while sustaining its imaginative power.

5. The “Marvellous” in Poetry

Scott believed supernatural elements must grow naturally from “popular tradition or belief” within a given landscape to be convincing.
He rejected gratuitous horror or invention detached from local custom.
For Scott, “ the marvellous ” (rooted in human superstition) was distinct from “ the fabulous ” (mere fantasy).

6. Examples from the Poetry

The Lay of the Last Minstrel : the wizard Michael Scott and the goblin page Gilpin Horner embody this balance—drawn from tradition yet framed with scholarly restraint.
The Lady of the Lake : Brian the Hermit and the magical Trossachs landscape illustrate how legend, topography, and superstition interweave.
Scott often juxtaposes rational notes with mystical scenes, creating a “half-and-half” blend (as later observed by Hogg and Coleridge).

7. Preservation of Tradition

Harries emphasised that Scott viewed folklore and superstition as part of Scotland’s historical record—“the records of human superstition”.
By reviving these, he resisted the erasure of Scottish cultural identity in the modern age.
His poetry becomes both preservation and transformation: rational enough for Enlightenment readers, but faithful to “hoary-headed tradition”.

Noteworthy Insights

Abbotsford’s “Witch Corner” was more than curiosity—it was a working research archive that shaped Scott’s creative world.
His selective distribution of The Secret Commonwealth (only 100 copies) shows his caution and elitism regarding dangerous ideas.
The dialogue between text and notes in his poetry enacts his own internal tension between scepticism and belief.
Scott’s landscapes (Melrose, Loch Katrine, the Trossachs) function as bridges between natural and supernatural , with moonlight, mist, and sound transforming real places into fairy realms.
His rejection of classical “machinery” in favour of Scottish myth and folklore marked a decisive national turn in Romanticism.
Harries positioned Scott as both collector and mediator —not credulous believer nor dry rationalist, but someone using poetry to keep the marvellous alive in an age of reason.

Download the [transcript] of the talk and the [powerpoint]

Full article here: Journal of Irish and Scottish Studies

Introduction by Prof. Penny Fielding:

Dr Natalie Tal Harries is a Research Fellow at the University of Aberdeen, and Assistant Director of the Walter Scott Research Centre, working on the AHRC funded project, The Edinburgh Edition of Walter Scott’s Poetry: Engaging New Audiences . She is also a Research Associate on the 21st Century Oxford Authors edition of the work of Percy Bysshe Shelley at the University of Sheffield, and she completed an Early Career Research Fellowship at the Institute of English Studies (University of London) last year. Her published research examines Samuel Taylor Coleridge and Percy Bysshe Shelley’s engagement with aspects of Neoplatonic, Hindu and Indian philosophy and symbolism, and Walter Scott’s supernatural scholarship and poetry. She is co-editing a collection of essays on the figure of the Angry Woman in literature and culture with colleagues from Aberdeen, and her next research project focuses on the out-of-the-way reading of Romantic poets and writers, starting with Walter Scott.

Scotch Novels

Thu, 04 Sep 2025 21:23:34 GMT

Thursday 4th September 2025

Summary of the Talk:

Dr Gerard McKeever, lecturer in modern Scottish literature at the University of Edinburgh, spoke about Walter Scott’s relationship with Scotland, particularly through the lens of his so-called “Scotch Novels.” His talk was based on an essay he is preparing for publication.

He began by noting how Scott is often seen as inseparably linked with Scottish identity. Statues, monuments, and cultural traditions have reinforced this image since the 19th century. However, McKeever argued that the picture is more complicated: while Scott’s work certainly contributed to ideas of Scottishness, his novels are both more and less “Scottish” than they might at first appear.

Key points from the lecture:

Scott’s novels were hugely popular across class and gender divides. For example, borrowing records from the Wigton Subscription Library (1828–36) show that 19% of all borrowings were Scott’s works – nearly a fifth of everything read.
Despite being branded “Scotch novels,” only about 17 of the 27 Waverley novels (63%) are primarily set in Scotland. Many others are set in England, France, or elsewhere but still include significant Scottish characters or themes.
Scott often portrayed Scots abroad – soldiers, exiles, and fortune seekers – suggesting he saw mobility and diaspora as central to Scottish identity.
Even in novels set in Scotland, the action frequently crosses borders: characters travel to England, London, or further afield, blurring the sense of a purely Scottish setting.
Scott’s fiction is strongly regional. He paid close attention to local manners, customs, and landscapes – sometimes more so than to overarching “national” themes. His novels often function at the level of the village, region, or borderland rather than a seamless picture of Scotland as a whole.
Maps created by later critics trying to “plot” Scott’s novels highlight gaps: large swathes of the Highlands and Western Isles barely appear in his fiction. These areas were instead more present in his poetry, such as The Lord of the Isles (1815).
Critics such as Georg Lukács and Franco Moretti argued that Scott used historical divisions (Highlands vs. Lowlands, Jacobites vs. Hanoverians) only to reconcile them, thereby supporting the emergence of a unified modern nation. McKeever suggested this is only partly true: the novels are too diverse, and many resist being neatly reduced to national allegories.

Interesting points worth highlighting:

Library evidence of popularity: Scott made up nearly one in five borrowed books in Wigton during the late 1820s and 1830s – remarkable proof of his reach.
Regional focus vs. national myth: Scott’s detail on local customs and manners shows him as an early “anthropologist” of Scotland, yet this sometimes created caricatures or “othered” groups.
Mobility as identity: Many of Scott’s Scottish characters live or act abroad, reflecting how emigration and mobility were integral to Scottish history.
Scotland in prose vs. poetry: Scott tended to leave much of the Gaelic West to poetry rather than novels – almost as if novels and poems had different territorial domains.
The “Scotch novels” label: Originally used when Scott’s authorship of Waverley was secret, it later stuck as a reductive tag, even when novels were set outside Scotland.

Download the [powerpoint]

Introduction by Madeleine MacKenzie:

Dr Gerard ‘Gerry’ McKeever completed his undergraduate and postgraduate studies at the University of Glasgow, before spending two years as Research Assistant on the Oxford Edition of the Works of Robert Burns (AHRC) team. He was then a British Academy Postdoctoral Fellow at Glasgow between 2017 and 2020, working on a project titled 'Regional Romanticism: Dumfriesshire and Galloway, 1770–1830'. Subsequently, he was Research Fellow for two years on the AHRC-funded 'Books and Borrowing 1750–1830' project at the University of Stirling. He joined the University of Edinburgh in 2022 as a lecturer in modern Scottish literature. There he is also co-Director of Edition (formerly the Centre for the History of the Book) and hosted the joint Scott Club and Byron Society lecture at the University in May this year.

His first book in 2020 was the award winning: Dialectics of Improvement: Scottish Romanticism, 1786–1831 was followed in 2024 with Regional Romanticism: Literature and Southwest Scotland, c.1770–1830 .

The Club at Abbotsford

Fri, 15 Aug 2025 20:01:37 GMT

15th August 2025

Nineteen Club members and guests received very special treatment during our excursion to Abbotsford, the home of Sir Walter Scott. Friday 15th August marked the 254th anniversary of Sir Walter Scott’s birthday so was an appropriate day to visit, with the luck of good weather throughout.

CEO Giles Ingram set the tone, with not only warm words of welcome and introduction, joining us with his fundraising colleague Sheena Stone, but also bookending our visit by driving the minibus for our train connections.

Retired archivist and volunteer guide Bruce Jackson provided an insightful tour of the house, ably answering our questions and providing something for our first time and regular visitors. We were then treated to a special display of the upcoming Jacobite exhibition thanks to our Committee member and recent Chair Lucy Wood. She fascinated us with her description of a portrait miniature, a fragment of Bonnie Prince Charlie’s garter ribbon, reportedly worn at the Battle of Culloden and a beautifully bound volume of Jacobite songs.

A combination of picnic and Ochiltree’s café lunches set us up for a lovely afternoon exploring the chapel, walled gardens and part of the riverside walk. Despite spending five hours at Abbotsford we left reluctantly feeling there was still more to explore and enjoy – we shall have to return individually and as a group more often!

A huge thank you to all the staff and volunteers who coordinated to give us a memorable day, as well as assuring us all that Scott’s home and legacy is in the very best of hands.

Club members are very much encouraged to visit and support Abbotsford. Friends membership is a great way to not only make the most out of visiting Abbotsford but to help them. This and other ways to support and donate can be found at their website Abbotsford

A Colloquium on Crusaders and Chivalry

Sat, 21 Jun 2025 14:25:23 GMT

Saturday 21st June 2025

Two hundred years ago Sir Walter Scott published his Tales of the Crusaders , being The Betrothed and The Talisman , set in the late 12 ^th century at the time of the Third Crusade. Concepts of chivalry and tales of chivalric action were a key interest throughout Scott’s life and find expression in his poetry, novels, essays and collecting. Three contributors, Ian Chisholm, Angelika Cowell and Robert Irvine, will examine aspects of Scott and chivalry, especially in his The Bride of Lammermoor (1819) and The Talisman (1825).

Mr Ian Chisholm: Scott and the Concept of Fair Play

Synopsis: Recent studies on the history and significance of fair play has shown that Scott’s relevance is important, as is his influence on how the British view the Crusades.

Biography: Mr Ian Chisholm worked in the Home Office for over 30 years. Working extensively on policy in criminal justice, police, prisons and immigration, with considerable experience of international negotiations. He had been a President of the Edinburgh Burns Club and a former President of the Edinburgh Districts Burns Clubs. He is a now a part-time tour guide for Mercat Tours. Ian is a longstanding member of the Club and a current Council Member. Most recently he lectured in 2022 on ‘Scott as a Historian.’

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Dr Robert Irvine: The character of Chivalry in The Betrothed

Synopsis: The Betrothed tells a story which, more explicitly than The Talisman or, before them both, Ivanhoe , starts from the contradictions inherent in the chivalric ethos as Scott summarises that in his ‘Essay’ of 1818. But it also makes explicit a problem in the representation of its male protagonists’ inner thoughts and feelings, a problem produced by the generic tension of writing a novel (a genre which promises intimacy with a character’s inner life) about twelfth-century warriors. This paper will contrast the representation of male and female characters in The Betrothed as an effect of that tension.

Biography: Dr Robert Irvine is Reader in Scottish Literature at the University of Edinburgh. He is the editor of, among other work, Robert Burns, Selected Poems and Songs for Oxford World’s Classic, and is presently editing The Lord of the Isles for the Edinburgh Edition of Walter Scott’s Poetry. Robert previously lectured to the Club in 2011 on ‘Scott, India, and the Muslim Gentleman.’

Angelika Cowell: The Crisis of Chivalry in The Bride of Lammermoor

The Bride of Lammermoor (1819) is set around the time of the Act of Union is much more than a gothic tragic novel. On the theme of chivalry, Scott appears to present quite its opposite to how chivalry is portrayed elsewhere in his novels. Rather than “the stay of the oppressed, the redresser of grievances, the curb of the power of the tyrant”, to quote Scott from Ivanhoe , chivalry in The Bride seems to take dishonour, chivalry’s antithesis, to an extreme: tyranny wins the day; redress is impossible. Arguably, the concept of chivalry has affected our underlying societal norms from its medieval origins to today. The image of a courtly knight, crusading or otherwise, who is loyal, forbears hardship, protects the weak and provides largesse for those under his guardianship does not require much explanation to a modern Western audience. However, the impact of a loss of honour, and indeed what constitutes a loss of honour, might surprise a modern reader. For historian Maurice Keen, a loss of honour was the most ‘damning and irreversible’ aspect of chivalry. Honour, in The Bride , is most certainly lost, and this is despite attempts at the contrary, the very methods of which can themselves be seen as dishonourable. Indeed, a distorted sense of honour drives appalling behaviour on the part of some of the characters. On the issue of chivalry, the old world, represented by characters such as Caleb, and the new, represented by characters such as Sir William Ashton, are shown in societal conflict, and what is lost (and tragically so), is chivalry with the death of Ravenswood, submerged in the quicksand, and replaced by the distasteful ambition of modernity. In this paper, it will be argued that The Bride of Lammermoor presents chivalry in crisis, and what there is, is largely warped and thwarted. A question arises too around whether this crisis in chivalry serves as a metaphor, one that reflects the social and political changes surrounding the historical watershed moment that was the Act of Union of 1707. As Peter Garside so succinctly puts it, “ The Bride is just that--a novel of "union," albeit a dark version”

Biography: Angelika Cowell studied history at University College, Cardiff and then went on to serve as an Education Officer in the Royal Navy for nine years. Following the end of her commission, she became a history teacher. She has been teaching for the past 25 years in a variety of mostly Independent secondary schools in England becoming head of department and head of sixth form in Westonbirt School. She also taught history in International Schools in Vietnam and Italy. Since returning from Rome four years ago, Angelika has been teaching history in Bristol Grammar School.

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[video]

Are Walter Scott & Lord Byron Scotland’s Greatest Writers?

Wed, 28 May 2025 20:50:09 GMT

Wednesday 28th May 2025

Summary of the Talk:

Bernard Beatty posed the question of whether Scott and Byron are Scotland’s greatest writers, noting that while Scott is unambiguously Scottish, Byron’s claim is more complex. Though born in London, Byron spent his formative years in Aberdeen, retained a Scottish identity in part, and later acknowledged this heritage—especially under Scott’s influence. Beatty used this duality to explore ideas of literary greatness, cultural identity, and historical legacy.

Key Themes and Interesting Points:

Byron’s Scottish Identity:
Byron lived in Scotland until age ten and considered himself “bred a canny Scot.”
He admired Scott deeply and felt nostalgic connections to Scotland through Scott’s novels.
Monuments and Literary Greatness:
The Scott Monument in Edinburgh once held the record as the world’s largest monument to a writer.
Lord Byron was included among the 16 Scottish writers commemorated there in the 1840s, indicating his cultural association with Scotland at the time.
Changing Views of Greatness:
Beatty observed that modern society hesitates to label anyone as “great,” especially writers, whereas earlier generations confidently celebrated figures like Scott and Byron.
He connected this to broader democratic trends that resist hierarchical notions of artistic merit.
Historical Perspective and Novelistic Vision:
Scott’s novels depict individual lives shaped by historical forces, typically ending with characters accepting a post-Romantic, pragmatic future (e.g., Waverley, Redgauntlet ).
Byron’s tales (especially the “Turkish Tales”) dwell more in the realm of myth, personal psychology, and the metaphysical, often resisting tidy resolutions.
Illicit Glamour and Heroism:
Both writers lured readers into identification with romanticised, dangerous worlds (e.g., Flora MacIvor and Gulnare).
Scott resolves these tensions with order; Byron indulges and sometimes challenges them.
Napoleon as a Litmus Test:
Both were fascinated by Napoleon. Scott tried to understand and memorialise him fairly in his multi-volume biography.
Byron idolised him as the embodiment of opposition and “greatness” against mediocrity and saw him as akin to the Byronic hero.
Contrast in Style and Legacy:
Scott’s heroines (like Jeanie Deans) show moral strength in realistic frameworks; Byron’s heroes (like Manfred or Conrad) are more operatic, defiant, and psychologically tortured.
Byron’s Don Juan parodies traditional heroism, turning the iconic seducer into a passive, dominated figure—perhaps influenced by Scott’s passive male protagonists.
Critical Reputations:
Beatty lamented the mid-20th century critical dismissal of both writers, especially by F. R. Leavis.
He noted a revival of interest in Byron but regrets Scott remains undervalued, despite his literary and cultural impact.
Conclusion:
Beatty affirms that Scott and Byron are Scotland’s greatest writers in terms of range, innovation, and influence.
However, he resists ranking them definitively over others like Burns or Muriel Spark, cheekily ending with “Dinna fash yersel” to any critic demanding rigid hierarchies.

Notable Quotations:

“Byron said of himself that he was ‘born for Opposition’.”
“Scott’s world accepts that greatness belongs in the past, though it may be visited by the imagination.”
“Redgauntlet has to swallow the unpalatable truth that the world of honour… is now simply impossible—it is ‘lost for ever’.”
“Scott and Byron did not need sausages. They could and did talk from the outset about all manner of things.”

Final Thought:
Beatty celebrated the mutual admiration between Scott and Byron, noting how their contrasting temperaments enriched their respective works and strengthened their friendship. Their joint legacy, he argued, remains unmatched in the Scottish literary tradition.

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One Crowded Hour of Glorious Life

Wed, 16 Apr 2025 16:54:26 GMT

2025

Authorship of the “One Crowded Hour” Quatrain: Was it by William Lucas Collins, Thomas Osbert Mordaunt, or Sir Walter Scott?

Introduction

The famous quatrain –

“Sound, sound the clarion, fill the fife,
To all the sensual world proclaim,
One crowded hour of glorious life
Is worth an age without a name.”

– has a tangled attribution history. Over time it has been credited to three different authors: Rev. William Lucas Collins , Sir Walter Scott , and Thomas Osbert Mordaunt . To determine the true author, we examine each candidate’s connection to the lines and trace the poem’s earliest appearances in print. We draw on historical publications, literary commentary, and scholarly findings to weigh the evidence for and against each attribution.

William Lucas Collins

William Lucas Collins (1828–1893) was a Victorian scholar and cleric, best known as an editor of the Ancient Classics for English Readers series. Collins did not compose this quatrain, but he did quote it in his own writings – which has led to some modern confusion. In his commentary on the Iliad , for example, Collins cites the lines while discussing Achilles’ choice of a short glorious life, explicitly referring to them as “the stirring lines of Scott”. He reproduces the entire stanza in his text, clearly treating it as an existing quote (from Scott) rather than original verse of his own. Collins again quoted the passage in his volume on Cicero, using it to admonish readers that “the heroes of old time won their immortality not by weighing pleasures and pains … but by being prodigal of their lives”. In these instances Collins is acting as an editor/critic , not claiming authorship. Indeed, he attributes the lines to Sir Walter Scott, showing he himself believed Scott was the source.

Evidence for Collins’ authorship : Essentially none – beyond the fact that the stanza appears in books he wrote or edited. It was Collins’ misfortune to have his name attached to the quote in modern databases and quotation compilations (likely because he published it in his books). For example, Goodreads and other quote sites list the passage under Collins’ name due to its appearance in his Cicero volume. This is a misunderstanding: Collins never claimed to have written “One crowded hour of glorious life…”, he was merely quoting it .

Evidence against Collins : All historical and textual evidence indicates Collins was a later transmitter , not the originator. The quatrain predates Collins’ works by many decades (it was already famous by the time he quoted it). Collins himself gives credit to another author (Scott) in his commentary, which refutes any notion that he considered it his own. In short, there are no verified publications in which Collins is identified as the author of the poem – only publications where he includes the lines second-hand. Thus, William Lucas Collins can be ruled out as the true author.

Sir Walter Scott

Sir Walter Scott’s connection to the lines is much stronger. The stanza appears prominently in Scott’s novel Old Mortality (1816) as an epigraph to Chapter 34, where it is printed in italics and attributed only to “Anonymous.” Scott often prefaced his chapters with snatches of poetry (sometimes from obscure ballads or his own pen), and in this case he chose the “One crowded hour of glorious life” verse. Because he gave no author, many readers assumed it was Scott’s own creation written for the novel. Contemporary admirers of Scott remarked on the aptness of the “Anonymous” lines and suspected Scott had written them himself. For example, Scott’s friend Mrs. Grant of Laggan, in a letter of January 1817, noted the “motto to one of the chapters, marked Anonymous, that, I suspect, is written by the author himself – Fill, fill the clarion, sound the fife… One crowded hour of glorious life Is worth an age without a name! How nobly spirited and expressive!” This early reaction shows that Scott’s contemporaries strongly believed the quatrain was his work (Mrs. Grant even misremembered “fill the clarion” for “sound the clarion,” but clearly meant the same lines).

For the next century, the lines were overwhelmingly identified with Scott. His son-in-law and biographer, John Gibson Lockhart, quoted the stanza in Life of Scott and called them “his own immortal words,” using the passage to eulogize Scott. Later scholars and editors of Scott’s works also tended to assume Scott’s authorship unless evidence indicated otherwise. In 1890, Notes and Queries declared “there is not the slightest doubt that the fine quatrain … is Scott’s own,” citing Lockhart’s testimonial as conclusive. The lines had essentially become part of the Scott legend. They were frequently included in 19th-century anthologies under Scott’s name or under Old Mortality . For instance, an 1865 edition of Bartlett’s Familiar Quotations lists the stanza as the chapter motto from Old Mortality . Likewise, The World’s Best Poetry (1904) categorized the quatrain as “ Old Mortality : Chapter Head – Sir W. Scott”. The association was so strong that as late as 1926, a speaker at the Sir Walter Scott Club in Edinburgh could recite the lines and call them “these lines of Scott, famous the world over,” to rousing applause. In popular memory and literary tradition, the quatrain had effectively been canonized as Scott’s.

Evidence for Scott’s authorship: The primary support was stylistic and contextual. The martial imagery and heroic sentiment fit Scott’s Romantic style well, and the lines meshed perfectly with the themes of Old Mortality . No alternative author was known for over 100 years, and Scott never disclaimed the lines. On the contrary, the fact that he labelled the piece “Anonymous” in the novel was interpreted by many (like Mrs. Grant) as a playful coyness – a way for Scott to include his own verse without explicitly signing it. In Lockhart’s view, the stanza distilled Scott’s ethos so well that it had to be his “own immortal words”. The absence of any 18th-century author in early editions or correspondence further allowed the assumption that Scott composed it. Simply put, until the true source was discovered, all circumstantial evidence pointed to Scott as the likely author, and this was the scholarly consensus through the 19th century. Scott’s enormous fame also meant the quote circulated widely under his name.

Evidence against Scott’s authorship: Despite the long-held attribution, critical doubts persisted beneath the surface. Scott’s decision to mark the piece “Anonymous.” in Old Mortality can be seen as a clue that it was not his own. In his other works, Scott sometimes credited chapter-head verses to sources like “Old Play” or a named poet when known; when he used “Anonymous,” it often implied an old folk verse or a then-untraceable source. Indeed, internal evidence hinted the lines might pre-date Old Mortality . The vocabulary (“clarion,” “fife,” “sensual world”) and the sentiment have an 18th-century flavour, more aligned with mid-18th-century rhetoric of glory than with 19th-century Romanticism. Some 19th-century commentators noticed this. In 1880, a Notes and Queries correspondent queried the origin of the “Sound, sound the clarion” lines, suspecting they might come from an earlier source given their anonymous attribution in Scott’s novel. However, without hard evidence, such suspicions remained speculative. It was not until the early 20th century that concrete proof emerged that Scott was quoting rather than authoring the quatrain. That proof came with the discovery of an earlier publication – by Thomas Mordaunt – as we shall see. In summary, while Sir Walter Scott popularized the stanza and was long credited for it, the key argument against his authorship is the existence of the poem in print before 1816 (something unknown to Scott’s contemporaries). Once an earlier source surfaced, Scott’s claim as original author collapsed. Modern scholarly consensus no longer attributes the poem to Scott.

Thomas Osbert Mordaunt

Thomas Osbert Mordaunt (1730–1809) was a British army officer and a minor poet. He is now recognized as the true author of the “One crowded hour of glorious life” quatrain, which comes from his poem “ The Call .” Mordaunt wrote this poem during the Seven Years’ War (1756–1763) – often called the “last German war” in older British usage. The poem The Call expresses a young soldier’s inner conflict between love and military glory, ultimately trumpeting the famous lines as a call to valour. Importantly, The Call was published in Mordaunt’s lifetime, though it remained obscure. The earliest known appearance in print is in The Bee , a weekly literary magazine published in Edinburgh. On October 12, 1791, The Bee printed a fourteen-stanza poem titled “ A Poem, said to be written by Major Mordaunt during the last German War. Never before published .” The eleventh stanza of this piece is exactly the “Sound, sound the clarion…” quatrain. This 1791 publication predates Scott’s use of the lines by 25 years, firmly establishing priority . Notably, a copy of that very issue of The Bee was later found in Sir Walter Scott’s own library – suggesting that Scott encountered Mordaunt’s poem there and adopted the stirring stanza for his novel.

In The Bee and other sources, the poem was attributed to “Major Mordaunt,” which matches Thomas Osbert Mordaunt’s rank at the time of writing (he was a Major during the war and later rose to Lieutenant-General). After 1791, the poem was not widely reprinted in the 19th century, which is why its authorship slipped into obscurity while Scott’s star rose. For many years, reference works did not connect the quote to Mordaunt. It was only in 1920 that the puzzle was solved. In that year, a researcher named James Rankin of Galashiels uncovered the link between Scott’s “Anonymous” epigraph and Mordaunt’s The Call . Rankin published his findings in The Literary Digest (Sept. 11, 1920), reprinting Mordaunt’s The Call in full and announcing that the long-sought origin of the famous lines had been identified. This revelation showed definitively that Scott had borrowed the stanza, and that Thomas Mordaunt was the original author . As one quotations compendium noted in the wake of the discovery: the lines were “recently discovered in The Bee, Edinburgh, Oct. 12, 1791” and “said to have been written by Major Mordaunt.” No scholar has seriously contested this attribution since.

Evidence for Mordaunt’s authorship: The textual evidence is unequivocal. The Old Mortality stanza is verbatim the stanza from Mordaunt’s The Call as printed in 1791. The timing fits: Mordaunt, a soldier-poet of the mid-18th century, wrote a poem during the Seven Years’ War when the cult of military glory was at its height. The sentiment “One crowded hour of glorious life is worth an age without a name” perfectly encapsulates the ethos of that war era. It is highly plausible that an army officer in the 1750s would coin such a phrase; indeed Mordaunt’s entire poem builds to that crescendo. Furthermore, the 1791 magazine explicitly names Major Mordaunt as the author, which is essentially a primary-source attribution . After the 1920 discovery, authoritative compilations quickly corrected the record. The 1922 edition of Hoyt’s Cyclopedia of Practical Quotations , for example, still lists the quatrain under Scott (reflecting its fame in Old Mortality ), but adds the crucial footnote: “ Recently discovered in The Bee, Edinburgh, Oct. 12, 1791. Said to have been written by Major Mordaunt .” Scholarly and literary consensus thereafter shifted to credit Mordaunt. The Oxford Book of English Verse (1939 edition) included the stanza under Mordaunt’s name, finally giving the soldier-poet his due. Modern reference works (as well as Wikipedia) now uniformly attribute the poem “The Call” to Thomas Osbert Mordaunt and explain that for many years it was wrongly thought to be by Scott. In summary, the evidence for Mordaunt is the combination of historical attribution in 1791, textual matching, and the acknowledgment of 20th-century scholars that he is the genuine author.

Evidence against Mordaunt’s authorship: There is little to argue against Mordaunt at this point, aside from the poem’s long anonymity. One could note that The Bee (1791) presented the piece with some uncertainty (“said to be written by Major Mordaunt…”), implying it was a hearsay attribution. However, no competing claimant from that era ever emerged. The style and context align with Mordaunt’s background, and no evidence suggests the lines belong to anyone else. The only historical “strike” against Mordaunt is that his authorship was forgotten for over a century, leading some to assume an attribution to Scott or others. But since the rediscovery, no scholar has produced a shred of contrary evidence to dispute Mordaunt’s claim. On the contrary, all known facts reinforce that Mordaunt wrote the stanza and Scott borrowed it. Thus, from a modern perspective, Thomas O. Mordaunt stands as the most likely original author by a wide margin.

Earliest Publication and Scholarly Consensus

To highlight the earliest known appearance : the quatrain first saw print on 12 October 1791 in The Bee magazine of Edinburgh. It appeared as part of a longer poem The Call by Major Thomas Mordaunt, presented to the public for the first time in that issue. This 1791 printing is a crucial piece of evidence, because it antedates Sir Walter Scott’s use of the lines in Old Mortality (1816) and thus demonstrates the verse was in existence well before Scott’s novel. After 1791, the trail went cold – the poem was not widely reprinted or anthologized in the early 19th century. When Scott included it as an epigraph in 1816 (without naming the author), the origin became obscured. Only in 1920 was the original source reconnected, thanks to the detective work published in The Literary Digest . From that point on, reputable literary historians and editors have accepted Mordaunt’s authorship as a matter of record. By the mid-20th century, reference books uniformly corrected the attribution. For example, Hoyt’s New Cyclopedia of Practical Quotations (1922) explicitly notes the discovery in The Bee and the credit to Mordaunt, and the Oxford Dictionary of Quotations (later editions) likewise attribute the line to Mordaunt (often with a parenthetical note about Scott’s usage). The scholar Herbert Grierson, editing the 1939 Oxford Book of English Verse , included “Sound, sound the clarion…” under Mordaunt’s name, reflecting the new consensus.

Today, academic sources are in broad agreement: “One crowded hour of glorious life is worth an age without a name” originates from Thomas Osbert Mordaunt’s pen. Sir Walter Scott’s role was that of a quoting steward – he helped immortalize the lines by embedding them in his novel, but he did not compose them. William Lucas Collins was a later commentator who propagated the lines (assuming they were Scott’s). Thus, each of the three men had a hand in the verse’s journey: Mordaunt wrote it, Scott quoted it, and Collins quoted Scott . In light of the historical record, the true laurels of authorship belong to Major Thomas Osbert Mordaunt . As one modern compilation succinctly puts it, the quatrain commonly attributed to Scott was “ actually written by Mordaunt during the Seven Years’ War ” – one glorious hour of poetic fame earned by a soldier-poet, finally restored to his name after an age of anonymity.

Conclusion

After examining all three candidates, the evidence overwhelmingly indicates that Thomas Osbert Mordaunt is the original author of the celebrated lines. Sir Walter Scott, though long credited, was essentially quoting an older poem in Old Mortality , and he did so without claiming authorship (marking it “Anonymous.”). Scott’s literary genius helped spread the verse, but the words themselves were penned by an earlier hand. William Lucas Collins, in turn, was a 19th-century conduit who cited the lines in his essays, further cementing the misattribution to Scott in Victorian minds. The puzzle of authorship was conclusively solved in 1920 when Mordaunt’s forgotten poem was brought to light, revealing the quatrain’s earliest print appearance in 1791 and its true creator. Modern scholarly consensus, backed by publication history and literary analysis, affirms that the stirring proverb, “ One crowded hour of glorious life Is worth an age without a name, ” originated with Major Thomas O. Mordaunt’s The Call, even though it attained fame through Sir Walter Scott. In summary, each man played a role, but only one – Mordaunt – wrote those immortal lines . As such, the laurels of authorship rightly rest with him, while Scott’s legacy is that of a great populariser who recognized the power of Mordaunt’s words and gave them new life on the pages of his novel.

....and Just to Confuse things:

Here is a quote by Sir Walter Scott from Count Robert of Paris (1832), and it indeed shows how he not only admired Mordaunt’s original lines but internalised and rephrased their sentiment in his own prose:

"One hour of life, crowded to the full with glorious action, and filled with noble risks, is worth whole years of those mean observances of paltry decorum, in which men steal through existence, like sluggish waters through a marsh, without either honour or observation."

That’s unmistakably an echo —almost a prose expansion—of Mordaunt’s original verse:

"One crowded hour of glorious life
Is worth an age without a name."

Scott clearly respected the idea and repurposed it for his own purposes. What’s especially interesting is that by 1832 (when Count Robert of Paris was published), Scott had already used Mordaunt’s quatrain in Old Mortality (1816), attributing it to “Anonymous.” Yet in Count Robert , he neither quotes it directly nor attributes it—it’s simply absorbed into the voice of the narrator , transformed into Scott’s own rhetorical flourish.

So did Scott “rip off” Mordaunt?

Well… sort of, but not maliciously. Here’s the nuance:

Scott was famous for drawing on earlier poetry, ballads, and folk traditions—sometimes unattributed, sometimes lightly veiled as “Anonymous” or “Old Play.”
When he used Mordaunt’s lines in Old Mortality , he didn’t claim them as his own—though he didn’t name Mordaunt either.
In Count Robert of Paris , Scott reshaped the idea rather than copying the wording, which was common literary practice at the time (think of it as 19th-century intertextual homage).
It wasn’t plagiarism by the standards of the period—but he definitely helped bury Mordaunt’s name in the process.

If anything, this quote strengthens the case that Scott revered Mordaunt’s sentiment , used it consciously, and gave it new life in both verse and prose—though modern standards would call for more explicit credit.

The Call by Mordaunt:

Go, lovely boy! to yonder tow'r
The fane of Janus, ruthless King
!And shut, O! shut the brazen door
,And here the keys in triumph bring

.

Full many a tender heart hath bled,
Its joys in Belgia's soil entomb'd:
Which thou to Hymen's smiling bed,
And length of sweetest hours had doom'd.

Oh, glory! you to ruin owe
The fairest plume the hero wears:
Raise the bright helmet from his brow;
You'll mock beneath the manly tears.

Who does not burn to place the crown
Of conquest on his Albion's head?
Who weeps not at her plaintive moan,
To giver her hapless orphans bread?

Forgive, ye brave, the generous fault,
If thus my virtue falls; alone
My Delia stole my earliest thought,
And fram'd its feelings by her own.

Her mind so pure, her face so fair;
Her breast the seat of softest love;
It seemed her words an angel's were,
Her gentle percepts from above.

My mind thus form'd, to misery gave
The tender tribute of a tear:
O! Belgia, open thy vast grave,
For I could pour an ocean there.

When first you show'd me at your feet
Pale liberty, religion tied,
I flew to shut the glorious gate
Of freedom on a tyrant's pride.

Tho great the cause, so wore with woes,
I can not but lament the deed:
My youth to melancholy bows,
And Clotho trifles with my thread.

But stop, my Clio, wanton muse,
Indulge not this unmanly strain:
Beat, beat the drums, my ardor rouse,
And call the soldier back again.

Sound, sound the clarion, fill the fife,
Throughout the sensual world proclaim,
One crowded hour of glorious life
Is worth an age without a name.

Go then, thou little lovely boy,
I can not, must not, hear thee now;
And all thy soothing arts employ
To sooth my Delia of her wo.

If the gay flow'r, in all its youth,
Thy scythe of glory here must meet;
Go, bear my laurel, pledge of truth,
And lay it at my Delia's feet.

Her tears shall keep it ever green,
To crown the image in her breast;
Till death doth close the hapless scene,
And calls its angel home to rest.

Sources:

Mordaunt, Thomas O. The Call – The Bee (Edinburgh), 12 Oct. 1791 (earliest printed version) ( Page:Hoyt's New Cyclopedia Of Practical Quotations (1922).djvu/352 - Wikisource, the free online library ).
Scott, Walter. Old Mortality (1816), Chapter XXXIV epigraph (attributed as “Anonymous”) ( The Project Gutenberg eBook of Old Mortality, by Sir Walter Scott ).
Lockhart, J.G. Memoirs of the Life of Sir Walter Scott (1837) – quotes the lines as Scott’s “own immortal words” ( Full text of "Notes and queries" ).
Collins, W. Lucas. Ancient Classics for English Readers: Homer (The Iliad) (1867) – Collins calls the stanza “the stirring lines of Scott” while quoting it ( The Project Gutenberg eBook of Cicero, by W. Lucas Collins ).
Notes and Queries , 7th Series, Vol. X (1890) – discusses the assumption of Scott’s authorship and Lockhart’s praise ( Full text of "Notes and queries" ).
The Literary Digest , Sept. 11, 1920 – James Rankin’s article announcing the discovery of Mordaunt’s original publication (reprinted in Hoyt’s Cyclopedia note) ( Page:Hoyt's New Cyclopedia Of Practical Quotations (1922).djvu/352 - Wikisource, the free online library ).
Hoyt’s New Cyclopedia of Practical Quotations (1922) – entry under “Glory” noting the poem’s true origin in The Bee (1791) and Major Mordaunt’s authorship ( Page:Hoyt's New Cyclopedia Of Practical Quotations (1922).djvu/352 - Wikisource, the free online library ) ( Page:Hoyt's New Cyclopedia Of Practical Quotations (1922).djvu/352 - Wikisource, the free online library ).
Oxford Book of English Verse (1939 edition) – includes the quatrain credited to Thomas O. Mordaunt ( The Call / Thomas Osbert Mordaunt | Penny's poetry pages Wiki | Fandom ).
Wikiquote/Wikipedia entries on the quote and on Thomas O. Mordaunt – summarize the attribution history ( Thomas Osbert Mordaunt - Wikipedia ).

Images created using AI.

Writing Historic Novels in the Age of Scott

Thu, 03 Apr 2025 19:36:16 GMT

Thursday 3rd April 2025

Summary of the Talk:

Sara Sheridan’s talk explores the creative process and motivations behind writing historical fiction, especially in contrast—and conversation—with the legacy of Sir Walter Scott. Blending personal anecdotes, literary reflections, and social commentary, Sheridan charts her journey from contemporary novelist to historical writer with a passion for uncovering marginalised voices.

She discusses:

Her eccentric, storytelling-filled upbringing (with a dyslexic mother and antique-dealing father).
Her shift from contemporary fiction to historical fiction, driven by her fascination with history’s “missing stories,” particularly those of women, working-class people, and the queer community.
The genesis and success of her feminist remapping project Where Are the Women? , which reimagines Scotland’s geography through the lens of women’s contributions.
Her creative engagement with Edinburgh’s archives and botanic gardens in novels like The Fair Botanists and the forthcoming The Jewel Keepers.
Her portrayal of Charlotte Scott (Sir Walter Scott’s wife) as a nuanced, independent character.
Her critique of Edinburgh’s failure to visibly commemorate women in public statues and monuments.

She positions Scott as a “benevolent patriarch”—supportive of women writers like Austen and Ferrier, but still emblematic of a system that privileges male voices and narratives. Her goal is not to dismiss Scott but to offer a counterpoint: a richer, more inclusive view of Scotland’s past.

Interesting Points

Sheridan’s Childhood Influence : Her storytelling style was shaped by her father's imaginative tales about antique objects—an early education in “object-based history.”
Radicalised in the Library : Discovering the male-dominated slant of archives led her to consciously focus on underrepresented voices in her fiction.
Scott’s Limited Reach Abroad : Sheridan notes that while international audiences recognise the myths Scott created (tartan, Highland romance), they often don’t know the man himself—a stark contrast to Burns’ legacy.
Where Are the Women? : This project, inspired by a feminist remapping of New York by Rebecca Solnit, involved rewriting Scotland’s map with over 1,600 women's stories. It also sparked a broader conversation about how boys and girls experience cultural visibility differently.
Charlotte Scott Reimagined : Sheridan crafts her as a champagne-drinking, astronomy-loving woman with her own circle of female friends—far more than just “Scott’s wife.”
Statues and Visibility : Edinburgh, unlike Glasgow, lacks statues of named, non-royal women in its centre. Sheridan is passionate about redressing this imbalance but also critical of some current proposals, which she sees as old-fashioned.
Scott and Feminism : While Scott did create empowered female characters (e.g. Jeanie Deans), Sheridan argues that his work still largely serves a patriarchal narrative—even if kindly so.
Unarchived Women's Stories : Less than 1% of archived material in Historic England is about women. Sheridan notes that even suffragette banners were routinely rejected by museums.
Glasgow vs. Edinburgh : She contrasts the dynamic, ever-changing cultural energy of Glasgow with Edinburgh’s static, heritage-heavy city centre—an influence she believes shapes writers differently.

Download the [transcript]

Introduction by Dr. Lucy Wood:

I’d like to introduce our speaker for this evening. It’s my very great pleasure to welcome Sara Sheridan. Sara Sheridan is a writer in command of multiple genres. She’s perhaps best known for her contributions to the genres of crime writing and historical fiction. Her nine-part series Mirabelle Bevan, a crime noir mystery set in the 1950s, was published from 2012 to 2021.

As for her historical fiction, which is perhaps particularly apt for us this evening, one standout example is The Fair Botanists , published in 2021—nearly 200 years after the historical moment in which the novel is set. For those who haven’t read it, without giving too much away, it’s a novel situated in Edinburgh in 1822, when the town is full of anticipation for two events: the king’s visit, and the flowering of a plant at the Botanics. Our very own Sir Walter Scott—who is a character in the novel—is, I think it’s fair to say, more excited about one of those events than the other.

In addition to placing historical characters within her fiction, Sara also creates new characters to tell the stories of those often unrecorded by history. Tonight, she reflects on her process of creating historical writing in the age of Walter Scott. Sara, it’s a delight to have you here. Welcome to the Scott Club.

The Real Mackay: Walter Scott’s Favourite Comedian

Thu, 28 Nov 2024 14:54:24 GMT

28th November 2024

Summary of the Talk:

Helen's talk recounts her journey of discovering, researching, and writing about her ancestor Charles Mackay —a celebrated 19th-century Scottish stage actor known as The Real Mackay and famed for his portrayal of Bailie Nicol Jarvie in stage adaptations of Rob Roy .

It all began with a handwritten family note referencing Mackay as an actor and friend of Sir Walter Scott. Helen delved into genealogical research and unearthed multiple sources confirming this connection, including anecdotes, portraits, and historical records. Inspired by this discovery, she wrote a biographical novel to bring Charles Mackay’s story to life, contributing to Scottish theatre history and family heritage.

Mackay’s comic genius and cultural impact earned him admiration from none other than Sir Walter Scott , who wrote letters praising his performance, attended his shows, and publicly toasted him. Mackay's legacy also lives on in the phrase “ the real Mackay ”, the likely origin of the now global expression “ the real McCoy. ”

Helen’s talk also touches on the challenges of writing the novel, her discovery of a 1960s play about Mackay, and the thrill of having her book featured in the Edinburgh Central Library’s display of influential Scottish writing.

Notable Highlights & Interesting Points

Origin of “The Real Mackay” : The phrase reportedly comes from an audience member's reaction when Mackay’s understudy performed in Rob Roy : “That’s no’ the real Mackay!” This likely evolved into “the real McCoy” , especially after adoption in whisky advertising.
Sir Walter Scott’s Endorsement :
Scott attended Mackay’s shows incognito and praised his portrayal of the Bailie as “equal to anything I have ever seen on the stage.”
He sent Mackay a benefit gift (a five-ell web of cloth) and letters expressing personal and professional admiration.
At a public dinner in 1827, Scott raised a toast to “my friend Bailie Nicol Jarvie,” causing rapturous applause and affirming Mackay’s place in the cultural landscape.
Mackay’s Career :
Rose to fame after the 1819 Edinburgh debut of Rob Roy , playing the Bailie over 1,000 times.
Was offered a contract at Drury Lane in London but chose to remain in Edinburgh with his family.
Played other major comic roles and even took on a female part (Meg Dodds) written specifically for him by Scott.
Revival of Interest :
Helen discovered a 1970s one-man play The Bailie by Donald Mackenzie that also celebrated Mackay’s life.
Her book is now part of a display in Edinburgh Central Library alongside works by Scott, Hogg, and Ramsay.
Personal Connection : Helen is Charles Mackay’s five-times-great niece. Her journey started from a family note and led to an extensive literary and historical project that spanned years.
Legacy :
A monument to Mackay was erected in Old Calton Burial Ground in 1864.
Helen’s second novel, continuing the story with Mackay’s granddaughter, is due in 2026.

If you're at all interested in Scottish theatre, Walter Scott, or literary genealogy, it's a rich, affectionate, and deeply researched talk—tracing one man’s life and impact across personal, cultural, and national lines.

Download the [transcript]

Helen Graham has worked as a knitwear designer and a filmmaker and has renovated several historic buildings. She has published articles and short stories, written a memoir, a poetry anthology and six volumes of family history books. The Real Mackay: Walter Scott’s Favourite Comedian , published in May 2024, is her first novel.

Helen has also composed and recorded numerous songs, directed several award-winning short films, co-founded a community film festival and raised a family.

Brought up in Oxfordshire, she now lives in Edinburgh.

Introduction

How I discovered Charles Mackay was my ancestor and was very likely to have been the origin of the phrase The Real Mackay; why I decided to write a book about his life. The journey of my research, the discovery of two portraits and a play about Mackay’s life called The Bailie.

The Real Mackay

An outline of how Charles Mackay came to be an actor, how he came to play the part of the Bailie in Rob Roy (among many other roles) and how he came to be part of the Edinburgh Theatre Royal’s stock company, turning the finances of the theatre around by his immediate and extraordinary popularity.

Walter Scott’s Favourite Comedian

How Scott was ‘electrified’ by Mackay’s performance in Rob Roy in Edinburgh, in February1819, and wrote to him as Jedediah Cleishbotham – marking the beginning of a long friendship. Extracts from other letters of Scott’s about Mackay, an account of the King’s visit in 1822 and of Charles Mackay playing the part of Meg Dodds in St Ronan’s Well , 1824.

Conclusion

An account of the unveiling of Sir Walter Scott as the writer of Waverley at the Theatrical Fund Dinner in 1827, and the credit Scott gave to Mackay for bringing his characters to life. Their friendship through letters continued until Scott’s final illness. A brief mention of Mackay’s ongoing career, his retirement and death, and an explanation of how the phrase eventually became a whisky advertising slogan.

Synopsis: The talk is about Helen’s ancestor, a famous comic actor called Charles Mackay widely known in his day as The Real Mackay, and about how she first heard of him and the family story claiming he was the origin of this well-known phrase. This talk also explores the idea that Mackay was Scott’s favourite comedian, perfectly embodying the characters Scott had created in his national dramas, especially Bailie Nicol Jarvie, whom he played over a thousand times.

”Thou with pencil, I with pen”: James Skene’s Artistic Collaboration with Sir Walter Scott

Thu, 31 Oct 2024 22:47:41 GMT

Thursday 31st October 2024

Summary of the Talk:

Dr Paul Barnaby explored the close personal and professional relationship between Sir Walter Scott and James Skene of Rubislaw, an amateur artist, antiquarian, and long-time friend of Scott. Their collaboration is vividly evidenced in a rediscovered album of around 420 sketches by Skene, now held by the University of Edinburgh.

Key Themes:

Early Life and Background:
Skene was born in 1775 near Aberdeen. After his elder brother’s death, he inherited the family estate and was sent to study in Germany, where he honed his artistic talents rather than follow the intended academic path. On returning to Scotland, he entered law but did not practice significantly, relying on his private means.
Formation of the Friendship:
The two men met in the early 1790s through a shared interest in German literature, particularly the proto-Romantic writers. Their friendship deepened in 1797 while serving together in the Edinburgh Light Horse regiment. Skene later recalled moments of Scott composing The Lay of the Last Minstrel on horseback during military exercises.
Sketching Collaborations:
Skene’s drawings provided Scott with visual prompts for his novels. Early sketching excursions together influenced works like Old Mortality and Guy Mannering . Even as Scott’s health declined, he continued to send Skene on solo trips to record locations for his fiction.
Influence on Scott’s Works:
Many of Skene’s sketches were directly used to support Scott’s literary imagination, serving as visual aids that inspired settings and moods in his novels. Skene was also involved in the design of Abbotsford, acting as a “Committee of Taste” member.
The Rediscovered Album:
The newly acquired sketch album (2021) includes many of these images—some original, others revised for publication. It provides valuable insight into their creative relationship and how Scott used these visual sources for literary composition.
Published Works and Decline of Collaboration:
Skene eventually published Sketches of the Localities of the Waverley Novels (1829–31), though his failing eyesight and modesty curtailed plans for a second volume. Scott had tried to involve him in several joint publishing projects, but Skene, uncomfortable with commercial endeavours, declined most.
Later Life and Travels:
In 1838, Skene moved to Greece to join his son. He spent eight years there, sketching extensively and leaving behind over 500 images, many of which are preserved in Athens. He died in 1864 and was buried in Edinburgh beside his wife.

Interesting Points Worth Highlighting:

A Gentleman Artist with No Commercial Aspirations:
Skene refused to profit from his art, believing it improper for a gentleman. His reticence to publish or exhibit widely makes the rediscovered album a rare and significant find.
The Grey Mare’s Tail Sketches:
Although difficult to reproduce digitally, Skene's early drawings of the Grey Mare’s Tail—tied to the inspiration for Old Mortality —are among the earliest records of his collaborative work with Scott.
Scott’s Emotional Request:
In failing health, Scott asked Skene to draw the view of his future grave at Dryburgh Abbey. That sketch, possibly in the album, speaks to the depth of their friendship.
Posthumous Influence:
Some of Skene’s later sketches may have influenced J.M.W. Turner’s illustrations for Scott’s Poetical Works . Though Turner rarely copied Skene directly, the drawings might have inspired his choice of subjects.
Scott’s Quiet Doubts:
Despite their friendship, Scott may have doubted Skene’s ability to deliver polished professional illustrations. He later turned to other artists, hinting at the tension between amateurism and the growing professionalisation of illustration in the 19th century.
Digital Access:
The entire rediscovered sketchbook has been digitised and is available via the University of Edinburgh’s image collections website.

Dr Paul Barnaby , is Modern Literary Collections Curator at the University of Edinburgh. He has written and spoken extensively on a wide range of literature cultures, especially Scottish, including ‘The Young Person’s Sir Walter: Scott and the Nineteenth-Century Child Reader’ and speaking to the recent International Walter Scott Conference. He has also addressed the Club before in 2010 on ‘A Mighty Treasure: The Corson Collection ’.

He is however best known for his work on the invaluable [ The Walter Scott Digital Archive ] , the main online source of information on the life and work of Scott. Designed around Edinburgh University Library’s Corson Collection, the Archive has a wealth of details on his life, work and subsequent research and criticism, and is extensively illustrated.”

Recently published – ‘Sir Walter Scott in Translation: Auguste-Jean-Baptiste Defauconpret and the French Ivanhoe ’, in Translation Classics in Context

[Power Point]

[Digitized Skene Sketch Album]

The Edinburgh and Borders of Sir Walter Scott and Muriel Spark

Thu, 12 Sep 2024 20:38:27 GMT

Thursday 12th September 2024

Summary of the Talk:

The lecture, delivered by Professor Gerard Carruthers, explored the unlikely yet illuminating connections between two of Scotland's literary giants: Sir Walter Scott and Muriel Spark. While seemingly disparate in time, tone, and subject matter, both authors share deep concerns with place, memory, and identity—particularly regarding Edinburgh and the Scottish Borders.

Carruthers suggested that both authors, while famous for evoking Edinburgh and the Borders, do so in ambiguous, unstable ways. Place in their work often turns out to be treacherous rather than settled. Both writers are also curiously out of step with mainstream Scottish literary nationalism—Scott as a Unionist and Spark as cosmopolitan and morally complex.

He traced Scott’s invention of the “Border Ballads” genre as a transformative cultural project—turning oral traditions into literary ones, and sparking a legacy that would shape Romanticism itself. Spark, for her part, plays with balladic structures and themes (especially those of temptation, moral choice, and supernatural justice), often in subversive and ironic ways.

The talk touched on major works including The Chronicles of the Canongate, The Minstrelsy of the Scottish Border, The Prime of Miss Jean Brodie, The Ballad of Peckham Rye , and The Driver’s Seat . Carruthers examined how Spark inherited and distorted Scott's moral and narrative frameworks, especially his fascination with fragmented narratives and moral uncertainty.

Noteworthy Highlights and Insights:

Place as Performance, Not Stability :
Both Scott and Spark construct Edinburgh and the Borders as places of dramatic performance rather than reliable identity. For Spark especially, Edinburgh is a city of masks and shifting values.
The Ballads as Moral Parables :
Carruthers highlighted Spark’s use of balladic logic—characters are tempted and fall due to free will, not coercion. This recalls Scott’s own fascination with moral ambiguity in supposedly straightforward tales.
Scott’s Romantic Liminality :
Despite being often pigeonholed as conservative or Enlightenment-bound, Scott is deeply invested in liminality—in-between spaces, cultural transitions, and historical hauntings.
Spark’s Catholicism and Ethical Rigour :
Spark’s interest in sin, free will, and divine justice (e.g. Peckham Rye, The Black Madonna ) reveals her Catholic world view, often masked by irony. She borrows narrative mechanisms from traditional ballads to play out modern moral dramas.
Critique of Nationalist Readings :
Both writers resist being co-opted into nationalist literary agendas. Scott is too loyal to monarchy and empire; Spark too detached and ironic to serve a cultural programme. Both ask awkward, uncomfortable questions.
Educational Reflections :
In the discussion, Carruthers lamented the diminishing presence of Scottish ballads and older literature in schools. He stressed the need to teach literature not for affirmation of beliefs but for intellectual and moral challenge.
Spark’s Satirical Edge :
Her characters often fail morally not because they are monstrous, but because they are petty, vain, or consumed by convention (e.g. the housekeeper who values clean sheets over family). This echoes the moral rigour of traditional folk tales.
Scott’s Dual Nature :
Simultaneously a writer of romantic chivalry and gritty social realism, Scott’s fiction blends noble ideals with scenes of violence, fanaticism, and ruin ( Old Mortality, St Ronan’s Well, The Heart of Midlothian ).
Spark’s Use of Balladic Deaths :
Characters in Spark often meet sudden, ironic, even absurd deaths, narrated with a distant or sardonic tone—recalling the detachment of traditional ballads.
Universal Themes with Scottish Roots :
Though both authors are rooted in Scotland, they transcend it. Their works speak to broader human frailty, identity, belief, and memory—making them globally relevant and enduring.

Professor Gerard Carruthers FRSE is Francis Hutcheson Chair of Scottish Literature at the University of Glasgow. He is General Editor of the Oxford Collected Works of Robert Burns and was Founding Director of the Centre for Robert Burns Studies at the University of Glasgow in 2007.

He is the University of Glasgow representative on the Joint Advisory Committee at Abbotsford and with Alison Lumsden edited Scott's Reliquiae Trotcosienses (Edinburgh University Press, 2004).

He holds a visiting professorship of English at UESTC (China), has been Visiting Professor of English at the University of Wyoming, Stuart Visiting Fellow at the University of Otago (New Zealand), W. Ormiston Roy Memorial Visiting Research Fellow at the University of South Carolina, Visiting Research Fellow at All Souls, Oxford, and an external examiner for a range of United Kingdom and overseas universities. He is on the editorial board of six academic journals and has written or edited twenty three books and over one hundred and eighty essays and reviews.

He was born in Stirlingshire, brought up in Clydebank, and prior to taking up a post at the University of Glasgow, was Lecturer in English Studies at the University of Strathclyde (1995-2000) and British Academy Research Fellow at the University of Aberdeen (1993-5) working on the Edinburgh Edition of the Waverley Novels.

He is a Fellow of the Royal Society of Edinburgh, a Fellow of the English Association, an Honorary Fellow of the Association for Scottish Literature and is the first Honorary Fellow of the World Burns Federation.

A Colloquium on Redgauntlet

Sat, 10 Aug 2024 15:07:16 GMT

Saturday 10th August 2024

Prof. Penny Fielding - Redgauntlet and Espionage

Past President of the Club (2023/24). She is the Grierson Chair of English Literature at the University of Edinburgh and a Fellow of the Royal Society of Edinburgh. Penny is co-director of Edinburgh University's research group Scottish Writing in the Nineteenth Century and is writing a book on Fiction and Espionage in Scotland from Scott to Spark.

Synopsis: Redgauntlet imagines an insurrection in the form of a Jacobite plot, but we can also read this plot as an echo of the radical unrest in the years leading up to its publication in 1824. I will discuss Redgauntlet as a spy novel, driven by clandestine activity and secret communications.

Prof. David Purdie - Condensing and Charles' Return

Former Club Chairman (2008-11) and Council Member (2004-16) and has spoken regularly to the club 2003, 2006, 2009, 2012, 2013, 2018 and 2020. He is an Honorary Fellow of the University of Edinburgh’s Institute for Advance Study in the Humanities (IASH). A former medic, his current interests include literary components of the Scottish Enlightenment; specifically the works of Sir Walter Scott, Robert Burns and David Hume. Having created redacted editions of Ivanhoe (2012) and The Heart of Midlothian (2014) his current project is a redacted Redgauntlet.

Ian Chisholm - Scott's Jacobite Mystery

Club Council member since 2021. He lectured to the Club in 2022 on ‘ Scott as an historian ’ . Formerly worked on policy at the Home Office. Former lecturer on Edinburgh History at Workers Educational Association, former President of the Edinburgh Burns Club and Edinburgh Districts Burns Clubs. He is also a tour guide for Mercat Tours.

[transcript]

James Wolffe - Lawyers and Outlaws

Advocate, formerly Lord Advocate (2016-21), Dean (2014-16) and Vice Dean (2013-14) of the Faculty of Advocates. He is Chair of Trustees of the Abbotsford Trust.

Synopsis: Reflections on the theme of law and disorder as reflected in the portrayals of lawyers and outlaws in Redgauntlet.

Lord Stewart - Poor Peter Peebles: Fact and Fiction

The Honourable Lord Stewart, current President of the Club . He was a Senator of the College of Justice (2010-2017) and practised as an advocate (1975-2010), serving as Keeper of the Advocates Library (1995-2002) which included the role of inaugural Chair of the Faculty of Advocates Abbotsford Library Project. His recent article ‘Sir Walter Scott: Law and Imagination’ includes new information and insight about Scott’s novels including Redgauntlet.

Synopsis: Poor Peter Peebles is one of the memorable minor characters in Redgauntlet . This talk explores the part he plays in the story and reveals hitherto unknown facts about the real-life character.

The Round Table Discussion

Sir Walter Scott, the greatest of them all.

Thu, 06 Jun 2024 21:08:48 GMT

Thursday 6th June 2024

Summary of the Talk:

Eric Milligan, former Lord Provost of Edinburgh and long-serving Labour councillor, gave a wide-ranging and impassioned talk on the lasting impact of Sir Walter Scott. Drawing from his personal experiences and civic roles, Milligan charted Scott’s monumental influence on the city of Edinburgh, Scottish identity, literature, and wider global culture.

Key Themes:

Scott’s Imprint on Edinburgh : Milligan detailed how Scott’s presence is woven into the fabric of Edinburgh, from the towering Scott Monument (once the tallest monument to a literary figure in the world), to Waverley Station, public houses, swimming clubs, football teams (e.g., Heart of Midlothian), and Masonic connections. Scott’s literary and civic contributions helped shape the identity and iconography of the city.
Civic and Cultural Legacy : Scott played a vital role in cultural initiatives, such as the founding of the Edinburgh Academy and Mechanics Institutes, which aimed to spread education to working-class artisans. His involvement in orchestrating George IV’s visit to Scotland was pivotal in shaping Scottish national imagery and Highland romanticism.
Burns and Scott : Milligan passionately addressed Scott’s admiration for Robert Burns. He credited Scott with institutionalising the Burns Supper tradition and promoting Burns’s legacy alongside his own. Anecdotes included the first-ever meeting between Scott and Burns as a boy and how Scott helped elevate Burns’s status.
International Reach : Milligan spoke movingly about how Scott’s influence reached far beyond Scotland, including his visit to Dublin in 1825 and a profound cultural influence in America. John F. Kennedy, for example, read Ivanhoe as a boy and was deeply inspired by Scott’s ideals of honour and chivalry.
The Founding of the Walter Scott Club : The Edinburgh Sir Walter Scott Club was formed in 1894 in response to the abundance of Burns Clubs and the relative neglect of Scott’s legacy. Its founders emphasised Scott’s integrity, patriotism, and literary genius.
Scott and UNESCO : Milligan recounted his own role in Edinburgh’s successful designation as the world’s first UNESCO City of Literature in 2004—an initiative partly inspired by his desire to showcase the literary heritage of figures like Scott and Stevenson in his own Lord Provost’s office.
Scott’s Personal Character : Milligan also reflected on Scott’s fall into bankruptcy in 1826 and praised his extraordinary resolve to repay his debts through literary labour—his famous vow: “This right hand shall work it all off.”

Interesting Highlights:

Monument Before Castle : Milligan pointed out that even William McGonagall—Edinburgh’s famously bad poet—praised Scott’s Monument above the Castle in a poem, suggesting how central Scott had become to the city’s identity.
Scott’s Masonic Ties : He was initiated into Lodge St David, University Lodge No. 36 in Edinburgh, and is still honoured annually by the Lodge.
Scott and Ireland : His only visit to Ireland in 1825 left a strong impression. He bought books on Irish history, became a freeman of Cork, and was warmly received—though his opinions on the Irish were characteristically complex.
Jane Austen’s Jealous Praise : Austen once quipped that it was “not fair” for Scott to be such a good novelist when he was already so successful as a poet.
Kennedy and Scott : JFK’s childhood admiration for Scott and Stevenson was deeply formative. After his assassination, Jackie Kennedy paid tribute to the role British literature—especially Scott’s—played in shaping the President.
French Recognition : Milligan shared colourful anecdotes of French honours he received, notably from Jacques Chirac, in recognition of cultural ties between France and Scotland.
Robert Louis Stevenson’s Statue Campaign : Milligan tried (unsuccessfully) to get a statue of Stevenson placed in Central Park, New York, beside Scott and Burns—both of whom are commemorated there.

Eric Milligan was a Labour Councillors for the Sighthill & Gorgie ward for forty-three years and was also Convener of Lothian Regional Council for two terms, 1990-1996, and one of the longest serving Lord Provosts of the City of Edinburgh, doing so with distinction over two terms, 1996-2003. He received an Honorary Doctorate from Heriot-Watt University and Honorary Degrees from the University of Edinburgh and Edinburgh Napier. He was awarded France’s top honour, the National Order of Merit, is a recipient of the Paris Gold Medal and has been appointed Ambassade d’Ecosse a Montmartre.

He is one of the best-known supporters of Heart of Midlothian Football Club. Eric’s is highly regarded for his passionate and informed oratory on the subjects he loves, including; Edinburgh, Robert Burns and Sir Walter Scott.

Reimagining Scott

Thu, 11 Apr 2024 21:23:42 GMT

Thursday 11th April 2024

Summary of the Talk:

Greg Moody gave a highly engaging and humorous talk, reflecting on his career as a cartoonist, fine artist, and designer. He began by joking about his social status as “riff raff” and explained that although he wouldn’t focus much on Scott, the talk would show how their paths crossed through art.

Raised in Dundee, Moody’s early love for comics like The Beano and The Dandy led him to draw cartoons from childhood. He studied fine art at Duncan of Jordanstone College of Art but found himself more interested in storytelling through images than traditional painting. This passion for storytelling grew into a career using a blend of hand-drawing, collage, and photography—initially in a laborious analogue style, then digitally after the rise of home computers.

Moody’s design work spanned from TV graphics to accident reconstructions, but his long-running weekly cartoon strip—active since 2012—has become his hallmark. He shared examples featuring public figures like Nigel Farage, Prince Andrew, Gordon Brown, George Galloway, and Rishi Sunak, blending satire with a sharp visual style.

A pivotal moment came in 2016 when the landlord of his local bar, The Torphin Inn in West Lothian, commissioned him to create a series of murals inspired by Robert Burns’ Tam o’ Shanter . Moody used photographs of local regulars, projected them onto the walls, and painted cartoon-style scenes around them. This led to the book Borrowing Burns, a fictionalised backstory of how the murals came to be.

Inspired by the positive feedback, Moody began work on Cool Scots —a book of reimagined portraits of iconic Scots (e.g. Robert Louis Stevenson, Muriel Spark, Nan Shepherd), styled in humorous and modern ways. He often added contemporary or playful elements, like Jimmy Hendrix’s jacket or a selfie stick. Scott wasn’t included in the book initially but later appeared in other artworks.

He read aloud his portrait summary of Nan Shepherd, praised for its witty, irreverent tone. The Scottish Poetry Library’s request to use his Shepherd portrait for an event led to a solo exhibition. His artworks combine collage, screen-printing, and painting—often through laborious methods—featuring figures like Jackie Kay, Ivor Cutler, and Liz Lochhead (who apparently disliked hers).

His large group portrait, a satirical homage to Alexander Moffat’s Poet’s Pub, placed his reimagined writers in his local haunt, Bennett’s Bar. Walter Scott appears wearing a T-shirt of Moody’s own book and an eyebrow piercing.

The evening ended with Moody reading from his comic novel Six Degrees of Stupidity , part of a planned “Stupidity Trilogy”. The excerpt parodied Heart of Darkness , featuring absurd canal adventures and a chaotic alarm-clock invention.

Main Themes:

Satirical art and storytelling
Influence of comics and cartoons
Reimagining Scottish cultural figures through collage and humour
Artistic process blending analogue and digital methods
Robert Burns mural project leading to Borrowing Burns
Launch of Cool Scots and subsequent portrait exhibition

Notable and Interesting Points

Reimagining Walter Scott: Moody’s portrait of Scott modernised the iconic Raeburn painting by giving Scott a T-shirt and eyebrow piercing—highlighting Moody’s belief that “if you remove the barriers, people might actually wonder who he is”.
Weekly Cartoons Since 2012: Without missing a single week, Moody has produced topical satirical cartoons for over a decade—a significant artistic commitment.
Tam o’ Shanter Murals: The community-driven mural project in a West Lothian pub not only revived Burns but transformed the venue into a local landmark of visual storytelling.
Cool Scots Book & Style: Each subject is a mashup of literary biography, satire, and visual homage. Nan Shepherd appears with a mountain in the background and a “sparking” choker necklace.
Humour and Accessibility: A key takeaway from the talk was Moody’s philosophy that satire and visual playfulness can be powerful tools to engage people—especially younger audiences—with historical or literary figures.
Art and Publishing Frustration: Both Nan Shepherd and Moody have struggled with publishers—Moody joked about formatting nightmares and Amazon taking most of the profits.
Recognition and Evolution: The Scottish Poetry Library’s interest helped elevate Moody’s work into an exhibition space. His style continues to evolve—from computer cartoons to more tactile mixed-media canvas pieces.

Selected slides from the talk below:

Greg Moodie is the author of Cool Scots , a psychedelic reimagining of Scotland’s rich and varied past; Borrowing Burns , a semi-fictional or “factually dubious” account of the making of his series of Tam O’ Shanter murals; and three cartoon compendiums. He has also written a novel, Six Degrees of Stupidity , and published a weekly comic strip since 2012.

A fine art graduate of Duncan of Jordanstone College of Art, an exhibition of his paintings, ‘Poetic Licence’, was staged at the Scottish Poetry Library in 2022 featuring ‘reimaginings’ of well-known Caledonian writers.

Since he tried to sell a fleet of Trident nuclear submarines on Ebay in 2013, his readers and viewers have become familiar with his ways.

[Greg Moodie]

Sir Walter Scott, Stage Manager George IV’s Visit to Edinburgh

Thu, 14 Mar 2024 09:10:14 GMT

Thursday 14th March 2024

Summary of the talk:

This presentation delves into George IV’s 1822 visit to Scotland, which was a highly choreographed event to reaffirm the monarchy's position and cultivate a sense of national unity. The visit was stage-managed by Sir Walter Scott, who played a significant role in organizing the celebrations, emphasizing Scotland’s history and identity through grand pageantry and symbolic gestures.

The lecture starts by introducing George IV’s reign and his extravagance, which had made him unpopular, but also his desire for public spectacle. The presentation compares his visit to Scotland with other ceremonial visits he made to Ireland and Hanover. Each event reflected George IV’s efforts to reinforce the legitimacy of the monarchy post-Napoleon, showcasing his royal persona through elaborate displays.

In Scotland, Walter Scott played a central role, helping craft a vision of Scotland’s unity through tartan, Highland dress, and the ancient Scottish regalia. George IV’s image as a Highland chieftain was part of Scott’s vision to unite the Highland and Lowland Scots, creating a new Scottish identity.

The visit included ceremonial events at Holyroodhouse, lavish receptions, and symbolic actions, like the king receiving the keys of Holyroodhouse, symbolizing his role as King of Scotland. The entire spectacle, from the redesign of Holyroodhouse to the use of tartan and Scottish symbolism, was part of Scott’s romantic vision of Scotland’s past, intertwined with George IV’s desire to present himself as both a Scottish and British monarch.

One of the notable aspects of the visit was the large-scale use of local Scottish culture, including tartan, and the presence of Scottish artists. Souvenirs were made from local materials, further cementing the link between the monarchy and Scottish tradition.

Interesting Points:

Walter Scott’s Role : Scott's influence in staging the visit was critical, positioning him as a key figure in the creation of modern Scottish identity, blending history with romance. His stage management emphasized Scotland’s unity through visual symbols like tartan and the Highland dress.
The Highlands and Tartan : The promotion of tartan during the visit, especially George IV wearing Highland dress, was a pivotal moment in the revival and popularization of Scottish symbols, tied directly to Scott’s vision.
Symbolism of the Ceremonies : Events like the presentation of the keys to Holyroodhouse were laden with symbolism, emphasizing George IV as the rightful monarch of Scotland. The visual spectacle of the visit, including the triumphal arches and pageantry, was crucial to reinforcing this image.
George IV’s Fashion : The king’s elaborate Highland dress and the creation of souvenirs using local materials reflected his desire to align himself with Scottish heritage. His attire and the presentation of the royal regalia symbolized the merging of Scottish and British traditions.
Local Impact : The visit was a moment of national pride for many Scots, witnessed by a significant portion of the population (around 17%), and helped heal the rift between Scotland and the Hanoverian monarchy, despite criticism of the event’s cost.
Enduring Legacy : The 1822 visit had long-lasting effects on Scottish identity, and items created during the visit, including tartan and Highland-themed souvenirs, became symbols of Scottish heritage. Even after George IV’s death, the visit remained a defining moment in Scottish history, tied to both George IV's monarchy and Scott's romanticized vision of Scotland.

The event was widely regarded as a success, despite the extravagant expenses, and is considered a defining moment in the monarchy's relationship with Scotland.

Download the [transcript]

Scott and the Speculative Society

Thu, 16 Nov 2023 11:54:54 GMT

16th November 2023

Summary of the Talk

The lecture explores Sir Walter Scott's involvement with the Speculative Society, a prominent literary and debating society in Edinburgh. Here's a summary of the key points:

Background and Founding of the Speculative Society : Established in 1764, the Speculative Society was a student organization designed to foster intellectual discussions and improve literary and public speaking skills. Scott became an active member in 1790, playing a central role in the society.
Scott's Role : Scott joined the Society at the age of 19 and quickly became a vital member, holding multiple office positions, including Librarian, Secretary, and Treasurer. His contributions helped stabilize the Society, particularly its finances and library. He was known for his methodical approach to managing the library and organizing records.
Scott's Contributions to the Society : Scott participated in debates and delivered essays on subjects such as the feudal system, Ossian’s poems, and Scandinavian mythology. Though he was not a great orator, his speeches were appreciated for their wit and thoughtful commentary. He also helped steer the Society through politically sensitive times, ensuring that it maintained its credibility.
Speculative Society's Influence : The Society’s relationship with other intellectual circles, including the Historical Society of Trinity College in Dublin, shows its influence beyond Edinburgh. It also helped foster friendships and professional relationships that benefited Scott throughout his life.
Scott’s Personal Development : The Society played a critical role in Scott’s personal growth, shaping his future legal and literary careers. His time in the Society helped build his public speaking confidence, improve his writing skills, and expand his social network.
Relics and Memorials : The lecture concludes with a reflection on how Scott is commemorated within the Society, through portraits, a death mask, and other relics, preserving his legacy.

Notable Points:

Scott was elevated to Honorary Membership in 1794 without being an Extraordinary member first, reflecting his significant contributions.
Scott's essays and debates were formative for his future literary works, particularly his interest in historical themes like the feudal system and the authenticity of Ossian's poems.
The Speculative Society's influence extended beyond academic circles, impacting Scott's career and the cultural life of Edinburgh.
The society's involvement in political and philosophical debates also shaped Scott’s views, which he later integrated into his literary works.
Scott’s life mask, commissioned after his death, and the portrait placed in the Hall, symbolize his lasting connection to the Society.

The talk illustrates how the Speculative Society was more than just a student club; it played a crucial role in shaping Scott’s intellectual and professional life, contributing significantly to his literary achievements.

Download the [transcript]

David McClay is Honorary Secretary of the Edinburgh Sir Walter Scott Club and an Extraordinary Member of the Speculative Society.

Photos from the Private Tour of the Spec:

[ Library and Lobby] -- Available

[Debating Hall] -- Restricted Access

Synopsis: Scott’s membership of the Speculative Society in the 1790s was at formative time in his early life. He played a key role at a critical time in its history, developing his writing and speaking skills, whilst making some important and enduring friendships. Scott continued to be highly regarded by the Society throughout his life and posthumously, with the many Scott related items in their procession being amongst their most treasured.

Dark Restless Borderers: Walter Scott and James Hogg

Thu, 12 Oct 2023 17:18:28 GMT

Thursday, 12th October 2023

Summary of the Talk:

Dr. Valentina Bold’s lecture , explored the relationship between James Hogg and Sir Walter Scott , focusing on their shared Borders identity and how their friendship evolved over time. The title comes from Hogg’s Poetic Mirror (1816), in which he humorously imitated Scott’s style, referring to a "dark restless Borderer" , a phrase Bold used to examine both men’s literary and personal connections.

1. The Early Relationship Between Hogg and Scott

James Hogg (1770-1835) and Walter Scott (1771-1832) first met around 1801-1802 .
Hogg was a self-taught shepherd-poet , deeply rooted in Borders oral tradition , while Scott was a lawyer and literary antiquarian .
Their friendship was built on a shared love of balladry and Borders folklore , with Hogg’s family contributing songs to Scott’s Minstrelsy of the Scottish Border.

2. The First Meeting at Ramsaycleuch (Borders)

Hogg claimed to have met Scott at Ramsaycleuch , near his birthplace in Ettrick, where his mother, Margaret Laidlaw , recited Old Maitland for Scott.
Hogg’s mother famously criticized Scott for "spoiling" the ballads by printing them instead of preserving them for oral recitation.
Scott admired her performance , reinforcing the idea that Hogg’s family viewed ballads as living traditions , while Scott approached them as literary artifacts .

3. Their Different Literary Identities

Scott was an aristocratic intellectual who ‘collected’ traditions and reworked them for his novels.
Hogg was a genuine Borders poet and storyteller , writing from within the tradition rather than about it.
Hogg’s Poetic Mirror (1816) included an affectionate imitation of Scott’s style , "Wat o' the Cleuch," which humorously captured Scott’s ballad motifs and dramatic storytelling .

4. The Shift in Their Friendship

Hogg always saw Scott as a literary equal and a fellow Borderer , but Scott’s attitude became more distant over time .
Hogg was warmly admiring of Scott , writing later about his great generosity and kindness .
Scott, however, grew irritated by Hogg’s rustic directness , sometimes mocking him privately.

5. The Literary and Social Divide

Hogg was never fully accepted by Edinburgh’s literary elite , despite Scott’s initial support.
Blackwood’s Edinburgh Magazine’s "Noctes Ambrosianae" caricatured Hogg as a drunken, foolish shepherd.
Scott, though amused by Hogg, kept a social distance , referring to him as "the Boar of the Forest" .

6. Hogg’s Lasting Affection for Scott

Despite the inequality in their friendship , Hogg remained deeply fond of Scott , considering it an honour to have been his friend.
Scott’s last meeting with Hogg in 1830 was deeply emotional —Scott, physically weak, leaned on Hogg for support , which Hogg later recalled with pride.
Hogg’s final reflections on Scott were full of warmth , calling him “the greatest man in the world.”

Interesting Points from the Lecture

Hogg’s Playful Imitation of Scott
In Poetic Mirror, Hogg parodied Scott’s dramatic, ballad style in "Wat o’ the Cleuch," proving his deep understanding of Scott’s writing .
Hogg’s Mother’s Rebuke
Margaret Laidlaw told Scott that he had "spoiled the ballads" by printing them instead of preserving their oral tradition.
Hogg’s Literary Influence on Scott
Hogg claimed that Scott’s Old Mortality (1816) borrowed ideas from his Brownie of Bodsbeck , though they may have developed the concept simultaneously.
Hogg’s "Social Clumsiness"
Lockhart’s account of Hogg calling Scott’s wife "Charlotte" at dinner suggested that Hogg overstepped social norms , though this may have been exaggerated for comic effect.
Scott’s Last Words to Hogg
In their final meeting, Scott, weakened by illness , leaned on Hogg and told him, "You have written a great deal that might be made available with proper attention."
Hogg remained proud of their friendship , despite the tensions.

Conclusion

Dr. Bold presented a nuanced, affectionate portrayal of the Hogg-Scott relationship , showing how:

Hogg admired Scott throughout his life , valuing their shared Borders heritage .
Scott initially supported Hogg but grew distant , partly due to social and literary divides .
Their friendship, though unequal, was genuine —Scott benefitted from Hogg’s authentic knowledge of Borders traditions , while Hogg gained access to literary circles through Scott .
Hogg never wavered in his devotion to Scott , even when Scott was less appreciative in return.

The lecture ended fittingly with a return to "Wat o’ the Cleuch" , reminding the audience that, despite everything, both men remained restless Borderers , bound by their love of storytelling and the wild spirit of the Scottish Borders .

Download the [Transcript]

Dr Valentina Bold lives in Stirling, and works half of the week as Heritage Policy Officer with the Crichton Trust in Dumfries. The rest of the time she is freelance: writing, researching and presenting events. Prior to that, she was an academic for thirty years, working most recently at the University of Stirling. She is an Honorary Fellow at the University of Edinburgh, where she edits the Review of Scottish Culture , and also edits a successful series on the History and Culture of Scotland for Peter Lang.

Valentina has a significant back catalogue of publications on a wide variety of Scottish literary and cultural topics, with a particular interest in poetry and song. However, she is best known for her work on James Hogg, including her influential book James Hogg: A Bard of Nature’s Making . As part of the celebrations of James Hogg’s 250th anniversary, running 2020 – 2021, she organised and performed in the premiere of Hogg’s play The Royal Jubilee at the Scottish Poetry Library, and Valentina has talked about Hogg internationally too, in Europe, Canada and the USA.

Scott and the Northern Lights

Thu, 14 Sep 2023 19:27:00 GMT

Thursday 14th September 2023

Anna Pilz is a scholar of Irish and Scottish writing from the late eighteenth- to the early twentieth centuries, specialising in environmental and blue humanities research that explores how place-based writing offers us insights into narratives of environmental change across time. Funded by a Marie Skłodowska-Curie Fellowship (2020-2022), Pilz began work on a project that investigates a rich archive of Romantic-era travel writing on Ireland’s and Scotland’s Atlantic coasts. As part of that project, she co-edited with Penny Fielding a special issue on ‘Scotland’s Coastal Romanticisms’.

Synopsis: In the summer of 1814, Walter Scott accepted an invitation to join the Commissioners of the Northern Lights thanks to his connection with the lighthouse engineer Robert Stevenson. The Commissioners yacht set sail from Leith harbour and journeyed counter-clockwise around the coast, returning via steamship along the Forth of Clyde to Glasgow. As he braced the waves of Scotland’s coastal waters, he kept a diary that offers not only glimpses into a sensory experience but also insights into the realities of coastal life and environmental change. Following a close reading of parts of Scott’s ‘Vacation 1814’, the talk traces the influences of Scott’s coastal voyage to the late nineteenth century in various cultural productions, including Turner’s painting of “Bell Rock Lighthouse”.

Download the [Powerpoint]

A Colloquium on Quentin Durward

Sat, 12 Aug 2023 16:51:02 GMT

Saturday 12th August 2023

J. H. Alexander joined the English Department at the University of Aberdeen in 1968 and retired as Reader in 2001. He was a general editor for the Edinburgh Edition of the Waverley Novels, editing several volumes, and is now a contributor to the Oxford Edition of Charles Dickens for which he has edited The Uncommercial Traveller (2024). His other publications include Reading Wordsworth (1987) and Scott’s Books: Reading the Waverley Novels (2017).

Synopsis: After his problems composing Peveril of the Peak , Scott determined to ensure that his next novel Quentin Durward should be characterised by disciplined efficiency. This talk explores some of the implications for the beginning of the novel, the main narrative, and the conclusion. The depiction in the easy-going Introduction of a gradual movement by which the narrator progressively gains knowledge of an interesting but elusive character anticipates Quentin’s, and the reader’s, experience of Louis XI and his impenetrable castle. The main narrative focuses firmly on the twists and turns of Louis’s character, challenging the reader’s understanding as the other characters, two- or one-dimensional, do not. Finally, after the apparently inevitable build-up to the attach on Liège the style of the concluding coda ties things up by balancing the Introduction. J. H. Alexander

Lesley Graham is senior lecturer at the University of Bordeaux where she teaches in the Department of Languages and Cultures. Her research interests centre on nineteenth-century Scottish literature and in particular on travel writing and other non-fiction genres. She has published widely on Robert Louis Stevenson, his entourage, and his afterlives. She is the editor of the New Edinburgh Edition of Robert Louis Stevenson’s Uncollected Essays 1880-94 (EUP). Lesley is a past president of the French Society for Scottish Studies.

Synopsis: Quentin Durward or “l’histoire de France walter-scottée”

2023 marked the bicentenary of the publication of Quentin Durward not just in English but also in French. The novel’s reception in Britain was relatively lukewarm, but French readers, who were already convinced Scottophiles, went wild for it. One of the rare authors to be read in the provinces as well as in Paris, Walter Scott played a vital role in promoting the novel as an object of consumption for ordinary people throughout France and he soon became an integral part of French literary culture. Scott was undoubtedly aware of the better sales figures in France when, in 1830, he reassessed his original opinion of the novel to Robert Cadell, his publisher, "I thought it one of the worst of the sett but upon going over it I think it a good one though rather for the foreign market"

Scott had several ties with France (his wife, Charlotte née Charpentier, was French) and French sources fed into the novel in various ways. He had visited Paris in 1815 soon after the Battle of Waterloo and had written about it, to great acclaim, in Paul’s Letters to his Kinsfolk . The first translation of Quentin Durward advertises this much more journalistic volume on one of the title pages, suggesting that readers might read the work to better understand Scott’s descriptions of Belgium. Scott's most important historical sources were the memoirs of Philippe de Commynes (1489–1498) which Scott possessed and read in the original French.

One of the reasons evoked by Scott himself for the shift away from British shores to France for the plot of Quentin Durward was the hope that he would no longer be copied by what he called “the vulgar dogs of imitators”. He had not reckoned with the many French imitators who were only too happy to follow him to historical French settings. Quentin Durward had a marked and lasting influence on French historiography and on French cultural life in general. Scott was an invigorating and renewing force on the European literary scene, and he was emulated (and sometimes plagiarized) by hordes of second-rate writers in France whose names have all now been forgotten, but also by writers who are still widely read today (notably Victor Hugo, Alfred de Vigny and Honoré de Balzac.) In parallel with these literary “adaptations”, Quentin Durward was also a great inspiration in French painting. Eugène Delacroix was particularly influenced by the novel, producing at least three works inspired by the plot, the best known of which is the 1829 painting L’assassinat du Duc de Liège.

In 1831, Balzac was much less positive about the writer he had so feely emulated. He writes in the preface to La Peau du Chagrin (1831) that the public are fed up with a Walter-Scotted history of France: “rassasié de […] l’Histoire de France walter-scottée ”S. There is little evidence that this was true. French readers continued to read Quentin Durward long after its publication. In the second half of the nineteenth century and well into the twentieth century, Scott’s name came to be associated with popular, mostly juvenile literature. Many editions of Quentin Durward were abridged versions, simplified for children. Throughout the twentieth century, we find Quentin Durward in school reading books, and in comic books too. However, the version of the novel that most French people of a certain age remember today is the Franco-German television series Quentin Durward , first broadcast between January and March 1971. Lesley Graham

Download J.H. Alexander's [Transcript]

Selected Slides from Lesley Graham's Powerpoint

Walter Scott and Secret History

Thu, 01 Jun 2023 11:35:37 GMT

Thursday 1st June 2023

Summary of the Talk

Hillary Clydesdale, a PhD candidate at the University of Edinburgh, delivered an insightful lecture on how Walter Scott engaged with the genre of secret history —a form of historical writing concerned with exposing private lives and concealed scandals, especially of public figures.

She opened by referencing The Fortunes of Nigel , in which the narrator Captain Clutterbuck navigates a maze of dark corridors to find the elusive, ghost-like author of Waverley. This metaphorical space—a blend of secrecy and literary production—frames Scott's broader interest in private truths hidden within the archive.

Clydesdale traced the origins of secret history to *Procopius’ Anecdota (c. 515 AD)** , which revealed salacious details about Emperor Justinian and Empress Theodora. The genre flourished in the 17th and 18th centuries, often targeting political figures and their domestic lives, and frequently drawing accusations of libel or indecency.

She discussed how Scott engaged directly with this genre through his 1811 publication Secret History of the Court of James I , a work informed by older memoirs and scandalous pamphlets, including one bizarre tract blaming Cromwell’s tyranny on his wife’s poor cooking.

Scott’s work, while critical of gossip and slander, still valued such texts for the overlooked historical truths they might contain. He shared a belief—common among secret historians—that public history could not be complete without its hidden domestic context.

In tandem with contemporaries like Isaac D’Israeli , Scott helped shift secret history from salacious political exposure to a form of historical and sociological inquiry —a tool for exploring how private life intersects with public memory.

She then explored how Scott drew directly from his own 1811 secret history to construct the fictional world of The Fortunes of Nigel, particularly in his depiction of King James I. Scott’s goal, she argued, was to redeem James’s reputation , which had long suffered from Anthony Weldon’s scathing portrayals.

Scott also utilised secret history to challenge dominant narratives , such as in The Heart of Midlothian , where the backstory of the Porteous Riots is reframed through domestic scandals, romance, and private suffering.

Clydesdale expanded the discussion to consider how Scott himself became the subject of secret history after his death. James Hogg’s Familiar Anecdotes of Sir Walter Scott (1834) provoked outrage for its intimate revelations, but also marked a shift in public appetite—towards the private lives of authors as a valid form of historical interest.

Scott had foreseen this, and his journal reflects his awareness that his life would become the subject of scrutiny. He also anticipated that even his letters, later published in 1894, would become part of the public record and serve as unofficial history.

Key Takeaways

Secret History originated as a genre of historical writing designed to expose private lives, often scandalously.
Walter Scott valued the genre not for its gossip but for its ability to recover marginalised truths and critique dominant narratives.
Scott’s historical novels—particularly The Fortunes of Nigel and The Heart of Midlothian — blend private/domestic histories with public events , showing the personal impact of historical upheavals.
After his death, Scott himself became the subject of secret history , particularly through James Hogg’s controversial publication.
Scott’s work reflects a complex awareness of his public image , literary celebrity, and the blurred line between historical inquiry and voyeurism.

Interesting Points

Scott’s use of private letters and scurrilous pamphlets not only shaped his fiction but gave him tools to revise or resist hostile portrayals—especially of Scots and Scottishness.
The tract blaming Cromwell’s tyranny on his wife’s cooking is a remarkable example of domestic detail used politically.
Scott’s friends and family, especially John Gibson Lockhart , worked actively to suppress scandalous accounts like Hogg’s, indicating how tightly authorial legacy was controlled.
Scott’s portrayal of King James I was deliberately revisionist , drawing from disputed or suppressed material to offer a more sympathetic account.
Clydesdale’s analysis positions Scott as not just a novelist, but a shaper of historical memory —balancing secrecy and disclosure, myth and reality.

Hilary Clydesdale is an AHRC-funded PhD student at the University of Edinburgh. In her thesis, titled Secrecy, Surveillance and Counterintelligence in the Prose Fiction of Walter Scott and Robert Louis Stevenson , Hilary explores the relationship between domestic forms of secrecy and the narrative structure of the nineteenth-century historical novel, and she traces this connection to the changing landscape of Scottish historicism throughout the century. At the centre of her research, Hilary draws attention to the importance of Secret History in the development of nineteenth-century literature, from 1814 to 1894, by highlighting its nuanced role in the historical novels of Walter Scott (1771–1832) and Robert Louis Stevenson (1850–1894). Hilary also has a keen interest in Walter Scott’s narrative poetry and she has written an article, published in Scottish Literary Review , analysing the complex relationship between poetic form and historical structure in Scott’s The Lady of the Lake.

Synopsis: In her lecture, ‘Walter Scott and Secret History’, Hilary Clydesdale draws attention to the nuanced and complicated relationship Scott forges between secrecy and the publication of historical narratives. She begins by looking to the historical origins of the genre of Secret History, before moving into an examination of Scott’s own Secret History of the Court of James the First , published in two volumes in 1811. Hilary argues that, as a proponent of Secret History, Scott’s fascination with the genre informs his approach to composing, and constructing, his historical novels. Then, having traced Scott’s fascination with exploring and troublingly the boundaries between private, domestic secrets and public history in both his non-fiction and fiction work, she concludes by drawing attention to the way that Scott contributes to a distinctly nineteenth-century evolution of Secret History, not only as its author, but also as its subject.

The Enigma of Sir Walter Scott's "Moor" Supporter

Thu, 09 Mar 2023 21:17:57 GMT

Thursday 9th March 2023

Summary of the Talk:

Professor Black and Sir Crispin Agnew explored the origins and meaning behind the depiction of a "Moor" (an African figure) as one of the heraldic supporters in Sir Walter Scott’s coat of arms, examining whether it represented a connection to slavery or something else.

Key Findings and Structure:

Origin of the Talk:
Prompted by a remark from African historian Kelly Foster, who noted Scott’s use of a "Moor" as a supporter and questioned whether it might have slavery connotations. This sparked Professor Black and Sir Crispin’s research.
Scott’s Coat of Arms (1820):
Granted prior to his baronetcy, in order to comply with a royal requirement that recipients of baronetcies must already bear arms.
Re-granted in 1822 to include supporters, one of which was a "Moor" holding a flaming torch—a known symbol of slave rebellion.
Historical Context:
While baronets generally weren’t entitled to heraldic supporters, Scottish baronets often were, due to historical privileges (e.g. clan chiefs, feudal barons).
The inclusion of the Moor supporter came not with his original arms but with the regrant, likely on the basis of Scott's claimed descent from the Haliburtons of Dirleton.
Symbolism of the "Moor":
Flaming torch traditionally linked with rebellion among enslaved people, e.g. during uprisings in the Caribbean.
However, research showed no evidence that Scott had personal or financial connections to the slave trade.
The motif likely derived from earlier heraldic traditions via the Haliburton line, not as a slavery reference.
Broader Research in Heraldry:
Examples of enslaved figures in heraldry were found elsewhere in Scotland (e.g. Guruk, Sir Alexander Grant of Dalvey, Robert Glasgow of Mountgreenan), where the connections to the slave trade were explicit.
In contrast, other Scottish heraldic uses of African figures (e.g. Clan Morrison, Lord Borthwick) relate to Crusades, name puns, or religious figures like Saint Maurice.
English example: Sir Thomas Fowell Buxton, who used a similar figure to honour his anti-slavery campaigning.
Silverware Mystery:
Scott’s silver featured a white “savage man” instead of the African figure—perhaps suggesting discomfort or sensitivity over the symbolism of the Moor.
Conclusion:
No evidence that Scott supported or profited from slavery.
The figure was inherited from earlier heraldic traditions, likely tied to the Haliburtons.
The torch may be a symbolic flourish added by the heralds, perhaps misunderstood or misread in later years.

Notable Points:

No Evidence of Slavery Connection for Scott: Both Abbotsford Trust and independent research confirm no known financial or ideological link to slavery in Scott’s life.
Symbolic Complexity: The flaming torch is a loaded symbol, but its presence may not imply endorsement—Scott may have simply accepted what heralds presented without deep scrutiny.
Heraldic Precedents: The use of Moors in heraldry predates transatlantic slavery and often links to Crusades or saintly traditions, especially in Mediterranean heraldry.
Scott’s Legacy: His silence on slavery in his writing is noted, but his choice of heraldic symbolism likely reflected ancestral pride rather than personal ideology.

The Greek Blockhead: Sir Walter Scott, Greek, Greece and the Greeks

Thu, 17 Nov 2022 14:32:03 GMT

Thursday 17th November 2022

Summary of the Talk:

The text explores the relationship between Sir Walter Scott and classical Greece. It delves into Scott's complex and often humorous views on Greek studies, noting that despite being a self-proclaimed "Greek Blockhead" in his youth, Scott's later life reveals a nuanced engagement with Greek culture, history, and literature.

Scott’s Early Disdain for Greek :
Scott was famously bad at Greek during his time at the University of Edinburgh, even earning the nickname "Greek Blockhead." He initially resisted the language, preferring medieval and chivalric literature instead. His classical education was "flimsy and inaccurate," though he acknowledged its importance.
Scott's Relationship with Classical Literature :
Despite his poor grasp of Greek, Scott admired classical literature, especially Homer. He respected Homer’s historical contributions, seeing him as both a poet and a historian. Scott’s historical novels and poetry were often influenced by classical ideas, even if he did not embrace classical studies directly.
Scott and the Greek Independence Movement :
Scott showed some interest in the Greek War of Independence (1821-1830) and admired the spirit of Greek independence, though he was less actively involved in the philhellenic movement compared to contemporaries like Lord Byron.
Travel and Interest in Greece :
Later in life, Scott expressed a desire to visit Greece, which he viewed through the lens of both its ancient history and contemporary struggles. His potential travels were influenced by his romanticism toward Greece's classical past and modern political struggles, though health and practical concerns (such as travel insurance) hindered his trip.
Greece and Edinburgh :
Edinburgh, under Scott’s influence, became known as "The Athens of the North," a romanticized city that mirrored Greece's classical heritage in its architecture and cultural aspirations. Scott participated in this cultural movement, although he personally maintained a sceptical distance from pure classical scholarship.
Scott's Literary Works and Greek Influence :
While not a classical scholar, Scott’s works were occasionally enriched with classical references, especially Homeric allusions, showing a deeper, albeit selective, engagement with Greek culture. His later works, including Count Robert of Paris , drew upon ancient Greek themes, indicating a growing appreciation of Greek history and mythology.
Scott's Desire to Visit Greece :
Despite his health issues, Scott planned a late-life journey to Greece. His intentions were to visit the classical sites, but his deteriorating health, alongside practical obstacles like travel insurance and political instability in Greece, prevented the trip.

Interesting Observations:

Scott’s Self-Deprecation : Scott often downplayed his classical education, but his works show that he had a deep, albeit indirect, relationship with classical ideas.
Edinburgh’s Classical Aspirations : The romanticisation of Greece in Edinburgh, especially during Scott's time, highlights how the city aspired to be seen as a centre of classical culture, similar to Athens.
Byron and Philhellenism : While Scott was more reserved than Byron in his support for the Greek cause, there was a shared admiration for Greece’s ancient legacy. Scott, however, was more ambivalent about the political situation in Greece.
Travel and Tourism : Scott’s would-be trip to Greece contrasts the more adventurous spirit of the Grand Tour with a modern concern for insurance and practicality, marking a shift in travel culture.

The essay highlights Scott’s evolving and multifaceted view of Greece, moving from youthful disregard to a more measured appreciation, especially in his later works and his reflections on Greek independence.

Download the [transcript]

Some Religious Questions in The Monastery (1820)

Thu, 10 Nov 2022 08:57:30 GMT

Thursday 10th November 2022

Summary of the Talk:

Iain Torrance’s talk explored religious themes in The Monastery, particularly the role of the “Black Book” and how it reflects the tensions of the Scottish Reformation. His analysis focused on the nature of this mysterious book, its historical and theological implications, and how The Monastery contrasts with Old Mortality in its treatment of religious debate.

1. The Black Book: Its Nature and Significance

The Black Book is a central object in the novel, repeatedly confiscated by monks but mysteriously returned to the Tower of Glendearg.
It is identified as a vernacular translation of the Holy Scriptures, which was considered heretical at the time.
The book is small enough to be hidden in garments or under floorboards, raising questions about whether it was printed or handwritten.
The White Lady (a supernatural figure) ensures its preservation, reinforcing its symbolic importance.

2. Possible Historical Sources of the Black Book

The setting of The Monastery falls between the Battle of Pinkie (1547) and the 1560s, during the early Scottish Reformation.
The presence of vernacular Bibles in Scotland at the time was limited due to restrictions. However:
The Tyndale Bible (1526) could have been an influence, as it was small and widely smuggled into Scotland.
Murdoch Nisbet’s Scots translation of Wycliffe’s New Testament (c.1520), preserved in the British Library, is an intriguing possibility. It was small enough to be hidden and was later owned by Sir Alexander Boswell, a friend of Walter Scott.
The Geneva Bible (1560) was a major Reformation text in Scotland but may have been too late to be the model for Scott’s Black Book.

3. The Changing Religious Landscape and Its Reflection in The Monastery

Torrance contrasts the gentle, humanist debate in The Monastery with the later, more polemical and sectarian religious discourse found in Old Mortality.
The Geneva Bible, which later became dominant, had three evolving text types with extensive marginal notes that encouraged a more rigid and militant form of Protestantism.
The early Scottish Reformation had a more moderate approach to scripture and debate, which is reflected in The Monastery .

4. Two Key Religious Debates in The Monastery

Henry Warden (Reformed preacher) vs. Julian Avenel (nobleman)

Warden criticizes Julian’s handfasting (informal marriage) and argues for a view of marriage based on natural law and moral responsibility.
The argument is remarkable because it is based not on strict Protestant theology but on universal ethical principles.

Henry Warden vs. Father Eustace (Catholic monk)

The two recognize each other from their student days, showing that both Catholic and Reformed traditions stem from the same intellectual roots.
Their debate highlights the dangers of extremism—whether from rigid Catholic hierarchy or unchecked individual Protestant interpretation.
Torrance suggests that Walter Scott portrays early Reformation debates as passionate but still reasoned, whereas later sectarian conflicts became bitter and destructive.

Key Takeaways:

The Monastery presents the Scottish Reformation as a delicate transition, with an emphasis on scholarship and debate rather than sectarianism.
The Black Book is symbolic of access to scripture and theological transformation, possibly inspired by Murdoch Nisbet’s translation.
Scott captures a moment in history before religious discourse hardened into the divisive conflicts seen in Old Mortality.

Download the [transcript]

Walter Scott and the Greening of Scotland

Thu, 13 Oct 2022 20:31:37 GMT

Thursday 13th October 2022

Summary of the Talk:

The lecture by Professor Susan Oliver explores the intersection of Walter Scott's writing with environmental history and ecological themes. Here’s a summary of the key points, along with some interesting observations:

Environmental Awareness in Scott's Work : Oliver argues that Walter Scott's writing offers a critical exploration of Scotland’s environmental history, focusing on themes like deforestation, land use changes, and the relationship between humans and nature. She highlights Scott’s attention to ecological shifts, such as the effects of sheep farming, deforestation, and the introduction of non-native species. His works also touch on the loss of biodiversity and the impacts of depopulation on the environment.
Trees as a Central Theme : Scott had a profound interest in trees and forestry. Oliver discusses Scott's passion for planting trees at Abbotsford, particularly focusing on native species such as birch, hazel, and Scots pine, which were part of the ancient Caledonian Forest. His writing often reflects his longing for the lost woodlands and his belief in the aesthetic and ecological value of trees. Scott even addressed the role of forestry as a potential solution to economic problems, particularly in countering migration and improving the economy.
Scott’s Environmental Concerns in Fiction : Oliver explores how Scott incorporates ecological themes in his novels. For example, in Old Mortality , the description of rivers and landscapes intertwines with historical events, creating a narrative where the environment itself seems to hold memory and agency. In novels like The Pirate , Scott presents an imaginative view of Scotland's coastal and island environments, emphasizing their environmental conditions, like weather and sea conditions, which significantly influence the characters and the plot.
Romanticism and Environmentalism : The lecture underscores the Romantic nature of Scott's approach, where emotion and the imagination play a central role in understanding the environment. This is evident in how Scott uses natural landscapes not just as backdrops, but as active components of his storytelling. His engagement with nature also reflects the broader Romantic trend of seeing nature as something to be revered and protected.
Rewilding and Ecological Restoration : One of the most striking aspects of Scott’s environmental writing is his early understanding of concepts similar to modern rewilding. He expressed concern over the loss of native woodlands and advocated for their restoration, even suggesting that with the removal of sheep, the copse could regenerate on its own. This forward-thinking aligns closely with current environmental restoration efforts.

Interesting Points:

Scott’s Tree Planting at Abbotsford : His personal engagement with nature went beyond literary representation; Scott actively worked to restore and maintain natural woodlands, especially at his property, Abbotsford. His planting journals are rich with detail about the species he favored and the ecological principles he believed in.
Environmental Melancholy : The lecture also touches on Scott’s characteristic Romantic melancholy —a sense of loss for the natural world, which is evident not only in his depiction of historical landscapes but also in his awareness of ecological degradation. This sense of mourning for what has been lost is woven throughout his work, creating a powerful environmental narrative.
The Pirate and Coastal Ecosystems : Scott’s novel The Pirate presents a fascinating interaction with the coastal landscape, blending the real and fantastical. His portrayal of the marine environment, with its weather, tides, and folklore, illustrates how natural elements can shape narratives and characters in unique ways.

Overall, Susan Oliver's lecture highlights Walter Scott as an early environmental writer whose works provide rich insight into Scotland’s changing landscapes and the relationship between humans and the natural world. His ecological concerns resonate today, making his writings not only culturally significant but also ecologically prescient.

Download the [Transcript]

Purchase her book: Walter Scott and the Greening of Scotland: Emergent Ecologies of a Nation [Cambridge University Press, 2021. ISBN: 9781108917674 (online) 9781108831574 (Hardback) ]

Joint Bicentenary Dinner with The New Club to Celebrate George IV’s Visit

Wed, 17 Aug 2022 13:57:04 GMT

Wednesday 17th August 2022

Summary of the Talk:

The text discusses the celebration of George IV's visit to Scotland in 1822, organized by Sir Walter Scott, with a focus on its significance, planning, and outcomes.

The visit was politically motivated, orchestrated by the British government to keep the king away from the Congress of Verona. George IV was deeply unpopular in Scotland, particularly due to his treatment of his wife, Caroline. Sir Walter Scott was tasked with making the visit a success and rebranding the king's image. Scott, a staunch royalist, aimed to present George IV as a figure of Scottish heritage, ensuring the king wore the kilt and appeared as a romantic figure akin to Bonnie Prince Charlie. The king's extravagant Highland outfit cost the equivalent of £120,000 today.

The visit featured grand events, including a royal procession through Edinburgh, a Highland Ball, and a civic banquet. The king was well-received by the Scottish people, and the visit enhanced his reputation. The king also made significant gestures, such as expressing a desire to preserve the Holyroodhouse apartments. The visit’s success created a lasting impact, including the continuation of the title Duke of Rothesay for the heir apparent and the return of the Mons Meg cannon to Edinburgh.

Interesting Points:

Scott's Role : Sir Walter Scott’s extensive involvement in the planning and attention to detail played a crucial role in transforming the king’s image in Scotland.
The King’s Costume : The king’s elaborate Highland attire, including a bright red kilt and a heavily adorned bonnet, became a symbol of his connection to Scotland, despite his unpopularity.
The Royal Reception : The visit was marked by impressive processions, public celebrations, and a sense of unity between Highlanders and Lowlanders.
Cultural Shift : The royal visit helped establish tartan and kilts as Scotland’s national dress and contributed to a more unified Scottish identity.
Symbolism and Legacy : The visit had long-lasting effects, including the return of the Mons Meg cannon to Edinburgh and the establishment of the Duke of Rothesay title for the heir to the throne.

This event, organized by Scott, ultimately played a significant role in reshaping Scottish national identity and royal relations.

Download the [transcript]

Les Danses Antiques: Video

Les Danses Antiques: Photos

Photos from the Drinks Reception

Colloquium on Peveril of the Peak

Sat, 13 Aug 2022 21:32:20 GMT

Saturday 13th August 2022

Summary of the Colloquium:

Held close to the anniversary of Sir Walter Scott’s birthday, this event continued the Edinburgh Sir Walter Scott Club’s tradition of examining a novel on its bicentenary. The focus was Peveril of the Peak (published in 1822), a work often criticised but passionately defended by the two distinguished speakers, Professor Alison Lumsden and Professor Catherine Jones.

Professor Alison Lumsden’s Key Arguments:

Reception History:
Widely considered Scott's longest and perhaps least successful novel.
Criticised for its length, chaotic plot, and implausibility—even Prince Albert died while reading it (a copy with black-edged pages exists in the royal collection).
Contemporary critics and Scott’s biographer Lockhart also deemed it overlong and artificial.
Causes of Perceived Weakness:
Overproduction due to commercial pressure—Peveril was one of three novels published in the same year.
Personal grief: Scott was mourning the death of his close friend William Erskine, which affected his mood and writing.
Re-evaluation:
Lumsden argued that its excesses and clumsiness may be intentional, part of Scott's deepening exploration of the nature of historical fiction.
The novel’s artificiality might reflect the Restoration era’s performative culture, where truth was often mediated through drama and propaganda.
The Popish Plot , a central theme in Peveril , was essentially a rhetorical and pamphlet-driven hoax, making it ripe for narrative interpretation.
Pamphlet Influence:
Scott drew heavily from the scandalous pamphlets of the time—many of which are housed in the Abbotsford Library—using their language, imagery, and rhetoric to shape the novel’s tone and detail.
Staging of Truth:
Lumsden likened Scott’s depiction of the Popish Plot to the modern era of misinformation and conspiracy theory, noting its relevance to understanding how historical narratives are manipulated.
Literary Value:
Despite its flaws, the novel is full of vivid, memorable scenes (e.g. the rescue of Alice Bridgenorth, the Tower of London visit, and the dramatic departure from Peel Castle).
Lumsden proposed that these scenes, rather than the plot, are what endure in readers’ minds—giving the novel a lasting aesthetic power.

Professor Catherine Jones’s Key Arguments:

Personal Connection:
Jones first read Peveril while studying at Emmanuel College, Cambridge, and later revisited it during a fellowship—highlighting her deep personal and academic interest in the novel.
Transatlantic Resonance:
Explored Peveril 's influence on American historical fiction, particularly its depiction of religious extremism and political paranoia.
Noted its strong thematic connection to the regicides who fled to colonial New England after executing Charles I.
Influence on American Authors:
Scott’s inclusion of the "Angel of Hadley" story influenced 19th-century American writers like James McHenry and Nathaniel Hawthorne.
McHenry adapted the regicide tale into his novel The Spectre of the Forest , blending it with witch trial themes.
Hawthorne’s The Grey Champion used similar narrative ambiguity, presenting a spectral figure of revolutionary righteousness.
Shared Literary Techniques:
Scott's "formula of alternative possibilities" (offering multiple interpretations for a single event) influenced American narrative structures that blurred fact and fiction, history and legend.
Cultural Impact:
Scott helped shape a national literary identity in America, even as American writers struggled with how to assert their own authority while borrowing his form.
Writers like James Fenimore Cooper adapted Scott’s themes but distanced themselves from his aristocratic sympathies.

Points of Interest & Reflections:

Artificiality as a Theme:
Rather than a flaw, the novel's "staginess" may reflect the artificiality of political life in the Restoration era.
Modern Relevance:
Peveril of the Peak ’s themes of paranoia, propaganda, and rhetorical manipulation echo today’s concerns with fake news, conspiracy theories, and media spin.
Defence of Scott’s Craft:
Multiple attendees noted that the novel’s evocative atmosphere and immersive world outweigh its convoluted plot.
It was argued that Scott’s strength lies in creating vivid emotional landscapes rather than psychologically deep characters or tightly structured plots.

Scott as a Historian

Thu, 02 Jun 2022 19:19:56 GMT

Thursday 2nd June 2022

Summary of the Talk:

Ian Chisholm’s talk focused on Sir Walter Scott as a historian , exploring his historical writings, novels, and their influence on history and culture . He also placed Scott within the Scottish Enlightenment’s historiographical tradition , comparing him to contemporary historians such as David Hume, William Robertson, and Adam Ferguson .

1. Chisholm’s Personal Connection to Scott

Chisholm mentioned that he is a descendant of Scott’s great-grandfather , making him Scott’s second cousin five times removed .
His love for history was inspired by Scott’s Tales of a Grandfather, which he read as a child.

2. Scott’s Place in the Scottish Enlightenment Historiography

The 18th-century Scottish Enlightenment was highly focused on history , with leading thinkers like Hume, Robertson, and Smith .
Two key approaches to history emerged:

Conjectural History – Focused on the progress of society through economic and social change (influenced Karl Marx).
Traditional Narrative History – Emphasized great events, rulers, and battles .

Scott was unique in combining both approaches , making him a narrative historian, antiquarian, and philosophical thinker .

3. Scott’s Historical Works

(i) Tales of a Grandfather (1828-1830)

Scott’s most famous work of history , written for his six-year-old grandson .
Aimed at educating young readers with dramatic, engaging storytelling.
Introduced critical historical analysis , as seen in his correction of Shakespeare’s Macbeth (highlighting the real Macbeth as a just ruler ).

(ii) The Life of Napoleon (1827)

A biography of Napoleon Bonaparte , written in a rushed manner due to financial pressures.
While deeply researched, full of inaccuracies .

(iii) Letters on Demonology and Witchcraft (1830)

Explored superstition and folklore through a historical and rational lens .

(iv) Scott’s Approach to History

Used original sources where possible but relied mostly on printed materials rather than direct research.
Admired tradition and oral history , believing that poetry and ballads captured the spirit of the past better than chronicles .
Recognized inaccuracies in history but argued that historical truth is shaped by tradition .

4. Scott’s Historical Novels: The Waverley Series

Scott’s greatest contribution to history was through his historical novels .
Blended fiction with historical realism , making history accessible to the public .
Key themes:The clash between tradition and progress .
Passive heroes caught between different worlds (e.g., Waverley, Morton, Darsie Latimer).
Darker, more active figures (Fergus Mac-Ivor, Rob Roy) ultimately doomed by historical progress .

(i) The Model of a Scott Novel

A civilized Lowlander or Englishman enters a barbarous world (Highlands, Jacobites, Covenanters).
Through their journey, they observe the old world’s beauty but accept the need for progress .
Jacobitism is doomed , as Scott sees it as an outdated system resisting inevitable change.

(ii) Scott’s Real Views on Progress

Accepted that economic and social change was necessary but mourned the loss of old traditions .
Criticized extreme idealism (e.g., romanticized Jacobitism) but respected the past .
Balanced nostalgia and realism , reflecting his own divided life —a historian, antiquarian, and modernizing landlord .

5. Scott’s Influence on Popular History and Culture

Scott’s historical influence went far beyond academia, shaping modern perceptions of history in literature, film, and national identity .

(i) Shaping Scottish Identity

Romanticized Highland culture (kilts, clans, Jacobitism), which became Scotland’s dominant global image .
Though he portrayed Jacobites as doomed, his novels revived their cultural legacy .

(ii) Influence on the Robin Hood Legend

In Ivanhoe, Scott transformed Robin Hood into a symbol of Saxon resistance against the Normans .
This was not historically accurate , but became the standard depiction in later stories and films .

(iii) The Crusades and The Talisman

Scott depicted Crusaders as brutal and Muslims as civilized , influencing modern views of the Crusades .
Ridley Scott’s 2004 film Kingdom of Heaven was criticized for being based more on The Talisman than real history .

(iv) The American Civil War

Mark Twain blamed Scott for inspiring Southern chivalry , claiming Ivanhoe contributed to the Confederate mindset .
Example of how historical fiction can shape real-world ideologies .

(v) Influence on Historiography

Scott humanized history , portraying ordinary people alongside kings and generals .
Inspired historians like Carlyle and G.M. Young , who credited him with making history more engaging and vivid .

Interesting Points from the Talk:

Scott’s Historical Accuracy

He never invented history , but he sometimes misremembered facts or relied on tradition over evidence .
Criticized false history but believed in preserving oral traditions .

Scott as a "Founding Father of Scottish Sociology"

Explored how different societies functioned (Highlands vs. Lowlands).
Influenced Karl Marx with ideas on economic and social progress .

His Divided Personality

A nostalgic historian yet a modern landlord and gas company chairman .
Loved feudal traditions but recognized they had to die out .

Scott’s Self-Criticism

Anonymously reviewed his own novels, mocking their weak plots and passive heroes .

His Lasting Cultural Influence

Turned Jacobites into Scottish icons .
Redefined Robin Hood .
Influenced how we see the Crusades .
Popularized history for general reader.

Conclusion

Ian Chisholm’s talk highlighted Scott’s extraordinary impact as a historian, novelist, and cultural figure . While not always accurate , Scott shaped how generations understand history , bringing the past to life in ways more influential than academic historians . His blend of narrative, conjectural, and antiquarian history ensured that his works remain relevant and widely read today .

Download the [Transcript]

Ian Chisholm worked in the Home Office for over 30 years. Working extensively on policy in criminal justice, police, prisons and immigration. He has considerable experience of international negotiations. He was negotiated the Channel Tunnel treaty and protocols, and made numerous presentations at meetings and conferences, both in the UK and overseas. He has also been a lecturer in Edinburgh History at Workers Educational Association and on Scottish Government and Parliament at Edinburgh City Council. He was also Treasurer and Vice Chairman of Victim Support (Scotland) and was head of Victims Unit within the Home Office. He had been a President of the Edinburgh Burns Club and a former President of the Edinburgh Districts Burns Clubs. He is a now a part-time tour guide for Mercat Tours.

Synopsis: Scott is a great historical novelist but how good a historian is he in his novels and histories? That is what this talk tries to answer.

Dance in Sir Walter Scott’s Works and Times

Thu, 07 Apr 2022 19:51:47 GMT

Thursday 7th April 2022

Summary of the Talk:

Alena opened by acknowledging that English is not her first language and that her talk would focus mainly on dance history rather than Scott’s biography. She intended to use Scott’s writing, especially Redgauntlet , as a lens to examine 18th- and 19th-century Scottish dance culture.

There are relatively few resources for studying Scottish dance in this period. Some country dance collections and personal diaries survive, but information is scattered and incomplete. Interestingly, scholars have used Scott’s descriptions of dance scenes as sources for reconstructing historical dance practices.

Scott likely did not receive formal dance training due to contracting polio as a child, which left him lame in one foot—making rigorous dance education unlikely. Furthermore, the High School of Edinburgh (where Scott studied) did not employ dancing masters at the time, and dance instruction was typically reserved for girls' schools or private tuition.

In Redgauntlet , there are vivid dance scenes. Dr Shmakova focused on a rustic ball described in the novel and a character’s performance of the “Old Scots Jig.” This led to an exploration of real historical figures like the French dancing master Charles Le Picq (and possibly his family members), who taught and performed in Edinburgh in the mid- to late 18th century.

Le Picq’s presence is documented in The Caledonian Mercury , and his influence may have extended to Scott’s fictional depictions. A deeper dive into archival materials reveals his school in Edinburgh and performances at the Canongate Concert Hall.

The talk included footage of a reconstructed French jig and comparisons with Scottish styles. The audience in Redgauntlet laughed at the character Darcy Latimer’s refined jig—perhaps because it was stylistically out of place at a rustic event.

Dr Shmakova then discussed minuet and country dances—highlighting how country dancing once allowed couples to converse between figures, unlike the fast-paced, highly social Scottish country dancing of today. She addressed the evolving role of the Edinburgh Assembly Rooms, their architecture, and their sociocultural importance. Assembly leadership was historically female-led, a unique aspect of Scottish dance culture.

The talk ended with a reconstruction project of a Strathspey for two dancers, inspired by descriptions from the royal visit of George IV in 1822, which Scott orchestrated. Though the king did not dance, he watched and applauded performances.

Dr Shmakova discussed the rarity of detailed step descriptions in British sources and how foreign dance manuals—especially French and German—offer more precise guidance for reconstruction. She emphasised that “recreation” rather than “reconstruction” is often more appropriate due to interpretive challenges.

Summary

Dr Shmakova presented a detailed and engaging lecture on the role of dance in the life and times of Sir Walter Scott. Using Scott’s Redgauntlet as a case study, she examined 18th–19th century Scottish dance culture, discussing specific dances, their social settings, and historical figures like French dance master Charles Le Picq. She noted Scott’s likely lack of formal dance training due to physical disability and social limitations. The talk highlighted how archival research, literary analysis, and performance reconstruction combine to recover lost elements of historical dance. Dr Shmakova also showcased a reconstructed Strathspey duet inspired by George IV’s visit in 1822.

Noteworthy Points

Dance in Literature as Historical Evidence : Scott’s novels, especially Redgauntlet , offer valuable insight into period-specific dances, even though Scott himself couldn’t dance due to polio.
Role of French Dance Masters in Edinburgh : Charles Le Picq and his family played a crucial role in shaping elite dance instruction in 18th-century Edinburgh.
Assembly Rooms as Cultural Hubs : The transformation of Edinburgh’s Assembly Rooms from private ventures to charitable institutions reflected broader changes in Scottish society and sociability.
Female Leadership in Dance : Unlike many European counterparts, Scottish assembly dances were often directed by women, a significant detail in cultural history.
Reconstruction Challenges : British sources often lack technical detail, making foreign manuals essential for accurate recreation of period dance styles.
George IV’s Visit : Though highly ceremonial, the royal visit included balls with performances of Scottish reels, Strathspeys, and country dances—some of which were recreated using historical techniques.
Multicultural Dance Evolution : The talk explored how English country dances were adopted and transformed in France, becoming codified as "contredanses," which influenced later European forms like the quadrille and cotillion.

Introduction by Dr. Michael Wood:

Alena Shmakova is a researcher and dancer with more than 15 years of experience in early or historical dance. She started dancing at the age of 4 as part of the school curriculum attending classes in folk, ballet and ballroom styles. She became interested in historical dance in 2006. She learned her first steps from the best of Early Dance specialists including Barbara Segal (Baroque and Renaissance dances), Anne Daye (Renaissance and Scottish dances), Karin Modigh (Baroque dance), Robert le Nuz (Baroque dance), Charlotte Bell (Baroque dance), Hubert Hazebroucq (Early Baroque style), Ellis Rogers (Quadrilles and 19th-century dances of Great Britain), and Richard Powers (19th and early 20th century dances). She has been performing and teaching historical dance in Edinburgh since 2013 as part of Les Danses Antiques. The group performed at Stirling Castle, Holyrood Palace and St Cecilia’s Hall: Concert Room and Music Museum as well as early dance and music festivals.

Alena combined her passion for dance with the academic development obtaining MSc and PhD degrees in Life Sciences from the Universities of Dundee and Edinburgh.

She uses her research skills to investigate Scottish early dance repertoire from the 18th and 19th centuries. Her research interests include stage and ballroom dances as well as dance professionals in Scotland during the Age of Enlightenment. She was recently awarded an Ivor Guest Research Grant from the Society for Dance Research to develop her work on Edinburgh Assemblies and female leadership in Scottish society in the Georgian period. Since 2020 Alena has been a member of the Early Dance Circle board of trustees (EDC is a charity promoting Early Dance in the UK).

Alena volunteers and collaborates with the National Trust for Scotland. She conducted special Dancing Days in the Georgian House where the visitors could learn more about fashionable dancing in Edinburgh during the Georgian period. She also led two projects recreating early 19th century dances from the manuscript "Contre Danses à Paris, 1818" located at the National Library of Scotland. Country Dance "Lady of the Lake '' was performed by the National Trust' volunteers and recorded at the Georgian House for Scott's birthday anniversary; "Strathspey for two, 1822" inspired by the descriptions from the balls during George IV's visit to Edinburgh was developed with the support from The Edinburgh Sir Walter Scott Club.

Building a New Past, Bequeathing a Future: Walter Scott and the Baronial

Thu, 18 Nov 2021 21:45:09 GMT

Thursday 18th November 2021

Summary of the Talk:

Professor MacKechnie explored Walter Scott’s crucial role in shaping the architectural style known as the Scotch Baronial , with Abbotsford as the central case study. Rather than retelling the well-known story of Abbotsford, MacKechnie examined the cultural and political ideas behind its creation and legacy.

Scott’s engagement with romanticism, nationalism, and architecture was part of a broader 19th-century movement to create national identity through aesthetics. His architectural choices expressed both his love of Scotland's past and his commitment to British Unionism.

Key Themes and Points:

1. Romanticism and Identity:

Romanticism challenged classical ideals by focusing on emotion, asymmetry, and national heritage.
Scott’s work, including Abbotsford, was part of a pan-European romantic movement, particularly aligned with similar efforts in Germany and England.
Scott’s early attraction to ruined Scottish castles reflected this interest and influenced his decision to build Abbotsford in a romantic style.

2. Abbotsford and Its Architectural Message:

Abbotsford was meant to reflect Scott’s literary identity and political beliefs.
It deliberately avoided English Gothic and classical symmetry, opting instead for a Scottish aesthetic referencing tower houses, medieval fragments, and asymmetrical massing.
His intent was for Abbotsford to serve as both a home and a shrine to his legacy and vision of a romantic Scotland.

3. Political Symbolism:

The 1822 royal visit to Edinburgh, orchestrated by Scott, was a stage-managed expression of loyalty to the Crown using tartanry and Highland imagery—fusing Jacobite nostalgia with Hanoverian allegiance.
Abbotsford phase two coincided with this visit and reflected the romantic-national symbolism of the event.
Scott helped rehabilitate tartan, Jacobite imagery, and Scottish medievalism into acceptable British symbols.

4. Scott as Cultural Architect:

Like Horace Walpole’s Strawberry Hill , Abbotsford became a museum of national memory.
Scott’s architecture was not only about personal taste—it was a political and cultural project, an “autobiography in stone.”
He was aware he was constructing a national site of pilgrimage—anticipating the house museum model.

5. Legacy of the Baronial Style:

Scott’s ideas were picked up and professionalised by architect William Burn, who, thanks in part to Scott’s influence, gained patronage and developed the style further.
Burn’s work, and that of his successor David Bryce, codified Baronial features: asymmetry, turrets, castellated parapets, and references to old tower houses.
Queen Victoria and Prince Albert's Balmoral Castle is a clear continuation of Scott’s Baronial vision, though devoid of the spolia and authentic antiquity Scott prized.

Notable and Interesting Points:

Scott’s literary imagination directly influenced the way people began to build —his novels didn’t just inspire feelings; they inspired architectural forms.
Strawberry Hill (Walpole) and Abbotsford are linked not only in visual terms but as early expressions of the house-as-museum and authorial monument.
Balmoral , though royal and far grander, is ultimately a descendant of Abbotsford in symbolism—expressing loyalty, tradition, and a reimagined “ancient” Scotland.
Scott’s politics and taste worked hand-in-hand : his Unionism found architectural form in a style that celebrated Scotland’s past while fitting into Britain’s imperial narrative.
Even small Scottish towns and villas embraced the Baronial look , especially after 1850, turning the style into a nationwide expression of identity—eventually fading after WWI and the rise of international modernism.

Introduction by Dr. Michael Wood:

Professor Aonghus MacKechnie is a historian who comes originally from the Gaelic speaking Hebridean island of Islay. His background is in Scottish history, archaeology, and Celtic studies; and his career has been varied: starting out as assistant minister at Govan Old Parish Church, followed by museum work in Glasgow and Argyll, and then, mainly, as a government adviser on the historic built environment.

He teaches the course on the Architectural Design for the Conservation of Built Heritage at the University of Strathclyde, where he is based; and teaches too at both the Scottish Centre for Conservation Studies at the University of Edinburgh, and the joint University of Stirling-Historic Environment Scotland conservation course.

His research and publications have focussed on Renaissance-early modern architecture, Romanticism in Scotland and Germany, and on the history and culture of the Highlands. He has co-authored the two standard texts on Scottish architectural history – that published by Edinburgh University Press in 1996, and the Thames & Hudson volume of 2004.

Most recently he has co-authored Scotch Baronial: Architecture and National Identity, re-issued this year in paperback by Bloomsbury; and co-edited The Architecture of Scotland, 1660-1750, published by Edinburgh University Press, 2020. He is also a contributor to the forthcoming The Buildings of Scotland: Lothian, for Yale University Press.

This evening’s talk connects to his current project, in which he examines Edinburgh’s contribution to the Romantic era.

"The Sinuosities of the Ground": Sir Walter Scott, Borders, Fiction, and Landscape

Thu, 14 Oct 2021 15:52:48 GMT

Thursday 14th October 2021

Summary of the Talk:

Dr Stewart explores Sir Walter Scott’s complex relationship with the Anglo-Scottish border landscape, arguing that Scott doesn’t simply depict the Borders as a static scenic backdrop or national metaphor. Instead, Scott’s writing presents the land as dynamic, unstable, and richly polyphonic—a place full of movement, ambiguity, and human labour.

Key Points :

Romanticism and Place : The Romantic period saw an explosion of interest in landscapes—especially picturesque and sublime ones—but the Borders presented a challenge to tidy categorisation.
Washington Irving’s Disappointment : Irving’s puzzlement at the Borders landscape (monotonous and underwhelming) is mirrored in Scott’s fiction, where the terrain defies tourist expectations.
Scott’s Border Writing : In novels like Guy Mannering, Redgauntlet, and The Monastery , Scott depicts the land as a living character. Terrain like peat bogs isn't just scenery but something the characters must negotiate.
Landscape and Labour : Scott knew the land intimately, from both personal experience and reading. His understanding of soil, drainage, and planting—reflected in practical works and diary entries—deepens the way he writes landscape as a site of human effort, not just aesthetic pleasure.
Unstable Borders : The idea of the "Borders" is itself fluid—geographically, politically, and metaphorically. Attempts to map or define the region (natural features, administrative lines) often fail.
Form and Plot : Scott’s plots are deliberately meandering. Characters often get lost (literally and metaphorically), mirroring the instability of the terrain and rejecting tidy narrative arcs. His stories resist control, offering instead a “boggy map and a broken compass.”
Liminality and Ecology : Borders are not just national thresholds but ecological and existential ones. The region forces a constant renegotiation of boundaries—between solid and liquid, human and non-human, seen and unseen.
Tourist Satire : Scott affectionately mocks tourist characters (e.g., in Rob Roy or Redgauntlet ) who try to aestheticise the Borders but fail to see their material complexity.
Concluding Thought : Getting lost in Scott’s work is the point. The land resists simplification, and so do the novels. The reader must learn, like the character, to navigate uncertainty.

Interesting Highlights:

"Sinuosities of the ground" : This phrase, drawn from Redgauntlet , encapsulates Scott’s vision of the landscape—shifting, elusive, animate.
Scott as Environmental Thinker : His essays and experiments in landscaping show a proto-ecological awareness of how land can be shaped—and how it, in turn, shapes us.
Scott and Labour : Echoed in the Q&A, Scott's landscapes are sites of work—digging peat, farming, draining bogs—not just poetic abstractions.
The Monastery as Microcosm : Despite being critically undervalued, this novel powerfully exemplifies how Scott mixes aesthetic, spiritual, and ecological dimensions of place.
Critique of Picturesque Tourism : Scott doesn’t reject the aesthetic entirely, but shows how it's only one lens—often insufficient for grasping the real complexities of place.
Dialogue with Contemporaries : The talk drew interesting comparisons to artists like W.D. McKay and garden theorists, connecting Scott to wider currents in art and aesthetics.

Dr David Stewart is Associate Professor of English Literature at Northumbria University. He is the author of Romantic Magazines and Metropolitan Literary Culture (2011) and The Form of Poetry in the 1820s and 1830s: A Period of Doubt (2018), and co-editor with John Gardner of Nineteenth-Century Literature in Transition: The 1830s (2024), as well as various shorter pieces on writers including James Hogg, Lord Byron, and William Wordsworth.

Macpherson, Burns and Scott: Driving Visual Art

Thu, 23 Sep 2021 10:55:13 GMT

Thursday 23rd September 2021

Summary of the Talk

Key Themes:

How Scottish literary figures—Macpherson, Burns, and Scott—influenced the visual arts in the 18th and 19th centuries.
The development of a “national landscape” in Scottish art.
Artistic responses to these literary figures by prominent artists, especially Alexander Nasmyth, J.M.W. Turner, David Wilkie, William Allan, and D.O. Hill.
The role of steel engraving and mass publication in disseminating these images to a broad public.

Key Takeaways

1. Scott as a Bridge Figure:

Scott’s work built on and responded to the earlier literary visions of James Macpherson’s Ossian and Robert Burns.
He was influenced by both: Macpherson’s mythic landscapes and Burns’s lyrical evocations of rural life.

2. Turner’s Deep Engagement:

J.M.W. Turner created around 80 illustrations for Scott’s works.
He emphasised “spirit of place,” often depicting Scott’s landscapes with small human figures to foreground nature’s majesty.
Turner’s early Ossian -inspired painting (1802) predates his collaboration with Scott.

3. Alexander Nasmyth’s Role:

Personal friend of both Burns and Scott.
Created the iconic portrait of Burns.
His landscapes helped construct a visual language for Scottish nationalism.

4. Art and Print Culture:

Steel engraving enabled mass circulation of art tied to Scott and Burns.
Edinburgh’s William Miller was a key engraver, praised by John Ruskin as Turner’s finest.

5. International Influence:

Ossian was translated into several European languages and inspired Goethe and Napoleon.
Turner and other British artists contributed to shaping not only a Scottish but a European sense of "national landscape."

6. Visualising Urban Scotland:

The romanticisation of rural Highland landscapes was balanced by interest in urban scenes, such as Nasmyth’s depiction of the Tollbooth and Edinburgh’s redevelopment.
These works reflect the Enlightenment's tension between tradition and progress.

7. Art Education in Scotland:

The development of institutions like the Trustees’ Academy in 1760 created a context for Scotland’s artistic blossoming.
The Royal Scottish Academy and earlier schools (e.g., Foulis Academy in Glasgow) played foundational roles.

Noteworthy Insights

The concept of "landscape as literature" emerged during this period—scenery became emblematic of national identity.
The human presence in these landscapes, even if minimal, was crucial. Figures provided scale, emotion, and connection.
The haunted, poetic aura of the Scottish landscape—what Macdonald called “Caledonia, stern and wild”—became central to both art and literature.
Patrick Geddes’s legacy , especially regarding cross-cultural revivalism in India and Japan, was briefly acknowledged, showing the reach of Scottish intellectual influence.

Murdo Macdonald is author of Scottish Art (Thames and Hudson, 2000; new edition 2021), Patrick Geddes’s Intellectual Origins (Edinburgh University Press, 2020), and Ruskin’s Triangle (Ma Biblithèque, 2021). His most recent chapter is ‘Robert Burns and the Visual Arts’ in The Oxford Handbook of Robert Burns , (Oxford University Press, 2024). He is an honorary member of the Royal Scottish Academy, and an honorary fellow of the Association for Scottish Literature. He is professor emeritus of History of Scottish Art at the University of Dundee, Scotland.

Selected images from the presentation are shown below

Introduction by Dr. Lucy Wood:

Our lecturer this evening is Professor Murdo Macdonald, Emeritus Professor of History of Scottish Art at the University of Dundee. He is the author of Scottish Art in the Thames and Hudson series—a book many of us will know and value. Alongside Will Maclean and Arthur Watson, he developed the practice-led PhD programme in Fine Art at Duncan of Jordanstone College of Art and Design.

Professor Macdonald’s research interests span Highland art, Gaelic culture, Robert Burns, the Celtic revival, and the polymath Patrick Geddes. He is also noted for his long-standing engagement with James Macpherson’s Ossian . In 2013, he and Eric Shanes identified J.M.W. Turner’s lost Ossian painting from 1802.

Synopsis: My talk gives context to the literary work of Sir Walter Scott (1771-1832), from the perspective of visual art. Scott is too easily credited as the point of origin for the creation of the image of Scotland, but inspection of visual art reveals that this is far from the case. Crucial to my presentation is the discussion of art produced before Scott himself was active, for it sets the literary and artistic scene, providing the background we need to understand art that responds more directly to Scott. In particular, I note art made in response to the work of James Macpherson (1736-96), and Robert Burns (1759-96), the two dominant figures of Scottish literature of the generations immediately before Scott. James Macpherson was born thirty-five years before Scott. He had completed his major literary contributions by 1773. Those contributions began with Fragments of Ancient Poetry in 1760, then Fingal in 1762 and Temora in 1763. Those works came together in The Works of Ossian in 1765. They were re-edited as The Poems of Ossian in 1773. Scott was born in 1771 so we can consider him – literally – as a child of the Macphersonian age in Scottish literature. And Scott was a teenager of the Burnsian age, having the good fortune to meet Robert Burns at Adam Ferguson’s house in Edinburgh in the winter of 1786-7. Scott was fifteen at the time and Burns would have been in his late twenties.

A particular focus is work by artists who engaged either with the work of Macpherson or that of Burns, but who subsequently made a significant contribution to imagery related to Scott also, bridging the literary gap, so to speak. Two artists fall firmly into that category. Firstly, the Scottish artist Alexander Nasmyth (1758-1840) who engaged with both Burns’s work and later with that of Scott; he was a friend of both writers. Secondly, the English artist J.M.W. Turner (1775-1851) who made an important work in response to Macpherson’s Ossian in 1802, and later made a major contribution to illustrating Scott. Like Nasmyth, Turner knew Scott.

Alexander Nasmyth was about thirteen years older than Scott. He was one of the key Scottish thinkers of his day. He was primarily a painter, most well-known today for his portrait of his friend Robert Burns, but he was also a pioneer of Scottish landscape painting, including remarkable illustrations responding to Burns’s poetry. He was also an engineer, and an architect – not least of Saint Bernard’s Well in the New Town. That neoclassical temple dates from 1789, two years after his portrait of Burns, so it would have been very much part of the Edinburgh that Walter Scott experienced as a young man. In due course Scott and Nasmyth became friends, and the older painter was something of a mentor for the young writer.

Turner was a close contemporary of Scott, born in 1775, only four years after Scott himself. He was also an artist capable of matching Scott’s own greatness, both in technical terms and with respect to their shared European vision. That matching finds a direct expression in the numerous watercolours he made to be engraved as illustrations for Scott’s work. Of particular interest are those made in the period just before and just after Scott’s death. But the wider the wider context I draw attention to here is indicated by the fact that Turner’s response to James Macpherson’s Ossian was much earlier. Dating from 1802, its full title is Ben Lomond Mountains, Scotland: The Traveller - Vide Ossian's War of Caros . It was made significantly before Scott’s seminal Highland poem, The Lady of the Lake , which was published in 1810.

The beginning of The Lady of the Lake is itself a reworking of the end of Macpherson’s Berrathon (published, in 1761, in Fingal and other poems by Ossian ,), and looking at that link between Macpherson and Scott from the point of view of visual art is informative. The work of Alexander Runciman (1736-85) in the 1770s enhances understanding of this through the importance of nature in his Ossian compositions, his vision prefiguring what Scott would later call ‘Caledonia stern and wild’. Runciman’s response to Ossian , along with that of his younger contemporary Charles Cordiner (1746-94), points the way to a view of Scotland as an iconic landscape imbued with legend and history, essentially a literary landscape. In the response to Macpherson in the 1770s one can thus see art that references literature beginning to drive the idea of a national landscape for Scotland. In due course artists responding first to Burns and then to Scott would develop that further.

Colloquium on Kenilworth

Sat, 21 Aug 2021 08:40:17 GMT

Saturday 21st August 2021

Summary of the Colloquium:

The event opened warmly, celebrating the first in-person gathering in two years. It featured two speakers:

Professor J.H. Alexander , distinguished scholar and editor of Kenilworth for the Edinburgh Edition of the Waverley Novels.
Lee A. Simpson , long-standing member of the Edinburgh Sir Walter Scott Club and passionate advocate for Scott’s work.

J.H. Alexander’s Talk

Alexander offered a meticulous literary analysis of Kenilworth , reflecting on its:

Narrative control and structure.
Thematic depth, especially the contrast between public splendour and private misery.
Use of Shakespearean and Elizabethan motifs and language.
Intricate, symbolically rich imagery (gold, birds, machinery).
Strategic literary allusions, especially to Ben Jonson’s The New Inn and Langham’s letter on the Kenilworth entertainments.
Emphasis on how Scott's motifs and character arcs feed into a tightly constructed tragic conclusion, likened to a “finely tuned machine.”

Alexander highlighted that although Kenilworth isn’t among Scott’s absolute masterpieces ( Waverley, The Heart of Midlothian , etc.), it remains dramatically powerful and thematically coherent.

Lee A. Simpson’s Response

Lee's presentation took a more personal and emotional tone. He shared:

His enduring friendship with the late Fraser Elgin, sparked and sustained through shared readings of Kenilworth .
How their weekly meetings shaped his understanding of Scott and deepened his appreciation of language, even leading Fraser to tutor him in Latin.
His admiration for Scott’s linguistic wit, pace, humour, and ability to portray characters with astonishing psychological realism.
The novel’s accessibility, especially due to its fast-paced beginning and relative lack of dense historical preamble.

Lee praised Scott as a “genius like no other,” noting how his characters come alive through detailed and often humorous prose. He strongly recommended Kenilworth as a good starting point for new Scott readers.

Discussion and Q&A Highlights

The novel was well-received in its time, praised for its dramatic focus and narrative control.
Kenilworth is loosely based on historical events surrounding Amy Robsart, who died mysteriously—possibly murdered, possibly by accident.
The character of Varney provoked questions: his decision to kill Amy was attributed to bitterness and personal ambition.
Scott’s motivations for writing Kenilworth may have included a desire to create a companion piece to his portrayal of Mary, Queen of Scots in The Abbot, and his love of Elizabethan drama.
The pacing, linguistic richness, and dramatic structure of the novel were commended.

Interesting Points

Scott’s Control: Despite his usual free-flowing style, Kenilworth is unusually structured and thematically tight—perhaps due to his legal background or deliberate planning.
Amy Robsart’s Death: The real historical mystery adds gravitas and depth to the fictionalised account, making Amy’s fate central to the novel’s emotional power.
Imagery of Machinery and Performance: Scott’s recurring motifs of theatricality and mechanical imagery (especially in the depiction of Varney’s trap) underscore themes of manipulation, control, and tragic inevitability.
Language as Entertainment: Both Alexander and Lee appreciated Scott’s playful yet precise use of language, with Lee especially drawn to the novel’s humour and rhythm.

Introduction by Professor Sir Iain R. Torrance:

Between 1968 until his retirement in 2001 Professor Alexander taught in the English Department at the University of Aberdeen. Sir Walter Scott has been his central research interest since his BLitt dissertation at Oxford on his poetry in the early sixties. He produced several studies of Scott, mostly on the poetry, before becoming involved with the Edinburgh Edition of the Waverley Novels as one of the general editors. He was the volume editor for Kenilworth which was one of the first three novels to appear, in 1993, and his work for the Edinburgh Edition continued up to the final two volumes with the Magnum introductions and notes in 2012.

In 2017 he published a general study, inspired by the Edinburgh Edition, with the title Scott’s Books: Reading the Waverley Novels . In recent years his main research has shifted in a southerly direction and he is currently one of the editorial team for the Oxford Edition of Charles Dickens.

Lee Simpson has been actively involved with the Edinburgh Sir Walter Scott Club for over 20 years. He has served as Co-Editor of the Annual Bulletin and Events Convener for over a decade. He has been the Treasurer since 2003 and he maintains the Club website and social media accounts.

There is, I think, nobody who has done more to help the Club and keep it going. Lee has done quite extraordinary work on the Club’s website and archives. Without his dedicated work we would have floundered during COVID. Instead, with online presentations, Lee has enabled the Club to flourish.

Lee is a self-employed Wedding DJ and Photographer and has worked at over 1000 Weddings under the stage name of "Lee Live" -- winning several awards in the process. He is married with two children and loves Jogging, Outdoor Swimming and Woodland Walks.

Frolics in the Face of Europe: Sir Walter Scott, Continental Travel and the Tradition of the Grand Tour

Thu, 03 Jun 2021 14:48:55 GMT

Thursday 3rd June 2021

Summary of the Talk:

The text examines Sir Walter Scott's relationship with the tradition of the Grand Tour, focusing on his travels in Europe, his reluctance to fully embrace the Grand Tour experience, and the cultural and literary implications of his approach to travel.

Dr. Brown reflects on the paradox of Scott's European travels, noting that while Scott took only three trips to the Continent, they did not fit the typical pattern of a "Grand Tour," an institution traditionally focused on classical education and aesthetic appreciation of Europe, particularly Italy. Scott was not an enthusiast for classical antiquity or the traditional sites of the Grand Tour. Instead, he had a deep affinity for Scottish history and landscape, often comparing European sites unfavourably with those of Scotland. His trips were thus marked more by personal and domestic preferences than by the intellectual or aesthetic motivations of many of his contemporaries.

Scott's hesitation to travel abroad stemmed not only from personal disinterest in foreign landscapes but also from a more practical focus on his career in law and literature in Scotland. His attitude towards travel was often dismissive, referring to it as a "frolic." Interestingly, despite his reluctance, he did make a few trips, with his final Mediterranean voyage in 1831 marking a late, but notable, engagement with the traditional Grand Tour locations. This trip, however, came too late in his life, and he was in poor health, which limited his enjoyment of the experience.

Dr. Brown also highlights Scott's use of secondary sources—books and maps—to explore Europe, suggesting that his deep knowledge of European history and topography, though acquired second-hand, was sufficient for his creative needs. Despite his lack of enthusiasm for the classical world, Scott’s literary works, especially his novels, engage deeply with history, and his imagination was greatly shaped by the European past, particularly the medieval period and the Jacobite history of Scotland.

Interesting Points:

Scott's reluctance towards the Grand Tour : Scott was not the typical Grand Tourist. Unlike many of his contemporaries, he didn’t have the same fascination with classical ruins or the visual arts. His attachment to Scotland, especially to the Tweed River and Abbotsford, shaped his worldview and kept him from engaging with the classical European heritage that was central to the Grand Tour.
Scott's late engagement with the Mediterranean : Despite being deeply engaged with European history and topography through books, Scott only visited key Mediterranean sites like Naples and Rome late in his life. His final trip was marked by illness and a sense of missed opportunities. This contrasts sharply with the youthful, adventurous nature of traditional Grand Tourists.
Scott's connection with literature and imagination : Even though Scott never fully experienced the Grand Tour, his literary works were steeped in European history and the landscapes of the continent. His knowledge of foreign places was largely mediated through books, which shaped his writing and imagination.
The paradox of Scott's literary career and his travels : Scott's refusal to fully immerse himself in the Grand Tour tradition, despite having the means and opportunity, underscores a tension between his intellectual pursuits and his personal preferences. His reluctance to travel and his preference for home and Scottish landscapes are themes that appear throughout his life and work.
Scott’s relationship with Italy : Though he did not visit Italy until the end of his life, Scott had a complicated view of the country. He was more interested in its medieval past than its classical heritage and was often unimpressed with the major Italian sites. His lack of interest in Italian music and art is particularly notable, as the Grand Tour was often associated with a deeper cultural appreciation for these elements.

This text offers a nuanced perspective on Scott's relationship with European travel and highlights the importance of context in understanding his reluctance to embrace the traditional Grand Tour experience.

Download the [transcript]

Frolics in the Face of Europe: Sir Walter Scott, Continental Travel and the Tradition of the Grand Tour

On 3rd June 2021 the Edinburgh Sir Walter Scott Club virtually hosted at talk by Dr. Iain Gordon Brown.

He was introduced by our Chairman Prof. Sir. Iain Torrance.

Dr. Iain Gordon Brown is a Fellow of the Society of Antiquaries of London and of the Royal Society of Edinburgh, was formerly Principal Curator of Manuscripts in the National Library of Scotland, where he is now an Honorary Fellow.

He has also held the office of Curator of the Royal Society of Edinburgh, Scotland’s national academy (of which Scott was the third President).

A widely-published scholarly author, he has edited Scott’s Interleaved Waverley Novels: An Introduction and Commentary and Abbotsford and Sir Walter Scott: The Image and the Influence , and has written numerous articles and essays on aspects of the man and his world. A past President of the Edinburgh Sir Walter Scott Club, he is a member of the Curatorial Expert Advisory Panel of the Abbotsford Trust, and of the Faculty of Advocates Joint Abbotsford Advisory Committee. Formerly President of the Old Edinburgh Club, and a Trustee of Edinburgh World Heritage, he is currently an Associate of the Centre for the History of the Book in the University of Edinburgh and is Consultant to the Adam Drawings Project at Sir John Soane’s Museum, London. He is also a Trustee of the Penicuik House Preservation Trust and a Vice-President of the Edinburgh Decorative and Fine Arts Society.

The intellectual history and culture (in its broadest sense) of Scotland in its Golden Age of the eighteenth and early nineteenth centuries has long been a major area of interest, and the focus of many of his books and articles which have covered a wide range of inter-related topics. For over four decades he has also worked on the history of the Grand Tour, publishing extensively on British travellers, scholars, artists and architects in Europe between the 1690s and the 1850s.

Sir Walter Scott wrote frequently of his desire to travel widely in Europe. However, he actually made only three Continental ventures. Two were to Belgium (including the battlefield of Waterloo), Northern France and Paris, where he immersed himself in local culture and society and on which he published an excellent travel book. Then, shortly before his death, he at last journeyed to the Mediterranean, the British Admiralty giving him free passage in a warship – a notable gesture of concern for the welfare of what today would be called a ‘national treasure’. Scott visited Malta, and many cities of Italy. His months in Naples and his weeks in Rome provoked both interest and sadness: most of all they caused him to reflect from afar on Scotland, the land of his birth, his mind and his heart. He returned through the Tyrol and German lands, regions of the Continent he had long wished to see, but which he could by then barely appreciate.

These European trips are full of interest for the modern reader. But equally, and almost more so, are the many other schemes Scott entertained for wider travelling, notably in the Iberian Peninsula, in Switzerland and Germany, and even (latterly) in Greece and the Aegean. In this book, all these actual and projected journeys are examined in the context of the Grand Tour tradition, and also in that of the new kind of ‘romantic’ travel that, after 1815, came to succeed older, prescribed forms.

Frolics in the Face of Europe (the phrase is derived from a letter of Scott’s of 1824) draws on his vast correspondence and his moving journal; on his verse, and his prose fiction; and on the literature of travel which gave him such a wide knowledge of the world without even leaving his study in Edinburgh or his library at Abbotsford. A series of vignettes or pen-portraits emerges of journeys completed, and voyages merely dreamed of. Many social, literary and artistic connections are made; events, places and personalities are linked, often in surprising ways. Walter Scott emerges as a man with ambiguous ideas about travel: one who knew that he ought to travel, and to have travelled more than he did. But he was a writer of profound imaginative power, whose vicarious travelling allowed him to spend most of his time where he really wanted to be: in his native Scotland. This book offers a fresh view of Scott as the 250th anniversary of his birth approaches. [Amazon]

A Scott-themed Menu + a Toast to Sir Walter

Thu, 06 May 2021 11:20:47 GMT

Thursday 6th May 2021

Summary of the Event:

The event was held online as a creative substitute for the Edinburgh Sir Walter Scott Club’s annual dinner, cancelled due to the pandemic. Members were invited to order a specially designed Walter Scott-inspired meal from the acclaimed Wedgwood restaurant in Edinburgh. The evening featured a recorded Q&A with head chef Paul Wedgwood, who discussed the creation of the menu, his research into Scott’s literary references to food, and the culinary influences drawn from The Bride of Lammermoor, Rob Roy, and Meg Dods’ Cookery Book.

Following the Q&A, members chatted informally about the food, historical dishes, and Scott’s gastronomic details. The event concluded with a thoughtful toast to Sir Walter Scott by Ian Torrance, reflecting on Scott’s legacy, moral complexity, and contemporary relevance, with reference to St Augustine's concept of the secular and the Royal Mint's 250th anniversary coin.

Interesting Points:

Paul Wedgwood’s Enthusiasm: The chef was excited by the challenge, noting how it expanded his culinary repertoire and reignited interest in Scott’s works—he even planned to read Rob Roy during his holiday.
Historical Research: Wedgwood used a detailed online database of food references in Scott's novels and Meg Dods’ Cookery Book (based on Scott’s character Meg Dods) as key sources.
Featured Dishes Inspired by Scott:
Nettle soup – inspired by Rob Roy (Andrew Fairservice's gardener raised nettles under glass).
Trifle – based on a passage from The Bride of Lammermoor describing a “fairy feast” of creams and jellies.
Stoved Howtowdie (chicken dish) – adapted from traditional Scottish cuisine and given a modern twist.
Leek porridge with Dunlop cheese and black pudding – likely to remain on the restaurant's future menu.
Old Techniques, New Interpretations: Wedgwood noted that techniques like slow-cooking and using all parts of the animal—common today—mirror practices found in Scott’s time.
Dishes That Didn’t Make It: He regretted omitting dishes like Scotch eggs and traditional stews due to space or practicality.
Engaging Anecdotes:
A delightful tale about researching “Burgess’s Sauce” from Saint Ronan’s Well led to a real-life contact with the still-existing company, who were thrilled by the 19th-century reference.
Members debated historical dishes like “crappit heids” (fish-head croquettes) and “dropped eggs” (likely poached or baked eggs in a sauce).
Ian Torrance’s Toast: A heartfelt tribute connecting Scott’s portrayal of religious sectarianism with St Augustine’s idea of “shared overlap” as a remedy to division. He praised Scott’s moderate characters, often dismissed as bland, as embodying essential virtues for our time. He closed with the inscription from the 2021 commemorative £2 coin: "The will to do, the soul to dare."

When we made the decision to postpone our 111th Annual Dinner due to Covid-19 we came up with an innovative and exciting way for us all to meet online for a toast and a meal to celebrate Scott.

On Thursday 6th May we were treated to a dinner from the multi award-winning restaurant Wedgwood, whose Head Chef, Paul Wedgwood, had devised a Scott-themed three-course menu just for us! Paul and his team prepared the meals and delivered them directly to us at our homes (even personally by the Chef himself for those of us living in Edinburgh).

After hearing a brief talk from Paul about how he devised the menu a Toast to Sir Walter was given by our Chairman Prof. Sir Iain Torrance

Download the [toast text]

The Financial Ruin of Sir Walter Scott.. and How He Got Out of It

Thu, 08 Apr 2021 17:44:24 GMT

8th April 2021

Summary of the Talk:

Ray Perman’s talk explored Sir Walter Scott’s dramatic financial downfall and his extraordinary efforts to repay his debts and restore his reputation . Scott’s financial crisis was compared to modern financial crashes, highlighting his honourable response in contrast to contemporary figures who evade responsibility. The lecture also examined Scott’s spending habits, secret business dealings, and his determination to redeem himself through writing .

1. Scott: A National Treasure and Financial Giant

Scott was one of the most successful writers of his time , earning immense sums for his novels.
His influence shaped Scotland’s national identity , particularly through his role in King George IV’s 1822 visit to Scotland , which popularized tartan as a national symbol .
He was compared to J.K. Rowling , both in terms of fame and literary impact .

2. The Boom Years (1810s-1825)

Scott’s writing career was extraordinarily prolific , with 19 books published between 1814-1824 , including:
Ivanhoe
Rob Roy
The Bride of Lammermoor
He was paid huge advances , sometimes equivalent to £1 million in today’s money .
His business and social status soared:
Built Abbotsford , a grand baronial mansion.
Owned a townhouse in Edinburgh’s New Town .
Became a baronet for his role in rediscovering the Scottish Crown Jewels .
Held leadership roles in insurance and gas companies .

3. Scott’s Extravagant Spending

Scott lived beyond his means , indulging in:
Lavish entertainment .
Costly commissions for Abbotsford.
Expensive military commissions for his son.
Collecting historical artifacts of dubious authenticity (e.g., Robert the Bruce’s skull, Rob Roy’s musket ).
He viewed Abbotsford as a noble estate fitting for a man of his lineage.

4. Scott’s Secret Business Ventures

Scott secretly set up a publishing firm with John Ballantyne , attempting to cut out his publisher Archibald Constable .
Early success ( The Lady of the Lake ) turned into failure , as he backed unprofitable books and left the business in huge debt .
To cover losses, he covertly controlled a printing business with James Ballantyne , using his influence to funnel work through it .

5. The Financial Collapse of 1825-1826

Scott and his business associates used "accommodation bills" —essentially IOUs to borrow money without real assets behind them .
These IOUs created a web of interdependent debt between:
Hurst Robinson (London agents)
Archibald Constable (publisher)
James Ballantyne (printer)
Walter Scott himself
In 1825, a banking crisis in London caused 60 banks to collapse , tightening credit.
Hurst Robinson collapsed , dragging Constable and Ballantyne down with it .
Scott was left personally liable for the debts —totalling around £130,000 (£12 million today) .

6. Scott’s Reaction: Honour in the Face of Ruin

Unlike many others, Scott refused to declare bankruptcy .
He vowed to repay every penny through his writing, rather than fleeing or seeking a legal loophole.
He recorded his emotions in his private journal , initially feeling ashamed and suicidal , fearing he would die in exile .

7. The Redemption: Writing to Pay Off His Debts

Scott’s assets were seized, including:
His Edinburgh townhouse .
His furniture and belongings (he later dined at his lawyer’s house using his own former dinnerware).
Abbotsford was saved —his creditors allowed him to live there while he worked off the debt.
His writing efforts in his final years (1826-1832) were staggering :
He wrote nine books , including:
Woodstock and his biography of Napoleon , which repaid 15% of the debt alone .
Despite declining health, he continued writing at a relentless pace .

8. Legacy: A Debt Repaid

By Scott’s death in 1832 , his debt was half repaid .
By 1847 , after the sale of his copyrights, all debts were cleared .
His reputation remained intact , and his creditors later contributed to the Scott Monument in Edinburgh .

Interesting Points from the Talk

Comparison to Modern Financial Crises
Scott’s downfall resembled modern financial collapses , including:
The 2008 banking crash (easy credit, reckless borrowing).
The Ponzi scheme model (Scott’s business network collapsed like a chain reaction).
Unlike modern financial leaders , Scott took personal responsibility rather than shifting blame.
His Influence on Scottish Identity
Scott revived tartan culture during George IV’s 1822 visit .
His novels shaped how Scotland is seen globally .
His Business Deceptions
Scott hid his financial involvement in publishing and printing firms , using others as fronts .
He manipulated contracts to ensure his companies got business.
His Near-Bankruptcy Was Covered Up
Scott borrowed from the Duke of Buccleuch to quietly pay off early debts .
If he had been exposed in 1813 , he might have lost everything much earlier .
He Wrote Himself to Death
Scott’s relentless writing schedule in his final years severely damaged his health .
He suffered strokes and memory loss but continued writing out of duty .
His Books Paid His Debt Even After Death
The sale of Scott’s copyrights in 1847 finally cleared the last of his debt .
His creditors later honoured him , recognizing his integrity and work ethic .

Conclusion

Ray Perman’s talk portrayed Scott’s financial downfall and redemption as a remarkable morality tale . Scott’s reckless borrowing and extravagant spending led to ruin , but his unwavering commitment to repaying his debts through sheer hard work set him apart from modern financial figures . His story is a testament to resilience, honour, and the power of literature—not just to entertain, but to restore reputations and rebuild fortunes .

Download the [Transcript]

Ray Perman is a distinguished financial journalist who has reported for numerous publications, including the Financial Times . He is a former chief executive of the industry representative body, Scottish Financial Enterprise and a former director of the David Hume Institute. He is the author of Hubris: How HBOS Wrecked the Best Bank in Britain (Birlinn, 2012) and, more recently, The Rise and Fall of the City of Money: A Financial History of Edinburgh (Birlinn, 2019). He lives and works in Edinburgh.

Synopsis: In 1825 Sir Walter Scott was at the height of his power and fame. By January 1826 he was financially ruined with enormous debts that vastly exceeded his assets. How had it happened? Scott’s reaction had few parallels then or since. He admitted his mistakes and pledged to spend the rest of his life “working with his right hand” to pay his creditors.

Buy the book here: [Birlinn]

Scott’s Relationship with Traditional Song

Thu, 04 Mar 2021 11:03:51 GMT

Thursday 4th March 2021

Summary of the Performance:

Anne McClary delivered an engaging talk exploring traditional song and Walter Scott’s involvement in collecting and adapting folk material. She explained the origins and characteristics of traditional song, particularly ballads, noting their oral transmission, regional variations, and the themes they commonly address (love, sex, death, and the supernatural).

She highlighted that, despite romantic ideas about anonymous folk authorship, many songs had known writers, often from higher social classes. With the advent of printing in the 16th century, songs began appearing on broadsides—cheaply printed sheets sold for a penny—which helped disseminate them.

Ballads evolved from minstrelsy and were structured to aid memory, often using formulas, refrains, and stock imagery (e.g., looking over the left shoulder indicating submission). Floating verses and phrases could appear in unrelated songs, showing the fluidity of oral tradition.

McClary noted that Scott’s literary career was launched by ballad collecting. He first encountered traditional songs during his childhood stays in the Borders, where storytelling and song were integral to local gatherings. Fascinated by the supernatural, Scott later returned with companions like Robert Shortreed on “raids” to gather ballads.

In 1802, Scott published Minstrelsy of the Scottish Border , a landmark collection comprising 96 items. Though some material came from personal fieldwork, much was sent to him by collaborators like Ritson, Percy, Heber, and Hogg. Scott freely altered and synthesised versions of ballads to create a readable and often dramatic form, but—unlike some editors—he was transparent about these changes.

McClary also discussed Scott’s daughter, Sophie, who sang songs collected by her father and even learned Gaelic. Scott himself contributed lyrics, including Jock of Hazeldean and MacCrimmon’s Lament , the latter inspired by a Highland piper's death during the 1745 rebellion.

The talk included several ballad performances, some grim (e.g., The Two Corbies, Rare Willie Drowns in Yarrow, Clark Saunders ), some patriotic or mournful (e.g., Floors of the Forest, Lyke-Wake Dirge ), and concluded with The Parting Glass , a poignant farewell song.

McClary closed with reflections on Scott’s role in preserving Scottish song and the complex legacy of mediating oral traditions for the printed page.

Interesting Points

Scott’s role as a song collector is often overlooked in academic circles, despite Minstrelsy of the Scottish Border being pivotal to his fame.
He was inspired by oral supernatural songs during his childhood in the Borders.
“Floating verses” —stock lines and imagery—migrated between unrelated songs, illustrating oral tradition’s fluidity.
Scott collaborated with prominent antiquarians but did relatively little fieldwork himself, relying instead on correspondents and others like John Leyden and James Hogg.
Scott was transparent when modifying songs—an unusual trait for his time.
Margaret Maitland, mother of Hogg, disapproved of Scott writing the songs down, insisting they were for singing, not reading.
His daughter Sophia Scott not only sang his collected songs but also learned Gaelic airs during their stay at Dunvegan with the MacLeods.
The talk includes songs that Scott composed or adapted , such as Jock of Hazeldean , drawn from a fragmentary source.
The story of Jacobite and Hanoverian pipers uniting in protest at the detention of the McCrimmon piper reflects the respect for artistry beyond politics.

In February 2021, we were delighted to record the following presentation by Anne McClary, which we now have the privilege of making public. Anne kindly assented to performing to an audience of two in the stunning setting of the Song School at St Mary's Episcopal Cathedral in Edinburgh's West End, where, surrounded by the wonders of Phoebe Anna Traquair's mural celebrating music and creation, she delivered the following talk and performance on Scott's relationship with traditional song. Given Scott's voracious appetite for folklore and ballads from his early childhood onward, Anne's offering here is a very fitting way indeed for the Edinburgh Sir Walter Scott Club to commence its celebrations of Scott's 250th anniversary.

Anne McClary has been singing for most of her life, originally learning songs from her mother who was also a singer, and she did her first stage performance of traditional song at the age of 11. She has performed at clubs and festivals and in churches and halls around the British Isles and in Canada, and has recorded for the BBC. She sings in several languages and genres from traditional to ecclesiastical. She has worked as a music therapist with psychiatric patients, and delivers voice workshops, and lectures on a number of subjects: mainly historical or health related. In 2012 she obtained a 1st Class Honours Degree in Traditional Music from the University of Newcastle.

Songs performed: Jock o'Hazeldean, The Twa Corbies, Rare Willie Drowned in Yarrow, Sine Bhan (Fair Jean), Clerk Saunders, MacCrimmon's Lament, Lyke Wake Dirge, The Floo'ers o' the Forest, Armstrong's Goodnight (The Parting Glass),

We are very grateful to the Provost and Vice Provost of St Mary's Cathedral for allowing us to record in the historic Song School. The Cathedral is also home to Scott's Pew, a wooden pew in which Scott and his family sat when they worshipped at St George's Church, York Place. If you would like further information on the Song School or Scott's Pew or to arrange a viewing of either in the future, please contact the Cathedral office: office [at] cathedral.net or 0131 225 6293.

Why We Should Read Scott Today

Sun, 22 Nov 2020 10:14:32 GMT

Friday 22nd November 2002

Summary of the Talk:

This essay explores why Sir Walter Scott, once an immensely popular literary figure, continues to be relevant and worth reading today despite a perceived decline in his modern readership.

Scott's Reputation:
Scott was a literary lion in his time, but his popularity has waned in recent years. His novels are often no longer part of school curricula, but this decline may not be entirely negative. Many still read his work, with the Waverley novels frequently reprinted, and academic interest remains strong.
Scott's Political Views and Persona:
Scott’s Tory political stance, which was once mainstream, now puts him at odds with modern Scottish nationalism. His position on the Union and political conservatism is a barrier to broader appeal. He was also part of the British Establishment, which impacts how his work is perceived today.
Scott the Man vs. Scott the Writer:
The perception of Scott’s moral character, especially his virtue and Stoicism, has influenced how his work is viewed. Some may find his personal life and his status as a gentleman writer to be a hindrance to appreciating his artistic merit.
Criticism of Scott's Writing:
Scott’s writing has been criticized for being “heavy” and “trivial,” with some believing he lacked artistic detachment. Yet, Massie argues that Scott’s writing is accessible, and the sense of delight in his work outweighs these flaws.
Why Read Scott Today?
Scott is a classic Scottish novelist and a crucial figure in European literature. Not reading him is to miss out on a deep understanding of Scottish history, culture, and literature.
Massie quotes the Italian writer Italo Calvino, who defined a classic as a book that offers new discoveries upon rereading. Scott’s novels meet this definition, as they are rich with historical, cultural, and moral insights.
Scott also helped shape the concept of Scotland as a nation and is essential for understanding the evolution of Scottish identity and the Scottish novel.
Scott’s Strengths:
Scott is not just a storyteller, but a teacher and enchanter. His novels are compelling, deeply engaging, and sometimes mysterious. He offers a vivid portrayal of Scottish life, often balancing high drama with humour and social commentary.
Influence and Legacy:
Scott influenced many later writers, including those who shaped modern European literature. His works, including Ivanhoe and Rob Roy , had a lasting impact on both British and European literary traditions.
Massie suggests that even in modern times, Scott's influence is felt in many genres, including historical fiction and crime novels.

Notable Insights:

Scott’s Uniqueness: Scott is praised for not being a perfectionist but rather a writer who was driven by a genuine love for storytelling. His writing, while sometimes heavy, is still profoundly engaging, with a charm that endures.
Scott’s Relevance Today: Despite his outdated political views and the decline of his popularity, Scott’s novels still offer vital lessons on the complexity of history, national identity, and human nature.
Humanity in Literature: Scott’s works give readers a chance to understand human character in various circumstances, making his novels timeless in their emotional depth and understanding of society’s intricacies.

In conclusion, Massie makes the case for Scott’s continued importance, both as a storyteller and a historical figure, asserting that his works are vital for understanding both Scottish culture and broader European literary traditions.

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The "Waverley" Phenomenon and Material Imagination

Thu, 12 Nov 2020 13:04:21 GMT

12th November 2020

We were delighted that Lillian could join us for this important milestone in the Club's 126-year history, and especially pleased that she was able to provide us with such an accessible, nuanced look into her research into Scott's celebrity and its reverberations in the material imagination in the nineteenth century.

Lillian is a third year postgraduate research student in the School of History of Art at the University of Edinburgh. She is funded by the Chicago Scots R. Harper Brown Scholarship as well as the Ruth Elizabeth Southworth Scholarship supported by the Kappa Alpha Theta Foundation. Her thesis seeks to address the extent to which the literary celebrity of Walter Scott found currency in nineteenth-century visual and material culture in Britain. Examining sectors of popular print, portraiture, topographical media, material artefacts, historical dress and reenactment, her research evaluates prevailing conceptions of the author’s literary authority. How Walter Scott and the Waverley Novels informed the political, social, and intellectual fabric of their day is also continually brought into question.

Lillian holds an MA in Modern Art History, Theory & Criticism from the School of the Art Institute of Chicago and a BA in Art History and European Studies from DePauw University. Prior to commencing her doctoral study, she worked in Museum Education and the Department of Prints and Drawings at the Art Institute of Chicago. She currently holds a position as an online instructor of art history for the University Texas at El Paso and Youngstown University.

The Waverley Phenomenon and Material Imagination

I’d like to begin my lecture this evening with the following item found in the Bridgeman Art Library in London: an engraved sketch which appeared in the 1,664 issue of The Illustrated London News on Saturday, Twelfth of August 1871. Entitled A Dream of the Waverley Novels , this image was one of roughly 30 full-page illustrations produced for The Illustrated London News in the summer months of 1871 which sought to pictorialize the legacy of famed author Sir Walter Scott on the 100th anniversary of his birth. The Scott Centenary was a landmark occasion observed across numerous towns and cities in Britain and North America. Aside from the Annual International Exhibition of Arts and Industries, this event received more coverage in the English-speaking periodical press of 1871 than the wedding of Princess Louise, Duchess of Argyll and the Paris Commune combined.

Parades, festivals, art exhibitions, costume balls, theatre, and local assemblies honoring the beloved poet and Author of Waverley were far flung and wide-reaching. This commemorative strain reached a highpoint in the National Festival in Celebration of the Centenary of the Birth of Sir Walter Scott which took place in the city centre of Edinburgh, Scotland over 3 weeks and attracted some 12,000 participants. When we take into consideration the fact that, by 1871, Scott had already been dead for nearly 50 years, the of currency of his celebrity in the culture climate of the English-speaking world at this moment in time is striking. It begs the question: what exactly did Scott mean to the nineteenth century? Picking up where contemporary modes of assessment left off, this, I would argue, is where the work of the art historian comes into play. Examining sectors of popular print, portraiture, material artefacts, visual entertainment, and public media we can evaluate the then prevailing conceptions of the author’s literary authority in a manner that both compliments and builds on the tradition of literary criticism, the dominant standard of study in the field of Scott scholarship for over a century.

Interestingly enough, art history rarely enters into conversations regarding the reception history of Scott and the Waverley Novels. This might seem understandable. Why study the image and influence of one of Britain’s most prolific writers any other way than through the texts upon he attained national, indeed, international status? Its only when confronted with curious images and illustrations, even artifacts, such as the ones shown here that a case for the visual and material afterlife of the author becomes evident. I use this term in reference to the work of Scott scholars Anne Rigney and Nicola J. Watson, two of only a handful of individuals within the sphere of literary studies today who have drawn attention to the manner in which both Scott and his literary corpus were subject to and inspired countless modes of artistic production and consumerism in the nineteenth-century in Britain; here the literary life and practice of the author took on a new and ever-expanding corpora of identity. In addition to showing the fluidity of stances with which nineteenth-century readers made sense of and came into contact with the figure of Walter Scott, what we can infer from the gleanings of this rich media ecology are the various strands which comprised and fed in to Scott’s cultural phenomenon. Disentangling, and, at the same time, engaging with just a few of these fields of activity, I hope to show you this evening, how in conjunction with the study of texts, we can use art history as a tool to calibrate what shaped the literary celebrity of Scott in the nineteenth-century and made him a formidable presence and point of reference in visual and material culture.

One, and arguably the most distinctive, feature of Scott explored in nineteenth-century valuation was the repertoire of historical images and character portraits established in the Waverley canon. Scott, as I suspect most of us know already, was an effusive storyteller. His belief in the creative continuity between life, literature, and art began with a career in poetry and ballad writing, where, paying special attention to descriptive imagery in his work, the author won the favor of the reading public in Britain for his energetic and highly-colored representations of historical life and subject-matter. The impetus of his early writing, Scott once explained in a historical note from 1819, was the “conjuring of images through words.” Reminiscing on the process by which by which his literary productions came to fruition, the author explained how “weary with ransacking [my own] barren and bounded imagination [ . . . ] I [ . . .] looked out for some general subject in the huge and boundless field of history [ . . .] bedizened it with coloring [ . . .] ornamented it [ . . .] and invested it with such shade of character as would best [ . . .] present [ . . .] to the reading public a lively and fictitious picture.” In time, this poetic tradition transitioned into a novelistic enterprise. From the din of bagpipes, the history of castle architecture, great halls, wood-beamed taverns and rocky glens, to costumes, countenance, art, objects, furniture, even hair style, a finely-drawn world of historical individuals, stories, and spheres loomed large in the Waverley Novels and catapulted Scott’s distinction in the literary firmament as a pictorial writer. One can venture to guess that this is the prevailing viewpoint taken in T. Wolnoth and J. Hawkesworth’s engraving of the author from 1826. In this work, a lavish gothic border with ivy and escutcheons depicting scenes from the poetry of Scott ornament his half-portrait. It extrapolates from the claim made by literary critic and Whig reformist, Lord Francis Jeffrey, that the Minstrel of the North was the most brilliant literary portraitist of his age, one who’s “animated [and] engaging exposition [. . .] of the manners and state of past society” presented to readers the same “truth and vivacity of coloring” as paint to canvas.

This pictorialism, compounded by the sheer exhaustiveness of Scott’s literary imagination, gave rise to more concrete visions of historical spheres and subject-matter in Britain. Scott wrote a staggering 27 novels in 18 years – not mention 9 metrical romances, 5 editions of collected balladry, and over a 50 book projects in history and prose fiction. With topics ranging chronologically from ancient Byzantium all the way to modern European history his literary outpouring offered artists and craftsmen a wealth of original material. The engraving A Dream of the Waverley Novels illustrates the pictorial repertory associated with this body of works. Here we see historical characters, period clothing, and landscape – each taken from a unique chapter in the literary corpus of Scott – coalesce in the space of a single page. Looking at the composition, the expression “Great Scott” certainly comes to mind, but what I find intriguing about this print is the letterpress which accompanies it. The writer posits that “having read the admirable stories [ . . .] to the many volumes of Scott’s novels [ . . .] the viewer will have no difficulty in identifying all the characters or figures represented.” He continues, “we shall leave the reader to their unassisted contemplation [ . . .] for all that concerns the subjects and incidents [ . . .] associated with the Author of Waverley are long to be remembered and [therefore] recognizable even at a glance.”

Recognizable even at glace: this is, of course, merely one take on Scott. But it elucidates the component to his literary celebrity which nineteenth-century readers and reviewers of Scott and the Waverley Novels enthused over and expatiated on in their critical valuation of the author, many times over. According to historian Thomas Carlyle the “singular vividness” with which Scott wrote about the historical past ranked him among the chief wonders of the western world. His force and clarity of description, Carlyle argued, dazzled readers where previous modes of historiographical expression and novel-writing in the English literary tradition failed. In his Memorials of 1856 Lord Henry Cockburn similarly described the appeal of Scott as a “graphic force and universal sensation.” Extolling his ability to bring history out of obscurity and into popular consciousness through writing English essayist and literary critic William Hazlitt labelled the author the Amanuensis of History. In a retrospective essay on the Author of Waverley published in 1825 he asserted: “this author has only to describe [ . . .] and everywhere [his material] speak[s], breathe[s], and lives[s] again [ . . .] Whatever [. . .] he transfers to the pages of his fiction we [ . . .] see, hear, and feel [ . . .] with untired interest.” It’s worth noting that while Carlyle, Cockburn, and Hazlitt were referencing the extraordinary impact that Scott’s writing had on the nineteenth-century reading public, implicit to its mass cultural response were the varieties of artistic adaptation, image-making, and media consumption derived from it. This is exactly what is shown in the image before you. Taken from the same issue of the Illustrated London News on the Twelfth of August 1871, this illustration showcases an exhibition of portraits and material artefacts associated with Scott and the Waverley Novels, which featured as a point attraction in the National Festival in Celebration of the Centenary of the Birth of Sir Walter Scott at the Royal Academy in Edinburgh.

Evidence for the vigor and vitality Scott bestowed to the subjects and subject-matter of his fiction can be seen in other illustrative works from the Scott Centenary too. This is one of my personal favorites, an oil painting by Victorian genre artist Charles Hunt. Entitled Ivanhoe, the image, like the previous engravings shown, signals Scott’s capacity to bring history and its visual and material aspects into view. Ivanhoe, one of the most critically acclaimed of the Waverley Novels in Scott’s day, is shown here as a children’s game, thus reviving the contention of one nineteenth-century literary critic for the Christian Observer who, in 1832, asserted that “the images and recollections [drawn up] in the Waverley Novels are now indispensable pieces of furniture [ . . .] in every corner of every home in the British empire.” Hunt would certainly seem to underscore this point in his use of child actors. Common to the painterly depiction of Victorian middle-class life, the ease with which these rosy-cheeked figures play out a scene from one of the Waverley Novels clues us into the nineteenth-century familiarity with Scott. Importantly, Hunt associates Ivanhoe with a domestic interior, thus showcasing the extent to which the book and many of the Waverley Novels saturated public and private consciousness as well as the visual and material complexion of things in everyday life. At centre we see two boys re-enact the famed tournament scene from the novel. Ivanhoe , a youth dressed in old infantry uniform and feathered helmet, sits staunchly astride a makeshift steed, while his adversary, Brian de Bois-Guilbert, a sweet-faced boy with unkempt hair and painted moustache topples backward off an upturned chair.

Moving beyond the literary associations depicted in this particular figural arrangement, we might also consider the significance of the discarded book pictured in the lower foreground of the painting Ivanhoe and the two reading boys, located at right. In possession of what we can assume are two small, feasibly abridged, juvenile, or perhaps even castoff adult versions of the novel Ivanhoe, these figures reference the currency of Scott within the mass-cultural circuit of print in the nineteenth-century in Britain. As Richard J. Hill has shown, the repertoire of historical images and character portraits established in the Waverley canon was eagerly taken up within the commercial movements of this industry. As early as the late 1810s and early 1820s the poetry and novels of Scott began to appear in collected, tranched-down, and illustrated editions. This placed Scott in the hands of an ever-widening literary audience, middling to monarchical.

Moreover, as a consequence of increased specialization in print technology and the book trade in the early nineteenth-century, the Waverley Novels made their way into chapbooks, picture books, keepsakes, illustrated subscription series, stand-alone works, and supplementary print. From this substantial body of secondary texts and images, then, arose an equally substantial outpouring of visual and material adaptations. What began as a distinctly literary phenomenon thus extended itself into the framework of Victorian life, leisure and domestic performativity. The items shown here represent just a few of the many products and commercial spin-offs derived from the Waverley canon, some of which likely made their way into the type of middle class household or domestic interior Charles’ Hunts children belong to in the painting Ivanhoe.

This leads into another point of discussion, separate but related to the pictorialism of Scott’s writing. Further to the nineteenth-century valuation of Scott was a keen public interest in getting to know the visual and material foundations upon which Waverley Novels were authored. Who was the man behind such “rich and varied [. . .] graphical productions,” questioned London Magazine in a review of the Pirate in 1822. To what “external imagery or machinery” did their author-creator turn to place his “effective compilation of material” so vividly before the eyes? We might recall that, prior to 1827, all of the fictional works of Scott, aside from his metrical romances, were simply known as the fictional works of the Author of Waverley. The question of Scott’s authorship, and, by extension, the origins of the Waverley Novels, thus played a role in cementing his celebrity. To the reading public, the Author of Waverley wasn’t just a literary worthy. He was the Great Unknown, a kind of romantic virtuoso and creative well-spring hidden from the world at large, but tantalizingly, ever-increasingly on the verge of public discovery. The images and newspaper clippings shown here represent the currency of this thread across nineteenth-century discourse. In particular, the satirical print located at center pokes fun at the rampant interest in the figure of the Great Unknown. In this print, a caricatured version of the Author of Waverley does battle over the biographical rights of Napoleon Bonaparte with the Duke of Wellington, the victorious commander of the British-led Allied army at Waterloo. His juxtaposition with two of the most famed and inquired after personalities of the day in Britain here thus conveys his status as a cultural mainstay. Further to the right, in a frontispiece engraving for the 1825 publication Illustrations of the Author of Waverley: Being Notices and Anecdotes of Character, Scenes, and Incidents Described in His Work we see a similarly comic but incisive take on the anonymity of the author. Located beneath the half portrait of a partially concealed figure of the Great Unknown a Latin inscription by Tacitus reads “that which is unseen, shines the brighter.” Aware of the promotional value of anonymity, Scott played in to the public interest in his figure, where, using a stratagem of carefully constructed displays of material self-fashioning and public performance, he advertised his link to the Waverley Novels and, at the same, obfuscated it in myriad ways. This excited the curiosity and interest of nineteenth-century readers in Britain and, in time, became a prominent point of focus in the media ecology which pictorialized his legacy.

With questions surrounding the character and occupational history of the Author Waverley frequently making an appearance in the popular print of the early nineteenth-century in Britain as well the literary and cultural constituencies to which it catered, Abbotsford, the home of Scott from the year 1811 until his death in 1832, became especially important to the nineteenth-century treatment of his literary life and practice. It was here that many intimates, collogues, and admirers of the author first bore witness to the secret of his identity. For those less familiar with the private life of Scott, it provided a point of speculation. The success of his poetry and the Waverley Novels enabled Scott to pour vast amounts of income into the creation and expansion of Abbotsford house. Over a period of thirteen years, the home transformed from a modest Border farmhouse into an extravagant Scottish baronial manor. Scott frequently referred to the Abbotsford estate and its holdings as the “Delilah” of his imagination, his “flibbertigibbet” and “romance of a house,” “Patmos,” “paradise,” and “least of all possible dwellings.” That built the environment of the home was envisioned by its author-inhabitant as a kind of monument to his creative outpouring was the signaled by the range artefacts, ornaments, and images cluttering Abbotsford. With references to history and romance scattered almost universally across the building and furnishings of the home, the sharpened sense of literary association there generated the assumption that it was here that the Great Unknown, the Author of Waverley, lived and worked.

To visit Abbotsford, therefore, was to gain access to the world Scott recreated through literature. The home became a popular tourist destination in Britain and a literary landmark well before Scott admitted authorship of the Waverley Novels in 1827. People found their way via coach and paddle steamer, but increasingly, through the mediation of books, illustration, and travel literature they visited Abbotsford virtually, through variant forms of printed media. This is what is shown in the collection of early nineteenth-century travel publications pictured at left, and, to the right, a series of stereoscopic images made and marketed by Scottish photographer George Washington Wilson. Moving left to right, we see photographic images of the Abbotsford entrance hall, the study of Scott, the Abbotsford Library, and the Armory.

In another printed piece from 1832, line-engraver John Burnet copied and redistributed William Allan’s hugely successful oil painting for the Royal Academy exhibition of 1831: Portrait of Sir Walter Scott in his study at Abbotsford (1831). In this image, decorative, architectural, and antiquarian elements from across the built environment of Abbotsford are rearranged to create the impression of a working environment saturated in the sensory texture of times past. Scott, we see, sits contentedly engrossed with a weathered manuscript by Mary Queen of Scots in hand. He is surrounded by layers of drapery, carpet, animal fur, books, parchment paper, metal goods, and antique weaponry. How this surfeit of visual and material resources will factor into and enhance the historical fabric of the Waverley Novels is thus proffered for enquiry. This same invitation to engage with Abbotsford’s many points of literary and historical association is offered in the title page engraving of the Abbotsford Edition of the Waverley Novels. Looking at the print, a trove of curiosities belonging to Scott and his collection at Abbotsford lies scattered before the mouth of a gothic entryway. Tartan garments, weaponry, and other antique assortments suffuse the scene in a picturesque manner, allowing the eyes and imagination to wander from one object to the next. To the left, Scott’s deerhound Maida and a gaggle of smaller pups devotedly, if somewhat distractedly keep watch over the museal assemblage. Their inclusion in the scene alerts the viewer to the layer of domestic association implicated in the Waverley canon. Scott, it is rhetoricised here, is at home with the relics and remains of history both literally and figuratively speaking. As preface to his text, Abbotsford registers in this engraving as the site of his self-made genius, the very place where history (and the stuff of the Waverley Novels) are breathed, as it were, into life.

In time, the signification of Abbotsford became synonymous with the national historical inflection of Scott and the Waverley Novels too. This became key to the author’s reception in the 1820s onward as his literary life and practice were gradually and, at length, more intricately bound to the industry of Scottish cultural heritage. Early in his literary career Scott popularized the regional landscape and historical settings of Scotland with his narrative poems such as Lay of the Last Minstrel (1805), Marmion (1808), and Lady of the Lake (1810). With other early written works such as Minstrelsy of the Scottish Border and The Provincial Antiquities and Picturesque Scenery of Scotland he revitalized Scottish antiquarianism as well as the fading oral traditions of Scottish folklore and balladry. The graphic style of writing which typified the literary output of Scott not only glamorized real-life localities and communities across Scotland, but also charged them with enough human drama and visual appeal as to contribute to a major growth in the practice of Scottish landscape art, fashion, and literary tourism. Moreover, following his recovery of the Scottish Regalia and high profile role in the visit of George IV to Scotland in 1822, these activities all but confirmed popular suspicion in Britain that Scott was in fact the Author of Waverley. His physical and cerebral existence at Abbotsford house mirrored the delineative aspects of Scottish life, language, events, characters, and scenery in the Waverley Novels, making him, in the words of Edinburgh publisher and politician Adam Black a patrimonial figure of cultural Scottishness.

William Home Lizars captures this sense of the nation-forming authority figure in Scott in his decorative etching from 1840, entitled Abbotsford. Here we see pastoral images of Melrose and Dryburgh Abbey – two purportedly unmissable destinations in what Scott called the classic ground of his native homeland – linked in an elaborate pictorial tryptic with Abbotsford house, thus indicating the import of Scott as part of a network of cultural and scopic productions reifying Scottish cultural heritage. Correspondingly, in an 1849 oil painting created by Scottish artist Thomas Faed, an imaginary gathering of Scottish luminaries – from James Hogg, Sir David Wilkie, Adam Ferguson, John Wilson, Henry Mackenzie, and Lord Byron – cluster around the seated figure of the Author Waverley in the centre of the library at Abbottsford house. These figures of literary, historical, and artistic repute appear to confer with the patriarch of Scottish national sentiment, providing a graphic equivalent to the description of John Gibson Lockhart, who, writing in 1837, asserted “whoever had Scottish blood in him, gentle or simple, felt it move more rapidly through his veins when [ . . .] in the presence of Scott.” Abbotsford became the place to pay tribute to this national historical phenomenon, and, importantly, partake in the process of national historical protection and perpetuation Scott championed there through literature.

A scan of the art and objectscape of Abbotsford, however brief, reveals a national ethos imbricated in the network of literary and historical associations there. This was by Scott’s design, but over the years it became an integral component to the nineteenth-century construction of his legacy. Images and illustrations of the Scottish collection of art and architecture, personalia, books, and curios at Abbotsford pervaded a variety of artistic genres throughout visual and material culture. The exterior of the house, for instance, appealed to nineteenth-century viewers as a recycling of Scottish heritage items from the Roman occupation in the first century A.D., to the Middle Ages, Reformation, and early modern era. A two-story crenelated gateway and portcullis modelled defensive architecture of the Scottish Border, while notched gable ends, bartizans, clustered chimneys, and whinstone replicated identifiable features of Fyvie, Lauriston, Buchanan, Dunrobin, and Linlithgow castle. Other visible nods to Scottish history included gargoyles and spolia salvaged from recently demolished architectural landmarks in the Border vicinity. Detailed consideration of this material is provided in a series of illustrated wood engravings, produced by the London firm of English printmaker William Dickes. In the image shown at left we see an 1842 illustration of the door of the old Tolbooth of Edinburgh, which adorned a second-story story wall of the eastern facing façade of Abbotsford. This display drew the attention of many, not only for its peculiar placement on the outer reaches of the home, but also for the parallels it bore to the historical content of Scott’s seventh novel The Heart of Midlothian (1818). In another illustration from 1842, shown at right, we see a garden well Scott built out of salvaged bits and pieces from the ruins of Melrose Abbey. The resonance of this work to nineteenth-century viewers lay in its connection to the setting of Scott’s 1805 narrative poem, Lay of the Last Minstrel.

Meanwhile, the interior of Abbotsford house functioned as a purpose-built space for national historical exhibition too. During Scott’s lifetime, this famously object-laden terrain was pegged by nineteenth-century visitors, both real and virtual, as a museum for living in. In the entrance hall, for instance, Scott installed wood paneling from Dunfermline Abbey, marble floor tiles from the Hebrides, animal skulls, mounts, and pelts from the Scottish Highlands, and a grand fireplace modelled after the Abbots Seat of Melrose Abbey. This was joined by coats of arms and shields celebrating eminent Scottish Border clans, and from floor to ceiling, a riot of antiquarian curiosities including a cast of the skull of Robert the Bruce, medieval torture implements, weaponry, and two semi-circular wood presses made out of the fragments of the pulpit of famed Scottish minister and dissenter Ebenezer Erskine. Other public rooms at Abbotsford house such as the armory, library, and drawing room were similarly themed and structured. Scottish history looked out from its walls, observed one nineteenth-century literary tourist, enveloping the modern visitor and providing a means for engaging with the national historical past, not unlike the historical materiality which instilled the Waverley Novels.

It was by this logic that by 1832 Abbotsford attained an institutional footing in Britain comparable to what we now might call a national historical monument or repository. Enclosed within one space, outside of time, and away from susceptibility to neglect, mismanagement, or ruin, the built environment of the home, in nineteenth-century estimation, offered easy access and cultural longevity to the storied remains of Scottish national history. Synonymous with the literary life and practice of the Author of Waverley, it elicited a discourse about the “proud immortality” Scott conferred to art and material artefacts there through the process of fiction writing. In fact, many nineteenth-century literary devotees and visitors to Abbotsford came with the express purpose of donating Scottish heritage items to Scott and the Abbotsford collection – the hope being that, in addition to seeing the place where the Waverley Novels were planned and penned, they could facilitate in its project. The highland broadsword pictured at the top of the slide shown here was given to Scott by the Celtic Society of Edinburgh in 1826. This was joined by an ornately carved chair given to Scott in 1822 by Scottish antiquarian Joseph Train. The provenance of the piece, according to Train, was linked to the scene of the arrest of William Wallace in Robroyston in 1305. Similarly, one Gabriel Alexander sent to Scott a pair of seventeenth-century thumbscrews associated with the Scottish National Covenant. His reasoning behind such a bizarre and grisly gift, he explained in a letter to Scott in 1819, was the author’s status “best and most legitimate custodier [ . . .] of all that is national.” So important was this conception of the body of art and antiquities at Abbotsford, that when Scott faced bankruptcy in 1826, his creditors decided to allow him to keep the house and its collection within a private trust where revenue was acquired from the proceeds of his writing. Abbotsford and the national historical legacy of Scott were, from then on, inextricably linked in the public eye. The author’s home not only symbolized the success its creator had achieved through writing, but also, the service he performed there, collecting, communicating, and safeguarding Scottish cultural heritage for perpetuity.

In the years following 1832, this desire to pay homage to the literary life and practice of Scott at Abbotsford fell into decline. Illustrative work and material adaptations of the author’s home remained a steady industry in Britain well into the twentieth century, but the practice of making the physical trek to Abbotsford house, touring its halls, and leaving some mark of readerly admiration there for its author-inhabitant retain and care for lessened. This was due to the fact that Scott was dead and the auratic pull which originally instilled the nineteenth-century experience and understanding of the house and grounds there was gone. To commemorate Scott and, in turn, latch on to the cultural capital of his writing through gift-giving, it was determined that a more durable, more publicly accessible testament to collective pride in the author was needed. Not 10 days of after Scott’s death, on the 5th of October 1832, a gathering of roughly 100 intimates, colleagues, friends, and admirers of the author assembled in the hall of the Royal Institution in Edinburgh and formed a formal committee for “the erection of some lasting monument of gratitude and imperishable esteem . . . for one of Scotland’s most honoured sons.”

It would take another 14 years, countless meeting minutes, a design competition, door to door fundraising, and over £16,000 in subscription fees to create the Scott Monument which resides on Princes St. in Edinburgh, Scotland and to this day, dominates the city landscape. The history and building of this structure is a complex one, and while the ins and outs of its formal configuration certainly provide us with a more palpable sense of the indebtedness nineteenth-century readers, artists, and cultural consumers felt for the literary life and practice of Scott, as I come toward the close of my lecture this evening, I merely want to reflect on its example as a metaphor for the media ecology which shaped Scott’s celebrity. Elements from across the reception history of Scott and the Waverley Novels, for instance, are showcased in the visual and material construction of the Scott Monument. It features 4 separate viewing platforms, a second story chapel and museum space, stained glassed windows, gothic arches, and niches which house the statues of over 64 characters and historical persons illuminated in the Waverley canon. Elsewhere, architectural nods to Melrose Abbey, Roslin Chapel and other prominent Scottish national landmarks featured in the writing of Scott comprise the building, foundation, and tower of the monument. These material components not only recall the rich historical texture and pictorialism which pervaded the Waverley Novels, but also, the impact they had on the reading public in Britain, concretizing cultural Scottishness and effectively bringing its storied material out of obscurity and into view.

In closing, it’s this embodiment of the visual and material imagination which comprised and fed into the cultural phenomenon that was Scott, which, I think, makes the Scott Monument such a compelling testimonial and appropriate place to end my lecture this evening. Sitting at the center of the Monument, under its towering canopy of literary and historical detail is the maud shroud figure of Walter Scott. His statue is twice life-life size and carved in white Carrara marble. Despite the colossal frame and costly material with which this statue towers over the common spectator, there is an element of warmth and approachability to the figure of Scott in this particular representation that is unmistakable. The author, who historian Thomas Carlyle once dubbed King of the Romantics sits in an easy, upright posture, comfortably tucked under his Border tartan with one of his trademark canine companions underfoot. With a closed book in hand, it’s not clear whether Scott has just taken his seat or is momentarily interrupted. One way or the other, he looks up from his reading material, a contemplative expression spread across his face. Looking out over the Edinburgh expanse, and, more broadly, the national and historical terrain before him, the seated Author of Waverley reminds us that it is here, amongst the storied vistas and prospects of the Scottish backcloth – a continuum of historical materiality, old world relics, and living songs – where he is most at home. Taking into consideration the varieties of art, image-making, and media consumption looked at this evening, overlaid with this sweeping prospect, we arrive at a version of Scott not unlike the one with which this lecture began. We see an author who’s creative outpouring defies disciplinary barriers. As the letterpress for the 1871 engraving A Dream of the Waverley Novels suggests, we see a “prodigy of fertility” who leaves in his wake a whole world of romantic incarnations, brilliant, borderless, and great.

Scott's Wandering Tales

Thu, 15 Oct 2020 18:45:47 GMT

Thursday 15th October 2020

Summary of the Talk:

Daniel Cook’s lecture focused on Walter Scott’s shorter fiction , particularly his interpolated tales , which he termed “wandering tales” . The talk examined how these stories function independently while influencing their host novels . Cook concentrated on “Wandering Willie’s Tale” , extracted from Redgauntlet (1824), as one of the earliest modern Scottish short stories and an example of Scott’s masterful blending of folklore, supernatural elements, and historical reflection .

1. Scott’s Shorter Fiction and the Concept of Wandering Tales

Scott wrote many short stories embedded in his novels, which could be read as standalone pieces but also influenced the larger narrative .
Cook termed these “wandering tales” , as they:
Are digressive but essential to the novel’s structure.
Often contain symbolism that becomes significant later.
Are delivered by fictional storytellers within the novel, reinforcing oral tradition .
Notable wandering tales in Scott’s works include:
The Fortunes of Martin Waldeck ( The Antiquary , 1816).
Phantasmagoria and Alarming Increase of Depravity Among Animals (Blackwood’s Edinburgh Magazine, 1817-18).
Donnerhugel’s Narrative ( Anne of Geierstein , 1829).
The unfinished novella Bizarro (1831).
Chronicles of the Canongate (1827), a collection of loosely connected stories .

2. “Wandering Willie’s Tale” as a Model of the Wandering Tale

First published within Redgauntlet (1824) , but frequently anthologized as a standalone short story .
Considered one of the first modern Scottish short stories .
Mixes Gothic horror, oral tradition, and social commentary .
Explores themes of history, justice, and storytelling .

3. The Role of Storytelling in “Wandering Willie’s Tale”

Willie is introduced as a master storyteller , with musical and narrative skills .
The story is framed within Redgauntle t as a digression , but has deep relevance to the novel’s themes.
Orality vs. Textuality :
Though framed as an oral tale , it is carefully constructed in text .
Darsie Latimer , one of Redgauntlet’s protagonists, listens as a law student seeking amusement , but later realizes the story’s deeper significance .

4. The Plot of “Wandering Willie’s Tale”

The story follows Steenie Steenson , Willie’s grandfather, as he seeks justice after being accused of unpaid rent by Sir John Redgauntlet , whose father Sir Robert has recently died.

Key Events:

The Death of Sir Robert Redgauntlet
A cruel landlord and anti-Covenanter , Sir Robert dies suddenly , screaming about hellfire .
His loyal butler, Dougal MacCallum , insists on remaining in his service even after his death .
Steenie’s Accusation
Sir John Redgauntlet (the son) claims Steenie never paid his rent and demands proof.
Steenie protests, but no receipt can be found .
Steenie’s Journey to the Underworld
A mysterious stranger leads him to a supernatural version of Redgauntlet Castle .
Inside, Sir Robert’s ghost hosts a ghoulish gathering , surrounded by historical figures and demons .
Sir Robert gives Steenie a receipt , proving his payment, but warns he must return in one year .
The Aftermath
Steenie presents the receipt to Sir John , who is shocked to see it is dated after his father’s death .
Sir John believes the tale but burns the evidence to avoid tarnishing the Redgauntlet name .
Willie reflects on the reliability of oral storytelling , as different versions of the tale circulate .

5. The Significance of the Tale

(i) Symbolism and Historical Reflection

The story reflects the decay of feudal paternalism , showing the power landlords held over tenants .
Echoes the political tensions in Redgauntlet , where Darsie Latimer struggles with inherited obligations .
Steenie’s adventure parallels Darsie’s journey in the novel , reinforcing thematic connections .

(ii) Supernatural and Gothic Elements

The tale’s hellish imagery and ghostly figures add to its Gothic atmosphere .
Hell, fire, and the devil symbolize corrupt authority and injustice .
The ambiguity of the ghostly events leaves the audience questioning what was real .

(iii) The Role of Oral Tradition

The story is not just entertainment but a powerful vehicle for truth .
Different characters interpret it differently , showing how stories evolve based on their tellers .
The tale reemerges later in Redgauntlet , proving its structural importance .

Interesting Points from the Lecture

Scott’s Short Story Influence
Wandering Willie’s Tale is one of the earliest Scottish short stories , influencing modern Scottish literature .
Scott’s shorter works are often overlooked compared to his novels.
The Complexity of “Oral” Tales
Though presented as oral storytelling , the tale is carefully crafted in text , blending oral tradition with written narrative .
Raises questions about who controls history—the writer or the storyteller? .
The Tale’s Connection to Redgauntlet
The devilish imagery and themes of inheritance reflect Darsie Latimer’s personal struggles .
The Redgauntlet family’s troubled history mirrors the broader history of Scotland .
Unreliable Storytelling
Steenie’s story is questioned and altered by different characters .
Even at the end, we don’t know the full truth —was it supernatural, or just a clever lie?
Highlights the tension between legend and reality .
Scott’s Narrative Techniques
Scott interweaves multiple voices and perspectives , making even digressive stories deeply meaningful .
His use of nested storytelling (stories within stories) influenced later writers like Robert Louis Stevenson and James Hogg.

Conclusion

Daniel Cook’s lecture showcased Wandering Willie’s Tale as one of Scott’s most important short stories , illustrating his mastery of blending folklore, history, and fiction . While the tale appears to be a digressive ghost story , it is actually central to Redgauntlet , reinforcing themes of justice, inheritance, and storytelling . Scott’s use of “wandering tales” highlights his innovation in short fiction , making him a pioneer of the Scottish short story tradition .

Download the [Transcript]

Dr Daniel Cook is an Associate Dean and Reader in English Literature at the University of Dundee. He is the author of Walter Scott and Short Fiction (Edinburgh University Press, 2021), Reading Swift’s Poetry (Cambridge University Press, 2020), and Thomas Chatterton and Neglected Genius, 1760-1830 (Palgrave Macmillan, 2013). His recent books include Scottish Poetry, 1730-1830 (Oxford University Press, 2023), Gulliver’s Travels: The Norton Library (W. W. Norton and Company, 2023), The Cambridge Companion to Gulliver’s Travels (Cambridge University Press, 2023; with Nicholas Seager), and Austen After 200: New Reading Spaces (Palgrave Macmillan, 2022; with Annika Bautz and Kerry Sinanan).

Synopsis: Walter Scott’s shorter fictions came in different shapes and sizes, and continue to live in different types of publications, whether the periodical, short story collection, anthology, gift book or multivolume novel. This talk focuses on just one of Scott's "wandering tales": the aptly named “Wandering Willie’s Tale”. A wandering tale is a short story that can feasibly stand apart from the novel in which it first appeared but whose textual mobility depends on, and can have an impact upon, the host novel. Scott also surrounds his wandering tales with fictional audiences who comment on the meaning of the story delivered in real time, hijacking the conventions of improvisatory oral storytelling. Wandering tales appear to be digressive but they are equally propulsive: symbolism buried or prominently displayed within the story may take on sudden significance later in the host novel. Sometimes the level of significance may be structurally integral, or it may be a throwaway remark.

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John Nichol : [Redgauntlet] (Letter 11) "Wandering Willie's Tale" 44 minutes

Scenes from the Waverley Novels

Thu, 10 Sep 2020 17:02:48 GMT

On 10th September 2020

Dr Lucy Wood gave us a video tour of sites in the Old and New Towns of Edinburgh connected with Scott.

Lucy Wood is a heritage learning and engagement professional currently working for the Royal Collection Trust at the Palace of Holyroodhouse, and previously for Historic Environment Scotland, The Abbotsford Trust, and The Mavisbank Trust. She gained her PhD from the University of Edinburgh in 2016 with a thesis entitled “Fragments of the Past: Walter Scott, Material Antiquarianism, and Writing as Preservation” (as Lucy Linforth). Her thesis was awarded the Saltire Society’s Ross Roy Medal in 2017, and in early 2018, she held the British Association for Romantic Studies/Wordsworth Trust Early Career Fellowship researching William Wordsworth’s collections at Dove Cottage in Grasmere.

Today, in 'Scenes from the Waverley Novels', Lucy will take us on a tour of the biographical, historical and fictional Edinburgh of Scott's novels. The tour was first delivered as a series of public tours for the Cockburn Association Doors Open Day 2015.

Scenes From the Waverley Novels: Walter Scott’s Edinburgh

Scott Monument

College Wynd

Scott’s earliest years, however, were not to be spent in the city. Scott contracted polio when he was just two years of age, and for this reason he was sent far away from the stench of the city to Sandyknowe Farm in Roxburghshire, home of his paternal grandparents in the Scottish Borders, for good clean air and country living. There, through the stories of his Aunt Jenny and from the very land itself he became immersed in Border ballads and history; tales and traditions which would find their way in abundance his poems and novels, from The Lay of the Last Minstrel to The Monastery . Yet it wasn’t only in the romance of the Borders that Scott felt inspiration could be found- even as a child he discovered that in the city too there were stores of stories waiting to be discovered, if one knew where to look for them.

High School Yards

Through both storytelling and through study, Scott’s school years would have helped to consolidate his probably already significant knowledge of Scottish history- and also through walking. A keen walker from a young age Scott was instructed by his father only to talk as far as would permit him to be away and back within the same day- and so his geographical as well as imaginative rambles were reliant on what the city itself could offer- from tales of the Covenanters or Jacobite stories to more modern day narratives. It was at this time also that Scott began collecting the ‘touch-pieces’ of his fictions- the treasured items connected to Scottish history. In his father’s house in George Square he assembled a collection of ‘out-of-the-way things of all sorts. He had more books than shelves, a small painted cabinet, with Scotch and Roman coins in it … a claymore and Lochaber exe, given him by old Invernahyle, mounted guard on a little print of Prince Charlie; and Broughton’s Saucer was hooked up against the wall below it’ ( Life 1.199). Even as a youth, shadows of the Waverly novels yet to come presented themselves to Scott in events, history and in objects.

Edinburgh’s Royal Mile must be one of the most recognisable streets in the world. It is a bold seam stretching all the way from the grand heights of the Castle Rock upon which city’s fortress stands, and right the way down to the foot of the mile and the Palace of Holyroodhouse, where Scott would see King George IV in the first visit of a monarch to Scotland in nearly 200 years. Many of the buildings and features of this famous street have, of course, changed since Scott’s time- for example, we no longer see the Old Tolbooth, the old Edinburgh prison; the Black Turnpike, or Guard House of the city Provost, a building described by Scott as a ‘long black snail’ obscuring the grandeur of the street in front of the Tron Kirk. So too would the High Street have boasted a four-storey tenement of ‘Luckenbooths, or locked booths, a building of market stalls which ran along the north side of St Giles Cathedral, and was demolished in 1817.

The Royal Mile

Despite these changes, in many ways the Mile has kept its distinguishing characteristics for centuries. Indeed, a wonderful description of the Mile can be found in The Abbot , Scott’s 1820 novel set in sixteenth-century Scotland, during the reign of arguably the nation’s most famous monarch, Mary, Queen of Scots. Scott had a very pertinent reason for writing about Mary when he did- having had a rather miserable reception to The Monastery earlier that year, he sought to avail himself of one of the city’s best protagonists, as he outlined in the 1831 preface to the novel, stating:

There occur in every country some peculiar historical characters, which are, like a spell or charm, sovereign to excite curiosity and attract attention, since every one in the slightest degree interested in the land which they belong to, has heard much of them, and longs to hear more… It was with these feelings … that I ventured to awaken, in a work of fiction, the memory of Queen Mary, so interesting by her wit, her beauty, her misfortunes, and the mystery which still does, and probably always will, overhang her history (9-10).

Whilst most of the The Abbot takes place elsewhere in Scotland, including at Loch Leven Castle, the site of Mary’s famous imprisonment, and escape. In the following scene Mary’s young page Roland Graeme arrive in Edinburgh for the very first time. We are treated to a view of the Royal Mile as seen through Roland’s eyes- a view that is recognisable to this day:

The principal street of Edinburgh was then, as now, one of the most spacious in Europe. The extreme height of the houses, and the variety of Gothic gables and battlements, and balconies, by which the sky-line on each side was crowned and terminated, together with the width of the street itself, might have struck with surprise even the more practised eye than that of young Graeme. The population, close packed within the walls of the city, and at this time increased by the number of lords of the King’s party who had thronged to Edinburgh to wait upon the Regent Murray, absolutely swarmed like bees on the wide and stately street. Instead of the shop-windows, which are now calculated for the display of goods, the traders had their open booths projecting on the street, in which, as in the fashion of the modern bazaars, all was exposed which they had upon sale. And though the commodities were not of the richest kinds, yet Graeme thought he beheld the wealth of the whole world in the various bales of Flanders cloths, and the specimens of tapestry; and, at other places, the display of domestic utensils and pieces of plate, struck him with wonder. The sight of cutlers' booths, furnished with swords and poniards, which were manufactured in Scotland, and with pieces of defensive armour, imported from Flanders, added to his surprise, and at every step he found so much to admire and to gaze upon, that Adam Woodcock had no little difficulty in on prevailing him to advance through such a scene of enchantment’ (265-6).

Along with the Mile, Scott it seems was proud of the impressive features of the city- the Salisbury Crags are described with relish on more than one occasion, and in the following excerpt from The Fortunes of Nigel , the servant of Nigel Olifaunt, Lord Glenvarloch, defends the honour of his home city against the suggested superiority of London:

“Come, Jockey, out with it,” continued Master George, observing that the Scot, as usual with his countrymen, when asked a blunt, straightforward question, took a little time before answering it.

“I am no more Jockey, sir, than you are John,” said the stranger, as if offended at being addressed by a name, which at that time was used, as Sawney now is, for a general appellative of the Scottish nation. “My name, if you must know it, is Richie Moniplies; and I come of the old and honourable house of Castle Collop, weel kend at the West-Port of Edinburgh.”

“What is that you call the West-Port?” proceeded the interrogator.

“Why, an it like your honour,” said Richie, who now, having recovered his senses sufficiently to observe the respectable exterior of Master George, threw more civility into his manner than at first, “the West-Port is a gate of our city, as yonder brick arches at Whitehall form the entrance of the king's palace here, only that the West-Port is of stonern work, and mair decorated with architecture and the policy of bigging.”

“Nouns, man, the Whitehall gateways were planned by the great Holbein,” answered Master George; “I suspect your accident has jumbled your brains, my good friend. I suppose you will tell me next, you have at Edinburgh as fine a navigable river as the Thames, with all its shipping?”

“The Thames!” exclaimed Richie, in a tone of ineffable contempt—“God bless your honour's judgment, we have at Edinburgh the Water-of-Leith and the Nor-loch!” (70-71).

Lady Stairs Close

It feels as though any close leading from the Mile could be chosen with the promise of a good story at the end of it- and this one, Lady Stairs Close, gives a feeling of no exception. Part of the magic and mystery of this place comes from the house which stands here- built in 1622 for Sir William Gray of Pittenweem. The House came to be known as Lady Gray’s House after Sir William’s death in 1648, when his wife continued to live there- but it is now known as Lady Stairs House, having changed its name in the early eighteenth century (1719) with a change of resident, Elizabeth, Dowager Countess of Stair. The name of Stair which had, by Scott’s lifetime, been given to this building, was connected with an extremely sad tale, with which Scott was familiar. In the late seventeenth century Janet Dalrymple, daughter of James Dalrymple, Viscount Stair, had fallen in love with and secretly engaged herself to a man named Lord Ruthven. The Dalrymples held Covenanting sympathies; Ruthven was a Royalist. Alas, their secret was discovered, and the unfortunate Janet was forced to marry the choice of her parents, David Dunbar. They were wed on 24th August 1669- the day on which Janet also attempted her husband’s life, suffered a breakdown and from which day she would survive less than a fortnight. The Lady Stairs who gives this house its name was the widow of John Dalrymple, the first Earl of Stair (1648-1707)- brother to the unfortunate Janet.

With good reason, this plot may well sound familiar to the avid-Scott reader – for it is also the plot of Scott’s 1819 novel, The Bride of Lammermoor. In Scott’s novel Janet becomes Lucy Ashton, and Ruthven, Edgar Ravenswood. Scott’s take on the wedding day scene is no less dramatic than the real life events- it is tempting to think that this house and the name it bears would have set Scott’s mind racing with descriptions such as that which follows whenever he walked past:

The instruments now played their loudest strains; the dancers pursued their exercise with all the enthusiasm inspired by youth, mirth, and high spirits, when a cry was heard so shrill and piercing as at once to arrest the dance and the music. All stood motionless; but when the yell was again repeated, all rushed thither to the bridal-chamber whilst the bridal guests waited their return in stupified amazement.

Arrived at the door of the apartment, Colonel Ashton knocked and called, but received no answer except stifled groans. He hesitated no longer to open the door of the apartment, in which he found opposition from something which lay against it. When he had succeeded in opening it, the body of the bridegroom was found lying on the threshold of the bridal chamber, and all around was flooded with blood. A cry of surprise and horror was raised by all present; and the company, excited by this new alarm, began to rush tumultuously towards the sleeping apartment. Colonel Ashton, first whispering to his mother, "Search for her; she has murdered him!" drew his sword, planted himself in the passage, and declared he would suffer no man to pass excepting the clergyman and a medical person present. By their assistance, the bridegroom, who still breathed, was raised from the ground, and transported to another apartment, where his friends, full of suspicion and murmuring, assembled round him to learn the opinion of the surgeon.

In the mean while, Lady Ashton, her husband, and their assistants in vain sought Lucy in the bridal bed and in the chamber. There was no private passage from the room, and they began to think that she must have thrown herself from the window, when one of the company, holding his torch lower than the rest, discovered something white in the corner of the great old-fashioned chimney of the apartment. Here they found the unfortunate girl seated, or rather couched like a hare upon its form—her head-gear dishevelled, her night-clothes torn and dabbled with blood, her eyes glazed, and her features convulsed into a wild paroxysm of insanity. When she saw herself discovered, she gibbered, made mouths, and pointed at them with her bloody fingers, with the frantic gestures of an exulting demoniac (130-132).

Advocate's Close

Son of a Writer to the Signet, and himself a man of the law, both in youth and in adulthood Scott would have spent a great deal of time in the legal heart of the city of Edinburgh. One such street is Advocates Close, which takes its name from Sir James Stewart, first Lord Advocate of Scotland, who served between 1692 and 1713. Scott entered the University of Edinburgh at twelve, studying classics and later Scots law under David Hume, nephew of the philosopher. He was apprenticed to his father’s office at the age of fifteen, although this apprenticeship was at several times interrupted by Scott’s abrupt and by all accounts rather worrying growth spurts- for which one doctor proscribed an unwelcome several months of vegetarianism as a cure.

As a young advocate in Edinburgh in the late eighteenth century, Scott would daily have roamed these streets, and made the walk across from the Faculty and Parliament. These streets would have been lined with public houses and taverns of frequently rather questionable status- yet these would be the very inns and rooms within which famous philosophers, lawyers, and writers were to be found conversing, making merry, and much more besides. Scott’s youthful years in enlightenment Edinburgh, amid the hubbub of the law courts and the buzz of societies made him no stranger to this aspect of his gentlemanly profession. An example of what this may have involved appears in a note found in Redgauntlet, describing a daily jaunt to enlightenment Edinburgh institution, John’s Coffee House, once located at the eastern end of Parliament Square, for a bumper-dram of brandy, to be taken promptly at midday, known as the meridian:

This small dark coffee-house, now burnt down, was the resort of such writers and clerks belonging to the Parliament House above thirty years ago as retained the antient Scottish custom of a meridian, as it was called, or noontide dram of spirits. If their proceedings were watched, they might be seen to turn fidgety about the hour of noon, and exchange looks with each other from their separate desks, till at length some one of formal and dignified presence assumed the honour of leading the band, when away they went, threading the crowd like a string of wild fowl, crossed the square or close, and following each other into the coffee-house, received in turn from the hand of the waiter, the meridian, which was placed ready at the bar. This they did, day by day: and although they did not speak to each other, they seemed to attach a certain degree of sociability to performing the ceremony in company.

Parliament Square

Scott was called to office as Advocate in 1792 at the age of twenty one, and retained for the next thirty years of his life, a professional capacity in law. For a good part of that professional life, Parliament House would have been something of a centre. The oldest part of the building is Parliament Hall, completed in 1639, and the Advocates Library, founded in 1682. It stands behind St. Giles Cathedral, once the meeting ground of the great philosophers, lawyers, religious reformers and radicals of Edinburgh. Beneath where we stand is the former Kirk-yard of St. Giles, where the Protestant leader of the Scottish Reformation, and one-time minister of St. Giles John Knox is buried. As the site of so much of Edinburgh’s history, the young Scott would no doubt have been delighted by the imaginative possibilities that opened up to him, when merely winding his way to work. For indeed, in reality the monotomy of the everyday court life did not suit Scott. He found the work to be restrictive- he referred to his profession a ‘prisonhouse’. The vignettes of court life, the intricacies of the cases, and the matters of history, social order, and justice would be of more interest to him than actual practice of law.

Therefore, though they shared a profession there was a dramatic difference between Walter Scott senior and junior, in their expectations and passions. Indeed, it is partly because of his father that Scott wrote so many novels which take their scene as in and around Edinburgh. Walter Scott senior was not a man who took holidays, nor advocated going abroad (ie. outside of Midlothian) for any reason. In fact, he did not even travel to the Borders in 1797 for his son’s wedding. As a young man Scott’s own travels were restricted by the opinions and demands of his father, limited to travel where he could walk to within a day of Edinburgh. Thus many of the city sites, ruins and surrounding areas make up the imaginative content of Scott’s novels.

The relationship between father and son can be read rather closely in pages of Redgauntlet, one of Scott’s novels to be set within legal Scotland. In this novel, young Darsie Latimer becomes the unsuspecting pawn in a plan to lead a (fictional) final Jacobite uprising in 1765, in the name of the, by then rather old Young Pretender, Bonnie Prince Charlie. Darsie’s friend Alan Fairford undertakes to rescue his friend, but in order to do so must escape his father’s plans to launch his son’s legal profession with the case of the eccentric Peter Peeble. Like Scott junior, Fairford is a hard-working, extremely loyal son- like Scott senior, his father is not a man to be trifled with when it comes to the law. Just such a conversation as this one between Alan and his father might have occurred between Scott and his own father, after a long day at work in Edinburgh’s legal centre:

“Alan,” he said, “ye now wear a gown- ye have opened shop, as we would say of a more mechanical profession; and, doubtless, ye think the floor of the courts is strewed with guineas, and that ye have only to stoop down and gather them?”

“I hope I am sensible, sir,” I replied, “that I have some knowledge and practice to acquire and must stoop for that in the first place.”

“It is well said,” answered my father; and always afraid to give too much encouragement, added, “Very well said, if it be well acted up to—Stoop to get knowledge and practice is the very word. Ye know very well, Alan, that in the other faculty who study the ARS MEDENDI, before the young doctor gets to the bedsides of palaces, he must, as they call it, walk the hospitals; and cure Lazarus of his sores, before he be admitted to prescribe for Dives, when he has gout or indigestion—“

“I am aware, sir, that-“

“Whisht—do not interrupt the court. Well—also the surgeons have a useful practice, by which they put their apprentices to work; upon senseless dead bodies, to which, as they can do no good, so they certainly can do as little harm; while at the same time the tyro, or apprentice, gains experience, and becomes fit to whip off a leg or arm from a living subject, as cleanly as ye would slice an onion.”

“I believe I guess your meaning, sir,” answered I; “and were it not for a very particular engagement—“

“Do not speak to me of engagements; but whisht—there is a good lad—and do not interrupt the court.” (241-242)

Laigh Hall

A room within the oldest part of this building makes a direct appearance in Scott’s novel of 1816, The Tale of Old Mortality . Scott draws upon his precise and personal experience of the rooms of this building and chooses the atmospheric Laigh Hall to provide the scene of a particularly grim chapter, describing the room in which the Privy Council of Scotland meet as an ‘antient dark Gothic room, adjoining to the House of Parliament in Edinburgh’ (215-6). Scott draws liberally too upon his imagination to supply details, along with possibly some of the many rather macabre objects from his museum collection. A tense chapter sees protagonist Henry Morton sentenced to exile, and Covenanter Ephraim Macbriar subjected to a sentence far worse:

A dark crimson curtain, which covered a sort of niche, or Gothic recess in the wall, rose at the signal, and displayed the public executioner, a tall, grim, and hideous man, having an oaken table before him, on which lay thumbscrews, and an iron case, called the Scottish boot, used in those tyrannical days to torture accused persons. Morton, who was unprepared for this ghastly apparition, started when the curtain arose, but Macbriar’s nerves were more firm. He gazed upon the horrible apparatus with much composure; and if a touch of nature called the blood from his cheek for a second, resolution sent it back to his brow with greater energy.

“Do you know who that man is?” said Lauderdale, in a low, stern voice, almost sinking into a whisper.

“He is, I suppose,” replied Macbriar, “the infamous executioner of your bloodthirsty commands upon the persons of God’s people. He and you are equally beneath my regard; and, I bless God, I no more fear what he can inflict than what you can command. Flesh and blood may shrink under the sufferings you can doom to me, and poor and frail nature may shed tears, or send forth cries; but I trust my soul is anchored firmly on the rock of ages.”

“Do your duty,” said the Duke to the executioner. (221-222)

Holyrood Palace

The legal aspects of Redgauntlet are, of course, secondary to this main thrust of the work- the fictional Jacobite uprising of 1756. But Redgauntlet was not the first of Scott’s Jacobite works- rather, it was the third, emerging seven years after Rob Roy (1817), and a full decade after the first Jacobite novel- Scott’s first ever novel- Waverley , published in 1814. Scott, as a loyal unionist, suffered a rather head versus heart relationship with Jacobitism, which has lead many to read the ‘wavering’ character of Edward Waverley as reflective of Scott’s own feelings. Waverley, a soldier of the Hanoverian army, finds that he is romantically inclined towards the cause of the Stuart Prince after a protracted stay in the Scottish Highlands where he meets the impressive Fergus McIvor, and his beautiful, passionate sister Flora. Scott’s own great-grandfather, fondly known as ‘Beardie’, had declared that he would neither shave his head nor trim his beard until a Stuart was restored to the Scottish throne- and though Scott was always rather a clean-shaven man, his sentiments in many ways followed those of old Beardie, although his practical support was for the Hanoverian regime. It seems as though Scott gave articulation to this conflict of emotions, in a scene depicting the meeting between Edward Waverley and Charles Edward Stuart, here in the Palace of Holyroodhouse, where the Prince set up court for six weeks in September 1745. Waverley is conducted through ‘a long, low, and ill-proportioned gallery’ to the presence chambers, where he first encounters the Stuart Prince:

A young man, wearing his own fair hair, distinguished by the dignity of his mien and the noble expression of his well-formed and regular features, advanced out of a circle of military gentlemen and Highland chiefs, by whom he was surrounded. In his easy and graceful manners Waverley afterwards thought he could have discovered his high birth and rank, although the star on his breast, and the embroidered garter at his knee, had not appeared as its indications.

“Let me present to your Royal Highness,” said Fergus, bowing profoundly-

“The descendent of one of the most ancient and loyal families in England,” said the young Chevalier, interrupting him. “I beg your pardon for interrupting you, my dear Mac-Ivor; but no master of ceremonies is necessary to present a Waverley to a Stuart.”

He extended his hand to Edward with the utmost courtesy, who could not, had he desired it, have avoided rendering him the homage which seemed due to his rank, and was certainly the right of his birth. 'I am sorry to understand, Mr. Waverley, that, owing to circumstances which have been as yet but ill explained, you have suffered some restraint among my followers in Perthshire and on your march here; but we are in such a situation that we hardly know our friends, and I am even at this moment uncertain whether I can have the pleasure of considering Mr. Waverley as among mine.'

He then paused for an instant; but before Edward could adjust a suitable reply, or even arrange his ideas as to its purport, the Prince took out a paper and then proceeded:— “I should indeed have no doubts upon this subject if I could trust to this proclamation, set forth by the friends of the Elector of Hanover, in which they rank Mr. Waverley among the nobility and gentry who are menaced with the pains of high-treason for loyalty to their legitimate sovereign. But I desire to gain no adherents save from affection and conviction; and if Mr. Waverley inclines to prosecute his journey to the south, or to join the forces of the Elector, he shall have my passport and free permission to do so; and I can only regret that my present power will not extend to protect him against the probable consequences of such a measure. But,' continued Charles Edward, after another short pause, 'if Mr. Waverley should, like his ancestor, Sir Nigel, determine to embrace a cause which has little to recommend it but its justice, and follow a prince who throws himself upon the affections of his people to recover the throne of his ancestors or perish in the attempt, I can only say, that among these nobles and gentlemen he will find worthy associates in a gallant enterprise, and will follow a master who may be unfortunate, but, I trust, will never be ungrateful.” (95-96).

The Heart of Midlothian

The heart-shaped, tiled mosaic which can be found on the ground in front of St Giles Cathedral marks what was once the entrance to The Heart of Midlothian, or, the Old Tolbooth prison of Edinburgh. Built in the fifteenth century, the Tolbooth of Edinburgh was a grim and gruesome place. The building itself would have obscured the view that we have today, protruding out into the middle of the Royal Mile with its bulk. On the western side, parallel to the front of St. Giles here, a further section was built at a significantly lower level. This was the execution platform; before this public executions had most often taken place at the Mercat cross, on the other side of the cathedral. But the mounted platform created a theatrical stage-like effect for the execution, which was even in the eighteenth-century regarded as a form of spectacle. Even some forms of torture involved chaining prisoners outside of the prison, as in a pillory- and often the heads of the most notorious prisoners would be pitched upon a spike outside the prison, extremely visible to all that passed. When the Tolbooth was eventually demolished in 1817, great crowds assembled in order to witness the fall of this infamous building. Scott was among these spectators, having already ensured his possession of several relics of the day including the great oak door of the prison, which he built high upon a wall at Abbotsford, his home in the Scottish Borders; two great iron locks, and the gigantic set of keys.

These objects, and the prison’s dramatic history, certainly resonated with Scott as within a year of the prison’s demolition, his novel of the same name, The Heart of Midlothian , was published in 1818. The novel follows the plight of Jeanie Deans and her younger sister, Effie, accused of infanticide. Unmarried, there is a strong suspicion that Effie had concealed her pregnancy and murdered her child in order to conceal her then considered sexual impropriety- yet, pitying the young and beautiful girl, the officials offer Effie a final life-line. If she can prove that she had communicated her pregnancy to someone- to the person closest to her- she might avoid the death that awaits her. The person who might offer her deliverance is her elder sister Jeanie; yet Jeanie, daughter of a staunch Cameronian, and innately moral, cannot tell the lie that will save her sister, and instead confesses ‘Alack! Alack! She never breathed word to me about it’. Yet Jeanie is not the heartless sister that you may now think. Demonstrating not only empathy and humanity, but also intricate knowledge of Scottish law, whilst Effie languishes in the Old Tolbooth of Edinburgh, Jeanie journeys on foot to London, some four hundred miles, in order to seek a royal pardon. Meeting with Queen Caroline, Jeanie makes the following appeal to Her Majesty’s sensitivity, thinking all the while of her sister languishing here inside the desperate walls of the city Tolbooth:

My sister, my puir sister, Effie, still lives, though her days and hours are numbered! She still lives, and a word of the King’s mouth might restore her to a brokenhearted auld man, that never in his dailty and nightly exercise, forgot to pray that his Majesty might be blessed with a long and prosperous reign, and that his throne, and the throne of his posterity, might be established in righteousness. O, madam, if ever ye kend what it was to sorrow for and with a sinning and suffering creature, whose mind is sae tossed that she can be neither ca’d fit to live or die, have some compassion on our misery!- save an honest house from dishonour, and an unhappy girl, not yet eighteenth years if age, from an early and dreadful death! Alas! it is not when we sleep soft and wake merrily ourselves that we think on other people’s sufferings. Our hearts are waxed light within us then, and we are for righting our ain wrangs and fighting our ain battles. But when the hour of trouble comes to the mind or to the body- and seldom may it visit your Leddyship- and when the hour of death comes, that comes to high and low- lang and late may it be yours! – Oh, my Leddy, then it isna what we hae dune for oursells, but what we hae dune for others, that we think on maist pleasantly. (214-215)

Grassmarket

Effie’s plight and Jeanie’s journey emerged from a real story related to Scott- not an Edinburgh story, but, being from Dumfries, not too far away. It was communicated to Scott by a Helen- Mrs Helen Goldie, wife of Thomas Goldie- and was about a Helen, Helen Walker, who in Scott’s novel becomes Jeanie Deans. Scott’s fictionalised rendering of this real tale collides with another real story a particularly infamous Edinburgh story, belonging to the Old Tolbooth. For Scott opens his novel with an account of the Porteous riots, events of which took place in 1736. Events began when two ‘housebreakers’ or thieves, named Wilson and Robertson, who had been tried and found guilty, were awaiting execution at the Old Tolbooth. They made a final attempt to escape by filing down the iron bars of their cell- but the plan was thwarted by the larger of the two men, Wilson, who attempted to squeeze his way out first, ignoring Robertson’s suggestion that he, smaller and more lithe, should go first and then render assistance from the outside. Wilson felt the guilt of his mistake and so made a plan of his own, to save his accomplice from the fate of execution by accosting the executioner at the critical moment. He did just that and Robertson escaped- but Wilson was still to be executed. Responding to rumours that a rescue mission was afoot for the heroic Wilson, the order was put out that the City Guard should attend the execution, armed, under the command of Captain Porteous. When the time came, Wilson’s execution was awaited with baited breath, and attended by thousands; and under the watchful eye of Porteous, the execution went ahead. Afterwards, tensions mounted, and unrest followed- culminating in the open fire of the City Guard, and the death of a number at the scene. Incensed by the opening of fire upon the crowd, the people demanded justice, and later that same day Porteous was imprisoned- somewhat ironically in the Tolbooth- and charged with murder. Such was the feeling in the city that before the sentence of the law could be carried out, a crowd stormed the Old Tolbooth where Porteous was imprisoned. What followed is best described by Scott himself- reality and fiction collide as Porteous is borne down from the prison through the West Bow, and to the Grassmarket, and clergyman Reuben Butler, Jeanie’s fiancé, is called upon to give him last rites to the man, witnessing in the process the following, menacing scene:

The procession now moved forward with a slow and determined pace. It was enlightened by many blazing, links and torches; for the actors of this work were so far from affecting any secrecy on the occasion, that they seemed even to court observation. Their principal leaders kept close to the person of the prisoner, whose pallid yet stubborn features were seen distinctly by the torch-light, as his person was raised considerably above the concourse which thronged around him. Those who bore swords, muskets, and battle-axes, marched on each side, as if forming a regular guard to the procession. The windows, as they went along, were filled with the inhabitants, whose slumbers had been broken by this unusual disturbance. Some of the spectators muttered accents of encouragement; but in general they were so much appalled by a sight so strange and audacious, that they looked on with a sort of stupified astonishment. No one offered, by act or word, the slightest interruption …

As they descended the Bow towards the fatal spot where they designed to complete their purpose, it was suggested that there should be a rope kept in readiness. For this purpose the booth of a man who dealt in cordage was forced open, a coil of rope fit for their purpose was selected to serve as a halter, and the dealer next morning found that a guinea had been left on his counter in exchange; so anxious were the perpetrators of this daring action to show that they meditated not the slightest wrong or infraction of law, excepting so far as Porteous was himself concerned.

Leading, or carrying along with them, in this determined and regular manner, the object of their vengeance, they at length reached the place of common execution, the scene of his crime, and destined spot of his sufferings. Several of the rioters (if they should not rather be described as conspirators) endeavoured to remove the stone which filled up the socket in which the end of the fatal tree was sunk when it was erected for its fatal purpose; others sought for the means of constructing a temporary gibbet, the place in which the gallows itself was deposited being reported too secure to be forced, without much loss of time. Butler endeavoured to avail himself of the delay afforded by these circumstances, to turn the people from their desperate design. (126-127)

Edinburgh Castle

It was, upon rediscovery in 1819, over one hundred years since the sceptre of Scotland had performed its final duty- after which it had been deposited in a strong box in the chest of an uncertain location in Edinburgh Castle, along with the other items making up the Honours of Scotland. This was not the first chapter in their rather thrilling history- rather, the story of the Honours spanned over the centuries, with chapters spent concealed within the walls of Dunottor Castle, or buried under the floor of Kineff Parish Church. With intrigue at each turn, from usurpation, concealment, interment- the tale of the Honours of Scotland might be described as a gothic plot of national proportions.

However, though it is tempting to think that the Honours spent a century in greatest secrecy hidden away in a remote and unknown corner of the Castle- in reality it was well known where they were. Yet in the course of a century it took the curiosity and impulse of Scott alone to bring them to light once more for the nation. He brought a petition to the then Prince Regent and future king George IV to carry out the expedition, which was begun on 4th February 1818, to bring forth the Honours from their concealment. Furthermore, as well as leading the rediscovery, Scott did communicate this true Edinburgh tale to the Scottish people in two publications- the Description of the Regalia of Scotland (1819) and also in his Provincial Antiquities and Picturesque Scenery of Scotland (1826).

It might seem strange that this most fantastic of all Edinburgh tales was never to become a Waverley novel. Yet perhaps it was an occasion upon which Scott found fact to be rather stranger than fiction- it was also a moment, perhaps, where Scott saw that rather than writing Scotland’s history into his fiction, he could effectively write himself into Scotland’s history by giving himself a prominent place in such a tremendous story. And, standing on the castle esplanade, surveying the city, with a spectacular view of the Scott monument and the sites of his stories surrounding you from every side, it is not hard to see how much he remains written into the very fabric of the city to this day.

Text: Dr. Lucy Wood

Filming and Photography: Lee Live
Video Production: James Parsons
Readers: Fiona Johnston, Richard McLauchlan, William Stewart, Michael Wood

The above photograph of Parliament Hall was taken with the permission of the Scottish Courts on behalf of The Edinburgh Sir Walter Scott Club by " Lee Live: Photographe r ". It cannot be used for commercial purposes.

Colloquium on Ivanhoe

Sat, 15 Aug 2020 11:50:03 GMT

15th August 2020

Kirsty Archer-Thompson gave us an exclusive guide to the artefacts held at Abbotsford relating to Ivanhoe

Kirsty Archer-Thompson F.S.A. Scot is Collections and Interpretation Manager for the Abbotsford Trust, the independent charity responsible for safeguarding and managing the former home and estate of Sir Walter Scott: a grade A listed house and designed landscape near Melrose in the Scottish Borders. She is responsible for managing the built and natural heritage of the site, including conservation, research and collections management, alongside the interpretation of the house as Scott's self-styled ‘museum for living in’, heading up a small team of core staff and seventy volunteers. Kirsty is presently leading a major cataloguing project on the Scott family archive and acting as educator on the Massive Online Open Course: Walter Scott - The Man Behind the Monument in association with the University of Aberdeen. She is a Council Member of The Edinburgh Sir Walter Scott Club and National Project Manager for Scott’s 250th anniversary across 2021 and 2022.

Sir Walter Scott and the Medieval Revival

My first encounter with Scott was a chance meeting. Long before I started working for Abbotsford, I bumped into Scott quite unintentionally as a fellow medievalist. At the time I was working on transcribing and studying a selection of medieval texts in what is known as the ‘Heege manuscript’ (MS Advocates 19.3.1), now held at the National Library of Scotland. This collection is a household miscellany of the late 15th century, probably originating from Derbyshire. Who should have acquired it for the Advocates Library in Edinburgh in the winter of 1806 but the Library’s Curator, Walter Scott (with a significant helping hand from the poet Robert Southey). Scott even went to the trouble of adding a contents list to the manuscript. At that point if someone had told me I would be looking after Scott’s astonishing home and collections one day, I would have assumed you were pulling my leg. A stroke of destiny, perhaps!

Abbotsford offers a medievalist a real feast for the senses. Scott was very much a product of his time and its fascination with other times. It was a melting pot of ideas and influences. The Gothic revival in the second half of the 18th century and its impact on architecture, antiquarianism and medieval literature; the overarching Romantic movement and its interest in the vernacular and a return to simpler, pre-industrial times, and indeed all of the published histories and philosophical works of the Enlightenment…. all of this intersected in an explosion of interest in medieval romance between 1790 and 1820 – which is, of course, the bicentenary year of Ivanhoe if we believe the title page (like a number of Scott’s novels, Ivanhoe was published in December and the publishers pre-empted the turn of the new year).

The Library Holdings

If we are looking for a single landmark publication that represents the enthusiasms of this age, then there is no better example than Thomas Percy’s R eliques of Ancient English Poetry , first published in 1765. If any of you have the chance to go to Kelso, which is my hometown, you can walk along the riverside towards Mayfield and see the site of the plane tree under which the eleven-year-old Walter Scott first lost himself in this work. Actually the ballads and songs it contains come from both sides of the border and some date from as early as the 14th century. It was this work that reintroduced the ballad form and its historical and romantic subject matter to the reading public, and it was lapped up. This edition isn’t the one that was in Scott’s young hands under that shady tree, but the fourth edition purchased for Scott’s Abbotsford Library. One of many ballads it contains is Robin Hood and Guy of Gisbourne.

From his earliest days as a poet, Scott was also a respected medievalist familiar with a great many of the rediscovered texts of the period, via contemporary editions if not in the original middle English or French. One of his greatest friends, George Ellis, was one of the most esteemed medievalists of the age. Together they corresponded voluminously about Scott’s great contribution to the world of medievalism – his 1804 edition of the 13th-century romance Sir Tristrem , the very first ever published. If the name sounds familiar, this is because this is the only middle English variant of the popular love story of the Cornish Tristan and the Irish princess Isolde. Tristrem’s adventures as a knight involve numerous heroic quests, which include avenging his father’s death and killing an Irish half-giant. There is even a dragon fight for good measure.

The Abbotsford Library is incredibly well stocked with editions of medieval romances and indeed manuscripts of texts produced by individuals such as George Ellis. Many are held in the bow window of the room, in press N, one of only four which are still fitted with locks dating back to 1824. These cabinets were where Scott shelved some of his most prized and valuable books.

Andrew Lang once said that what Scott did so successfully was “make the new world listen to the accents of the old.” And that is very true of his particular brand of medieval revival. What Scott does so successfully throughout his poems and novels is breathe new life into some of the structures, motifs and stories of medieval romance that had enchanted him from childhood. Think of the many times in his novels that our hero is disinherited, or sent away into exile, or, in Ivanhoe, the use of disguise and the three-day jousting tournament. All of these devices have their foundations in medieval romance.

The Interior Decoration of Abbotsford

This isn’t just about the contents of the Library, of course. The enthusiasm for the medieval infuses Abbotsford at every level. Look above us at what is often known as ‘The Rosslyn Drop,’ a cast of the Nativity or Star of Bethlehem pendant from Rosslyn Chapel. But in Scott’s version of the scene, not all is as it seems. The three kings prevail but the shepherds with their crooks have become skeletal figures. What on earth can this mean?

Three kings or noblemen confronting three corpses whilst out hunting was a popular memento mori story of the Middle Ages known as the ‘Three Living and the Three Dead’, reinforcing the message that such as we are, so will ye be. The introduction of the virgin and child into this happy scene seems like a jarring meld, but not when you consider that versions of this story in art and literature would often appear alongside overtly religious images or texts. The carving is like a three-dimensional medieval miscellany all of its own and Scott loved this detail so much that it appears no less than three times within the interiors of Abbotsford, above the chandelier in the Drawing Room and right at the top of the attic stairway. As is well documented, the rest of the Abbotsford interiors are festooned with figurative and botanical details from Melrose Abbey, most of which are 15th century in date.

A Pilgrim Telling Tales

It's difficult to begin to think about medieval literature without thinking of Geoffrey Chaucer. Here are the pilgrims of his Canterbury Tales, in an exquisite engraving after Thomas Stothard’s 1806 painting in the form of an elongated frieze. This image has been above the fireplace in Scott’s Study since 1824, the year the interior was completed, and, under the illumination of the gasolier above his desk it was this image above everything else in the Abbotsford art collection that was closest to Scott as he set about the task of writing.

This choice has always intrigued me although it’s important to understand that this engraving was wildly popular in country houses of the period for all of the reasons we have already touched upon. Scott’s literary debt to Chaucer is well-established. The motif from the Knight’s Tale, his personal favourite, of two men vying for a lady’s hand often appears as a mirror image in Scott’s novels with two ladies and one ‘hero’ figure (think of Rose and Flora in Waverley or Rebecca and Rowena in Ivanhoe ).

Scott had known the Canterbury Tales since youth but in editing the works of John Dryden, he also knew the stories intimately through this prism. Scott’s poetry often uses Chaucerian echoes in structure, form or language. He talked of his astonishment that all of Chaucer’s pilgrims seemed to have so much vitality in such an early text. That seems to me to be the central takeaway from this image. There is a great deal of life and movement and a real breadth in the characterisation; it’s a fascinating composition to really look at. But there is something else to note. What do the pilgrims actually do? They tell each other stories on the road to their destination. And isn’t that a very apt metaphor for how Scott lived? Moving through life with the irresistible compulsion to tell stories to an eager audience? I think Scott is casting himself as another pilgrim and as a teller of tales.

‘Mr Chainmail’

In collecting more broadly, Scott’s primary interest was arms and armour, a passion bordering on an obsession that he was well known for. In fact, in a satirical novel of 1831 called Crotchet Castle by Thomas Love Peacock, the character Mr Chainmail, a devout medievalist and castle owner, was intended to evoke Sir Walter Scott!

In the Monastery , one of my personal favourites of all the Waverley Novels, Scott describes Edward Glendinning as “a loaded hackbut which will stand in the corner as quiet as an old crutch until ye draw the trigger. And then there is nothing but flash and smoke.” A hackbut (and many other variants of the same name) are very early firearms, long barrelled and muzzle-loaded. They were first used in Europe during the Hundred Years War of the 14th century, probably to bolster the effect of archers and crossbowmen, although their accuracy left a lot to be desired! And what should we have standing in the corner as quiet as an old crutch in Scott’s Entrance Hall but a hackbut….

This is, quite possibly, Scotland’s earliest gun and dates from the second half of the 15th century. It’s made of wrought iron, the barrel is over 1m long on its own and the stock is just an iron rod ending in a hook. But how did it fire? Well, there is a touch hole in the side of the barrel for lighting the gunpowder. There are some grooves around it which suggest there may have been a flash pan originally – to funnel the ignited powder to the touch hole. Incidentally this method did not always work - this is the original root of the saying ‘a flash in the pan’ and a soldier would have to repeat everything over. Hopefully then that would discharge the shot towards the target. This would all have to be done whilst propping up the weapon on a support. This is just another example of how special Abbotsford’s militaria collections are and why Scott was revered by contemporary authorities on the subject such as Sir Samuel Rush Meyrick, one of the founding collectors of what is now the world-famous armour of the Wallace Collection.

But we can’t think about Scott and medievalism without acknowledging what he has placed in recreations of some of the saint’s niches from Melrose Abbey: two near-complete suits of armour. Let us focus on the suit on the right-hand side. In April 1819, in very poor health with gallstones and prior to signing the contract for Ivanhoe, Scott writes “I see Mr Bullock (and by that he means William Bullock of the Egyptian Hall Museum) advertises his museum for sale. I wonder if a good set of real tilting armour could be got cheap there.” And here we have a good set of real tilting armour or plate armour for the joust.

The tilt was the barrier that separated the two knights on horseback and prevented collisions. This type of ceremonial armour could weigh as much as 50 kilos, the average weight of a teenager, just to put that in context! The enlarged pauldron or shoulder plate is the tell-tale sign of its purpose, to help brace against the impact of the opponent’s lance blow. Manoeuvrability is highly restricted. This is the kind of armour worn in the early 16th century, the heyday of the court joust rather than the medieval joust which had closer associations with cavalry combat practice.

What this does powerfully illustrate was that the colour and noise of the tournament was already fizzing around in Scott’s head before commencing the writing of Ivanhoe, and that acquisitions like this helped to fuel that creative fire as he reimagined Anglo-Norman England

The Ivanhoe Effect

Ivanhoe and its specific brand of medievalism was a run-away success - the cherry on the cake for the appetites of the age and the hunger for national mythology. It was a mainstay of the stage and in 1826, Scott found himself watching a French operatic adaptation of his novel in Paris. Ivanhoe, of all the Waverley Novels, has perhaps had the most successful afterlife on the silver screen. And standing here, in front of the most medieval of all views at Abbotsford where the house behind me evokes twelfth-century castle rather than comfortable state of the art Georgian home, I hope I have given you some indication of how much Scott was a product of a spirit of the age, and by association, how his literature was shaped and inspired by his surroundings here at Abbotsford.

Colloquium on Ivanhoe

Fri, 14 Aug 2020 15:51:06 GMT

Friday 14th August 2020

Summary of the Colloquium:

Professor Purdie described the motivations, methods, and outcomes of his redaction (or abridgement) of Sir Walter Scott’s Ivanhoe . Concerned that Scott’s novels—while linguistically sound—were too long for modern readers, he undertook the task of condensing Ivanhoe to make it more accessible, especially for younger audiences.

Scott wrote Ivanhoe in 1819, turning his attention away from Scotland to medieval England after exploring Scottish themes in earlier novels like Waverley and Guy Mannering. Ivanhoe is set during the reign of Richard the Lionheart and explores tensions between Saxons and Normans, Christians and Jews, freemen and outlaws.

The idea of redacting the novel came during a discussion at Harvard, where Purdie was asked why Scottish authors like David Hume and Walter Scott were so little read in modern Scotland. He realised that Scott's works, while linguistically intact, simply started too slowly for contemporary tastes. A key goal of the redaction was to ensure the plot began immediately—on page one, not page thirty-two.

Comparing the editing process to his former career in surgery, Purdie aimed to "remove the extraneous matter while keeping the patient alive"—that is, retain plot, character, and tone while shortening the prose. The word count dropped from 185,000 to 95,000. Much of this was achieved by trimming long sentences, removing superfluous punctuation, and reducing Scott’s double adjectives to single ones.

Purdie was struck by Scott’s brilliance in recreating the sounds, sights, and vocabulary of medieval England. Characters like Wamba the jester and Gurth the swineherd bring humour and humanity, while the villainy of Templar Brian de Bois-Guilbert and the nobility of Rebecca of York provide powerful contrast. Rebecca, a Jewish woman, is one of Scott’s strongest female characters—intelligent, moral, and dignified.

Scott’s deep understanding of chivalry, tournaments, and medieval pageantry is evident throughout, especially in the vivid depiction of the tournament at Ashby-de-la-Zouch. However, many of Scott’s allusions (Latin phrases, classical references, and medieval terms) are lost on today’s general readership. To help with this, Purdie added around 300–400 explanatory footnotes. For example, he clarifies that Richard prays to Saint Julian—patron saint of last-minute lodgings—when lost in the forest, rather than Saint Christopher who handles routine travel.

The abridged version of Ivanhoe has been well received, with strong sales, especially at Abbotsford. It has also received praise from literary figures like Professor Graham Tulloch in Adelaide and author Alexander McCall Smith, the latter saying this redaction is “just what is needed” to reintroduce Scott to new readers.

Professor Purdie concluded by noting that Scott deserves his place in literary history for creating the historical novel genre. Like an early car compared to a modern one, Scott’s novels may lack immediate acceleration—but with redaction, Ivanhoe can now "start on page one and not flag until the last."

Key Interesting Points

Surgical metaphor : Purdie compares literary editing to surgical practice—removing unnecessary content while preserving the vital organs of the story.
Rebecca of York : Purdie sees her as one of Scott's most successful female characters—a rare portrait of a strong, moral, intellectual Jewish woman in early 19th-century literature.
Humour and accessibility : Wamba and Gurth provide comic relief, and footnotes clarify Scott’s more obscure references (e.g., saints, medieval customs).
Language trimming : Purdie removed a large volume of punctuation—especially colons—and many of Scott’s paired adjectives to improve flow.
Redacted version success : Strong reception, particularly among modern readers and at Scott’s own home of Abbotsford.
Legacy : Emphasises Scott’s role in creating the historical novel genre and the importance of adapting older texts to modern reading habits.

Download the [transcript]

A Very Curious Collection: The Abbotsford Book of Deeds

Thu, 05 Mar 2020 15:20:27 GMT

Thursday 5th March 2020

Summary of the Talk:

Dr Margaret Connolly, a senior lecturer in medieval studies, delivered a detailed and engaging talk about a remarkable and unusual object held at Abbotsford: a "book" that is not quite a book. Known as The Abbotsford Book of Deeds, this object is a hybrid collection that merges a 17th-century printed prose romance (now largely gutted) with over a hundred medieval parchment charters from East Anglia, dating from 1291 to the early 15th century.

The original printed text, A Tragic-Comical History of Our Times , was a French romance translated into English and printed in 1635. Only the first and last printed pages remain; the book's shell was reused to bind the collection of charters—each written in Latin, pasted in place, and some still bearing their original seals.

Walter Scott acquired the book in 1824 from William Riddell, a neighbour and legal associate, who presented it as a gift. Though Scott expressed formal gratitude, letters reveal he strongly disliked Riddell, referring to him as “old Cami” and stating, “I cannot tolerate that man.”

Tracing the book's earlier provenance, Dr Connolly uncovered connections to the antiquaries Peter Le Neve and Thomas Martin of Palgrave. Le Neve borrowed the collection from Martin, who likely assembled it by inserting medieval charters into the old book binding. A woman named Bridget Russell, whose name is inscribed on the back cover, appears to have owned the original romance book before its transformation.

Martin, a noted collector with somewhat dubious ethics (he married Le Neve’s widow and gained his collections), probably constructed the hybrid object in the early 18th century, perhaps for easier access or reference. The resulting artefact defied categorisation—neither wholly book nor archive—and proved difficult to store, preserve, or describe.

Today, the collection is housed at Abbotsford. The book contains 106 documents, arranged in chronological order, some with multiple or detached seals. The method of binding charters into an old book may have been Martin’s invention or part of a broader practice among 18th-century antiquaries. Dr Connolly suggested the object could support a dedicated PhD project due to its unique structure and historical insights.

Notable Points & Insights

The “Book” Is Not a Book : It's a 17th-century printed volume turned into a binding for medieval charters—an early form of upcycling with academic purpose.
Surprising Dislike : Despite the gift, Scott held a deep grudge against Riddell, referring to him with disdain in private letters.
Rare Survival of Matched Indentures : Two halves of a legal indenture survive in the collection and match perfectly—an extremely rare occurrence.
Importance of Seals : In the 19th century, collectors were more interested in the seals than the texts, akin to stamp collecting.
Early Female Ownership : Bridget Russell’s ownership provides a rare glimpse into the reading habits and book ownership of educated 17th-century women.
Potential Research Treasure : The collection has never been fully transcribed or studied in detail—ideal for a future PhD or scholarly project.
A Real “Curious Collection” : Scott’s description is apt. The object blurs lines between genres, media, and centuries, and offers insights into collecting, preservation, and personal relationships.

Margaret Connolly is Professor of Palaeography and Codicology at the University of St Andrews. She specialises in the study of later medieval English literature and its manuscript contexts, and is interested in both the scribes who produced medieval books and the readers who read them, as well as those who owned and preserved medieval manuscripts after the Middle Ages. These are aspects of book history that are explored in her publications: John Shirley: Book Production and the Noble Household In Fifteenth-Century England (1998) and Sixteenth-Century Readers, Fifteenth-Century Books: Continuities in Reading in the English Reformation (2019).

Selected images from her presentation shown below.

Synopsis: On display in a cabinet at Abbotsford is a curious book-object. It consists of a substantial collection of medieval charters, many with dependant wax seals attached, which have been been grafted onto the stump of a seventeenth-century printed book. The Latin parchment documents, which were given to Walter Scott by a neighbour, relate to lands in Suffolk and once belonged to the antiquary Thomas Martin of Palgrave. The printed paper book is a copy of a popular English prose romance, A Tragi-comicall History of our Times , itself now a rarity. This talk explores the history of the hybrid book-object, starting with Scott's acquisition of it. It considers who made it and when, and how its different elements were brought together, tracing a detective trail of provenance back over 500 years.

Scotland’s Hidden Treasure: The remarkable story of the oldest Royal Regalia in Britain

Thu, 07 Nov 2019 12:10:50 GMT

Thursday 7th November 2019

Summary of the Talk:

Kathy Crawford Hay presented a compelling and detailed lecture on the Honours of Scotland—the oldest royal regalia in Britain—comprising the crown, sword, and sceptre. The talk traced their origins, concealment, rediscovery, and continued symbolic power.

These precious items were made during the reigns of James IV and James V, with the sceptre gifted by Pope Alexander VI and the sword by Pope Julius II. The crown was refashioned by goldsmith John Mosman using Scottish gold in 1540.

During the English Civil War, Oliver Cromwell’s forces destroyed the English regalia, prompting fears that the Scottish Honours would be next. To safeguard them, they were smuggled out of Dunnottar Castle—likely by the minister’s wife, Mrs Grainger, and her maid—and buried under the floor of Kinneff Church, where they remained hidden for nine years.

After the monarchy was restored, the Honours were returned to Edinburgh Castle. However, following the Act of Union in 1707, they were locked away and largely forgotten until Sir Walter Scott, fuelled by patriotic zeal and influence with the Prince Regent, secured permission in 1818 to open the chest where they were stored. The regalia were then triumphantly rediscovered and put on public display.

They were hidden once more during the Second World War—this time in a medieval latrine chamber deep within Edinburgh Castle.

Interesting Highlights & Insights

The oldest regalia in Britain : The Honours of Scotland predate the English Crown Jewels, as Cromwell destroyed most of the English regalia during the Commonwealth period.
Remarkable concealment : The crown, sword, and sceptre were hidden by Mrs Grainger and her maid in Kinneff Church, while English forces searched Dunnottar Castle fruitlessly.
Mrs Grainger’s overlooked heroism : Despite her brave role, the memorial in the church honours her husband, the minister, rather than her—something the speaker (and later a listener) rightly questioned.
Sir Walter Scott’s influence : Scott didn’t “discover” the regalia himself but used his fame and persuasion to push for their rediscovery, eventually gaining a royal warrant to open the chest.
Burial in a guardrobe : During WWII, the regalia were hidden in a medieval toilet in King David’s Tower within Edinburgh Castle—perhaps the most unexpected hiding place of all.
Cultural impact : George IV’s visit to Scotland, orchestrated by Scott, and the royal display of tartan helped revive Highland dress and cement tartan as a national symbol—despite the king wearing pink tights under his too-short kilt.
Curious postscript : Cromwell’s body, after initially receiving a state funeral, was exhumed, tried posthumously, and his head displayed on a spike—later buried secretly in 1960 at his college in Cambridge.

Adam Smith, Henry Dundas, and the Legal Education of Walter Scott: The Background to the Novels?

Thu, 17 Oct 2019 18:54:00 GMT

Thursday 17th October 2019

Summary of the Talk:

Professor Cairns explored how Walter Scott’s legal education in Enlightenment-era Edinburgh was shaped by political, philosophical, and educational currents—especially those tied to Adam Smith and Henry Dundas . Cairns argued that Scott’s legal background and the reforms in Scottish legal education deeply influenced the Waverley novels, not only in content but in narrative structure and ideological underpinning.

Key Themes & Points:

1. Legal Education and Enlightenment Ideals:

Walter Scott was educated at Edinburgh in a legal environment undergoing major reform influenced by Enlightenment thought, especially Adam Smith’s views on jurisprudence.
Smith taught that justice and rights developed incrementally from experience, not from abstract principles—an idea passed down through his pupil John Millar and visible in Scott's novels.

2. Henry Dundas’s Influence:

Dundas, a dominant political figure, had vast influence over university appointments and used this to modernise legal education.
His interventions aimed to align legal instruction with Enlightenment principles, historical depth, and pragmatic governance.

3. Reform vs. Conservation:

Scott’s metaphor of the law as an ancient Gothic castle —altered over time, retaining its grandeur and functionality—appears in both his fiction and non-fiction (e.g., The Visionary, Life of Napoleon ).
This metaphor illustrates a conservative approach to reform: retain the foundational structure while adjusting to modern needs.

4. Professors Who Taught Scott:

Scott studied under David Hume (not the philosopher), Fraser Tytler, and others, who integrated legal history, moral philosophy, and historical context into their lectures.
These teachers promoted a broad, culturally embedded understanding of law, rather than mere technical instruction.

5. Scepticism of Codification:

Both Smith and Scott were sceptical of legal codification (like Napoleon’s Code Civil ), preferring the adaptability of common law shaped by judicial precedent.

6. Literature as Legal Discourse:

Scott’s novels function as a kind of legal and historical discourse, mapping changes in society, law, and morality through story.
His characters often reflect tensions between historical continuity and modern innovation, mirroring debates about law and government.

Interesting Observations:

Scott’s “Visionary” Letters (1819) warn against radical political reform, using architectural metaphors to argue for measured, historically grounded change.
The same metaphors appear in Scott’s reflections on law, revealing how deeply legal thinking was woven into his storytelling.
Cairns suggested Scott's conservative ideology wasn't static but was shaped by personal experiences of instability (e.g., loss of patronage, fear of Whig reforms).

Scott: Our Convivial Host

Thu, 19 Sep 2019 19:20:28 GMT

Thursday 19th September 2019

Summary of the Talk:

Donald Smith delivered a rich and engaging talk celebrating Walter Scott’s role as a convivial and collaborative cultural figure, challenging the notion of Scott as a solitary genius. Smith explored Scott’s sociable character, his many partnerships, and how his legacy is deeply rooted in collaboration, particularly in traditional arts and literature.

Key Themes:

Scott as a Convivial Host: Scott relished gatherings at Abbotsford and elsewhere, where food, music, storytelling, and laughter abounded. This sociability extended to his literary work, which was deeply collaborative and layered.
Creative Kinship with Burns: Although Burns and Scott came from different backgrounds, Scott deeply admired Burns’ blending of tradition and innovation in poetry and song. Smith argued that Scott saw himself as Burns’ successor, especially in preserving and elevating Scottish cultural heritage.
The Minstrelsy of the Scottish Border : Far from being a fabrication, this was a vast collaborative effort. Over 200 named contributors helped gather and transmit material, reflecting Scott’s trust in community voices and oral traditions. Smith emphasised that this work was not the act of an isolated antiquarian, but a genuine communal preservation of Scottish song and story.
Friendship with Wordsworth: Smith explored Scott’s deep and respectful friendship with William Wordsworth. Both men shared a passion for landscape, language, and folk tradition. Wordsworth’s Yarrow poems, inspired by Scott, were highlighted—especially the idea that imagining a place like Yarrow could be as powerful as visiting it.
Storytelling in the Novels: Scott’s fiction should be read as layered conversation—between characters, narrator, author, and reader. Smith encouraged readers to embrace Scott’s playful style, likening his novels to Cervantes' Don Quixote or Rabelais : not dry, but filled with sly wit, commentary, and characterful voices.

Interesting Points:

The "Ideal vs. Real" Yarrow: Wordsworth’s poetic reluctance to visit the Yarrow Valley, fearing the real place might not match its imagined beauty, led to three powerful poems—culminating in an elegy written after Scott's death.
Scott’s Playfulness: Smith suggested we read Scott as a playful guide, not a dry historian. He likened Scott’s storytelling to a dialogue with the reader—conversational, humorous, and rich in detail.
Scott’s Literary Friendships: Beyond Wordsworth and Burns, Smith also briefly mentioned Hogg and others as part of Scott’s literary circle, reinforcing the idea that Scott was deeply embedded in a network of mutual influence.
Scott’s Use of Language: He saw Scott’s novels as continuing the mission of linguistic inclusivity—using Scots dialects, rural speech, and traditional expressions to represent the full spectrum of Scottish life.
Scott and UNESCO-Style Heritage: Smith linked Scott’s preservation of cultural stories to modern concepts of intangible heritage, asserting that Scott’s work deserves to be seen as foundational to Scotland’s national cultural consciousness.
The Annual Abbotsford Hunt: A charming detail revealed Scott’s tradition of hosting hunts where guests had to contribute songs or stories—a reminder of how creativity and sociability were inseparable for him.

Introduction by Prof. Peter Garside:

It’s a great pleasure to introduce Donald Smith as todays’ speaker. (I’m standing in as Chair by the way for Iain Torrance, who unfortunately can’t be with us this evening.) Donald is a storyteller, author, and educationalist. As Director of The Netherbow Arts Centre from 1982, and founding Director of the Scottish Storytelling Centre from 2003-2014, he has been in the thick of cultural and social developments in Scotland, and beyond, over three decades. Donald was born in Glasgow of Irish parents. He holds a first class honours degree in English and Classical Greek, and was awarded a Ph.D. in the School of Celtic and Scottish Studies of Edinburgh University in 1982 (where he tells me his eyes were first opened to Scott by his supervisor Jack McQueen, who I understand has sadly recently died, and no doubt will be fondly remembered by many others). Donald has produced, adapted or directed over eighty plays and published a series of books, including two novels, The English Spy (2007) and Between Ourselves (2009). More recent publications include a book about Scottish independence called Freedom and Faith (2013), a Pilgrim Guide to Scotland (2015), one further novel Flora McIvor (2017), and Wee Folk Tales (in Scots) in 2018. Currently Donald is Director of Edinburgh’s Celtic Summer School and a Visiting Professor at Edinburgh Napier University; he is also Director of the forthcoming International Storytelling Festival taking place in October.

Today’s topic has a familiar ring, and there many accounts suggesting what an excellent host and companion the laird of Abbotsford was. The multifariousness of Scott’s activities is something this Club feeds on with relish; yet at the same time one sometimes wonders how he managed to find space to do all these things. One explanation no doubts lies in the fact that he never lost time twiddling his thumbs; an attribute which is undoubtedly shared by today’s speaker: Donald Smith.

A Colloquium on The Bride of Lammermoor

Sat, 17 Aug 2019 19:30:42 GMT

Sunday 3rd August 2014

Summary of the Talks:

Eileen Dunlop’s Talk: Themes, Characters, and the Supernatural

Eileen explored The Bride of Lammermoor through the lens of its characters, setting, and supernatural elements , identifying four main aspects that contribute to its tragic and unsettling nature:

Character Interaction – The novel’s depth of tragedy stems from its complex characters:

Edgar Ravenswood – A romantic hero, proud but honourable, torn between duty and love.
Lucy Ashton – A passive yet tragic figure, trapped by her mother’s manipulations.
Sir William Ashton – A pragmatic and insecure politician who is both an opportunist and a loving father.
Lady Ashton – The novel’s true villain, cold and manipulative, willing to destroy her own daughter to maintain power.
Frank Hayston of Bucklaw – An unwitting pawn in the tragic tale, deceived into a doomed marriage.

2. Landscape as a Character – Scott’s use of bleak coastal cliffs, dark forests, and ruined castles adds an atmosphere of foreboding and reflects the characters’ doomed fates.

3. Supernatural Elements – Though often grouped with Gothic novels, Scott’s supernatural elements are more psychological than literal:

Witches and prophecy – Blind Alice and Ailsie Gourlay embody supernatural beliefs that shape characters’ actions.
Symbols and omens – The bull (Ravenswood’s family emblem) killed by Edgar, and the raven drenched in blood, hint at impending doom.
Predestination vs. Free Will – The novel raises the question of whether fate is inescapable or if tragedy is a result of human stubbornness and societal forces.

Dunlop compared The Bride of Lammermoor to Romeo and Juliet , noting that while both involve doomed young lovers, Scott’s novel is more about social constraints, historical conflicts, and personal pride than mere youthful passion.

Prof. Peter Garside’s Talk: Historical and Political Context

Garside argued that, despite its domestic focus, The Bride of Lammermoor is deeply political and can be read as Scott’s "Union novel," reflecting Scotland’s struggles with the Act of Union (1707) . He made several key points:

The Political Setting – The original 1819 text places the novel in the years leading to the Union of 1707 , before Scott revised it in 1830 to imply a post-Union setting.

Edgar Ravenswood’s legal battle mirrors Scottish appeals against English dominance .
The Scottish Estates in the 1819 version were changed to the House of Lords in the later edition, shifting the political implications.

2. Character Parallels with Historical Figures – Garside suggested that Scott modelled key characters on real political figures involved in the Union:

Sir William Ashton resembles John Dalrymple, the 1st Earl of Stair, a key architect of the Union.
The Marquis of A— represents the Duke of Atholl, a strong opponent of English dominance.
Lady Ashton embodies the ruthless political scheming of Queen Anne’s court and the Duke of Queensberry.

3. Marriage as a Metaphor for Union – The novel’s two prospective marriages reflect different models of Scottish-English relations:

Lucy and Ravenswood – A federal union , where old traditions and new politics might coexist (but ultimately fails).
Lucy and Bucklaw – A forced, destructive union , paralleling the way many Scots viewed the Act of Union.

4. Scott’s Changing View on the Union – By the time Scott revised the novel for the Magnum Opus edition (1830) , he softened its critique of the Union, likely due to his political affiliations and concerns about British stability.

Key Takeaways:

The Bride of Lammermoor is more than a tragic romance ; it is a critique of political and social upheaval .

Scott questions fate vs. free will , using supernatural elements to create tension but ultimately showing human ambition, pride, and manipulation as the true sources of tragedy.

The novel can be read as a political allegory about the Act of Union (1707) , with its doomed marriages symbolising Scotland’s uneasy relationship with England.

This colloquium provided a rich analysis of Scott’s novel, linking its psychological depth to its historical and political context .

Download the [transcript]

John Gibson Lockhart and Sir Walter Scott

Thu, 20 Jun 2019 19:58:10 GMT

Thursday 20th June 2019

Summary of the Talk:

This talk provided a detailed overview of John Gibson Lockhart’s life, career, and relationship with Sir Walter Scott , emphasizing Lockhart’s role as Scott’s biographer, son-in-law, and literary executor . The discussion covered Lockhart’s early life, literary career, political involvement, personal controversies, and his lasting legacy through The Life of Sir Walter Scott.

1. Lockhart’s Early Life and Education

Born in 1794, son of Rev. Dr. John Lockhart , a Church of Scotland minister.
Brilliant student , excelling in languages and Classics.
Entered Glasgow University at 11 years old ; later won a Snell Exhibition to Balliol College, Oxford .
Mastered multiple languages, including German, Italian, French, Spanish, Portuguese, and even "dabbled" in Danish, Swedish, and Anglo-Saxon.
Initially attempted to publish literary translations but was unsuccessful.

2. Early Literary Career and Edinburgh Life

Moved to Edinburgh in 1815 to study law and briefly practiced as an Advocate .
His literary breakthrough came through his association with Blackwood’s Edinburgh Magazine , where he became a major contributor.
Notable Works for Blackwood’s:
Over 200 articles on literary criticism, Greek tragedy, and contemporary poetry.
The satirical and controversial "Chaldee Manuscript" (1817) —a biblical-style parody that mocked rival publishers.
Four novels , including Valerius (1821), Adam Blair (1822), Reginald Dalton (1823), and Matthew Wald (1824).
Peter’s Letters to His Kinsfolk —a fictionalized account of Edinburgh's cultural and political elite.

3. Marriage to Scott’s Daughter and Personal Relationship with Scott

Met Scott in 1818 at Abbotsford and quickly became part of Scott’s close circle.
Married Scott’s daughter Sophia in 1820 , which significantly shaped his life and career.
Scott had mixed feelings about Lockhart:
Praised his intelligence, literary ability, and gentlemanly character .
However, Scott disapproved of Lockhart’s sharp satire , which led to legal disputes and personal controversies .
Lockhart became Scott’s literary partner, political ally, and future biographer .
Scott saw Lockhart as essential in managing his literary estate , given his sons’ lack of literary inclination.

4. Career as a Literary Editor and Controversies

1825: Became editor of the Quarterly Review in London, a leading Tory journal.
Wrote extensively on politics, literature, and history , producing nearly 120 articles .
Lockhart’s personal satire caused scandals , including:
The Chaldee Manuscript (1817) – a biting satire that led to lawsuits and financial penalties .
The Cockney School Articles – vicious critiques of Leigh Hunt and John Keats , accusing them of literary incompetence.
His editorship of Blackwood’s Magazine involved bitter literary feuds , leading to a fatal duel between his friend Jonathan Christie and John Scott (editor of The London Magazine ) .
Scott personally urged Lockhart to abandon Blackwood’s Magazine due to the scandal.

5. Lockhart’s Political Involvement and Views

A staunch Tory , active in political circles and debates.
Considered standing for Parliament in 1830 but ultimately chose to focus on writing.
Regularly reported to Scott about Westminster politics , particularly the Reform Bill debates .
Attended Parliamentary sessions and socialized with influential political figures.
Expressed skepticism about political unity within the Tory Party.

6. Personal Life and Tragedies

Lockhart’s letters reveal a deeply personal side , showing his concern for family:
His son Johnny’s prolonged illness and early death.
The birth of his daughter Charlotte in 1828 .
His generosity in helping struggling writers and artists, including James Hogg and William Maginn.
Despite his acerbic reputation in print, Lockhart was described by Thomas Carlyle as "kind and affectionate" in private life .

7. The Life of Sir Walter Scott (1837) – His Masterpiece

Lockhart’s greatest legacy was his biography of Scott , The Life of Sir Walter Scott (1837).
Written in a novelistic style , focusing on Scott’s character rather than strict factual accuracy .
Some critics (e.g., Thomas Carlyle) felt Lockhart idealized Scott , but others praised it as the definitive biography .
The famous "last words" of Scott ("Be a good man, be virtuous, be religious...") are disputed by modern scholars as embellished but capture Scott’s moral character.

Key Takeaways and Interesting Points

Lockhart was an extraordinary linguist and scholar , with a passion for literature and history.
His sharp wit and satirical writing made him feared but also got him into trouble —leading to lawsuits, scandals, and even a fatal duel .
His marriage to Scott’s daughter secured his place in literary history , making him Scott’s biographer and literary executor .
His political reports to Scott offer a valuable Tory perspective on the Reform Bill debates .
The Life of Sir Walter Scott (1837) remains one of the greatest literary biographies , despite accusations of over-idealizing Scott .

Final Thoughts

Dr. Richardson’s talk shed light on Lockhart’s multifaceted life—his brilliance, controversies, loyalty to Scott, and ultimate legacy as Scott’s biographer . While Lockhart’s satire made him enemies , his deep respect for Scott shaped his final and most enduring work .

Download the [transcript]

Speech introduction by Louise Gardiner:

Good evening, Ladies and Gentlemen, it is lovely to see so many of you here.

You may be slightly surprised to see me here, rather than our new chairman, Prof. Iain Torrance, who sends his apologies. Wearing one of his other hats, Iain is presiding over the graduations at the University of Aberdeen all this week, in his role as pro-chancellor of that institution.

When we were first planning the programme for 2019, we did not, in fact, know that Iain Torrance was going to be the new chairman, and that he would not be in Edinburgh during the third week of June.

He very much regrets not being able to be here this evening and thereby missing what promises to be a particularly interesting talk.

We will do better with our dates for next year!

The name of Dr. Thomas Richardson, who has kindly agreed to talk to us this evening, will be familiar to many of you. He is currently Eudora Welty Professor of English at the Mississippi University for Women which, in spite of its name and slightly confusingly, is a public co-educational (have I got this right?) university in Columbus, Mississippi. Dr. Richardson has only fairly recently stepped down as provost and vice president for academic affairs of that university, in order to be able to bring to completion a long-term research project which I will come back to.

Dr. Richardson’s publications have mainly focussed on the contributions which various 19th century authors have made to contemporary literary magazines, such as James Hogg and Robert Louis Stevenson, and one of these publications is, in fact, a chapter in a book edited by Caroline McCracken-Flesher who is, of course, well known to this Club, both as a speaker and as a regular visitor.

Given Dr. Richardson’s interest in 19th century literary magazines, it may not come as a great surprise that the ‘long-term research project’ which I have just mentioned, is the first scholarly edition of the works of John Gibson Lockhart, of which Dr. Richardson is the series editor. This edition is due to be published shortly here in Edinburgh by the Edinburgh University Press.

And how who could we possibly have anyone who is better qualified to talk to us tonight about Scott and his son-in-law and biographer John Gibson Lockhart?

Sir Walter Scott's Impressions of Russia

Thu, 16 May 2019 11:46:16 GMT

Thursday 16th May 2019

Summary of the Talk:

Dairmid Gunn, a former naval attaché and fluent Russian speaker, explored Sir Walter Scott’s perceptions of Russia and Russians , as opposed to Scott’s well-documented influence on Russian literature. Gunn traced Scott’s exposure to Russian culture mainly through personal encounters during his European travels and notable interactions with Russian officers, aristocrats, and artists.

Scott’s impressions began during a post-Waterloo visit to Paris, where he met Tsar Alexander I and various Russian dignitaries. Although Scott was interested in military matters and admired Russian troops, his knowledge of Russian literature was limited, as key figures like Pushkin had not yet emerged fully into literary prominence during Scott’s lifetime.

The talk also examined the influence of Russian individuals who visited Scott in Scotland, notably Count Vladimir Davydov , a relative of the Decembrist Denis Davydov. This contact offered Scott a glimpse into the tensions within Russian society. Although sympathetic in private, Scott remained cautious in his journal entries, avoiding deep political commentary.

Scott maintained friendships with Russian figures and exchanged gifts, letters, and cultural reflections, yet remained at a distance from the political intricacies of Russian reformist movements. His attempt to understand Russia came more from human encounters and military admiration than from literary or political analysis.

Notable Insights and Points of Interest

Scott met Tsar Alexander I at a dinner in Paris after Waterloo. Alexander mistook Scott’s limp as a war wound and asked about his military service. Scott humbly explained it was from childhood polio, but joked about being involved in “night actions” like Crosscauseway skirmishes.
Count Platov , head of the Don Cossacks, warmly invited Scott to observe a Russian military review, which Scott regretfully declined due to other commitments. He was genuinely impressed by the Russian cavalry.
Scott’s first significant Russian visitor was Count Vladimir Davydov , a relative of the famed Decembrist Denis Davydov. This young nobleman made a strong impression on Scott and visited Abbotsford. Scott later wrote of Davydov’s intelligence and sincerity.
Denis Davydov, although more famous as a swashbuckling cavalry officer , was also a poet admired by Scott. However, they never met. Tolstoy based the War and Peace character Denisov on him.
Princess Galitzine , a Russian noblewoman, pursued Scott with intense admiration during his time in Paris and arranged a lavish costume ball in his honour, showing Scott’s international fame extended into elite Russian circles.
Gunn observed that Scott’s admiration for Russian military discipline and grandeur didn’t translate into political understanding. He was largely unaware (or silent) about the oppressive aspects of Russian autocracy.
Scott tried to engage Russian general Yermolov on military history (especially Napoleon’s Russian campaign), but found his answers unhelpful—perhaps due to proximity to the events and reluctance to critique military decisions.
The Decembrist revolt of 1825 , a failed aristocratic uprising aiming for reform in Russia, had personal resonance for Scott through his connection with Vladimir Davydov. Still, Scott’s journal reflects a conservative and cautious reaction to revolutionary ideals.
Despite his limited grasp of the Russian language or literature, Scott’s personal relationships left him with enduring impressions of Russia —as a land of martial honour, aristocratic polish, and deep cultural complexity.

Interesting Quote from Scott’s Journal

Reflecting on Vladimir Davydov’s likely return to Russia and acceptance of its autocracy, Scott wrote: "Why should not a Russian resume his despotic ideas when restored to his country?”

This reveals Scott’s own cautious attitude towards revolutionary change and his belief in cultural relativism.

Introduction by Prof. Peter Garside:

I’m especially delighted to welcome today’s speaker, Lt. Cdr Diarmid Gunn OBE.

In 1949 Dairmid Gunn entered the Royal Naval College, Dartmouth, as an executive officer cadet and on graduating spent over 20 years in the fleet. He saw active service in Korea and the Mediterranean (Port Said and Cyprus) and studied Russian for two years at London University and in Paris. In the 1960s he served as a naval attaché in the British embassies in Moscow and Helsinki.

After leaving the Navy in 1973 Dairmid became the director of an organisation which endeavoured to improve the commercial lot of Scottish farmers in the UK and the European Union. In 1988 he acted as the coordinator in Scotland for a UK campaign for the promotion of British food and farming. For this, in 1989 he was awarded the OBE.

In 1980 he became chairman of the Scottish branch of the GB-USSR Association, a non-political body with the aim of improving relations between the Soviet Union and the UK. After the collapse of the USSR in 1991 he became chairman of the Scotland Russia Forum, a charitable organisation, the aim of which was to improve understanding between Russia and Scotland by cultural means. He is currently a vice president of the Forum. In 2017 he co-authored a book on the Russian convoys and in 2018 was awarded the Pushkin medal by the Russian government for his work over many years in improving understanding between Russia and the UK.

Dairmid is the literary executor of the estate of the late Neil M. Gunn and has written many articles and booklets on the life and work of the author. He is the author’s nephew.

In 1988 Dairmid joined our Club and was its chairman from 2000 to 2004. He has given many papers on Scott usually, but not exclusively, on the author’s connections with Russia. His present paper is on the subject of Sir Walter Scott: Impressions of Russia, and rather than concerning Scott’s influence on Russian literature will focus this time on the influence which Russia had on Scott’s own work.

Scott’s Writing for the Edinburgh Stage

Thu, 04 Apr 2019 17:15:01 GMT

Thursday 4th April 2019

Summary of the Talk:

Gillian Hughes’ talk focused on Walter Scott’s engagement with the Edinburgh theatre , tracing his lifelong love of theatre, early ambitions as a playwright, and significant influence on Scottish drama . While Scott never became a major playwright , his impact on the Edinburgh stage was immense , both through his direct contributions and the popular adaptations of his novels .

1. Scott’s Early Love for Theatre

First theatre experience at age six – watching As You Like It in Bath.
Later described the theatre as “the enchanted palace of his childhood” .
He and his wife, Charlotte Charpentier , were avid theatre-goers throughout their marriage.

2. Scott’s Attempt at Playwriting

Influenced by German Romantic literature , Scott translated several German plays , including:
Goethe’s Goetz von Berlichingen (1799).
Other lesser-known works such as Fust von Stromberg and Otto von Wittelsbach.
His only original attempt at playwriting , The House of Aspen, was a loose adaptation of a German play .
Rejected by Drury Lane in 1800 , marking the end of Scott’s serious ambitions as a playwright .
Later published in 1830 and staged in London and Edinburgh , but only as a tribute to his literary fame , not its theatrical merit.

3. Scott’s Influence on the Edinburgh Theatre Royal

Edinburgh’s Theatre Royal (located in Shakespeare Square) was the main venue for theatre in Scotland .
In 1809, Scott helped secure the theatre’s future by supporting Henry Siddons (nephew of actress Sarah Siddons) in acquiring the patent for the theatre .
Scott was a shareholder and trustee , actively promoting Scottish drama .

4. Scott’s Promotion of Scottish Playwrights

Championed Scottish dramatists , notably Joanna Baillie , whom he considered Britain’s best playwright since Shakespeare .
Secured a successful production of her play The Family Legend (1810) , which he actively promoted .
Wrote prologues and epilogues for various plays, including:
The Family Legend.
Helga , or The Rival Minstrels (1812) – a failure, laughed off stage .

5. Scott’s Relationship with Famous Actors

Close friends with John Philip Kemble , the era’s most famous tragic actor.
Wrote Kemble’s farewell speech when he retired from acting in 1817.
Supported actress Sarah Smith (later Mrs. Bartley) , composing a poetic address for her Edinburgh debut .

6. The Rise of the “Waverley Dramas”

Scott’s novels were adapted into hugely popular stage productions .
The first major success was Rob Roy (1819), which:
Saved the Edinburgh Theatre Royal from bankruptcy .
Ran for 41 consecutive nights .
Featured Charles Mackay as Bailie Nicol Jarvie , whose performance Scott enthusiastically praised .
Other Scott-based plays included:
The Heart of Midlothian (1820).
The Bride of Lammermoor (1822).
Saint Ronan’s Well (1824) – with Mackay playing Meg Dods in drag .

7. Scott’s Lasting Impact on Scottish Theatre

Scott helped make theatre respectable for the Scottish middle class , who had traditionally viewed it with suspicion .
The Waverley dramas created a distinct “Scottish national theatre” , even if it was Unionist in tone .
The 1822 visit of King George IV saw Rob Roy performed as the “National Opera of Scotland” .
Scott’s final years saw his interest in theatre decline , but his influence endured through his dramatised novels .

Interesting Points from the Lecture:

Scott Almost Became a Playwright
His early ambition was derailed when Drury Lane rejected The House of Aspen .
Had it succeeded, Scott might have been known as a playwright rather than a novelist .
Scott’s Influence on Theatre Management
Without Scott’s intervention, the Edinburgh Theatre Royal might not have survived .
He handpicked managers and shaped its repertoire , ensuring a focus on Scottish stories .
Rob Roy ’s Unexpected Success
Scott had no involvement in the play’s adaptation, yet it became the theatre’s biggest hit .
The financial success of Rob Roy saved the theatre from financial ruin .
Scott’s Theatrical Poems
Wrote numerous prologues, epilogues, and poetic addresses for actors and plays.
Many were unpublished but will appear in a new edition of Scott’s Shorter Poems .
Scott and Gender on Stage
Charles Mackay played Meg Dods (a woman) in Saint Ronan’s Well .
Scott praised his subtle and respectful performance , avoiding the pantomime dame stereotype .
Scott as a Public Figure in Theatre
Whenever Scott attended the Theatre Royal , he was applauded by the audience .
James Hogg’s novel The Three Perils of Woman describes a scene where the audience watches Scott more than the actors!

Conclusion

Gillian Hughes’ lecture revealed Scott’s immense influence on Scottish theatre , even though he never became a successful playwright himself . His efforts to promote Scottish drama , secure the Edinburgh Theatre Royal’s survival , and create a theatrical tradition based on his novels ensured that his impact on Scottish theatre far exceeded that of most playwrights of his era .

Download the [Transcript]

Gillian Hughes is the author of James Hogg: A Life (2007) and editor or co-editor of several volumes in the Stirling / South Carolina Research Edition of the Collected Works of James Hogg, including Hogg’s letters in three volumes (2004-08). More recently she has edited or co-edited works by Stevenson, Scott, and Lockhart. Walter Scott, The Shorter Poems , ed. P. D. Garside and Gillian Hughes, was published in the Edinburgh Edition of Walter Scott’s Poetry in 2020.

Synopsis: Scott was a theatrical enthusiast and this talk traces his connections with, in particular, the Theatre Royal Edinburgh. Exorcising its past taints of both Jacobitism and Jacobinism Scott worked as a trustee of the theatre to create a national drama that was more than the customary ‘garbage of melo-drama and pantomime’. Friendships with actors such as Sarah Smith and members of the Kemble acting dynasty produced a variety of theatrical addresses for specific occasions. Scott’s earnest promotion of plays with Scottish subject matter by Joanna Baillie and Sir George Steuart Mackenzie, however, was not half so effective in the establishing of a national drama as various theatrical adaptations of the Waverley Novels, particular Rob Roy.

The Life of Marguerite Charlotte Charpentier: Disorderly Outsider?

Thu, 07 Mar 2019 13:06:55 GMT

Thursday 7th March 2019

Summary of the Talk:

Deirdre Shepherd's talk re-evaluates the life of Marguerite Charlotte Charpentier—better known as Lady Scott, wife of Sir Walter Scott. Traditionally dismissed or maligned by male biographers, Charlotte is here reconsidered as a significant, if misunderstood, figure. Shepherd aims to recover Charlotte's voice, personality, and significance within the broader social and historical context of the late 18th and early 19th centuries.

Key Points of the Talk

1. A Misunderstood Woman

Charlotte has been viewed as a “disorderly outsider,” often criticised for her background, habits, and personality.
Shepherd reclaims the term “disorderly,” arguing Charlotte simply didn’t conform to early 19th-century Scottish expectations of femininity.
Her cosmopolitan background in Georgian London and her French heritage made her visibly different—and potentially threatening—to conservative eyes.

2. Origins and Legitimacy

Charlotte was born in Lyon, France in 1770 to Jean-François Charpentier and Elie Volaire. Rumours of her illegitimacy (linking her to Lord Downshire) are effectively disproved with strong documentary evidence.
She was well-born and respectably baptised, with godparents including her grandfather, Pierre Charpentier.
Charlotte’s early life was cultured and urbane—surrounded by music, education, and elite society.

3. Move to London and the Dumergue Household

After her mother’s death in 1788, Charlotte lived with the wealthy Dumergue family in London. Dumergue was a royal dentist with deep ties to the aristocracy.
This environment was full of intellectual and artistic activity, and Charlotte was close to Sophia Dumergue.
Her letters show her as warm, intelligent, lively, and deeply attached to family, especially her brother Charles (Jean-David), who became successful in the East India Company.

4. Marriage to Walter Scott

Charlotte and Scott met and married in 1797. Their relationship, though often belittled in biographies, seems to have been affectionate and stable.
Her French manners, public presence, and refusal to conform to “invisible domestic womanhood” were seen as alien in Scottish society and often unfairly judged.

5. Health, Laudanum, and Misogyny

Accusations of laudanum addiction have shadowed Charlotte’s legacy. While she likely took opiates, Shepherd contextualises this within standard medical practice of the time.
Misogynistic readings interpret her use of medicine, interest in fashion, and assertiveness as flaws. Yet these may simply reflect gender bias and poor biographical practice.

6. Financial Responsibility

Charlotte has been labelled a spendthrift, but research shows her expenses were modest relative to Scott’s extravagance.
She ran multiple households efficiently and contributed significantly to the family’s financial stability with her own allowance from her brother.

7. The Gendered Nature of Biography

The lecture critiques male-dominated biographical traditions that have caricatured Charlotte while mythologising Scott.
Shepherd aligns with scholars like Carolyn Heilbrun and Hermione Lee in arguing for more balanced and contextually rich biographies of women.

Noteworthy/Interesting Points

Charlotte’s voice survives in letters —notably those to her brother—which show her as warm, witty, and grounded. Her letter from 1817 paints a charming picture of family life at Abbotsford and her children’s growth.
She rejected domestic invisibility , choosing instead to inhabit both private and public spheres, much as she had in London society.
Her mother Elie was a cultured woman, likely involved in the educational side of the family’s riding academy—possibly passing musical and intellectual talents on to Charlotte.
Charlotte’s painting (1810) offers a rare glimpse of her strength and intelligence beneath a formal, even guarded, exterior.
Scott himself acknowledged the authenticity and warmth of their relationship , contradicting the biographers’ mythologised “first love” narrative with Williamina Belsches.
Biographers’ misogyny : Shepherd suggests that Scott’s male biographers were unsettled by Charlotte’s “too French,” “too fashionable,” or “too assertive” ways—often reducing her to stereotypes or scandal.

Conclusion

Shepherd’s lecture is a compelling feminist re-evaluation of Charlotte Charpentier Scott, rejecting caricature and restoring dignity and complexity to a woman long marginalised by male biographers. Rather than a “disorderly outsider,” Charlotte emerges as a resilient, intelligent, and loving woman navigating personal, cultural, and historical upheaval.

Download the [transcript]

I ntroduction by Prof. Peter Garside:

Today’s speaker Deirdre Shepherd lives in Edinburgh, and we’re very pleased to have her to initiate this year’s cycle of talks and other events at the Club. She has a long-standing interest in Walter Scott and completed her PhD at Edinburgh University, under the supervision of myself with guidance from the late lamented Susan Manning, on the subject of Walter Scott, James Hogg and Uncanny Testimony . (One somewhat surprising conclusion reached, as I remember it, was that Scott in some respects was personally more prone to superstitious thoughts than Hogg.) Her interests in Scotland and the supernatural in literature persist and she has taught several courses on Fiction and the Gothic for students at the University.

The present talk however will focus on Charlotte, Lady Scott and her early life in Lyons and London before marriage to Walter. In it Deirdre hopes to offer a more rounded and sympathetic picture of Charlotte than is often given, with especial reference to the accusations of illegitimacy and drug addiction that have been associated with the wife of Walter Scott.

Reminiscences of Sir Walter Scott

Mon, 18 Feb 2019 12:04:57 GMT

Introduction by Bridget Falconer-Salkeld

Agnes Cunningham (1807–1893) was a twin daughter of John Usher, Third and last Laird of Toftfield (1766–1847) and his second wife, Agnes Blaikie (1779–1850) of Langhaugh, Galashiels, whom he married in 1802. [1] Her first recollection is of the celebrations held at Toftfield to mark the allied victory at the Battle of Waterloo on Sunday, 18th June 1815. At the time, Agnes Usher (born 19th October 1807) was in her eighth year and resided with her parents and numerous siblings at Toftfield, later Huntley Burn.

To set this memoir in context, its tone can safely be said to reflect contemporary public opinion, and it is clear that in compiling her reminiscences Agnes Cunningham drew on Lockhart’s Memoirs. [2] But there were contrary voices in the public sphere, notably John Ruskin’s strongly expressed opinions of Abbotsford, both inside and out — he loved the Works and never travelled without them, but deplored the work of the builder of Abbotsford. The conference paper by Julie Lawson, “Ruskin on Scott’s Abbotsford” is a valuable critique that provides the proper balance. [3]

Agnes Cunningham’s memoir is undated, and may be a compilation, but from textual inference it can be dated, at least in part, as late as ca. 1891, about sixty years after the death of Sir Walter Scott in 1832.

The seven-page typescript of the original holograph was made by retired veterinary surgeon Miss Jean Margaret Pinkney (1919–2015, BVMS, Glasgow), the friend since infancy of my late husband, Robert Salkeld, FLCM, ARCM. It was among a sheaf of papers she passed to the present writer in 2012 with a view to publication in any suitable medium. A note about Jean Pinkney, known by us as JP: she was of the House of Usher on the distaff side; Agnes (Aggie) Cunningham, née Usher, writer of the memoir, was her great-great- aunt. Agnes’ twin sister Mary Menzies, née Usher, the younger of the two, was JP’s great-great-grandmother. JP’s mother, Jessie Usher Menzies (1881–1972) married William Ferrier Taylor Pinkney (1883–1962, FRPS), and through her father, JP was descended from Francis Mcnab, 16th Chief of Clan Mcnab (1753–1816), well-known for his colourful life and his portrait by Raeburn. [4]

The memoir is here presented unabridged. A few silent corrections have been made; punctuation has been mostly retained and only occasionally cleaned up.

The first event I remember is the Great Battle of Waterloo and the grand bonfire in celebration of it on my father’s property, and in the course of the following year, the death of my grandfather through which my father became possessed of Toftfield and from that time was called the Laird. This possession was one to be proud of, having been in the family of the Ushers for three hundred years [sic], [5] consisting of 600 or 700 acres of arable land and a wide extent of moor or pasture and very prettily situated. [6] The house was old and insufficient for a growing family and my father in 1816 had built a good substantial new one just complete and ready for our occupying. I must at this stage have been in my ninth year.

Sir Walter’s fame as a great poet had been growing from the beginning of the century, but not as a novelist until 1814 nor was he created a Baronet until 1820, so he was only known to us as “the Shirr”, viz. “Sheriff of Selkirkshire” to which he had been appointed about 1800, and we only knew him by sight as he drove in a large old–fashioned yellow carriage to and from Melrose Abbey. He had from boyhood a great desire to possess land. His first purchase was in 1811 — a hundred acres of very poor land bordering on the Tweed, three miles from Melrose, with only a miserable cottage upon it named Clarty Hole, but prettily situated. His quick eye saw its possibilities and with his taste for planting and Mrs Scott’s for gardening, it soon assumed a very attractive aspect. The cottage was largely added and formed a commodious temporary home for five years, as well as a most convenient post of observation from which to superintend the building of his far–famed baronial mansion, Abbotsford.

It was in this little modest home Sir Walter spoke of having spent the happiest portion of his life, with his wife and young family around him, in the midst of the simple domestic enjoyments he prized so much and before the great tax upon his celebrity claimed so much of his time and hospitality. As in after years, it was here too, these marvellous creations of his brain, his romances, were first given to the world. Waverley had been written some years previously, but not meeting with his own approval, had been withheld till then, and was received with such universal admiration that it was followed in the course of twelve months [sic] [7] with six of his best novels creating a perfect furore of excitement in Melrose and the neighbourhood, never allowed to get into the library, but handed from house to house, and the shortest possible time given for their perusal. No wonder that he was stimulated to a great ambition for land. Since his first purchase he had been gradually extending his possessions principally for planting purposes till it closely bordered on my father’s pretty property, and to own it became the great desire of his heart. I can see that to him it possessed attractions far beyond its intrinsic value: first, its near proximity to what he had; second, at its western extremity was a beautiful though small loch [Cauldshiels Loch], famous for trout fishing — he admired, and used often to drive to it with friends for that sport. From this issued a little burn flowing through a deep romantic glen called Rhymer’s Glen. This Sir Walter set great store by, as the scene where in long past ages a wizard called Thomas the Rhymer used to meet with the Queen of the Fairies, and lastly the greatest attraction of all, the good and substantial house so recently built on the estate. He saw in this the fulfilment of one of the fondly cherished desires of his life.

In his school days he had formed a lasting friendship with three sons of a Professor Ferguson [Dr Adam Ferguson (1723–1816)]. [8] They had chosen a military profession and after long absence from Scotland, and in prospect of returning home, had written to Sir Walter requesting him to find a house for them in the neighbourhood of Abbotsford. This was no easy matter, considering their requirements, for they were unique as a family both as regards character and numbers, consisting at that time of three bachelor brothers and three old maiden sisters. [9] The former, Sir Adam Ferguson [1770–1854], Captain John [R.N.] and Colonel James all loved like very brothers and sisters, and few pages of his diary but contained some reference to them such as “Went to Huntly Burn to breakfast”, or “The Fergusons dined at Abbotsford” — and it was there that the only house with all the necessary accommodations was found, at Toftfield.

I ought to have named much sooner that my father had made Sir Walter’s acquaintance soon after he came to our near neighbourhood and was honoured by his friendship, this being fostered by their mutual love for greyhound coursing, and my father being famed for his good greyhounds, the annual Abbotsford Hunt being one of the great sporting days, when all the party, including the Ettrick Shepherd [James Hogg (1770–1835] and other celebrities, were present. My father always sent a splendid haunch of Wedder mutton for the occasion, which was proclaimed to be the best of the season. [10] As this feast occurred when the seven rummers of whisky toddy was the prevailing custom in Scotland after dinner, [11] you can imagine the jollification was kept up till a late hour, and the guests not in a fit condition to ride home with safety. On one occasion when my father was to dine with Sir Walter, my mother pinned up the tails of his coat to prevent them catching any white hairs from the grey horse he rode, warning him to ask someone to let them down before going into the drawing-room, but to her dismay he came home as he left without having remembered anything about them, which no doubt was looked on as a good practical joke.

It is more than time I should come to some more personal relation to Sir Walter Scott, when he first appeared in our family circle, and though too young to understand the reason, or give the exact date, it must have been when he was in treaty with my father for the purchase of his property in 1816. Yet it does not seem to have been finally settled till pretty far on in 1817 — when it is intimated to his intimate friend and publisher, J. Ballantine, in these terms: “I have just become a great Laird, having closed with Usher for his beautiful patrimony Toftfield.

It was in this intermediate time that we, as children, saw most of Sir Walter. My father being often out of the way when he came, it was his custom to come into the house to have a chat with my mother till he was found. He very soon won our hearts by his charming and kindly ways with us. He had a great love for children, telling them little stories, and had the power of drawing out what intelligence they might possess. He was much taken with our little precocious brother John, [12] then only five years old, and encouraged him to sing and repeat little bits of poetry, which no doubt tended to develop what has been a ruling passion of his life — poetry and song.

At the present time, in his eighty-third year, he is preparing for publication a volume of nearly eighty pieces of his own composition. I think the great interest Sir Walter took in [my sister] Mary (later Mrs [George] Menzies) and myself was our being twins and so exactly like each other that he never learned to know the one from the other. We too used to sing to him and pleased him as he remarked we had a correct ear for music, and asked my father if we had been taught. My father having answered in the negative, but added, “I have just engaged their first governess and must get a piano.” Sir Walter offered to send one his daughter had been taught from, as he said it was standing of no use at Abbotsford, which we accepted and thus the precious relic came into our possession. In course of years it also became useless to us, yet though no longer dispensing sweet music it had an honoured place in our home through many changes, and came into my sole possession after the death of my father and mother, simply because I was the first to put in a claim for it, and as an heirloom in the family I presented it to my eldest daughter, Mrs Crudelius, on her marriage ten years ago [1881].

Often gifts were received from Sir Walter about the same time. He gave John a little Shetland pony, which did not live long, and hearing this, a larger and much more serviceable one was presented to him. My father reciprocating the kindness by presenting to Charles Scott, his youngest son, a beautiful young horse of his own breeding and training. My elder half-brother, James Usher, having antiquarian tastes, presented to Sir Walter some valuable and much prized additions to his armoury, which were always graciously received and to which his name is still appended.

I well remember, on the consummation of the treaty with my father, Sir Walter dined in the old house at Toftfield, with Charles Erskine, the mutual friend and business man of both, and a few other friends. It so chanced that at the moment the gentlemen were descending from the drawing-room, Mary and I were going to bed and met them on the stairs. Sir Walter caught me in his arms and tried to kiss me. Like a little goose I struggled to get free and declined the honour, to my great regret in after life!

From the time of the purchase the name of the property was changed to Huntly Burn, this being the name of the little rivulet previously mentioned. As it came nearer the house it increased in volume, and was a very pretty feature as it passed through a wood of considerable size, which formed the extreme eastern boundary of the property. Just at its extremity was built a few years later a beautiful little cottage called Chief’s Wood, as the summer residence of Lockhart after he married Sir Walter’s eldest daughter. Here in after years he spent many happy days playing with his grandchild and cooling his champagne in the brook. Ten minutes walk from Huntly Burn led you through the wood to this sweet home of his daughter. I cannot help telling you of some happy memories I have of this sylvan scene for it was there my uncle Andrew used to delight in gumpin g trout when at Toftfield on a fishing excursion. [13] It was our great treat to accompany him, also my uncle Dunlop. They were great adepts and very successful in the sport, and it required their trousers and shirt sleeves should be well turned up. Sir Walter came very often to Huntly B urn after it was his own. His great hobby was planting, and the wide extent of moorland gave him ample scope for it, as he delighted to plan and superintend it himself. In the course of thirty years a dense forest of many acres formed a great improvement to that part of the estate.

It must have been nearly at the close of 1817 when our family left the place of their birthright — those not of age would feel it most, and to those who were of an age to realize all the sadness of it, it was no doubt a great trial. To myself and those I have named, leaving the nice new house was our great sorrow and yet we were pleased to go to a very pretty one in the immediate neighbourhood of Melrose.

Shortly after, the Fergusons took possession of their home at Huntly Burn, and Sir Walter of his far-famed mansion Abbotsford, which he had watched to its completion with so much interest, and where he was destined to enjoy the fullest tide of popularity awarded to literature in any age. His inspiration being then at its zenith, and the number and variety of his great works during the successive years unprecedented, and he became the hero of the world. His ‘worshippers’ came from all corners of it. He used to say “his house was like a cried Fair”, yet all were received with courtesy, many doubtless exclaiming like the Queen of Sheba of Solomon: “the half of his greatness was not told to us”. Even the humblest aspirants to literary fame who came for advice went away cheered and comforted by his large-hearted sympathy.

My good old grandmother Usher [14] used to say of Sir Walter: “What a pity so clever a man did not write sermons instead of novels”, but to those who were privileged to see him in the inner sanctuary of his home, his whole life was a sermon, and there he was beloved by all for his benevolence and his true goodness, far excelling his greatness. He assembled his household for prayers at a stated hour every morning — to which all visitors were invited — often having a large congregation. His servants worshipped him, and even the dumb animals showed a great love for him, down to the very pigs. His much-valued servant, forester, and factotum, Tom Purdie, was very faithful, but given to dram-drinking, and heedless of Sir Walter’s gentle rebukes. He was told on one occasion he must leave his service, but replied: “Deed, Sir, I’ll gang nae sic gait. If ye dinna ken when ye’ve gat a good servant, I ken when I’ve gat a gude maister.” On the occasion of another like offence, Sir Walter exclaimed: “Oh, Tam, Tam, I could trust you with untold gold, but not with unmeasured whiskey!”

In 1820 Sir Walter received the honour of a Baronetcy from George IVth with whom he was in great favour, and when in 1822 His Majesty paid a visit to Edinburgh, Sir Walter received him, and got the lion’s share of the great ovation he received while there.

Notwithstanding some threatening clouds on the horizon, his fame continued yet undimmed, and by redoubling his labours he thought to dispel them. The great wonder grew, by what magic was he able to do so? His time was being so fully engrossed with his professional work in Edinburgh, and his house when at Abbotsford filled with visitors to whom he devoted all his forenoons, driving them to Melrose Abbey, Rymer’s Glen, or to any other place of interest, or taking them to see all his improvements, when on some Rest and be Thankful he would keep them under the spell of his enchantment, while relating legends and anecdotes by the hour, his face beaming with enthusiasm. A charming description of his own experience on some such occasion as this is given by, I think, Washington Irving, during a visit of some days. Returning to lunch at Abbotsford, it was Sir Walter’s habit to retire on plea of taking some rest. On rejoining his friends the after part of the day was given entirely to their entertainment, no one seeming to be so little preoccupied as himself. The secret of his great powers in work lay in his making time. He was an early riser and shut up in one of the magic towers of his ‘castle’ where no sound could disturb him, he was at work sometimes for three hours before breakfast, then he had his two hours after lunch, and with the rapidity of both his pen and the flow of his ideas, a great amount was daily effected, though this was often interrupted by infirm health. His amanuensis and much esteemed friend, Willy Laidlaw, often found it difficult to keep up with the rapidity of his diction, and on one occasion requiring to wait for a second or two said, “Come, get on,” and was answered, “Oh, aye, it is very easy for you Willy, to say ‘get on’ but you forget I have every word to spin out of my brain.”

Sir Walter’s eldest daughter was in 1822 married to Lockhart, a son-in-law after his own heart. Walter in the following years sometimes came to see us. I remember once he was accompanied by Sir Adam Ferguson. He asked for the twins and we were brought from the schoolroom. On inspection, he said we were not so much alike as formerly and that he saw the difference. My father, seeing one of us wore a string of coral, said, “If I take them out of the room I bet you won’t know them.” He took us out, took off the necklet which as he guessed was the distinguishing mark, and Sir Walter was as much puzzled as usual. Only once again after a lapse of years when I was sixteen I met him in the stage-coach going to Galashiels. To my great mortification he did not know me. I was too shy to introduce myself though we were alone inside. I only mention this circumstance as an example his gracious manner even to a seeming stranger. He conversed pleasantly all the time, and I remember perfectly every word of the conversation. He was going to Edinburgh and when I left he expressed regret I was not going also.

Still in the meridian of his great power and honoured name, the years went on, his marvellous works so rapidly produced causing the wonder and admiration of the world. Yet, conscious and proud of his greatness, as he must have been, he never was vain and never talked shop, and was always ready to award merit to others of his craft. But alas for the mutability of all human prosperity. The clouds so long threatening burst at last with overwhelming calamity through the great failure of Constable, his London publisher, with whom Sir Walter in an evil hour had become a partner, and all was lost. Stunned, but not in despair with this unlooked-for blow, he set himself with wondrous courage to overcome it, and by superhuman efforts he so far succeeded in realising a sum I am afraid to name lest I exaggerate, yet think it was thirty thousand pounds, in about two years, but at what a sacrifice — the complete prostration of his great powers of both body and mind. This was the beginning of the end, and, too sad to think about, all that could be done for his restoration to health proved of no avail.

He was brought home from his melancholy journey to the Continent in a state of unconsciousness and taken to Abbotsford to die, and the saddest and last scene was enacted there, when he was carried into his study and placed in his own chair. A faint smile of intelligence and content lighted up his worn face as he recognised some members of his family, and the familiar objects around him, and he made signs for a pen, which was put into his hand but, alas, his fingers could not grasp it. He burst into tears and again became unconscious, and never rallied though he lived for some weeks surrounded by his family, and nursed by his loving daughter Miss Scott [15] who was his devoted companion through all his troubles and was so completely shattered in health she did not long survive him, nor did any of his family. His sons inherited nothing of his great qualities, only the name. All that survive at the present time to inherit the much-coveted estate is a great-granddaughter named Mrs Maxwell Scott [16] of whom I know nothing.

Unspeakably sad of such an honoured life to say, “It has passed away as a dream”, or “as a tale that is told” but all must yield to the immutable laws by which God governs the universe — the noblest as well as the most abject of his creatures. Yet the great and honoured name of Sir Walter Scott will live through many generations yet to come, while all his honours and ambitions have passed away.

[1] . The F irst Laird of Toftfield was John Usher, born 1710. Agnes’s twin sister was Mary Usher, forebear of the donor of this memoir. The Ushers are known to be Norman in origin and came over in the 11th century; the Usher genealogical table in my possession commences Melrose, 1626, and the most recent birth is dated 1956.

[2] . J. G. Lockhart, Memoirs of the Life of Sir Walter Scott , first published 1837–38; the revised 2nd edition of 1839 is regarded as the standard edition.

[3] . Julie Lawson, “Ruskin on Scott’s Abbotsford” in Abbotsford and Sir Walter Scott: The Image and the Influence , ed. Iain G. Brown. Edinburgh: Society of Antiquaries of Scotland, 2003, pp. 161–68.

[4] . Raeburn, Sir Henry. Francis Nacnab . ca. 1810. National Portrait Gallery, London.

[5] . The First Laird of Toftfield was John Usher, born 1710. He purchased Toftfield in 1753. Agnes Cunningham exaggerates the duration of the patrimony; it endured for sixty-four years, not three hundred. However, it is possible that she is referring to other land holdings at Darnick, near Melrose, noted in the Melrose Parish Register.

[6] . The estate included the Rhymer’s Glen, which is associated with Thomas the Rhymer and the Queen of the Fairies, and in Scott’s day was planted with native broadleaf trees. In other words, an enchanted place.

[7] . Another exaggeration. This should read, five years (1815-1820).

[8] . Dr Adam Ferguson, Professor of Philosophy at University of Edinburgh.

[9] . The Ferguson sisters were: Isabella, the eldest, Mary, and Margaret. Walter Scott, The Journal of Sir Walter Scott, ed. W. E. K. Anderson. Edinburgh: Canongate Books, 1998. Internet. Inventory of Adam Ferguson CC20/7/8 p.574 (accessed 5 February 2019).

[10] . Wedder mutton: castrated male lamb, considered the most flavoursome.

[11] . Rummer, a large drinking-glass.

[12] , John Usher (1809–1896) eldest of six sons of his father’s second marriage. John Usher, Poems and Songs . Kelso: Rutherford, 1894. In addition to his artistic accomplishments, John Usher was a noted sportsman and racing enthusiast in the district of Kelso.

[13] . To gump or guddle, (Scot.) to fish with the hands by groping under the stones or banks of a stream.

[14] . Margaret Usher, née Grieve, daughter of Hugh Grieve of Blainslee, nr. Melrose, Roxburghshire (1736–1825).

[15] . Anne Scott, 1803–1833.

[16] . Mary Monica Maxwell Scott née Hope Scott (1852–1920).

Scott and the World in 1824

Thu, 29 Nov 2018 10:59:15 GMT

Thursday 29th November 2018

Summary of the Talk:

Her talk examined the year 1824 as a pivotal moment in a decade of transformation, looking at literary and historical developments and how Sir Walter Scott’s novels of that year— Saint Ronan’s Well and Redgauntlet —responded to the times.

Context of 1824

Literary Developments :

William Hazlitt’s essays The Spirit of the Age assessed key figures shaping the time, including Scott.
Scott’s novels Saint Ronan’s Well and Redgauntlet were published.
A German forgery, Walladmor , falsely claimed to be a Scott translation and was later exposed.
The public funeral of Lord Byron captured the imagination of Britain.
Performance art flourished, including Charles Mathews' impersonations in London and Italian improvvisatore Tommaso Sgricci's spontaneous tragedies in Paris.
Rossini, Beethoven, and Liszt all had significant musical premieres.
The Athenaeum Club and the National Gallery were founded.
King Kamehameha II of Hawaii and his wife died of measles in London.

Scientific and Economic Shifts :

The Vagrancy Act of 1824 criminalized begging.
British financial speculation reached unsustainable heights, leading to an economic bubble.
Key scientific advancements included the Second Law of Thermodynamics, the electromagnet, non-Euclidean geometry, and the Braille alphabet.
Famous consumables such as Cadbury’s chocolate, Colby cheese, and Glenlivet whisky emerged.
The British imperial system of measurement was standardized.

Colonial and Global Events :

Louis XVIII died, succeeded by the reactionary Charles X in France.
The Anglo-Burmese War began.
“Australia” was officially adopted as the name for the former “New Holland.”
The Canada Company was established to promote settlement in Ontario.

Scott’s Response to the Age – Saint Ronan’s Well

Thematic Exploration :

The novel critiques speculation—both financial and social—through land deals, gambling, and social climbing at a spa resort.
The setting in the Scottish Borders features an aristocratic society obsessed with money and status.
The character John Mowbray speculates on land to build a fashionable spa, creating Saint Ronan’s Well.
Scott contrasts this speculative economy with Meg Dods, a traditional innkeeper who thrives on stable land ownership.

Social and Literary Critique :

Scott satirizes the shifting communication networks and the book market, depicting a post office doubling as a circulating library that fails to serve its purpose.
The book reflects the speculative frenzy of the 1820s—mirroring Scott’s own financial dealings.
At the novel’s end, Mowbray demolishes the failed speculative spa, restoring stability.

Real-World Influence :

Innerleithen in the Borders, considered a model for Saint Ronan’s Well , became a real-life tourist attraction.
The Saint Ronan’s Games, established in 1827, and a cookbook by “Mrs. Margaret Dods” marketed themselves on Scott’s novel.

Scott’s Speculative History – Redgauntlet

A Counterfactual Narrative :

Unlike Scott’s earlier Waverley novels, which followed real historical events, Redgauntlet imagines an unsuccessful 1765 Jacobite rebellion that never happened.
This "what-if" history aligns with Isaac D’Israeli’s 1824 essay Of a History of Events Which Have Not Happened.

Parallels with Financial Speculation :

The 1820s saw fictions in finance as well—most notably the fraudulent Poyais scheme, where Gregor MacGregor tricked British investors into funding a non-existent colony.
Redgauntlet and Saint Ronan’s Well both reflect the speculative risks of the age, blending fiction and financial reality.

Conclusion

Scott was not only a participant in the speculative economy but also a perceptive analyst of its dangers. His novels of 1824 explore economic, social, and political speculation in ways that resonate even today.

Interesting Points

Scott's work in 1824 mirrors modern issues – from real estate bubbles to gambling addiction and the flood of low-quality reading material.
A real spa town grew from Saint Ronan’s Well – showing Scott’s role in shaping tourism.
Redgauntlet helped establish alternate history as a genre – published the same year as the first essay on the subject.
Financial fraud and fake news in the 1820s – the Poyais scheme shows how fiction influenced finance.

Download the [Transcript]

A warm welcome everyone to this, the last in the present sequence of talks to the Club, and I can think of nobody better equipped to fill the spot than our present speaker. Angela Esterhammer is Principal of Victoria College and Professor in the Department of English at the University of Toronto (positions incidentally in which she follows in the wake of the great Scott scholar Professor Jane Millgate). She works in the areas of British, German, and European Romanticism and nineteenth-century culture, from perspectives that emphasize performance, improvisation, and print culture. She is the author of Creating States: Studies in the Performative Language of John Milton and William Blake (1994), The Romantic Performative: Language and Action in British and German Romanticism (2000), and Romanticism and Improvisation, 1750-1850 (2008). Professor Esterhammer is also the General Editor of The Edinburgh Edition of the Works of John Galt, an international project to publish a 15-volume critical edition of Galt’s fiction and related non-fictional prose.

Tonight’s talk relates to her new book entitled Print and Performance in the 1820s: The Late-Romantic Information Age , which is forthcoming from Cambridge U.P. in 2019. This book examines interrelations among popular fiction, literary magazines, and innovative forms of theatre during the 1820s, a decade of rapid transformations in media, mobility, consumerism, and reading habits.

Specifically, the present talk will relate Saint Ronan’s Well and Redgauntlet to current events of the mid-1820s, especially the climate of speculation that dominated financial and literary markets.

Synopsis: With rapid changes taking place in mobility, communications, technology, and lifestyle, the 1820s felt like an era of transformation – and the year 1824 may be regarded as the crux of that volatile decade. This talk surveys events of 1824 in the literary-cultural centres of Edinburgh and London in conjunction with the era’s socioeconomic context, which was marked by rampant financial speculation that led to financial crisis by the end of the year. Against this background, the two novels that Scott published in 1824 reflect the spirit of the age. Saint Ronan’s Well , his only novel with a nineteenth-century setting, thematizes land speculation, marriage-market speculation, and gambling; responding to the risky economics that dominated the mid-1820s, it also critiques the publication practices and reading habits of its day. Appearing in June of 1824, Redgauntlet: A Tale of the Eighteenth Century approaches the theme of speculation in a different way, constructing an alternate history of the mid-eighteenth century by raising the possibility that a third Jacobite uprising might have started in 1765. Setting Redgauntlet in the context of real-life speculations of the 1820s suggests that – despite being himself caught up in the investment mania of the 1820s – Scott was an insightful analyst of the speculative spirit of the age.

What Sir Walter Scott did for Hollywood

Thu, 04 Oct 2018 14:12:05 GMT

Thursday 4th October 2018

Summary of the Talk:

David Bruce's talk explores the lasting influence of Sir Walter Scott's works on cinema, even long after Scott's death in 1832, well before the birth of film and photography. Despite Scott being a writer whose work primarily lived on in the written word, his stories found their way into the very earliest films, even before cinema had sound. He discusses Scott's impact on the development of Hollywood and global cinema, detailing how his novels were mined for screen adaptations, particularly during the silent film era.

Key Points from the Talk:

Early Influence on Cinema:
Scott's influence was immediate, beginning with early films like Rob Roy (1911), which was the first British three-reel fiction film.
His works, like Ivanhoe and The Lady of the Lake , inspired numerous adaptations even in the silent film era, which often used his stories due to their broad international appeal and the ease of translating intertitles across languages.
Scott's Cultural Impact:
Mark Twain famously critiqued Scott, particularly for romanticizing the past and its influence on the Southern United States' chivalric culture, which some argue contributed to the Civil War.
Scott also influenced American frontiersmen and even the Mohawk people, who found similarities between his depictions of clan societies and their own cultures.
Photographic and Cinematic Connection:
Scott's influence extended to the birth of photography, with pioneers like William Henry Fox Talbot being inspired by Scott's works, particularly The Lady of the Lake , in their photography books.
The link between Scott's literary depictions of Scotland and the visual arts is noted, as his works were instrumental in shaping the romanticized view of Scotland that would later be perpetuated by cinema.
Hollywood's Use of Scott's Works:
Scott's stories were particularly useful for early filmmakers who needed scripts for the fast-growing cinema industry. Movies based on his works were often produced because the stories were already well-known to international audiences through translations.
However, these early films often treated Scott's stories as mere titles to attract audiences, with little regard for their literary depth or cultural significance.
Later Criticism and Tartanization:
Bruce also critiques the "tartanization" of Scotland in Hollywood films like Brigadoon (1954), where Scotland is depicted as a quaint, romantic land. This portrayal, which is largely rooted in Scott's idealized vision of Scotland, has been criticized for distorting real Scottish culture.
Films like Braveheart (1995), which borrow from Scott's romanticized vision, also fuel the idea of Scotland as a land of nostalgia and romanticized heroism, though not always in a historically accurate way.
The Legacy of Scott in Modern Scotland:
The debate continues in Scotland over the legacy of Scott's influence, particularly in films. There are concerns that Scott's romanticized Scotland still shapes modern perceptions of the nation, potentially distorting the real, more complex aspects of Scottish identity.
Bruce closes by reflecting on how modern Scottish cinema has attempted to move beyond Scott's influence, with films like Trainspotting and Sweet Sixteen offering a more contemporary, gritty portrayal of Scottish life.

Interesting Points:

Scott's works were foundational in shaping the American Western genre, as elements of his medieval chivalric tales influenced the conventions of the cowboy shoot-out.
The creation of the fiery cross in The Lady of the Lake was later appropriated by the Ku Klux Klan , linking Scott’s romanticization of clan societies to much darker uses.
While Scott’s cultural legacy in films is often seen as a source of nostalgia and beauty, there’s a darker side in which his idealized Scotland has been misappropriated in ways that distort the nation's real history and identity.

This talk highlights the far-reaching effects of Scott's work on both literature and cinema, while also delving into the complexities of his legacy, which continues to influence both Hollywood and contemporary Scottish culture.

Download the [Transcript] - includes images

David Bruce is a former Director of the Scottish Film Council and of the Edinburgh International Film Festival. He is also a former Director of the British Universities Film and Television Council, where he developed a particular interest in film as a resource for research, and which led during his time at the Scottish Film Council to the foundation of the Scottish Film Archive, now part of the National Library of Scotland as the ‘Moving Image Archive’. He was Chairman of the Historical Group of the Royal Photographic Society (of which body he is a Fellow), and of the Scottish Society for the History of Photography.

His books include, Sun Pictures the Hill–Adamson Calotypes; Edinburgh Past and Present (with the late Maurice Lindsay); Scotland – the Movie; Photography and the Doctor; Greatrex , the true story of the photographer and forger pursued by a Glasgow cop to New York in 1866; and Letters from the Winding Nile based on correspondence from a Glasgow merchant who, in 1856–57 set out to see the sights and confirm the truth of the Bible.

Synopsis: It is an extraordinary fact that in the early years of cinema, at the beginning of the twentieth century, the novels of Sir Walter Scott provided the basis for hundreds of films. This was of course in the days of silent cinema and there is irony in that the author’s words could only appear briefly as inter-titles on screen, and it would be many years before they would be heard, as cinema acquired sound. David Bruce explores the phenomenon of why Scott’s works were so popular in this crucial period in moving image culture.

‘What Sir Walter Scott did for Hollywood’ began, many years ago, as a piece of light entertainment, but gradually acquired more gravitas as it was subjected to scrutiny and comment by a succession of audiences. It also widened out to include writers other than Scott whose contribution to cinema, and whose influence through cinema on our own culture, may have significantly affected us – for better or worse.

David Stewart of Garth, Scott’s “Highlander of the Old Stamp”

Thu, 06 Sep 2018 12:24:52 GMT

Thursday 6th September 2018

Summary of the Talk:

Dr. Stuart Allan, Keeper of Scottish History & Archaeology at the National Museum of Scotland, presented a richly detailed lecture on Major-General David Stewart of Garth—a soldier, antiquarian, and writer who played a significant role in shaping romanticised ideas of Highland culture in the 18th and 19th centuries.

Stewart, known for his book Sketches of the Highlanders , was a close friend of Sir Walter Scott and collaborated with him on the 1822 royal visit of George IV to Edinburgh. He was also a prominent member of the Highland Society of London and an active promoter of tartan, clan history, and the Highland image.

Dr. Allan emphasised Stewart’s dual identity: both a real Highlander and a conscious shaper of the Highland myth. Far from being an impostor, Stewart was deeply rooted in Gaelic traditions and military service, yet also helped codify and romanticise Highland customs for a wider audience, navigating the tensions between authenticity and reinvention.

The lecture concluded with reflections on Stewart's role in preserving both Jacobite and Hanoverian military colours from the Battle of Culloden, a symbolic act of reconciliation.

Interesting Points:

Stewart’s Poem for Scott (1828):
Stewart wrote a playful poem incorporating Walter Scott’s name at the request of autograph seekers—evidence of their long-standing friendship and mutual respect.
Sketches of the Highlanders (1822):
Originally meant to be a history of the Black Watch, it evolved into a broad ethnographic work documenting Highland regiments, clan culture, and social change. Some material was toned down for political reasons.
Promotion of Highland Dress and Identity:
Stewart actively gathered tartan samples from clan chiefs and helped popularise the idea of clan-specific tartans—an innovation later commercialised by tartan manufacturers.
The 1822 Royal Visit:
Stewart drilled the members of the newly formed Celtic Society for their ceremonial role in Scott’s pageantry. Unlike others, he needed no costume—he was already the real thing.
Criticism and Debate:
Figures like Alasdair MacDonell of Glengarry criticised "affinity Highlanders" for romanticising Highland culture without authentic lineage. Stewart, however, remained rooted in the real traditions.
Culloden Flags:
Stewart was instrumental in preserving the opposing regimental colours from Culloden and requested they be displayed together as a gesture of peace and reconciliation.
Colonial Service and Views on Slavery:
Appointed governor of St Lucia, Stewart sought reforms to improve the conditions of enslaved people, calling the trade "atrocious and inhuman"—a progressive stance for his time.
Military Gallantry:
Stewart was wounded at the Battle of Alexandria and led a crucial advance at Maida, where legend claims he shot a fellow officer to restore order—a testament to his command resolve.
Legacy:
Stewart embodied the fusion of romantic imagination and lived tradition. While his work helped shape the global image of Scotland, he remained a genuine product of the culture he helped promote.

Introduction by Prof. Peter Garside:

It’s a great pleasure to introduce Dr Stuart Allan as this evening’s speaker. Stuart is Keeper of Scottish History & Archaeology at National Museums Scotland, head of a department of over 25 specialist curators whose expertise covers the material culture of Scotland from around 13,000 BC to the present day. Stuart has delivered several successful exhibitions at the National Museum of Scotland including Common Cause: Commonwealth Scots and the Great War 2014 , and Admiral Cochrane: the Real Master & Commander ; and at the National War Museum in Edinburgh Castle, where he began his museum career. He is the author of a number of research publications, including Commando Country , a study of the Second World War special training centres in the Scottish Highlands. In 2017 he was joint recipient of a major research grant from the Arts and Humanities Research Council for the project Baggage & Belonging: military collecting and the British Empire 1750-1900 which is a UK-wide interdisciplinary study of the culture of collecting by soldiers in the context of colonial warfare. His collaborative research has also received funding support from the Royal Society of Edinburgh and the British Academy.

Stuart has been with National Museums Scotland since 2000, previously as Principal Curator of Modern & Contemporary History, and before then as Senior Curator of Military History. His earlier career included positions at Aberdeen Art Gallery and Museums, the Gordon Highlanders Museum, Aberdeen, and the National Records of Scotland. He is a member of the Joint Advisory Committee of the Faculty of Advocates Abbotsford Collection Trust and the Abbotsford Trust; and an honorary adviser, military collections, for the National Trust for Scotland.

Stuart’s title features David Stewart of Garth as Scott’s ‘Highlander of the Old Stamp’, which I believe is a quotation from a letter of Scott’s to J. G. Lockhart of 14 July 1828. The name rings a particularly sharp bell for me personally, since later that year Stewart, on the point of taking up a Governorship in the West Indies, wrote to Scott requesting that, as several ladies among his friends were anxious to have Scott’s autograph, he (Scott) would therefore ‘favour me with a few lines, and scribble your signature as often as the paper will hold’. The resulting verses, which survive in a letter of Scott’s now held by a library in Switzerland, and which repeat Scott’s full name in alternating lines, was sensibly not cut up to satisfy autograph hunters, and the following text will appear in the forthcoming collection of Scott’s Shorter Poems I’m currently editing with Gillian Hughes .

Brave Stuart, name without a blot

Yours to command is Walter Scott.

What ere in Waverley is wrote

I bear the blame, quoth Walter Scott.

A grey auld man sore failed I wot

There’s life in’t yet, said Walter Scott.

Trees did he plant and lands he bought

A Darnick Laird was Walter Scott.

He loved a man that bravely fought

And Garth was friend to Walter Scott .

With Highland Chiefs he had a vote

For well the plaids loved Walter Scott.

The greyhounds good were fleet as thought

Till age lamed them and Walter Scott.

Call this vile stuff—I reck it not

So there’s an end of Walter Scott.

Dr Allan’s own approach will reflect his long-standing interest in the relationship between military service, and the adoption of Highland traditions as symbolic of Scotland in the late 18th and early 19th centuries. He is currently leading a team working on a forthcoming major exhibition embracing this theme, which he will be introducing to you through his talk this evening.

Colloquium on The Heart of Midlothian

Sat, 18 Aug 2018 15:43:42 GMT

Saturday 18th August 2018

Summary of the Colloquium:

Professor David Purdie delivered a richly engaging presentation on Sir Walter Scott’s The Heart of Midlothian , focusing on his own redacted edition and the novel’s literary, historical, and cultural significance. The event was part of the Sir Walter Scott Club’s annual colloquium, traditionally timed near Scott’s birthday and held within Edinburgh’s historic centre—a fitting setting for a novel deeply tied to the city.

Purdie explained that his redaction aimed to bring Scott to a new generation by reducing the novel's length and clarifying archaic language, without losing the integrity of its powerful story. The original text—nearly 190,000 words—was trimmed to 90,000, more in line with modern novels. He described this editorial process as analogous to surgery: removing unnecessary tissue while preserving the life of the patient.

The story's historical foundation in the 1736 Porteous Riots was explored in depth, as was Scott's likely inspiration from the real-life tale of Helen Walker. Purdie noted how Scott fused historical fact with fiction and emphasised Jeanie Deans as one of his most compelling heroines—a symbol of moral integrity, even at great personal cost.

Purdie also reflected on Scott’s polymathic mind, his meticulous historical research, and his contribution to Scottish cultural identity, including his resistance to the erasure of Scottish institutions like its legal system and currency.

Interesting Points

1. Redaction as Surgical Editing:
Purdie likened editing the novel to surgery—cutting unnecessary material while keeping the novel’s essence alive. He removed around 1,700 commas and many colons, restructured sentences, and clarified vocabulary, making the text more readable for contemporary audiences.

2. Storyline as the Engine:
The main goal was to maintain Scott’s “tremendous storyline.” Purdie aimed to keep the dramatic arc intact—particularly the power of Jeanie Deans’ journey and the moral dilemma at the novel’s heart.

3. Jeanie Deans’ Moral Choice:
A major discussion point was whether Jeanie should have told a "white lie" to save her sister Effie. This moral integrity is a linchpin of the novel and provoked lively audience debate, with reference to George Bernard Shaw’s view that in a stage version, audiences would beg her to lie.

4. National Identity and Politics:
Themes of Scottish identity and resentment at English overreach surfaced, especially in relation to the Porteous Riots and Jeanie’s journey to London. Scott’s nuanced patriotism—valuing Scottish institutions within a British framework—was evident. He was proud of Scotland’s legal and religious autonomy and defended its right to retain unique features, like its own banknotes.

5. Personal Anecdotes and Humour:
Purdie added levity with stories, including childhood visits to Edinburgh, family links (possibly!) to Tom Purdie, Scott’s loyal servant, and reflections on Scott’s lameness from polio, which may have shaped his path as a writer rather than a soldier.

6. Artistic Legacy and Misreadings:
He discussed evolving portrayals of characters like Effie Deans, noting that Victorian and later artists sometimes romanticised or reinterpreted characters in ways that may not align with Scott’s original vision.

7. The Unnecessary Final Volume?
Purdie cut the final part of the novel, arguing it lacked narrative energy and coherence with the main storyline. He felt it had been added to fulfil contractual obligations and offered a more melodramatic and idealised vision of Scotland that diluted the earlier dramatic tension.

8. Educational Challenges:
Purdie noted how modern readers—especially students—struggle with Scott’s density, vocabulary, and unfamiliar references. His footnotes were designed to be “chatty and humorous,” helping readers bridge the cultural gap.

Introduction by Prof. Peter Garside:

Welcome everybody to this year’s Scott Club Colloquium, an event which is customarily timed to be as close as possible to Scott’s birthdate on 15 August (we’re within three days on this occasion). In the last two decades we’ve also been blessed by the opportunity to celebrate a number of key literary bicentenaries, such as the Lady of the Lake in 2010 and Waverley in 2014. An effort has also been made in some instances to fit the location of the colloquium to the work in question, the Trossachs in the case of the Lady or in that of Waverley Abbotsford, where Scott is famously supposed to have retrieved his unfinished first novel from a desk drawer in a lumber room before resuming it during the Christmas vacation of 18134/14. Last year we first intended to hold the colloquium on Rob Roy in Ross Priory at the foot of Loch Lomond before the cost of the booking and travel made this inadvisable, turning instead to the the New Club at lunchtime, a venue and timing which from the turnout appears to suit a number of our members. This year round one might claim (if the expression has any remaining validity) to have a Cake-and-Eat-It situation, in that the location admirably fits the present work under consideration: that is, The Heart of Mid-Lothian , first published in the summer of 1818, and arguably Scott’s one and only fully Edinburgh novel in terms of setting and leading concerns. Of course it hasn’t been possible to hold this colloquium exactly in the location that gives the novel its title—no, not the football Club, but the old Edinburgh Tolbooth, demolished in 1817—but we are within a mile or so of some of the places where main events in the story occurred, the site of then gallows in the Grassmarket, the Edinburgh Law Courts in Parliament Square, and the grasslands beneath Salisbury Crags.

We also have a specially qualified speaker today in Professor David Purdie, already known to many of you I’m sure as a two-term Chairman of this Club, holding the office that is for six years during which he helped raise the profile of meetings and hosted some memorable dinners. David is a medical Professor Emeritus and a former Clinical Sub-Dean of the Leeds University Medical School, his specialism I believe being Osteoporosis, the brittle bone disease. Since retirement he has given fuller vent to another side of his intellectual interests, establishing himself as a leading light on the Edinburgh intellectual scene, and an authority on Burns, Scott, and the Scottish Enlightenment among other things. As well as work in preparing the 4th edition of The Burns Encyclopedia , he is the author of a humorous book on golf, and an Honorary Fellow of the Institute for Advanced Studies at the University of Edinburgh, where he has been working on a revision of David Hume’s key philosophical texts. More apposite still to our present situation, he has published redactions of two novels by Scott aimed at facilitating the modern reader, Ivanhoe in 2012 and the Heart of Mid-Lothian in 2014 (of which I note there have already been four reprintings). The main plan today is that Professor Purdie will talk for about 20-25 minutes, covering both the novel and his own work in adapting it, this being followed by a general discussion amongst those present, the formal meeting then ending with sandwiches at about 1pm. I have with me copies of some of the main manifestations of the Heart during its long publishing history, including parts of the 4-volume first edition and Magnum Opus version, the EEWN volume, and David’s own redaction, in case anyone would like to consult these afterwards. Also a short list of possible topic for discussion, if needed, though this may well be left behind by the time our speaker has finished. Professor Purdie.

Scott's Shorter Verse: Versatility in an Edinburgh and European Poet

Thu, 14 Jun 2018 15:23:52 GMT

Thursday 14th June 2018

Summary of the Talk:

Professor Peter Garside's talk examines Walter Scott's shorter poems, which provide insight into his poetic evolution and European connections. The paper was prepared for The Edinburgh Edition of Walter Scott’s Poetry and specifically addresses the editorial challenges of compiling Scott’s shorter poems, some of which have never been published before. Garside notes the complexities of Scott’s prolific yet varied poetic work, which spanned different languages, cultures, and genres.

Editorial Approach : Garside discusses the editorial process involved in compiling Scott’s shorter poems, detailing issues like textual sources, the definition of "shorter poems," and the challenge of organizing them either thematically or chronologically. The collection includes poems Scott wrote after the publication of Waverley (1814), showing his continued poetic engagement.
Poetic Development : The talk traces Scott's poetic journey from early translations of Virgil’s Aeneid to the influence of German, French, and other European languages, reflecting his growing international perspective. Scott’s early work included translations, such as those of Goethe and Bürger, as well as poems inspired by his relationships and personal experiences.
German Influence : A significant portion of Scott’s poetic development is tied to his engagement with German literature, especially during his youth. German translations played a crucial role in Scott’s career, and his literary circle in Edinburgh fostered this interest. Scott also wrote songs based on German folk tunes, which were published and sometimes inspired by the context of war and political upheavals in Europe.
European Political Engagement : Scott’s work frequently intertwined with European politics, especially during the Napoleonic Wars. For example, his poem The Rouze of the Royal Edinburgh Light Dragoons relates to his personal involvement in volunteer military efforts during the French invasion threat. His poems also celebrated British military successes, including the Peninsular War.
Final Works : Garside also delves into Scott’s later works, including the final poem written under the shadow of illness, highlighting the decline in Scott’s abilities but also the continued engagement with European figures like Princess Zenaide Wolkonsky. The talk concludes by reflecting on how Scott's sense of Europe as a unified entity contrasts with modern political movements, such as Brexit, and his own resistance to Britain’s detachment from European affairs.

Interesting Points:

Scott’s Relationship with Europe : The extent to which Scott integrated European influences, particularly from Germany and France, into his work is striking. His language acquisition and translations were not just scholarly exercises but were intimately tied to his personal and political growth.
Personal Influence : It’s fascinating how Scott’s romantic relationships, such as his courtship of Jessie and Williamina Belsches, directly impacted his poetic output, adding a layer of personal depth to his works.
Scott’s Later Life and Illness : The fact that his later poems, particularly the final one written while severely ill, explore the limitations imposed by aging and illness, provides a poignant view of Scott's mindset in his last years.
Modern Parallels : Garside’s comparison of Scott’s vision of Europe with contemporary issues like Brexit is particularly thought-provoking. Scott's belief in European unity, despite political and cultural differences, contrasts sharply with modern sentiments that favour national isolation.

Download the [Transcript]

Download the [Notes]

Peter Garside worked for more than thirty years at Cardiff University, where he became Director of the Centre for Editorial and Intertextual Research, subsequently being appointed as Professor of Bibliography and Textual Studies at the University of Edinburgh, of which he is now a Professorial Fellow. He has edited scholarly editions of key works by a variety of Scottish authors, these including James Hogg’s Confessions of a Justified Sinner and Walter Scott’s Waverley , both for Edinburgh University Press (2001, 2007); he is also co-editor of English and British Fiction 1750-1820 (Oxford University Press, 2015).

Synopsis: The talk examines the deep and diverse European component in Scott’s occasional verse, over a period of half-a-century, ranging from his early effort at versification at Edinburgh’s High School in the early 1780s, in description of an eruption of Mount Etna, to the final attempts of a seriously unwell, though internationally celebrated author in Naples in 1832, in response to the request of a Russian Princess. Texts discussed are taken from those since made available in his edition (with Gillian Hughes) of The Shorter Poems (Edinburgh University Press, 2020) for the Edinburgh Edition of Walter Scott’s Poetry.

Buy the book here: [EUP]

Scott in the Primary School: Past and Future

Thu, 17 May 2018 16:25:56 GMT

Thursday 17th May 2018

Summary of the Talk:

Eileen Dunlop reflects on her experience teaching Sir Walter Scott's works in primary schools, particularly in the context of Scotland's evolving educational landscape. She discusses her own education in the 1940s and 1950s, contrasting it with the reforms and innovations in primary teaching that she witnessed as a teacher during the 1960s and 1970s.

Dunlop emphasizes the challenges of introducing Scott to young readers, especially in the modern age where shorter attention spans and digital distractions prevail. While Scott's works might seem daunting, she believed in making literature engaging by connecting it to students' real-world experiences, such as through the study of Edinburgh's history, which naturally linked to Scott's writings.

She recounts how she brought Scott into the classroom through creative projects, including reading " Young Lochinvar " and " The Heart of Mid-Lothian ," and tying these works to local history and geography. Dunlop's teaching approach was not just about reading, but involved creative activities like drama and model-building, which helped students connect with Scott's world. However, she notes that Scott's more complex works, such as The Heart of Mid-Lothian or The Two Drovers , often proved too challenging for young pupils.

Dunlop also discusses the educational reforms of the 1960s and 1970s, such as the Plowden Report in England, which influenced primary teaching methods. She highlights how the curriculum shifted towards a more student-centered approach, emphasizing creativity, critical thinking, and interdisciplinary projects. She also reflects on how the perception of education shifted from preparing children for a life of leisure (in a society dominated by manual labor) to one where students face greater demands and longer working hours.

In terms of the future, Dunlop expresses cautious optimism, noting initiatives like Lee Simpson's work to introduce younger students to Scott's works in an engaging, interactive way. She suggests that Scott’s work might be revived in schools through external programs, such as creative writing or music projects, and hopes that these efforts will help preserve his legacy.

Interesting Points to Mention:

Historical Education Comparison: Dunlop vividly contrasts the education system she experienced in the 1940s, dominated by rigid methods and limited resources, with the more progressive teaching methods that emerged during the 1960s. This shows the transformation of educational practices over time and the evolving role of literature in the curriculum.
Teaching Scott through Geography and History: One of her innovative methods was integrating Scott's works with geography and history lessons, particularly using Edinburgh as a focal point. By doing so, she made Scott's writing more accessible and connected to the students' environment.
The Challenge of Scott’s Complexity: While Dunlop was passionate about introducing Scott to young children, she acknowledged that some of his works were too complex for primary school students. This highlights the need for careful selection of texts to ensure they are age-appropriate while still capturing the essence of Scott’s themes.
Educational Reforms and the Impact on Teaching Literature: The discussion of the Plowden Report and the subsequent educational reforms provides insight into how teaching methods have changed over time, focusing more on child-centered learning and creativity.
The Future of Scott’s Legacy: Dunlop's belief that Scott's works might not return to widespread popularity in schools but could still enjoy a revival through external educational projects speaks to the potential for revitalizing interest in classic literature by adapting it to modern needs.

Download the [transcript]

A Tale of Two Homes: Abbotsford and Mertoun, and Two Families

Thu, 05 Apr 2018 13:55:47 GMT

Thursday 5th April 2018

Summary of the Talk:

This lecture presents a personal and richly detailed account of the friendship and correspondence between Sir Walter Scott (1771–1832) and his fourth cousin Hugh Scott of Harden (1758–1841), ancestor of the author, James Hepburne Scott. It blends family history with extracts from Scott’s letters, offering insights into social customs, political sentiments, and daily life in the Scottish Borders during the late 18th and early 19th centuries.

Key topics include:

Scott’s family ties with the Scotts of Harden and regular visits to their estate at Mertoun .
Courtship and marriage of Walter Scott and Charlotte Charpentier, with involvement from the Harden family.
Scott's correspondence with Harriet Scott (Hugh’s wife), showcasing mutual respect and affection.
Scott’s purchase and development of Abbotsford , partly motivated by his desire to be near his Harden cousins.
Political commentary, including Scott’s anxiety over unrest in industrial towns and efforts to form local militias.
A rich mix of social history , including children’s lives, holiday gatherings, otter hunts, family tragedies, and Scott’s own health struggles.
Scott’s financial ruin following the collapse of his publisher and printer in 1826 and his determined effort to repay debts.
His declining health and final letters before his death in 1832.

Interesting Points

Personal Warmth
Scott’s letters to Harriet Scott are warm, witty, and respectful. He often visited Mertoun and described it as a second home. The affection between the families is touching, and his children were close to the Harden children.
Historical Value
The document contains unique primary-source material not commonly found in published works—such as references to a seal found at Flodden Field, a joug (iron collar) used for public punishment, and Scott’s view on early railway proposals.
Scott's Letter About the Baronetcy
When offered a baronetcy, Scott consults both the Duke of Buccleuch and Hugh Scott of Harden, calling them “heads of my clan.” He valued their opinion on honour above all.
Scott’s Political Conservatism
In the face of social unrest in 1819, Scott is deeply alarmed. He helps raise a local militia and speaks of arming shepherds as sharpshooters—revealing his fear of revolution and strong loyalty to the Crown.
Financial Integrity
Despite being ruined in 1826, Scott laboured with dignity to repay around £120,000. In his final letter (1832), he writes with pride that he owes "not a halfpenny."
Poignant Reflections on Widowhood
After Charlotte’s death, Scott revisits Mertoun and sleeps in a room from his youth, reflecting bitterly on the loss of his wife and the fading of his early ambitions—a moving moment of introspection.
Amusing Anecdotes

Scott jokes that a singing governess “ought to be assassinated.”
Maria Edgeworth's account of Mertoun is entertaining and sharp, offering a contrasting outsider view.
His fondness for practical jokes and teasing is evident in many letters.

8. Scott as a Connector of People

He helped his son Walter with introductions and social placement, always mindful of reputation and propriety—especially through the aid of Mrs Scott of Harden.

Download the [transcript]

Introduction by Prof. Peter Garside:

I’m especially delighted to introduce today’s speaker James Hepburne Scott, who is presently President of the Royal Scottish Forestry Society, a position which coincides fittingly with the Club’s honouring of Scott’s own lifelong interest in afforestation as part of this year’s events. He is proud to call himself a kinsman of Sir Walter Scott, his ancestor and Sir Walter being third cousins. More recently his parents were on good terms with Patricia and Dame Jean Maxwell-Scott. Through the Royal Scottish Forestry Society, he himself was an early adviser to the Abbotsford Trust on the management of the woods on the estate. His wife, Christian, also worked for two years in a voluntary capacity on the re-design and furnishing of the Hope Scott Wing at Abbotsford.

His talk today will focus on Scott’s relationship with the Scotts of Harden at Mertoun House. Much has been made by biographers of Scott’s feelings of clan loyalty to the Scotts of Buccleuch, but if anything he had a closer and more intimate sense of kinship with the family branch of Harden. He took especial delight in his lineal descent from Walter Scott, 3rd Laird of Harden (‘Auld Wat’), married to the legendary ‘Flower of Yarrow’, and renowned for his border exploits as recounted to Scott by his grandmother. Scott’s grandfather held the lease of Sandyknowe, and of course Smailholm Tower with it, from ‘his Chief and relative’ (Scott’s words) the then laird. And he was on intimate terns throughout his adult life with current laird, Hugh Scott and his Saxon wife Harriet Bruhl, daughter of a famous chess-player, and herself a supplier of German books to Scott at the onset of his literary career. In researching materials for a forthcoming edition of Scott’s Shorter Verse, we were able to locate two original Scott poems in the Scott of Harden papers now lodged in the Register House, the first swearing loyalty the Scott of Hardens’ first-born son Charles Walter who sadly died in 1806, another providing at Harriet’s request an epitaph for another son, George who died prematurely in 1830 while rector of a parish in Devonshire. An earlier Journal entry by Scott in 1827 gives a sense of how joyous the relationship between the two families, enhanced by Scott’s move to Abbotsford in 1812, could be in more favourable circumstances: ‘We arrived at Mertoun yesterday and heard with some surprize that George had gone up in an Air balloon and ascended two miles and a half above this sublunary earth. … Honest George, I certainly did not suspect him of being so flighty’. I’m sure I’m not alone in being eager to hear more of such happenings from someone so closely connected with the Hardens of Mertoun.

The Scott Family Graves

Mon, 12 Feb 2018 17:09:52 GMT

Professor Peter Garside gives an account of key burial sites relating to Scott and his family, with a view to religious and other circumstances underlying each, and including details of the hitherto neglected monument to Scott's daughters in Kensal Green Cemetery.

In view of recent interest in the monument to Sir Walter Scott's two daughters, Anne (1803-33) and Charlotte Sophia (1799-1837), in Kensal Green Cemetery, London, it seems a fitting time to review the larger history of burial sites relating to the Scott family. Viewed as a whole, one is first struck by the wide dispersal of surviving monuments: a factor which has encouraged some commentators to suspect an element of dysfunctionality in the situation. John Sutherland, for example, senses a wider cultural division in the separate burial places of Scott’s parents, the ‘strict’ Presbyterianism of his father finding a suitable resting place in Old Greyfriars Kirkyard, a culturally broader leaning to Episcopalianism in his mother a more fitting one at the newly-built St John’s Chapel in Princes Street. [1] Not dissimilarly, feminist interpreters today might sense a degree of patriarchal privilege in the grouping of Scott himself alongside his son and heir, Walter, and son-in-law Lockhart, in the splendid setting of Dryburgh Abbey, compared to the relatively modest, hard-to-find, and hitherto neglected tomb in Kensal Green. Further investigation however suggests more diverse reasons for such disparities, both in immediate terms and more broadly, the history of the graves in part reflecting a shift in burial customs from crowded inner-city churchyards to newer cemeteries in the early nineteenth century.

The accepted burial place of Scott’s father, Walter Scott, Writer to the Signet, is marked in Greyfriars Kirkyard by a partly upright headstone, with no discernible inscription, below which is placed a more modern horizontal plaque recording the event.

According to the Burial Register, his remains were deposited on 18 April 1799. As Scott noted in an MS memorandum of 1819: ‘Our family [was] heretofore buried in the Greyfriars’ churchyard, close by the entrance to Heriot’s Hospital, and on the southern or left-hand side as you pass from the churchyard’.

[2] As such, it has a clear view of the west end of the Kirk, though there is no larger monument suggesting anything like a pre-existing family burial site. As a regular attender of the church, and long-standing elder, it was only natural that Walter Senior should be interred there, within a few hundred yards of his home in George Square, perhaps having secured further burial rights for his family.

According to a letter of Scott himself to his brother Thomas in late December 1819, two of their siblings, Anne (1772-1801) and John (d. 1816) had already been buried in the same place, though the experience of the latter’s funeral had proved somewhat distasteful for him: ‘When poor Jack was buried in the Greyfriars churchyard, where my father and Anne lie, I thought their graves were more encroached upon than I liked to witness’ ( Letters , 6.75).

Scott’s fictional account of the funeral of Mrs Margaret Bertram in Guy Mannering (1815), set in the early 1780s, offers a similarly jaundiced view, in describing the ragged ‘sable procession’ to the site and the grotesque nature of the family mausoleum decorated with ‘scythes and hour-glasses, and death’s-heads, and cross bones’: ‘Here then, amid the deep black fat loam into which her ancestors were now resolved, they deposited the body’.

[3] In addition to the overcrowding of such graveyards, with older corpses being smashed up as fresh graves were dug and coffins plundered for wood, by the 1820s in Edinburgh, there was also the fear of ‘resurrectionists’ plundering new graves to provide specimens for anatomical dissection. Two iron cages known as mortsafes were used to cover fresh graves in Greyfriars, while watch-groups were also formed to act as a deterrent.

Such considerations clearly helped determine Scott’s choice of St John’s Chapel, at the west end of Princes Street, as a suitable resting-place for his mother. As he wrote in another letter to Thomas, of 10 January 1820: ‘Her remains were deposited in the new burial ground annexed to the Episcopal chapel & close to the West church. It is a large one sufficient for two families under all the common casualties of life and much more effectually secured than our open place of sepulchre in the Greyfriars.’ ( Letters , 6.107).

As Scott goes on to indicate, he had purchased one quarter of a larger plot of eight places from Robert Rutherford, the son of Daniel Rutherford, the latter being a half-brother of Scott’s mother, as a result of her father Professor John Rutherford having remarried. A second quarter had been secured at the same time on behalf of the Russell family (of Ashestiel), themselves related to the Rutherfords (and so Scotts) by marriage. These purchases were timely, the death of Scott’s mother on 24 December being preceded by those of Daniel Rutherford and his sister Christian (a close confidante of Scott as a young man) on the 15th and 18th respectively. In recording these earlier deaths, Scott took comfort in his letter to Tom on 23 December ( Letters , 6.75) in the security of the new burial site (‘It is surrounded with very high wall, and all the separate burial-grounds …are separated by party-walls going down to the depth of twelve feet’), as well as in the prospect of his mother being reunited with her close family (‘so the brother and the two sisters, whose fate has been so very closely entwined in death, may not be divided in the grave’). The structure known as the Dormitory, on the east end of St John’s Church, is still intact, though building works presently prohibits entrance, and a standing stone has been added on the green in more recent times to commemorate that Scott’s mother lies there.

Further information concerning the original disposition of the ground and subsequent burials can be found in Richard D. Jackson’s excellent ‘Scott and St John’s’, published in the Club’s Bulletin for 1999/2000, partly incorporating materials garnered by C. S. M. Lockhart for his Centenary Memorial (1871).[4]

The issue of whether the choice of this site reflects a leaning towards Episcopalianism is more complex. Both Scott and his wife Charlotte are listed as members of the qualified Episcopal congregation of Charlotte Chapel, at the west end of Rose Street, effectively the forerunner of St John’s, and his children were baptised by Daniel Sandford, the incumbent in both chapels and eventually Bishop of Edinburgh. Familiarity with the social circle there, which included the Duke of Buccleuch and the banker Sir William Forbes, would no doubt have helped make the burial ground next to the new church (consecrated in 1818) in Princes Street congenial for Scott and his maternal relatives and might also have eased the way in securing a plot. However, there is no evidence of Scott having attended St John’s as a place of worship, and as to his mother his remark to Tom that among other advantages ‘It is also close to the West Kirk [i.e. St Cuthbert’s] where our mother latterly attended divine worship’ ( Letters 6.107) would strongly suggest that she had remained loyal to the Presbyterian persuasion.

Scott’s determination to be buried himself in Dryburgh Abbey was long-standing, and based on rights once belonging to the Haliburton family on his father’s side. In 1728, Scott’s paternal grandfather, Robert Scott, tacksman of Sandyknowe, had married Barbara, daughter of Thomas Hamilton of Newmains, who had acquired lands containing Dryburgh Abbey in 1700 and in which he himself was buried in 1753. The lands then passed to his younger brother, Robert, born in 1718, who sold them to Lieutenant-Colonel Charles Tod in 1767, after which in 1783 they were acquired by the Earl of Buchan. Scott, in his ‘Ashestiel’ Memoirs of 1808, laments the profligacy of his great uncle, the seller, and affirms that his own father could have purchased the estate ‘with ease’, had he not been wrongly persuaded otherwise: ‘And thus we have nothing left of Dryburgh although my father’s maternal inheritance but the right of stretching our bones where mine may perhaps be laid ere any eye but my own glances over these pages.’[5]

From an early point Scott seems to have gone out of his way to affirm this right. Writing to his friend William Clerk in 1790, he describes a meeting with the Earl of Buchan, during which ancestry and the Abbey both featured: ‘Heard a history of all his ancestors … From counting of pedigrees good Lord deliver us! He frequented Dryburgh much in my grandfather’s time.’ ( Letters , 1.15). In the Grierson edition of the Letters , this is footnoted with the text of a letter from Buchan several month afterwards to Scott’s uncle Captain Robert, of Rosebank near Kelso, stating that he has erected a tablet with a Latin inscription to mark the concession of burial rights in the Abbey to him and his two brothers, Thomas and Walter (Scott’s father). The plaque can still be seen bearing this inscription immediately behind the Scott family tombs in the North Transept in Dryburgh Abbey.

Given the circumstances, it is hard not to think that his nephew Walter was a main instigator here; and in the event Captain Scott was buried in the cemetery at Kelso Abbey, where Walter ‘Beardie’ Scott (Scott’s great-grandfather) also lies. Scott’s fixation also crops up during his courtship of his wife, when he envisages escorting her to ‘the ruins of an old Abbey’, where in due course ‘you must cause my bones to be laid ’ ( Letters , 1.83), a proposition somewhat amusingly countered by Charlotte in her reply: ‘What an idea of yours, was that, to mention ware you wish to have your bones laid , if you was married I should think you was tired of me, a very pretty compliment before Marriage ’.[6]

At the time of securing his baronetcy, Scott moved further to secure the Dryburgh connection by having himself made legal heir to Robert Hamilton of Newmains, as stated in the ‘Preliminary Notice’ of his edition of Memorials of the Haliburtons (1820): a publication which also included a frontispiece sketch by James Skene of ‘their Burial Aisle in the chancel of the Abbey-church’.

By the time Thomas Moore visited Dryburgh Abbey in 1825, on his way to Abbotsford, preparations were at least partly underway: ‘The vault of Sir Walter Scott’s family is here. Lord Buchan’s own tombstone ready placed, with a Latin inscription by himself on it, and a cast from his face let into the stone.’[7] The first use of the grounds however came as a result of the death of Charlotte, Lady Scott, in 1826, whose funeral was conducted according to the English service by Edward Bannerman Ramsay, who had come to Edinburgh in 1824 as a curate at St George’s Episcopal Chapel, in York Place, where Lady Scott (and also possibly Scott himself) had attended when in town. In the immediate aftermath, Scott took comfort in the fact that his own servants had mounted a protective guard over the grave. Following that was the funeral in a separate place of the Earl of Buchan in 1829, at which according Scott’s journal entry of 25 April, on it being noticed that the body had been placed in the grave with its feet pointing westward, he had quietly observed ‘that a man who had been wrong in the head all his life would scarce become right headed after death’.[8] Scott’s own much-reported funeral on 26 September 1832, including prayers at Abbotsford, and a long procession to Dryburgh, involved several clergymen, among them the Minister of St Cuthbert’s in Edinburgh, but it was the Anglican Rev. John Williams, under whose care Scott had committed his younger son Charles at St David’s College, Lampeter, and now rector of Edinburgh Academy, who read the burial service at the graveside.

In the case of the burial of Scott’s daughters at Kensal Green, a new-found mobility offers the most concrete explanation. Late in 1825, John Gibson Lockhart had moved with his wife Charlotte Sophia (Scott’s elder daughter) to begin a new career as editor of the Quarterly Review , the family taking up residence at 24 Sussex Place, Regent’s Park. It was while Scott was recuperating in Naples that the couple suffered the death of their eldest son John Hugh Lockhart (the addressee of Tales of a Grandfather ), who is registered as having been buried at St Marylebone Cemetery, Westminster, on 19 December 1831. In 1817 the new Church of St Marylebone had been built over a vaulted crypt which, consecrated in 1773, served as a burial ground until the early 1850s, by which time in its confines over 110,000 burials had taken place. Less than two years later the boy was followed by his aunt Anne (Scott), exhausted after having looked after both of her parents, who died on 25 June 1833 while living with the Lockharts aged only thirty. On 17 May 1837, John Gibson Lockhart was left as a widower with two young children following the death of his wife Charlotte Sophia. In this instance, Lockhart purchased space for six graves in the new Kensal Green Cemetery, consecrated as recently as All Souls Day 1832, and within striking distance of the Lockhart residence.

Writing to his sister Violet, he remarked: ‘I have purchased a plot of ground in the New Cemetery on the Harrow Road—a wide, spacious garden with a beautiful prospect—and that morning, an hour before we reach the spot, the bodies of Anne and Johnnie will have been removed thither from the vaults of Marylebone, that the sisters may be henceforth side by side, and the child in the same dust with the mother’. Aesthetics and spaciousness were clearly factors in Lockhart’s decision. As he continued to Violet: ‘except Westminster Abbey, there is no burial ground here that I could have been able to look at with comfort, and remember that it contained the ashes of my wife’.[9] Sophia’s service was conducted by the Rev. Henry Hart Milman, Canon of Westminster, reflecting Lockhart’s own espousal of the Anglican creed. On 29 May Lockhart wrote to the sculptor Sir Francis Chantrey, asking him to design a suitable monument:

It is in the new Cemetery on the Harrow Road & I had her sisters remains & her boy’s removed & placed the former beside her grave & the latter in it with her.

Now I am going to Scotland for some months & I shd like when I next revisit this spot to find the graves covered with stone coffins or the like of the plainest & least costly kind but still such as the eye might not dislike to dwell upon.[10]

Lockhart also enclosed inscriptions for the same, though these are not found with the surviving letter. The single chest tomb as now found has recessed panels to the north and south side containing inscriptions which read: ‘ANNE SCOTT, DAUGHTER OF SIR WALTER SCOTT, OF ABBOTSFORD BARONET, DIED JUNE THE 25TH 1833, IN HER 31ST YEAR’ and ‘CHARLOTTE SOPHIA, WIFE OF J. G. LOCKHART ESQ, AND DAUGHTER OF SIR WALTER SCOTT, OF ABBOTSFORD BARONET, DIED MAY THE 17TH 1837, IN HER 38TH YEAR, HER SON JOHN HUGH LOCKHART, DIED DECEMBER 16TH 1831, IN HIS ELEVENTH YEAR.’ In the same proximity can be found monuments relating to the politician Sir Matthew White Ridley and publisher John Murray II. The reputation of Kensal Green reached a highpoint in 1843 as a result of the decision of the Duke of Sussex, Queen Victoria’s uncle, to be buried there, rather than in the Royal vault at Windsor.

It is also apparent from Lockhart’s purchase of six places in Kensal Green that he foresaw himself and possibly his two surviving children also being placed there. His own actual burial alongside Scott at Dryburgh then might be seen as a product of immediate circumstances rather than long-standing intent. With the death of his surviving son, Walter Lockhart Scott in 1853, Abbotsford passed to his daughter, Charlotte Harriet Jane Lockhart, who had married James Robert Hope-Scott at an early age. It was during a stay at Abbotsford that Lockhart died on 25 November 1854, and was buried in the Abbey next to his father-in-law. Three years later, Hope-Scott, a follower of John Henry Newman, had converted to Roman Catholicism, though Lockhart had hoped that he would abide with the Church of England. On 26 October 1858, Mrs Hope-Scott tragically died from illness, followed within the same year by her baby daughter and son. All three were buried in the vault of St Margaret’s Convent chapel, a Catholic foundation officially opened in 1835, which now forms part of the Gillis Centre in Bruntsfield, Edinburgh. In the case of James Hope-Scott, who died in 1873, his coffin was brought up from London to its final resting place, a facility not so available during the earlier period under view. The sermon in London was given by Cardinal Newman; that in St Margaret’s chapel by the Rev. William J. Amherst, S.J.

One remaining death within the above timeframe was that of Scott’s younger son, Charles (1805-41), a career diplomat, whose remains lie in an antechamber, and is marked by a plaque, in the Church of Saints Thaddeus and Bartholomew , a mile or so from the British Legation in Tehran. In more recent times, Dryburgh Abbey re-established itself a resting place for Scott’s descendants, the most recent burials there being those of the sisters Patricia and Dame Jean Maxwell-Scott, in 1998 and 2004 respectively, whose tombstone is in an enclosed grassy space slightly behind the main North Transept.

[1] The Life of Sir Walter Scott. A Critical Biography (Oxford 1995), 8.

[2] The Letters of Sir Walter Scott, ed. H. J. C. Grierson and others, 12 vols (London 1932-37), 6.75n. Henceforth cited as Letters, with references given in parentheses within the main text.

[3] Guy Mannering, ed. P. D. Garside (Edinburgh, 1999), 216-17.

[4] The Edinburgh Sir Walter Scott Club Bulletin, 1999/2000, 11-23; C. S. M. Lockhart, The Centenary Memorial of Sir Walter Scott, Bart. (London, 1871), 49-52, plus Plate XII, ‘Plan of the Episcopal Church and Burial Ground of St. John, Edinburgh, June, 1870’.

[5] Scott on Himself, ed. David Hewitt (Edinburgh, 1981), 5.

[6] Edgar Johnson, Walter Scott: The Great Unknown, 2 vols (London 1970), 1.153.

[7] Memoirs, Journal, and Correspondence of Thomas Moore, 8 vols (London, 1853-56), 4.330.

[8] The Journal of Sir Walter Scott, ed. W. E. K. Anderson (Edinburgh, 1998), 619.

[9] Andrew Lang, The Life and Letters of John Gibson Lockhart, 2 vols (London, 1897), 2.176.

[10] National Library of Scotland, MS 20437, f. 53. Thanks are due to the Trustees of the Library for permission to cite materials in their care.

John Porteous in The Heart of Midlothian: the intersection of history and fiction

Thu, 09 Nov 2017 18:34:34 GMT

Thursday 9th November 2017

Summary of the Talk:

Dr Ralph McLean delivered a compelling lecture examining the historical events of the 1736 Porteous Riots and their transformation into fiction by Sir Walter Scott in The Heart of Midlothian.

The talk opened with a humorous 1758 poem, Captain Porteous's Ghost, which set the tone for exploring how Porteous became a spectral figure in Edinburgh’s collective memory. Dr McLean charted the historical background of the riots, detailing public resentment toward taxation, the excise system, and the military enforcement that followed the 1707 Union with England. Smuggling was widespread and widely romanticised; smugglers like Andrew Wilson and George Robertson, central figures in the affair, were often seen as folk heroes.

The City Guard, led by Captain John Porteous, was tasked with keeping order during Wilson’s execution. When trouble arose, Porteous ordered his men to fire into the crowd, resulting in six deaths and widespread outrage. Porteous was tried, found guilty by a narrow majority (8–7), and sentenced to death. However, a royal reprieve led to his extrajudicial lynching by an organised mob.

Dr McLean highlighted the remarkable organisation of the mob: they used military-style precision, avoided property damage, paid for the rope used in the lynching, and melted away before any were identified. Despite numerous inquiries and rewards offered, no one was convicted. The response from authorities, including the disbanding of the City Guard and proposed punitive measures against Edinburgh, sparked intense political debate and resistance, especially among Scottish peers like the Duke of Argyll.

The lecture examined primary sources such as court documents, witness statements, and annotated editions of Scott’s manuscripts, showing how Scott blended historical fact with fiction to comment on justice, authority, and national identity.

Key Takeaways

Historical accuracy vs. fiction: Scott took liberties with chronology and character to serve his narrative goals, notably delaying Porteous’s death in The Heart of Midlothian for dramatic effect.
Porteous’s reputation: Seen as a brutal enforcer of unpopular laws, despised by the public but protected by elite allies.
Mob organisation: Contrary to common stereotypes, the mob was highly disciplined and potentially included members of the gentry in disguise.
Nationalist undercurrents: Though not overtly nationalist, the riots and their aftermath reflected simmering discontent with post-Union governance and taxation.
Scott's influence: His portrayal has shaped public understanding of the events more than historical accounts, demonstrating the power of literature in collective memory.

Interesting Points Worth Mentioning

Smuggling as a national sport: Public sympathy was firmly with the smugglers, seen as resisting unjust taxation rather than committing crimes.
Porteous as a golfer: An unexpected detail—Porteous was a skilled golfer, which gave him social access to the elite, including Duncan Forbes.
The rope incident: The mob either paid for the rope used to hang Porteous or were gifted it by a supportive shopkeeper—both versions exist, symbolising their moral justification.
The Duke of Argyll's defence of Edinburgh: His passionate speech in the House of Lords opposed collective punishment for the city and defended Scottish legal independence.
Walter Scott owned the tollbooth door: After the building’s demolition, Scott salvaged the door as a piece of history linked to his novel and Edinburgh's past.
Porteous trial parallels the Boston Massacre: The speaker drew an apt comparison between Porteous’s trial and that of British soldiers in Boston in 1770—both involving unclear orders to fire and public outrage.

Download the [Powerpoint]

Dr Ralph McLean is Curator of Manuscripts for the Long Eighteenth Century at the National Library of Scotland, where among his duties he has responsibility for the vast collection of manuscripts relating to Sir Walter Scott. Ralph formerly worked (until 2014) as a research associate at the University of Glasgow on the AHRC-funded project Editing Robert Burns for the 21st Century. He has written a number of articles on the Scottish Enlightenment, and has produced an edition of John Home’s tragedy Douglas which includes, for the first time, the pamphlet material surrounding its controversial history. Along with Dr Ronnie Young at the University of Glasgow he has recently edited a collection of essays entitled The Scottish Enlightenment and Literary Culture (2017), which examines the impact of Enlightenment thought on imaginative literature in Scotland during the Enlightenment and beyond. Among his more recent talks, at the National Library of Scotland, has been one on Alexander Howland Smith aka ‘Antique Smith’, famous (or infamous rather) for his forgeries of Scott autograph manuscripts.

Synopsis: This talk examines the historical events surrounding the Porteous Riot which took place in Edinburgh in 1736. The grim episode, which saw the mob break into the Edinburgh Tolbooth and execute the Captain of the Edinburgh Guard, John Porteous, forms the historical backdrop to the first part of Scott’s novel, The Heart of Mid-Lothian. This talk will examine how accurately Scott captured the historic reality of the riot, and how he used it to inform his fictional narrative.

Cupid’s decorous lanthorn at 200

Thu, 12 Oct 2017 19:32:04 GMT

12th October 2017

Summary of the Talk:

Anthony Mandal's talk explores the differing relationships of Jane Austen and Sir Walter Scott with history, probability, and the boundaries of fiction. It highlights their contrasting approaches to narrative and character development, touching upon both public and private realms, as well as gender dynamics within their works.

Historical Engagement : Mandal opens by examining the historical engagement in the works of Austen and Scott. Austen's novels are grounded in contemporary, domestic settings, focusing on the lives of the gentry and their manners, while Scott's historical novels engage with the broader past, often through grand national events like the Jacobite uprisings. Though Austen avoids history's complexity, her characters often deal with its influence in subtle, private ways.
Scott’s Masculine vs Austen’s Feminine Approach : Scott's novels are masculine and public, shaped by historical narratives, while Austen’s are feminine and private, concerned with interpersonal relationships and the minutiae of daily life. Mandal points out that Scott’s historical narratives embrace the external world, whereas Austen's works often emphasize internal, private worlds that focus on smaller, more intimate social interactions.
Scott’s Review of Austen’s Work : Scott's review of Austen’s Emma reveals a fundamental tension in their views on fiction. Scott admires Austen’s ability to capture ordinary life but critiques her lack of "grand" incidents and historical context. Austen, in her letters, also acknowledges Scott’s success, though with some reluctance, and expresses discomfort with the melodramatic tendencies of historical fiction.
Probability and the Limits of Fiction : Austen's works often adhere to "probability," focusing on realistic plots where character choices and social constraints define the narrative. Conversely, Scott’s works sometimes stretch the bounds of probability, invoking grand historical backdrops that invite readers to engage with history more directly.
Public and Private Worlds : Mandal explores how Scott's and Austen’s novels frame the public and private spheres. Scott's works often involve characters trying to fit into the broader historical narrative, while Austen’s novels highlight the private sphere, where women in particular must navigate societal expectations, marriage, and personal identity.
Futurity and Legitimacy : Mandal compares the heroes of Scott's novels, who typically recover their inheritance and role in society, with Austen's protagonists, who often navigate and subvert the systems of inheritance. In Austen’s works, social and moral values are more fluid, and characters are often rewarded for rejecting the burdens of their inherited social status.

Interesting Points:

Austen’s Domestic Realism : Austen's attention to the "little bit of ivory" – her focus on small, realistic social worlds – was contrasted with Scott’s grand historical sweeps. This juxtaposition highlights the value Austen places on realism and personal transformation within ordinary settings.
Gender Dynamics : Mandal’s exploration of the feminine versus masculine worlds in the novels of Austen and Scott is insightful, showing how Scott’s historical romances were often seen as an escape from societal constraints, whereas Austen’s novels subtly critique the same social structures.
Scott’s Influence on Historical Fiction : The talk underscores how Scott reshaped the historical novel genre by blending fiction with history, creating a hybrid that set the stage for future historical fiction but diverging significantly from Austen's more focused and inward narratives.

This detailed comparative analysis sheds light on the different ways these authors shaped the English novel, examining their diverse approaches to history, probability, and the blending of fiction with realism.

Download the [transcript]

Introduction by our Chairman, Prof. Peter Garside.

Welcome to this year’s annual Joint Scott Lecture; and once again on behalf of the Edinburgh Sir Walter Scott Club I’d like to acknowledge the input received from firstly our co-sponsors the English Department at the University of Edinburgh and secondly our hosts the Faculty of Advocates for their generosity in providing (among other things) a room and refreshments. All in all it’s hard to think of a more appropriate location for this event, in surrounds which one might say offer a mini-history of Scott’s professional life. On the way here you’ll have passed along the splendid high-arched Parliament Hall, home of the original Scottish Parliament, prior to its being handed over the lawyers after the Union of 1707, and where the senior advocates perambulated in small groups, to avoid being overheard, aped by junior members such as the young Scott eager to give the impression that they too had business. Positioned near the entrance you came through into the library is the statue of a sedentary Scott, by John Greenshields, with ‘Sic Sedebat’ at the foot, ‘Thus [ or In this way] he sat’: according to some the most lifelike of the many representations of Scott. One year I recollect the Faculty placing in this room the seat in which Scott did actually sit as a Clerk to the Court of Session: a particularly comfy and somewhat worn-looking green leather armchair, not dissimilar to ones presently here, where some of you are now hopefully also comfortably sitting.

Finally it is a great pleasure to introduce Professor Anthony Mandal as today’s speaker. Anthony and I once worked together in the English Department at Cardiff University, where twenty years ago we were both involved in the foundation of the Centre of Editorial and Intertextual Research (CEIR), which is still thriving, now under his own Directorship. His thesis on Jane Austen was published as a book titled Jane Austen and the Popular Novel: the Determined Author (a double-entendre there with ‘Determined’) in 2007: this being one of the first studies to view Austen’s novels in the context of the 1810s, when they were published, rather than in the 1790s when some of them were first conceived. As such it invited more direct comparison with Scott, whose earlier output of fiction ran in tandem with Austen’s own. Since then Anthony has become a General Editor of the New Edinburgh Edition of the Works of Robert Louis Stevenson, and has also published in 2014 an edition of Mary Brunton’s Self-Control (1811): arguably the first novel published from Scotland to gain recognition on a national British level, and hence a forerunner of Scott’s success. His present work includes a co-authored Palgrave History of Gothic Publishing , and he is also currently on sabbatical leave to write a book on narrative and immersive play.

Comparison between Scott and Austen as novelists is not only relevant today but also timely, in view of the recent bicentenary of Austen’s death, which among other things has led to her image appearing on an English banknote, matching Scott’s much longer tenure on Scottish ones. Anthony’s aim today is to use the bicentennial commemorations of Austen’s death to explore the relationship between genre and gender in both writers’ works, starting with Scott’s famous review of Emma , while also addressing some of both authors’ changing fortunes over the last two centuries as background.

Writing the Love Story of Sir Walter Scott

Thu, 14 Sep 2017 05:53:09 GMT

Thursday 14th September 2017

Summary of the Talk:

The speaker introduced American novelist Josi S. Kilpack, known for over 25 novels including a series of culinary mysteries and a cookbook. More recently, she has turned her focus to historical romance. Her novel The Lady of the Lakes was of particular interest to the Sir Walter Scott Club due to its engagement with Scott’s early romantic life.

Kilpack, a Utah-based mother of four and member of the Church of Jesus Christ of Latter-day Saints, acknowledged the cultural and historical differences she encountered when writing about a Scottish figure. She described the challenges of balancing historical accuracy with narrative fiction and emphasised her role as a storyteller rather than a historian.

The novel focuses on Scott’s early romantic attachments—first to Williamina Belsches (later Stewart) and then to Charlotte Carpenter (later Scott). Kilpack described how the five-year courtship of Williamina, ending in disappointment, contrasts with his rapid engagement and marriage to Charlotte in 1797. She drew from several biographies, noting their contradictions and the biases present, especially in portrayals of Charlotte as a “second choice.”

She shared a quote that inspired the novel:

“A scarce one person out of 20 marries his first love and scarce one out of 20 of the remainder has cause to rejoice in having them. We build statues of snow and weep when they melt.”

Kilpack explained her approach to constructing the narrative using romance novel structures and noted that Charlotte was a difficult character to flesh out due to sparse biographical material. She also explained her creative decisions, such as referring to Williamina as “Mina” in the novel to avoid confusion with other characters named William.

She conducted extensive research using Lockhart's biography and two other modern accounts, built a timeline from Scott’s early 20s, and included extensive chapter notes distinguishing fact from fiction. She acknowledged the creative liberties taken, such as inventing Scott’s reason for being at Greyfriars Kirk when he met Williamina, since historical records were unclear.

During the Q&A, Kilpack revealed her admiration for Scott and her excitement at finally visiting Edinburgh. She commented on how visible Scott’s legacy is in the city, contrasting it with how little known he is among Americans today. She also reflected on the practical and grounding role Charlotte may have played in Scott’s life compared to the youthful, poetic idealism of Williamina.

Bulletin Points:

Josi S. Kilpack discussed her historical romance The Lady of the Lakes , which fictionalises Walter Scott’s romantic life.
The novel centres on Scott’s relationships with Williamina Belsches and Charlotte Carpenter.
Kilpack aimed to remain respectful to historical facts while shaping the story around traditional romance narrative structures.
She acknowledged the challenges of writing about Charlotte due to limited and conflicting source material.
Extensive research informed the novel, and chapter notes were added to clarify fact vs fiction.
Kilpack described her process, motivations, and creative choices, making clear her identity as a storyteller rather than historian.

Interesting Points

Quote That Inspired the Novel :
The idea that “we build statues of snow and weep when they melt” perfectly captures the shift from youthful romantic idealism to adult emotional realism. It’s a poignant insight into Scott’s emotional maturity.
Charlotte’s Lack of Literary Recognition :
Kilpack noted how Charlotte received little attention in biographies and literary history, despite her steadying influence on Scott. One attendee mentioned that Scott never wrote poems for her, possibly suggesting she was “off-limits” in his creative life.
Transatlantic Literary Perspective :
The contrast between Scott’s omnipresence in Scotland and relative obscurity in the US highlights differences in national literary canons. Kilpack herself was only vaguely familiar with Scott before starting her research.
Romantic Narrative Structure :
Kilpack applied romance tropes such as “meet-cute,” “dark night of the soul,” and “grand gesture” to real events, showing how Scott’s life aligns surprisingly well with fictional storytelling conventions.
Charlotte’s Mysterious Background :
Conflicting accounts of Charlotte’s youth—including claims about her mother’s affair and potential exile during the French Revolution—left Kilpack with significant interpretive freedom. She handled this by acknowledging uncertainty and focusing on plausible motivations.
Scott’s Lingering Resentment :
Kilpack noted that Scott reportedly refused to say Williamina’s name for years, indicating the depth of his emotional wound.
Scott and Dogs at Abbotsford :
Kilpack remarked on the cultural difference between the US and UK in dog-friendliness, delighted to learn Abbotsford welcomes dogs—a nice, humanising anecdote connecting Scott to everyday life.

Josi S. Kilpack hated to read until her mother handed her a copy of The Witch of Blackbird Pond when she was 13. From that day forward, she read everything she could get her hands on and credits her writing “education” to the many novels she has “studied” since then.

She began writing her first novel in 1998 and has written thirty-three novels, one cookbook, and several short stories since then. She is a four-time Whitney Award winner, including two Novel of the Year awards for Lord Fenton's Folly and As Wide as the Sky and a Best of State winner in Fiction.

She writes her national women's fiction under the pen name of Jessica Pack (say Josi Kilpack really fast and you'll see why she chose it). Josi currently lives in Northern Utah and is the mother of 4 wonderful kids.

Selected slides from the Powerpoint below.

Introduction by Prof. Peter Garside:

It’s a special pleasure to welcome as this evening’s speaker the American novelist Josi S. Kilpack. Josi has written some 25 novels to date, including a 12-book series intriguingly categorised as culinary mysteries, as well as one more straightforward cookbook. More recently she has turned to historical romance, and it was one of these titles, The Lady of the Lakes, with its strong echoing of Scott’s most famous poem, that first drew the Club’s attention to her as a desirable speaker. On the other hand, Josi hails from the state of Utah on the far side of the USA, where she has a family of four children and is a member of the Church of Jesus Christ of Latter-day Saints, and it seemed that us twain were never likely to meet. Apprised that Josi might be over here this autumn, Lee Simpson as our Events Convenor nevertheless pounced, and with her generous agreement and a slight rejigging of our Programme I’m delighted to say we procured our goal.

First published in March last year, The Lady of the Lakes, is indeed about Walter Scott, focussing on two crucial romances in his mid-twenties, his courtship of the heiress Williamina Belsches, which took him on at least one unavailing visit to her family home in Fettercairn in Kincardineshire, and his more successful pursuit of Charlotte Carpenter (born Charpentier), then a ward of the Marquess of Downshire, which was mainly played out in the setting of Gilsland, a spa resort in Cumberland close to the Roman Wall. There’s a sort of common understanding that Scott’s apparent rejection by Williamina in favour of a more socially advantageous suitor led to a kind of rebound match with Charlotte less than a year later. But The Lady of Lakes depicts a more complex pattern than this. Having just returned from Gilsland myself, almost exactly 220 years since Scott was there with Charlotte, I can hardly think of a better situation for Scott’s adventurous yet at the same time innately practical side to find expression. Josi’s work also mirrors Scott’s in skilfully blending known ‘facts’, imaginative projections based on probability, and the odd moment of artistic license, and no doubt she will also want to talk about this aspect of her writing too.

There’s clearly much to discuss, so without any more delay over to our speaker, Josi Kilpack, whose tittle has been slightly amended to ‘Writing Walter and Charlotte’s Love Story.

Synopsis: Many scholars and readers believe that Sir Walter's Scott never overcame the heartbreak he felt when Williamina Stuart chose his friend, William Forbes, and that his unrequited love was played out in his novels. While no reader can deny how well he captures the loss of love in his literary works, Scott did overcome the rejection and go on to have a solid marriage with Charlotte Carpenter, a catholic-born Frenchwoman with a family history shadowed in scandal. My book, Lady of the Lakes, follows both love stories--the one lost and the one found--and attempts to capture the influences of both women on the man and the writer Sir Walter Scott would become. Though some fictional license was taken to create a full story, chapter notes show where I used fact and where I inserted fiction to create the expected arc of the story. I am not a scholar, but I am a storyteller and tried to capture these people in hopes to give some legacy to the lives they lived and the influence they had on the world we live in now.

Colloquium on Rob Roy

Sat, 19 Aug 2017 14:16:06 GMT

Saturday 19th August 2017

Summary of the Talks:

The Colloquium explored multiple facets of Sir Walter Scott's novel. The event celebrated the bicentenary of Rob Roy 's first publication and commemorated Scott’s birthday. The speakers, both involved in the Edinburgh Edition of the Waverley Novels, shared insights from their editorial work.

Summary of Key Points:

Scott's Dual Impulses in the Novel : Peter Garside focused on how Rob Roy presents a balance of selfish and social motivations within its characters, particularly through Frank Osbaldistone. This exploration of mixed motives might reflect Scott's own struggles as a writer navigating between personal ambition and social responsibility, especially in the context of the novel’s publication.
Publication Context : The novel was published at a time of financial strain for Scott. Garside highlighted how Scott's economic difficulties were mirrored in the narrative, notably through business dealings in the novel that represent larger societal forces, including commercial instability and personal risk.
Thematic Exploration of Economics : David Hewitt focused on the social and economic context of Rob Roy . The novel is often seen as a commentary on the economic causes of the 1715 Jacobite Rising, with characters like Baillie Nicol Jarvie providing critiques of Highland society’s lack of economic opportunity. The financial crises in the novel reflect the broader political and economic instability of Britain at the time.
First-Person Retrospective Narrative : The novel’s structure is built around Frank Osbaldistone's first-person retrospective narration, combining two points in time: the 1715 Jacobite Rising and Frank's 1763 reflections. This method serves to explore memory and its impact on understanding history, showcasing Scott's interest in how individuals perceive and interpret the past.
Rob Roy as a Complex Figure : The title character, Rob Roy MacGregor, is depicted as a multifaceted figure: part outlaw, part folk hero, and an embodiment of the complexities of Highland identity. The novel’s portrayal of Rob Roy offers a nuanced view of his role as a victim of state oppression.
Cultural Costs of Expansion : Hewitt emphasized the critique of capitalist expansion through Frank’s melancholic reflections. He argues that the growth of commerce and trade, especially in the wake of the Seven Years' War, had cultural costs, marginalizing groups like the Highlanders and dehumanizing them in the eyes of more "civilized" society.
Afterlife of Rob Roy in Popular Culture : Garside discussed the novel’s lasting influence, particularly its adaptation into operas, dramas, and films. Isaac Pocock’s 1818 operatic adaptation was among the most notable, and the character of Rob Roy became iconic in Scottish popular culture. The influence extended into 20th-century films, like Walt Disney's Rob Roy , the Highland Rogue (1953) and the 1995 film starring Liam Neeson.

Interesting Points to Highlight:

Economic Critique : The novel is not just a historical romance; it also offers a critique of the economic systems that shaped British society, particularly the contrast between the Highland economy and the more commercial Lowlands.
The Melancholic Hero : Frank’s failure to mature and his depressive outlook might reflect the historical and cultural pressures of his time, as well as Scott’s own personal struggles during the novel’s creation.
The Reshaping of Rob Roy’s Legacy : The transformation of Rob Roy from a historical figure into a romanticized hero in various media adaptations is fascinating, particularly the shift in focus from the novel's complex narrative to simplified portrayals of his character.

The colloquium underscored Rob Roy 's importance not just as a historical novel but as a reflection of the social, economic, and cultural concerns of early 19th-century Britain.

Download the [Transcript]

(Unfortunately due to a battery failure a 3 minute section of this video is missing)

Download the [Transcript]

Introduction by our Hon. Secretary, Louise Gardiner

Welcome to you all to today’s Colloquium on Sir Walter Scott’s sixth Waverley novel, Rob Roy, in this bi-centenary year of its original publication. This small comment alone makes us aware, yet again, of just how productive Sir Walter Scott was: only three years ago, we celebrated the bi-centenary of ‘Waverley’ - and now we are already at number six!

As you can see on the programme for today - and on your tickets - this colloquium will be introduced jointly by Prof. David Hewitt and Prof. Peter Garside, and we could not possibly ask for two experts on Sir Walter Scott who would be better qualified to introduce Rob Roy to us.

Both, David Hewitt and Peter Garside have had long and distinguished academic careers researching, teaching and writing on 19th century English literature, with a particular emphasis on the works of Sir Walter Scott, David at the University of Aberdeen and Peter mainly at the University of Cardiff, although he has now been living and working in Edinburgh for quite a number of years. They each, of course, also pursued their own wider interests during this time, but eventually they both returned, very decidedly, to Scott.

And this brings me to the most important reason for us being so very fortunate to have David Hewitt and Peter Garside here today: their crucial involvement with the Edinburgh Edition of the Waverley novels. In fact, it was David Hewitt who initiated this monumental enterprise more than 30 years ago, brought together the team of 16 academics who were going to work on it, and acted as the series editor for the entire 30 volumes, which were gradually published over a period of just about 20 years, between 1993 and 2012. In addition to his role as series editor, David also personally co-edited four of the volumes, and is the sole editor of another two volumes, including, and you have no doubt guessed it, Rob Roy.

Similarly, Peter Garside also became so closely involved in the Edinburgh Edition that, while still a part-time professor of bibliography at the University of Cardiff, he, too, took on a very hands-on general editing role in this giant enterprise, and actually moved to Edinburgh to be closer to the team - in addition to personally co-editing one of the volumes and being the sole editor of another three. One of these, interestingly, is Waverley to which, in my opinion, Rob Roy shows a number of interesting parallels - but we shall see ...

Finally, may I add that David Hewitt was the Edinburgh Sir Walter Scott Club’s president from 1987 to 1989, and with Peter Garside as its current chairman, we could not possibly be in better hands.

A very warm welcome to our two speakers for today!

Sir Walter Scott in Dictionaries: Invention and Artistry

Thu, 15 Jun 2017 10:08:32 GMT

Thursday 15th June 2017

Summary of the Talk:

Prof. Jeremy J. Smith explores the influence of Sir Walter Scott's works on language, particularly through his contributions to dictionaries like the Oxford English Dictionary (OED) and the Dictionary of the Scots Language (DSL).

Invention : The paper starts by discussing the concept of "invention" in literature, which has two meanings: the creation of new ideas or methods and the act of discovering or finding something. Prof. Smith relates this to Scott's writing, where his works exemplify both forms of invention: the creation of new expressions and the discovery or rediscovery of older words and traditions.
Scott’s Contributions to Dictionaries : Smith emphasizes Scott's significant role in expanding the English language through his works, noting that his writings contributed over 17,000 quotations to the OED and introduced hundreds of new words and senses. The paper details several words that Scott helped introduce or popularize, such as "bedazzled," "bibliomaniac," and "gastronome."
Scott's Use of Language : The lecture explores Scott's linguistic dexterity, which blends both Scottish and English lexicons, showcasing his mastery in coining words and adapting language for literary purposes. This lexical innovation is highlighted as a key aspect of his style.
The Role of Style : Smith delves into the concept of style in literature, discussing how writers like Scott use language in special ways to communicate not just ideas but the experience of life itself. He suggests that style is the writer’s choice from the available language, influenced by the social context, mode, and register. Scott’s style, with its intricate use of vocabulary and metaphors, is marked by a deliberate play with language to reflect the complexity of human experience.
Case Study: The Lay of the Last Minstrel : To demonstrate his points, Smith examines Scott's poem The Lay of the Last Minstrel . He discusses how Scott uses traditional forms like iambic tetrameter, while also infusing modern, political relevance. The poem reflects Scott’s ability to creatively revive and repurpose medieval traditions for contemporary uses.

Interesting Points:

Lexical Innovation : Scott's influence on the English language is profound, as he introduced and popularized many words and expressions that are still in use today.
Cultural Context : Smith highlights how Scott's use of language was deeply intertwined with both the Scottish and European Romantic traditions. His writings, including his work on historical texts and the reconstruction of Abbotsford, reveal a keen sense of historical engagement and linguistic revival.
The Role of Style in Communication : Scott’s style is not just about using language to tell a story, but about using language to evoke and reflect complex experiences and ideas. His style shows how writers can shape and communicate culture through their choice of words.
Romanticism and Language : The paper underscores how Scott, like many Romantic writers, was engaged in the process of resurrecting and reinterpreting the past, whether through literature, architecture, or language.

This paper sheds light on the intricate relationship between Scott's literary artistry and his contributions to the English language, underlining his dual role as both an inventor and a discoverer of language.

Download the [Transcript]

Jeremy Smith is Professor Emeritus in English Language and Linguistics, University of Glasgow, and an Honorary Professor in the University of St Andrews. He is a Fellow of the Royal Society of Edinburgh, of the English Association, and of the Association for Scottish Literary Studies. He has served as President of the International Society for the Linguistics of English, as Convener of the Board of Trustees of Scottish Language Dictionaries (now Dictionaries of the Scots Language), and on the Council of the Scottish Text Society; he is currently a member of Council of the Philological Society. He specialises in English historical linguistics, the history of Scots, and book history. Recent publications include Transforming Early Englis h (Cambridge UP, 2020), a co-edited collection, Genre in English Medical Writing 1500-1820 (also Cambridge UP, 2022), and Reinventing Medieval Liturgy in Victorian England (with David Jasper, Boydell and Brewer, 2023). Current projects include a corpus-based study of English religious discourse, 1380-1780, funded by the Leverhulme Trust.

Synopsis: The Oxford English Dictionary records two core meanings for invention . One is current: ‘The action of devising, contriving, or making up; contrivance, fabrication.’ However, according to classical and medieval rhetoricians, there was another sense, now obsolete: ‘The action of coming upon or finding; the action of finding out; discovery (whether accidental, or the result of search and effort).’ I argue that Scott’s creations exhibit both kinds of invention.

My lecture begins by examining Scott’s presence in the great historical dictionaries of English and Scots. Then, after a digression on what is meant by style , I analyse one of the writer’s great early successes, The Lay of the Last Minstrel (1805), referring also to his novel The Antiquary (1816), and Scott’s great house at Abbotsford.

In The Tracks of Mortality

Thu, 18 May 2017 07:18:44 GMT

Thursday 18th May 2017

Summary of the Talk:

This talk explores the life and legacy of Robert Paterson, also known as Old Mortality , a Scottish stonemason who gained fame for carving gravestones, particularly for the Covenanters—a group of Presbyterians who resisted the Crown during the 17th century. Paterson’s work inspired Sir Walter Scott’s novel Old Mortality , although much of the novel was fictionalized. The talk traces Paterson’s life from his origins in Hawick, his apprenticeship as a stonemason, to his travels across Dumfries and Galloway carving gravestones and memorials for those who had died in the Covenanter conflicts.

While Joseph Train, a contemporary of Paterson, embellished his story with dramatic details of religious fervour and martyrdom, there is evidence suggesting that Paterson’s motivations were more practical and commercial. His decision to become an itinerant stone carver may have been more about pursuing business opportunities than religious zeal. The talk sheds light on the myth-making around Paterson, especially through the works of Scott and Train, and challenges these with a more nuanced view of his life and motivations.

Interesting Points:

Historical Inaccuracy in Scott’s Depiction : Sir Walter Scott’s Old Mortality blended fact and fiction, using Paterson’s real-life work as the inspiration for a fictionalized character. Scott's depiction of meeting Old Mortality in Dunnotar is an example of artistic license.
Joseph Train’s Role : Joseph Train’s contributions to the popular myth of Old Mortality were highly influential. He combined fact with embellishment in his accounts, which Scott incorporated into his work. Despite Train's dramatic storytelling, some details, such as the exact circumstances of Paterson’s death, were falsified.
Paterson’s Commercial Motivation : While Paterson became associated with the Covenanting movement, there is evidence suggesting that his travels and gravestone carvings were primarily motivated by commercial interests. He worked in regions with high demand for gravestones, particularly those of Covenanters, as these stones were becoming increasingly popular in the 18th century.
Legacy and Memorials : Despite Paterson’s somewhat eccentric life, his work left a lasting legacy in Scottish cemeteries. Many gravestones in the region carry his signature style of lettering and decoration, particularly those marking the graves of Covenanter martyrs.
Final Years and Death : Paterson died in 1801, and there is a poignant contrast between the romanticized account of his death presented by Train and the more mundane truth of his final days. He passed away in relative obscurity, with his family unaware of his death until much later. His memorial in Bankend was erected years after his death, thanks in part to Scott’s efforts.

This talk provides a detailed historical exploration of Robert Paterson's life, revealing the tensions between myth and reality, and offering a more grounded understanding of his motivations and legacy.

Download the [transcript]

Introduction by our Chairman, Prof. Peter Garside:

I’m especially delighted to welcome today’s speaker, Iain Wilson. Iain is originally from Liverpool but for the last ten years has lived near Thornhill, Dumfries and Galloway. In the Tracks of Mortality (paperback, 2016), his book on Robert Paterson (restorer of Covenanting graves, and supposed provider of anecdotes for Scott’s Tale of Old Mortality ), stemmed from his interest in the local history of the region and its countryside which he has walked extensively. Iain works as a project manager for a charity in Dumfries. He is a historian by qualification and this was his second book, on a subject (relatively neglected in modern times) which we look forward to hearing more about this evening.

The Story of Scott's Songs: from ‘The Queen’s Marie’ to ‘Bonnie Dundee’

Thu, 20 Apr 2017 15:56:44 GMT

Thursday 20th April 2017

Summary of the Event:

This event, led by Martin Philip and Douglas Kay of The Sorries, explored Sir Walter Scott's contributions to Scottish song, particularly his role in collecting, editing, and popularising traditional ballads through publications like Minstrelsy of the Scottish Border. Although Scott did not write music, he shaped the lyrics, sometimes heavily adapting them, and thereby preserved or even reintroduced many songs into the oral tradition.

The talk featured performances and background stories of several notable songs associated with Scott, including:

“The Queen’s Marie” : A ballad collected by Scott and later recorded by Child 173. It's a composite tale rooted in both Scottish and Russian sources, telling the tragic story of Mary Hamilton. Scott’s editing reflects his attempts to enhance the poetry, although he later regretted possibly losing the original’s simplicity.
“Lord Randall” : A poisoning ballad that Scott published under the name “Lord Ronald.” It connects to broader European traditions and had a notable influence on Bob Dylan’s “A Hard Rain’s A-Gonna Fall.” Its tune was traced back to 18th-century publications and connected to earlier Scottish airs.
“Blue Bonnets Over the Border” : A martial song lifted almost entirely from earlier sources like Allan Ramsay’s Tea-Table Miscellany and linked to General Leslie’s March. Scott framed it as originating from the 16th century in his novel The Monastery , though it was later revealed to be a clever pastiche of older materials.
“Jock o’ Hazeldean” : Scott adapted an existing verse—collected from a Miss Pringle—into a fully-fledged romantic ballad. Like “Young Lochinvar,” it features themes of elopement and steadfast love but with more ambiguity in tone.
“Bonnie Dundee” : Written in 1825, when Scott believed he might have escaped financial ruin. It became an anthem of defiance. The original tune was in a minor key, but the now-famous setting came later (1856), likely composed by Charles Böhler. Scott’s version was inspired by Claverhouse’s departure from the Convention of the Estates.

Interesting Points:

Scott and the Oral Tradition : Scott’s role was not just archival; he shaped the transmission of songs. Sometimes his edits removed simplicity but added literary quality. The songs often re-entered oral culture in altered forms.
Contradictory Attitudes to ‘Improvement’ : Scott admitted to “spoiling the simplicity” of some ballads by refining them too much. This reflects tensions between authenticity and artifice in folk revival.
Scott vs. Hogg : Hogg’s mother criticised Scott for writing down traditional ballads, believing it disrupted their vitality. Yet without Scott and Burns, much of this material might have been lost.
Bonnie Dundee’s Composition Date : Scott composed the lyrics while reeling from financial turmoil in 1825, believing he had narrowly avoided ruin. That emotional charge gives the song its combative spirit.
Musical Sources and Confusions : Many melodies attributed to Scott were much older or of disputed origin. James Oswald, using the pseudonym “David Rizzio,” popularised some. Tunes evolved, were forgotten, and then rediscovered.
Transatlantic Transmission : Several songs and tunes survived in the American oral tradition, including in Appalachia and New Brunswick—evidence of their broad reach.
Teaching and Legacy : There was a call during the event for Scott’s songs to be more widely taught alongside Burns in Scottish schools. The Sorries themselves are involved in educational outreach.

Introduction by Prof. Peter Garside:

It’s a great pleasure for me to introduce this evening’s performers, The Sorries , and its two constituent members, Martin Philip and Douglas Kay . As a long-standing member of the Club, and present Council member, Martin will be known to several of you already. Like a number of other Scott Club stalwarts, however, he has a tendency to hide his light under a bushel, and it was only recently at Council when discussing possibilities for this year’s programme that I discovered he was a live performer in a successful Scottish folk group. Martin also has an academic side, completing a PhD on the works of Allan Massie partly in the light of Scott in 2003, and teaching twentieth-century literature with the Open University and Scottish and English literature at the University of Edinburgh. He has published on James Robertson’s novels, and spoken to the Club in the past on Robertson and Scott. Douglas Kay, as Martin himself modestly puts it, is even more engaged on his musical projects and has toured extensively, with a number of fine albums to his credit and airplay on BBC Scotland. He is a qualified Primary school teacher, teaches part time, and tours around some of the schools in Edinburgh giving bodhran lessons to the children. The Sorries group was formed over ten years ago—their first live show was in Edinburgh in December 2006—and the title was chosen consciously to reflect an admiration for the Irish group The Corries. (Though not necessarily at a time of great consciousness on their own part, there being some uncertainty as to whether the decision was taken over a bottle whisky on the beach at Arisaig or Ullapool.) They now have a number of albums under their belt, and 2017 will see their ninth year at the Festival, with a run of daily performances at 4.30pm over three weeks at the Quaker Meeting House. Recently they have been advancing their interest in the tradition of Scottish song-writing, and have begun a series of podcasts (‘The Scottish Song Guide’) where they discuss the meanings and history of both words and music of some of the most famous pieces in their repertoire, interspersed with snippets from the songs themselves. Something of this order I understand lies in wait for us tonight, focused on the songs of Walter Scott, whose output and significance in this field matches that of Burns and Hogg, though this sometimes tends to be obscured by the multifariousness of his other literary achievements. Just one more thing before we start, about the sound equipment here. This (needless to say) has been installed for us by Lee Simpson , using much of his own personal equipment in the process, and I think we need to acknowledge that without his unfailing and invaluable input it would not be possible for the Club to host (at least not so professionally) events such as this.

Without further ado, Ladies and Gentlemen, The Sorries!!

Sir Walter Scott and place names in Australia and New Zealand

Thu, 02 Feb 2017 11:55:48 GMT

Thursday 2nd February 2017

Summary of the Talk:

This text explores the widespread influence of Sir Walter Scott’s work, particularly his novels and poems, on place naming in Australia and New Zealand. The talk discusses how various locations, including streets, towns, and properties in these countries, were named after Scott's characters, novels, and even his home, Abbotsford.

Scott's Influence on Place Names : A significant number of places in Australia and New Zealand are named after Scott’s literary works rather than the author himself. This practice mirrors how Shakespeare’s characters have been used for place names in other parts of the world. In these countries, towns, streets, and even gold mines were named after characters like Ivanhoe, Waverley, and Kenilworth.
Colonial Memory : The spread of Scott-related place names reflects the colonial relationship between Britain and its former colonies. Scott’s works provided settlers, especially the Scots, a literary connection to their homeland and its traditions. His novels were used as a framework to romanticize the colonial experience, blending the adventurous spirit of settlers with the themes of property, stability, and British cultural heritage.
Waverley and Abbotsford : "Waverley" is the most common place name derived from Scott’s works, seen in locations across both Australia and New Zealand. The suburb of Waverley in Sydney and Melbourne’s Glen and Mount Waverley suburbs are examples of how Scott’s literary influence persisted in place names. Abbotsford, though seemingly named after Scott's home, often had different origins, such as being named after local settlers or surveyors.
Scott’s Cultural Role : While Scott was highly regarded in the colonies, his fame did not always translate into widespread readership. For example, while Waverley was a popular title, other works like Ivanhoe had far fewer borrowings in libraries, suggesting that Scott’s legacy was more cultural than literary for many settlers.
The Role of Scots Immigrants : Many of the settlers who named places after Scott were Scots themselves, aiming to recreate a sense of home and nostalgia in their new environments. Some of the naming was motivated by a desire to "domesticate" the foreign landscapes of Australia and New Zealand.
Literary Romanticism in the Colonies : The naming of places in colonial Australia and New Zealand often carried an air of romantic adventure. This was tied to the settlers’ desire to reframe the challenges of colonial life into a more reassuring and heroic narrative, much like the plots in Scott's novels, which typically feature a final resolution of chaos into stability.
Burns vs. Scott : While Burns enjoyed more formal public commemorations (like statues and clubs), Scott’s influence was primarily through place names. This may be because Burns was seen as a symbol of distinct Scottish identity, whereas Scott was more intertwined with British culture, making him a less central figure in public Scottish commemorations abroad.

In summary, the talk reveals how the names inspired by Scott’s works in Australia and New Zealand serve as both a testament to his literary legacy and a reflection of the colonial mindset. They reflect settlers’ desires to retain a sense of Britishness and continuity in new and unfamiliar lands.

Download the [Transcript]

Dr Ewan Morris is originally from Australia but has lived in New Zealand since 1999. He is a historian with a particular interest in ideas about national and ethnic identity, as revealed through debates about symbols such as flags, memorials and place names. He is the author of Our Own Devices: National Symbols and Political Conflict in Twentieth-Century Ireland (2005), and a co-author of The Oxford Companion to Australian Military History (second edition, 2008). He has also published a number of articles in Australian, Irish and New Zealand history, and is the immediate past President of the Professional Historians’ Association of New Zealand. In New Zealand, he works as a Senior Policy Adviser at the Ministry for Culture and Heritage. He is currently living temporarily in Edinburgh, where he is a Visiting Scholar in the School of History, Classics and Archaeology at the University of Edinburgh. His talk, the title previously mentioned, will no doubt feed on his connections with both Australia and New Zealand, and promises to offer members an interesting new insight into matters relating to Scott’s international legacy.

Synopsis: Across the English-speaking world, settler communities named towns and streets after Sir Walter Scott, but more particularly after the titles and characters of his novels and poems. The colonies of Australia and New Zealand were no exception. Scott was seen as an important part of these colonies' cultural inheritance from Britain in the nineteenth century, at the time when settlers were using place names to stake their claim to the land. This lecture explores the stories behind Scott-related names in New Zealand and Australia, and speculates on the reasons for such naming. Those reasons included Scott's fame, his status as a symbol of British culture, and the longing of immigrants (particularly Scots) for reminders of home. The lecture suggests that Scott’s stories provided templates through which settlers could imagine the experience of settlement (which in reality involved the brutal displacement of Indigenous peoples) in romantic and ultimately reassuring terms.

Scott in Stone: The Scott Monument in the Victorian Pantheon

Thu, 10 Nov 2016 16:08:27 GMT

Thursday 10th November 2016

Summary of the Talk:

coming soon

Introduction by Prof. Peter Garside:

It’s pleasing to see such a good attendance for what represents the last in this year’s sequence of events at the Club, and I can think of no-on better able to bring it to a close than today’s speaker, Dr Tom Mole.

Tom is presently Reader in English Literature at the University of Edinburgh, having arrived here about three years ago, and has already made a very positive mark as the new Director of the Centre for the History of the Book (which incidentally runs its own series of talks—the last one given by no less than our own Louise Gardiner, deciphering a rare medieval manuscript discovered in the Library). He is the author of a prizewinning monograph, Byron’s Romantic Celebrity (2007), and the editor of Romanticism and Celebrity Culture (2009) and of The Broadview Reader in Book History (2014). His Broadview Introduction to Book History , co-written with Michelle Levy, will appear next year. He is a member of the Advisory Committee for Publications of the Modern Language Association of America (PMLA) and before coming to Edinburgh held appointments at the University of Bristol, the University of Glasgow, and McGill University in Montreal. In 2013 he was a visiting fellow at the Institute of Advanced Study at Durham University, and in 2017 he will hold the inaugural Linda H. Peterson fellowship of the Research Society for Victorian Periodicals. His book What the Victorians Made of Romanticism will be published by Princeton University Press in 2017.

His talk today for the Scott Club is called ‘ Scott in Stone: The Scott Monument in the Victorian Pantheon ’. The Monument itself, constructed at a highpoint in Scott’s popularity, is of course a familiar object to us here at the Club—glance backwards to the right as you enter the portals of this building in Princes Street and you can see it there, the statue part now irradiated by floodlight, with Scott looking rather like an uncharacteristically pensive Roman Emperor. Tom’s talk promises to address the history of the Scott Monument in relation to changing conceptions of the ‘pantheon’ in Victorian Britain, and the emergence of a secular, distributed, and liberal pantheon of memorials to past heroes throughout the nineteenth century.

Sir Walter Scott’s The Antiquary and the Ossian Controversy

Thu, 06 Oct 2016 17:52:09 GMT

Thursday 6th October 2016

Summary of the Talk:

The essay examines the novel The Antiquary by Sir Walter Scott in the context of the cultural debates surrounding the authenticity of James Macpherson’s Ossian poems. The essay explores how these issues are reflected within Scott's work, especially in the character of Jonathan Oldbuck, an antiquary who is deeply invested in understanding Scotland's historical and national identity. The novel touches on various antiquarian pursuits, including the dispute over the Ossian poems, which Macpherson presented as translations of ancient Gaelic texts but were widely considered forgeries. Scott himself had engaged in the Ossian debate, with his review of the controversy reflecting his scepticism towards Macpherson's claims.

Scott’s The Antiquary incorporates the Ossian controversy to examine themes of national identity, authenticity, and the blending of historical fact with fiction. The essay suggests that Scott uses the debates around Ossian to explore the tension between myth and reality in the construction of Scotland's historical narrative. The character of Oldbuck, with his passion for antiquarian studies, represents the obsession with material history and the search for a coherent national past. Through the conflicts in the novel, especially between Oldbuck and his neighbour Sir Arthur Wardour, Scott highlights the ideological battle over Scotland’s origins, whether Celtic or Gothic.

The essay concludes by noting that Scott's novel engages with these controversies humorously but also critically. Through Oldbuck's interactions and the reworking of traditional Scottish narratives, The Antiquary questions the reliability of historical narratives and emphasizes the fluid nature of national identity.

Interesting Points Worth Mentioning:

Antiquarianism and National Identity : The novel's focus on the antiquarian obsession with material relics of the past reflects the broader historical debates of the time about Scottish identity. Scott critiques both the over-romanticized view of Scotland’s Celtic roots (as represented by the Ossian controversy) and the historical revisionism surrounding its Gothic or Germanic origins.
Scott's Personal Engagement : The essay highlights that Scott himself was heavily involved in the Ossian debate. Despite criticizing Macpherson’s forgeries, Scott acknowledged that the Ossian poems had helped elevate Scottish literature on the world stage and had inspired his own poetic works.
Mock-Heroic Elements : The narrative of The Antiquary parodies the epic tone found in works like Ossian , particularly in the character of Hector MacIntyre, who embodies the Highlander’s connection to these mythical texts. Scott uses humour and irony to highlight the absurdity of romanticized heroism in the context of the novel's more grounded plot.
Fiction vs. Fact in History : Scott blurs the lines between fiction and history, using Oldbuck’s antiquarian pursuits to explore how historical narratives are constructed and manipulated. The novel ultimately raises questions about the "truth" of history, suggesting that national identity is often a product of selective memory and fabrication.
Scott’s Vision of Scottish Unity : Through Oldbuck's defeat of Macpherson's Ossian and the broader reconciliation of different factions (Goths and Celts), Scott envisions a unified Scottish identity that transcends historical divisions. This reflects his broader political and literary agenda of promoting a cohesive national identity in post-Union Britain.

These points illuminate how Scott’s The Antiquary engages with significant cultural issues of the time, blending literary analysis with historical reflection on Scotland’s evolving identity.

Download the [transcript]

Introduction by our Chairman, Prof. Peter Garside:

Welcome to this year’s annual Joint Scott Lecture; and before going any further, in speaking on behalf of the Edinburgh Sir Walter Scott Club, I’d like to acknowledge the essential input received from firstly our co-sponsors the English Department at the University of Edinburgh and secondly our hosts the Faculty of Advocates. Walking once more through these portals, it’s hard to think of a more appropriate location for this event, in surrounds which one could say offer a mini-history of Scott’s life just as potent as Abbotsford. Even before getting to this capacious sitting-room we pass along the even more splendid high-arched Parliament Hall, home of the original Scottish Parliament, prior to its being handed over the lawyers after the Union of 1707. It was there that senior advocates perambulated together in small groups, to avoid being overheard, shadowed by junior members such as the young Scott eager to give the impression that they too had business. Some of you might have noticed the statue of a sedentary Scott, by John Greenshields, who started his own career as an apprentice stone mason. ‘Sic Sedebat’ it says at the foot’ ‘Thus [ or In this way] he sat’. Then through the now laptop-filled reading rooms of the Advocates Library, where Scott in his earlier years got vital access to manuscripts and rare books, and which of course later provided the foundation for the National Library of Scotland. One year I seem to remember the Faculty placing in this room the green leather chair which Scott occupied as a Clerk to the Court of Session. Perhaps it’s still here, and even has Scott sitting in it—in spirit at least (‘Thus’ you might say).

So, it is a great pleasure to introduce Nigel Leask as today’s speaker. Nigel was previously Reader in Romantic Literature at Cambridge, where among other things he gained a reputation for ground-breaking work on Orientalism. He is now Regius Chair in English Language and Literature at the University of Glasgow (in fact, I believe he’s the third in a succession of speakers to the Scott Club from that University, indicating the high concentration of academics specialising in Scottish literature there, as well as their willingness to be called on!) . His most recent critical study is Robert Burns and Pastoral: Poetry and Improvement in Late Eighteenth-century Scotland (Oxford U.P., 2010), which won the Saltire Prize for the best research monograph in 2010. His edition of Robert Burns’s Commonplace Books, Tour Journals and Miscellaneous Prose —the first volume of the AHRC [that is, Art and Humanities Research Council] funded Oxford Edition of Robert Burns’s Writings —was published in 2014. He is co-investigator of the AHRC-funded ‘Curious Travellers: Thomas Pennant and the Welsh and Scottish Tour, 1750-1820’ (2014-18), and is currently completing a book entitled Stepping Westward: Writing the Highland Tour 1720-1820. He is a Fellow of the British Academy and of the Royal Society of Edinburgh, and a Vice-President of the Association for Scottish Literary Studies.

His lecture today, titled ‘Scott’s Antiquary and the Ossian Controvers y ’, seems timely on two counts: first, in view of this year being the bicentenary of Scott’s novel of that name; and secondly in the light of renewed interest in the fields of literary antiquarianism and romantic nationalism. It will examine Scott’s presentation of the Ossian debate in The Antiquary as one aspect of the contentious discussion about Scottish identity and ethnicity, relating it to his 1805 Edinburgh Review essay on Ossian , and suggesting that it plays a more significant role in the novel than has hitherto been recognised.

Other publications:

Stepping Westward: Writing the Highland Tour, 1720-1830 (Oxford University Press, 2020). Shortlisted for the Saltire/National Library of Scotland Prize for the Best Research Book of the Year.

Old Ways and New Roads: Travel and Tourism in Scotland, 1720-1830 , co-edited with John Bonehill and Anne Dulau Beveridge (Edinburgh: Birlinn, 2020)

Ceremony At The Grave of Sir Walter

Wed, 21 Sep 2016 10:44:35 GMT

21st September 2016

At Dryburgh Abbey today our former Chairman, Alasdair Hutton held a ceremony at the grave of Sir Walter.

On this day in 1832 the greatest of all Scottish writers, Sir Walter Scott, died at his beloved home at Abbotsford only a little way from here further up the Tweed, a day which ironically was only a day after the 320th anniversary of Flodden by the calendar which we use today. He was only 61 but he left us and his country a legacy of writing unsurpassed by any writer before or since.

Just over two hundred years ago in 1813 Scott had moved in to the little farmhouse which was to become the Abbotsford he loved and two hundred years ago he faced the agonising decision of which way to turn as a writer. He was slipping out of favour with the public as a poet and decided to turn his hand to prose with the astonishing results we have with us today.

And when his business decisions turned sour he did not blame anyone else but displayed a sense of honour unequalled in our history writing himself to death to pay off the debts which he took on his own shoulders.

Now his remains lie here in this lovely, sanctified place in a bend of the River Tweed. He built his magnificent and now happily reborn Abbotsford to overlook the Tweed and it was from its windows he was able to watch the River as he slipped from this world 184 years ago.

So, it is right that today we should remember Sir Walter here at his graveside and I thought that a handful of his own lines in his Coronach from Lady of the Lake, very slightly adapted, would be fitting.

CORONACH by Sir Walter Scott

He is gone on the mountain,

He is lost to the forest,

Like a summer-dried fountain,

When our need was the sorest.

The font reappearing

From the raindrops shall borrow,

But to us comes no cheering,

To Sir Walter no morrow!

The hand of the reaper

Takes the ears that are hoary,

But the voice of the weeper

Wails manhood in glory.

The autumn winds rushing

Waft the leaves that are searest,

But our flower was in flushing

When blighting was nearest.

Fleet foot on the corrie,

Sage counsel in cumber,

Red hand in the foray,

How sound is thy slumber!

Like the dew on the mountain,

Like foam on the river,

Like the bubble on the fountain,

Thou art gone; and for ever!

Photo credit: Elizabeth Stockdale

Scott, World Literature and the Prospect of Scotland

Thu, 08 Sep 2016 16:26:09 GMT

Thursday 8th September 2016

Summary of the Talk:

Professor Alan Riach delivered a richly layered and intellectually provocative talk on Walter Scott, exploring the national and international dimensions of Scott’s work. He emphasised Scott’s key role in shaping the idea of world literature while remaining deeply rooted in the Scottish landscape, history, and identity.

Riach opened with a personal anecdote shared by Peter Garside , who introduced the lecture. Garside recalled receiving a poem written by Alan Riach as part of an ASLS fellowship award ceremony. The poem, vivid and affirming, changed his sceptical attitude toward such honours. It made him reflect on the real value of archival and scholarly labour—something that can often feel obsessive or thankless but is, in fact, deeply worthwhile.

The main argument of the lecture was that Scott’s fiction engages in a double vision: it both delineates the limits of Scotland (geographical, political, and cultural) and projects outward into a global literary consciousness. Drawing on Ian Duncan’s recent scholarship, Riach discussed how Scott’s novels, particularly Waverley, Rob Roy, Redgauntlet, and The Heart of Midlothian, present a tension between national specificity and universal human experience.

A recurring theme was the juxtaposition of Scott’s internal landscapes (loyalty, identity, moral dilemma) with external terrains (Highland wilderness, legal systems, borderlands). Riach drew attention to how this dialectic contributes to Scott’s enduring complexity, even when misunderstood or simplified in the 20th century.

The lecture also considered Hugh MacDiarmid as a paradoxical heir to Scott—both a critic of Scott and, Riach argues, a literary descendent in terms of vision, ambition, and breadth.

In conclusion, Riach urged a reappraisal of Scott’s legacy, particularly in the context of world literature, and warned against dismissing him due to caricatured ideas of romantic Highlandism or outdated nationalist critique.

Interesting Points You Might Enjoy:

Scott’s Vision of “The Ends of the Earth”
Riach lingered on Jeanie Deans’ dramatic appeal to Queen Caroline and how it symbolised the extent—both literal and metaphorical—of Scotland’s reach in Scott’s imagination. He highlighted how Scott stretches the notion of national boundaries until they blend into universal concerns, such as justice, sacrifice, and belonging.
Scott as a Proto-World Literature Author
Drawing from Goethe and Herder, Riach made the case that Scott helped shape the notion of “Weltliteratur” (world literature), through a distinctly Scottish lens. His use of vernacular, ballads, and folk traditions gave Scotland a powerful literary voice that resonated far beyond its borders.
Rehabilitation of Scott’s Reputation
The talk addressed how modernism, literary critics like F.R. Leavis, and the Scottish Renaissance (especially MacDiarmid) unfairly discredited Scott, portraying him as kitsch or politically compromised. Riach argued these dismissals often misunderstood Scott’s subtlety and the depth of his cultural critique.
His Indian Experience
Riach shared his teaching experiences in India, where postgraduate students enthusiastically studied Waverley, Kidnapped, and The Prime of Miss Jean Brodie . He emphasised how literature rooted in one place (like Scott’s in Scotland) can still have universal resonance—especially in postcolonial contexts.
Rob Roy as a Structural Triumph
He spoke compellingly about how Rob Roy mimics a river’s journey: slow at the start, rapidly picking up pace, and ending in a rush of action. The elusive presence of Rob Roy, who only fully appears late in the narrative, adds mystery and energy. Riach praised the novel’s strong female characters—especially Helen MacGregor—as being unusually forceful and independent.
Literary Comedy & Satire in Scott
A highlight was Riach’s fondness for Dugald Dalgetty in A Legend of Montrose , a comic mercenary who shifts allegiances with military pragmatism. Dalgetty was likened to Flashman—honourable in his own absurd way—and Riach clearly delighted in reading him aloud.

Introduction by Prof. Peter Garside:

I believe I have met Alan Riach twice before. Once when giving a talk at Glasgow, where we had a meal afterwards along with Douglas Gifford (a past President of ours), at which I recall being treated very nicely while perhaps teased a little for holding Anglocentric views. Then we met again at an award of ASLS [Association for Scottish Literary Studies] Fellowships held at the National Library in 2013. Ronnie Renton was there too helping hand out the certificates rolled up in tubes, and in which also was placed a poem for the occasion by Alan. I must admit to having been pretty much ‘agin’ such awards until actually getting one; and Alan’s poem helped make that adjustment, conveying vividly how all the deep-digging, sometimes seemingly futile work that goes into archival scholarship might after all have real value. I must thank him again for providing that encouragement.

Now already two main factors have been given away about Alan—that he works at Glasgow University, and is a poet as well as a scholar. To flesh these out a bit:

He is currently Professor of Scottish Literature at Glasgow University; was born in Airdrie, Lanarkshire, in 1957; took his first degree from Cambridge in 1979; completed a PhD in Scottish Literature at the University of Glasgow in 1986; and worked in New Zealand as an academic from 1986-2000. He is the author of numerous books and articles, including Representing Scotland in Literature, Popular Culture and Iconography (2005) and Arts of Independence: The Cultural Argument and Why It Matters Most (2014). He is the general editor of Hugh MacDiarmid’s collected works and co-editor of The Edinburgh Companion to Twentieth-Century Scottish Literature (2009). His past books of poems extend from This Folding Map (1990) to Homecoming (2009). Among other activities he has published highly-praised English-language versions of the great Gaelic poems of the 18th century. The Winter Book, his latest collection of poems, is scheduled for publication in 2017.

His talk today, ‘Scott, World Literature and the Prospect of Scotland’, promises a wide-sweeping assessment of Scott’s cultural significance. Unlike with several Scott scholars, whose approach I think I could predict fairly confidently, Alan is a bit more of unknown quantity, at least with regard to Scott, and I’m not by any means entirely sure what he’s going to say, so doubly look forward to what’s in store for us this evening.

Citizen of the World or Native Heath - Rob Roy as a test case for Scott's view of the Enlightenment

Thu, 16 Jun 2016 09:15:54 GMT

Thursday 16th June 2016

Summary of the Talk:

Main Themes:

Tension between Enlightenment Universalism and Romantic Localism: Scott’s Rob Roy illustrates the clash between Enlightenment ideals of progress, rationalism, and borderless commerce, and the Romantic celebration of locality, history, and personal identity.
Frank Osbaldistone as Enlightenment Man: A classic Enlightenment narrator—rational, stadial (believing in stages of civilisation), and confident in his cultural superiority. But his perspective proves limited and naïve.
Rob Roy as a Subversive Figure: He undermines Enlightenment assumptions—portrayed with animalistic and ‘noble savage’ tropes, but ultimately shown to have international awareness, honour, and dignity.
Stadial Theory: The Enlightenment’s four-stage model of civilisation (hunter-gatherer, pastoral, agricultural, commercial) informs the narrative but is tested and subverted throughout the novel.
First-Person Narrative Irony: Frank's narration is framed with self-importance, but his misunderstanding of people, especially Rob Roy and Diana Vernon, exposes the limits of Enlightenment thinking.
Women in the Novel: Diana Vernon is presented as more perceptive, learned, and emotionally honest than Frank. Her insights critique patriarchy, commerce, and the suppression of women's agency.
Commerce vs Honour: Scott contrasts commercial credit (often unreliable) with Highland honour (Rob Roy keeps his word), showing the cracks in Enlightenment claims to moral superiority.
Locality as Identity: Rob Roy’s famous line—“My foot is on my native heath, and my name is MacGregor”—embodies the Romantic emphasis on place, memory, and resistance to universalist reduction.

Interesting Points Worth Highlighting

The Enlightenment Ideal is Problematised:
Frank assumes Highland society is primitive, yet Rob Roy proves more informed, honourable, and cosmopolitan.
Stadial theory itself is shown to be both a tool of understanding and a form of prejudice.
Scott's Narrative Technique:
Use of a fallible, first-person narrator (Frank) allows Scott to critique Enlightenment thinking from within.
Frank’s misjudgements are not just comic—they’re ideological.
Role of Women:
Diana Vernon and Helen MacGregor offer powerful counterpoints to male-centric narratives.
Diana explicitly challenges the reduction of history to propaganda (Shakespeare is criticised!) and likens women’s roles to ancient Spartan slaves.
Commerce as Colonial Tool:
Frank wants Rob’s sons to join the British army, displacing Highlanders into colonial service.
Rob, more strategically, prefers the continental option—suggesting political subversion through transnational alliances.
Satirical Touches:
Rob Roy is, at various times, likened to a goblin, an orangutan, a classical hero, and finally Robin Hood—highlighting the Enlightenment’s discomfort with what it can’t categorise.
Scott’s Historical Irony:
The oak wood deal (a commercial transaction) symbolically links the Jacobite cause with economic betrayal.
Jarvie, the Glaswegian merchant, represents a bridge between two worlds—but one built on shaky assumptions.
Modern Relevance:
Pittock closed by suggesting the Enlightenment vs Localism debate is unfolding again today—with globalisation and resurgent nationalism mirroring Scott’s concerns.

Introduction by Prof. Peter Garside:

Is with great pleasure that for my first act as incoming Chair of the Club I’m able to introduce Professor Murray Pittock as this evening’s speaker. Before outlining Murray’s multiple achievements, I hope you won’t mind my indulging in a small personal anecdote, if only to illustrate where we’ve come from. I first fully met Murray at a Hogg Conference at Bowhill in 1989, when he was near the start of his career. The colloquium was organized by Douglas Mack and David Hewitt was also there, both of them on the cusp of commencing the publication of their monumental editions of Hogg and Scott respectively. If memory serves me correctly it was then that David Hewitt invited myself, Murray, and Douglas one evening to a bothy that he had access to on the Abbotsford estate. I was not drinking, so had the privilege of being something of a fly on the wall (or even impartial observer) on the occasion. Subsequently I’ve likened it to the scene in Shakespeare’s Anthony and Cleopatra where Anthony, Octavius Casar, and others meet up on Pompey’s galley to divide the world between them (as one of its so-called pillars is carried off in his cups a bystander, having been told that he represents a third of the world, wryly observes that ‘The third part, then, is drunk’). Not that there were any scenes of drunkenness in the bothy. The analogy I’m reaching for rather is the three ‘three pillars’ part, since it’s amazing what that trio in the bothy have subsequently achieved in restoring and revaluating Scottish literature, our present speaker not least through his work on Burns, Hogg, Allan Ramsay and others, as well as in more broadly redefining important aspects of Scottish cultural history.

Murray is now Bradley Professor of Literature and Pro Vice-Principal at the University of Glasgow, with responsibility for the Kelvin Hall development and research partnerships working with a range of external bodies. He has previously held chairs at the universities of Manchester (where he was the first chair of Scottish Literature at an English university) and Strathclyde, as well as visiting appointments at a number of overseas institutions including Yale, New York University, Notre Dame, Prague, and South Carolina. He is honorary adviser in Scottish History to the National Trust for Scotland, and his books include Material Culture and Sedition (2013), Scottish and Irish Romanticism (2008), Celtic Identity and the British Image (1999), Inventing and Resisting Britain (1997), The Myth of the Jacobite Clans (1995, 1999, 2009) and The Invention of Scotland (1991, likewise twice republished). He has also single-handedly edited The Reception of Sir Walter Scott in Europe (2007, paperback 2014), and his next book, Culloden , is due out in July and will feature at the Edinburgh Book Festival on 22 August. His present funded projects include the first scholarly edition of The Scots Musical Museum (due in 2 volumes from Oxford University Press in 2017) and a full-length study of Edinburgh in the First Age of Enlightenment: How the City Changed Its Mind, 1680-1750.

Murray Pittock MAE FRSE is Bradley Professor and has been in senior leadership roles at the University of Glasgow since 2008: currently he is Pro Vice-Principal. He also serves as Chair of the Governance Board of the Scottish Council on Global Affairs , is co-Chair of the Scottish Arts and Humanities Alliance , Chair of Trustees of the International Association for the Study of Scottish Literatures , a Trustee of the National Trust for Scotland and a board member of NISE.eu which brings together research on national identity from 50 research institutes across Europe.

Synopsis: The lecture addresses how-perhaps more than any other of his novels- Scott’s Rob Roy interrogates the stadial history model that Scott inherits from the Scottish Enlightenment, both by demonstrating that locality changes personality and that women are in many ways marginalized by the new world of politeness and sentiment that the Enlightenment did so much to build. Being a ‘Citizen of the World’ is a grand claim to universal understanding, but it is shown to be flawed by the specific demands of history and place.

Wattie Takes The Waters

Fri, 06 May 2016 10:35:27 GMT

A visit to the City of Bath in May 2015 was the inspiration for Bridget Falconer-Salkeld’s photo-essay in which she discusses the extended visit to the City by the small boy who was to become the literary Wizard of the North.

As is well known to enthusiasts of Scott’s life and works, in the early summer of 1775 when he was almost four years old, he was taken to Bath by his paternal Aunt Jenny (Miss Janet Scott, born 1733), in the hope that the muscle weakness in his leg, the result of poliomyelitis contracted in infancy, would respond to the curative regimen at the spa resort of the city of Bath [1] — immersion in the waters of the mineral-rich hot springs (unique in the British Isles), and drinking it daily in measured doses. [2] Here we add that the latest incarnation of the spa, used by the Celts and the Romans over two thousand years ago, is the Thermæ Bath Spa, which Wattie would undoubtedly have enjoyed far more than the late-18th century facilities. [3]

Wattie and Aunt Jenny travelled by packet boat from Leith to London, and after the twelve-day passage spent a few days seeing the sights, including Westminster Abbey and the Tower of London. From there it was westwards to Bath in the English county of Somerset. There Janet Scott took lodgings for them both at fashionable South Parade, No. 6, designed and built by Wood the Elder. [4] Wattie’s stay at Bath was happy and formative: in addition to his spa routines, he attended a nearby dame school (he could already read); frequented the gorgeous toy shop at Orange Grove, near the Abbey; played in Parade Gardens (still very fine); and took carriage drives on the Downs, with the wife of the Rev. John Home, where he would have seen wildflowers, wooded plantations, and noticed the fine views over the City. [5] With his uncle, Capt. Robert Scott who joined them at Bath, he attended his first play, As You Like It , and was entranced. It was an idyllic year by any measure.

The following few sentences are for Idlers, or would-be Idlers; others may bypass them without conscience. Now it so happened that in late-May 2015 the present writer was staying for several days (with a group) at an hotel not a stone’s throw from South Parade. Once again the architecture and ambience of the Parade exerted its magnetic attraction, as it has done for almost three hundred years. Studying pavements in fine weather and in a holiday humour [6] , notebook and pencil in hand, but with nothing more than their shoes for measuring, where there is something worth measuring, is among the accomplishments of Idlers, and at this location is highly satisfying, for it is soon discovered that each course has its own particular design of long (rectangular) and short (square) pavers. Although Wood the Elder specified the materials (Pennant sandstone, today still extracted from the Forest of Dean in the neighbouring county of Gloucestershire) and the dimensions of the Parade (33 feet wide including the one foot wide kerbstone), he left the design of the courses to the local paviors employed on the contract, and it is to them that Idlers must extend gratitude for the moments spent in studying their artisanal skill and creativity. One course of pavers, taken entirely at random, turned out to be designed in necklace-fashion, that is to say, centred on three short pavers and, working out from the centre, produced the pattern:

S L S L L S L S S S L S L L S L S

where the dimensions of the pavers are: short pavers (S): 20 inches square; long pavers (L): 25 x 20 inches. Far easier to start a course at one side and finish a repetitive pattern at the other, but no, these paviors took full advantage of the freedom given them, and this unique public space, to display their talents. [7] Even a precocious child, which Wattie undoubtedly was, would have been unaware of what strikes the Idler, but there can be no doubt that he must have enjoyed the sights, sounds, and spaciousness of South Parade where the fashionable came to see and be seen, altogether très à la mode.

Having once deciphered the sample course of pavers, the question of whether the spacious dimensions of South Parade might be viewed as a metaphor for the spaciousness of the Waverley novels was one that struck the Idler. It seemed a far-fetched reflection, and probably was, but to the Idler in proper mood, the idea had a certain attraction. For many months during the year Bath is blessed with an abundance of mild and sunny weather, and when not otherwise occupied, the small boy would have played and idled here on South Parade, watching society promenading up and down, and absorbing the atmosphere without appearing to, as is the way of observant, thoughtful children.

Here resided madame d’Arblay née Frances (Fanny) Burney (1752–1840). She is recognised as a literary pioneer in the art of the novel of manners.

Bridget Falconer-Salkeld is a Life Member of the Edinburgh Sir Walter Scott Club and a postgraduate of the University of London, School of Advanced Study.

Photographs © Bridget Falconer-Salkeld

[1] . Granted city status by Queen Elizabeth I in 1590.

[2] . See Edgar Johnson, Sir Walter Scott The Great Unknown. London: Hamish Hamilton, 1976, Vol. I, 20–23.

[3] . See Internet, “Thermæ Bath Spa” https://www.thermaebathspa.com (accessed 1 April 2016). Except, of course, that children under twelve years of age are not admitted.

[4] . John Wood the Elder (1704–54), architect. He began the development of North and South Parades, Bath, in 1738, which “achieved pre-eminence among the places of fashionable resort in the city.” (Thomas Moule, 1837; Robert Gilding, Historic Public Parks - Bath (1997), pp 1–7). See Internet, “Parade Gardens, Bath” https://historicengland.org.uk/listing/the-list/list-entry/1001630 (accessed 1 April 2016).

[5] . John Home (1722–1808), Scottish Minister, writer, and playwright. He is best known for his poetic tragedy for the stage, Douglas.

[6] . Shakespeare, As You Like It, Act 4, Scene 1.

[7] . The Rev John Penrose wrote on the subject in 1766 and 1767, comparing paving in Bath to a ‘floored room’

Trees, Rivers, and Stories: Walter Scott and the Land

Thu, 05 May 2016 16:43:18 GMT

Thursday 5th May 2016

Summary of the Talk:

Dr Susan Oliver, Reader in Literature at the University of Essex, delivered an engaging lecture on the ecological imagination of Sir Walter Scott. Drawing on research from her forthcoming book Green Scott: Historical Fiction, Ballads and National Ecologies , she explored how Scott’s deep connection to the natural world shaped his writing and environmental views.

Key Points:

Scott the Ecologist : Scott planted over a million trees at Abbotsford and kept detailed records of soil conditions, tree species, and local flora in his planting journal Sylva Abbotsfordiensis . His love of trees was both literary and practical, influenced by both folklore and science.
Ecocriticism and Literature : Oliver explained ecocriticism as a lens that views literature in relationship with the land, highlighting how Scott treated nature as an active participant in his stories rather than just a setting. Scott saw land and water as carriers of memory, history, and storytelling.
Industrial Deforestation and Monocultures : Scott warned against the rise of industrial forestry and monocultures of non-native trees. His essays for the Quarterly Review critiqued the loss of Scotland’s native woodlands and the ecological degradation brought by mass logging, especially in North America.
Scott and Salmon Stocks : In novels like Old Mortality and The Antiquary , Scott highlighted the environmental consequences of damming rivers and overfishing. He even helped found the Tweed Commissioners in 1805 to preserve salmon in the River Tweed—making it one of the first environmentally managed rivers in the world.
Trees, Rivers, and Folklore : The role of trees and rivers in Scott’s Minstrelsy of the Scottish Border and novels like Waverley and The Lady of the Lake is profound. Through characters like Thomas the Rhymer, Scott connects the landscape to prophecy, memory, and oral storytelling.
Altered Landscapes and Lost Memory : In Waverley , the removal of ancient trees is not only ecological loss but symbolic of cultural erasure. Scott shows how war and economic change leave scars in the landscape, and how only the storyteller can restore meaning to those lost places.
Eerie, Enchanted Spaces : Scott was fascinated by the mystical and haunted quality of places like the Rhymer’s Glen and Huntly Bank. These places embodied the blurred line between folklore and reality and played into his belief that the land itself could tell stories if we knew how to listen.

Noteworthy Observations

Scott as a Forefather of Environmental Writing : Dr Oliver positions Scott as a visionary environmental thinker, whose warnings about forestry and climate change anticipated modern ecological concerns.
The Land "Writes Back" : Oliver compellingly argued that Scott’s landscapes were not passive backdrops but resistant, sentient, and even rebellious. The soil itself could reject unsuitable tree species or retain memory through rivers and stones.
Sound as Storytelling : The lecture touched on the idea that Scott may have deliberately used stone placement and tree growth at Abbotsford to amplify the sound of the River Tweed—a subtle but poetic method of blending storytelling with place.
Influence Beyond Scotland : The talk ended with a transatlantic reflection, showing how Scott’s influence reached writers like Robert Louis Stevenson, who reimagined Scott’s characters in ecologically and culturally fraught American landscapes.
Thomas the Rhymer as an Eco-Poetic Hero : The image of Thomas being taken underground by the Elf Queen, among tree roots, becomes a metaphor for Scott’s belief that deep knowledge and poetic vision arise from immersing oneself in the land—literally and symbolically.

Introduction by Alasdair Hutton:

Sir Walter Scott’s writing has received a lot more attention recently as I think everyone here believes is well deserved.

Rather less well known is Sir Walter’s enjoyment of nature and his management of the natural world around him. He studied the planting of trees and became something of an authority on the subject. Indeed, buying land and planting trees became an addiction and was one of the factors which left him with no money when the publishing businesses of Archibald Constable and James Ballantyne crashed into bankruptcy and carried Scott down with them.

To tell us a great deal more about this important part of Sir Walter Scott’s life we are very fortunate tonight to have with us Dr Susan Oliver, Reader in Literature at the University of Essex where she writes about and teaches Romantic, transatlantic and periodical studies, along with ecocriticism.

Susan has published many articles about Sir Walter Scott and Scottish literature, and about the literature of the Romantic period more generally. She was awarded the British Academy’s Rose Mary Crawshay Prize in 2007 for her book Scott, Byron, and the Poetics of Cultural Encounter.

But of closest importance to us is that she is writing a monograph titled Green Scott that re-evaluates Walter Scott’s writing about the ecological history of Scotland. That book also assesses Scott’s forward importance to the twentieth- and twenty-first century environmental studies.

Sir Walter Scott and Scotland’s First Lending Library

Thu, 07 Apr 2016 17:57:19 GMT

Thursday 7th April 2016

Summary of the Talk:

Lara Haggerty's talk explores connections between Sir Walter Scott and Innerpeffray, Scotland's first lending library. Haggerty presents a mix of historical background, fascinating connections, and intriguing anecdotes. The talk opens with the founder of the library, David Drummond, 3rd Lord Madertie, who established the library in the 17th century in a small and rural area. Haggerty draws attention to his wide-ranging interests, evident from the collection of books he left behind.

David Drummond was a landowner, well-connected, and keen on maintaining a diverse library that included theology, history, philosophy, travel, and military books. His legacy endures through the library, which was later expanded by his great-nephew, Robert Hay Drummond. The library's history is marked by incremental growth, especially during the 19th century, with novels—including Scott’s works—becoming increasingly popular.

The library’s connection to Scott is also highlighted through several anecdotes. One example is the armchair belonging to Scott, which was later passed down to a trustee of Innerpeffray. There’s also mention of a tutor, Rev James Mitchell, who borrowed books from Innerpeffray in the 18th century and read Scott’s works. In the 19th century, Scott’s novels were popular among borrowers, and the library holds many copies of his books, some of which have been borrowed extensively.

Notably, the library also received a major donation in recent years from American bibliophile Janet St Germain, who gifted 400 Scottish First Editions, including works by Scott. This generosity contributed to the enrichment of the library's collection. Among these, a signed edition of The Young Chevalier , bearing Scott’s signature, is a prized possession.

Key Points of Interest:

David Drummond’s Legacy : Drummond, a pivotal figure in the library’s establishment, had a diverse and eclectic book collection, demonstrating an early interest in broad intellectual pursuits. His creation of a lending library in a remote area was revolutionary at the time.
Scott’s Influence : Scott’s novels were well-loved by Innerpeffray borrowers, with Waverley being particularly popular. The library’s records show frequent borrowing of Scott’s works during the 19th century, revealing his deep influence on Scottish reading culture.
The Armchair Connection : A notable artefact in the library is an armchair that once belonged to Scott, highlighting a personal connection between the author and the library. It was passed down through the Haldane family, who had ties to Scott.
The Gift from Janet St Germain : The donation of 400 Scottish First Editions, including works by Scott, represents a significant boost to the library’s collection. This donation exemplifies the ongoing interest in preserving Scottish literary heritage.
Historical Significance of Innerpeffray : The library’s unique place in Scotland’s literary history, as both a lending library and a repository of Scottish literature, remains its enduring legacy. Though there is no definitive evidence that Scott visited, his works were well represented and beloved by those who frequented the library.

The talk illustrates how Innerpeffray is not only a library but a living connection to Scotland’s literary past, especially through its relationship with Scott.

Download the [Transcript]

(Unfortunately due to a technical issue there is an no audio until after the first 17minutes)

Download the [transcript]

Introduction by Alasdair Hutton:

The Library of Innerpeffray, located in beautiful rural Perthshire, was Scotland’s first free public lending library founded in 1680. It has a collection of some 5000 books, covering five centuries and an amazing register of borrowers which is a history of local reading from 1747 to 1968.

The thirty first Keeper of the Books at Innerpeffray is one of Scotland’s brightest young librarians, Lara Haggerty, who not only looks after the books but also curates exhibitions, markets and promotes the library as well as conducting guided tours and managing her brilliant team of volunteers. She is also is also a fundraiser, which is crucial for an independent organisation, and she looks after all the day to day business.

Lara earned an Honours degree in English Literature and Theatre from the University of Glasgow and spent her early career in the arts, mainly in theatre management, and then in a local authority advising schools on arts and heritage before she went to Innerpeffray.

But perhaps of closest interest to us is the amazing collection of Scottish First Editions which Innerpeffray has been gifted by the American bibliophile Janet St Germain which includes a collection of Sir Walter Scott first editions.

I found Innerpeffray fascinating when I visited it some time ago and I am sure those of you who have not been there will also find it a remarkable experience. So, to tell us a lot more about the collection and her work with it I am delighted to welcome Lara Haggerty.

Lara Haggerty has been Keeper of Books at Innerpeffray, since 2009. The Library is run by a charity: The Innerpeffray Mortification and Lara works closely with the Governors and manages a team of volunteers to bring a wide audience of visitors to Innerpeffray including running a range of events. The Library also collaborates with the University of Stirling (amongst others) to support students.

Synopsis: Two icons of Scottish history, one of its greatest authors and its first free, public lending library, come together: with six connections between the two. For this talk Lara shared the background history to the foundation of Innerpeffray’s library in 1680, and a selection of books to illustrate the Founder’s collection. Connections between the Library and Scott include the role of the Haldanes of Gleneagles, Scott’s tutor James Mitchell and the popularity of Scott’s work with borrowers at Innerpeffray.

Edinburgh Locations and the Production of the Waverley Novels

Wed, 23 Mar 2016 10:03:33 GMT

Professor Peter Garside describes key places within a narrow space of Edinburgh in which Scott's Waverley novels were originally produced, with links to sites since lost and photos of current locations.

Considering the huge international success achieved by the Waverley novels of Sir Walter Scott (1771-1832), it is remarkable how much of this was generated in a relatively small area of Edinburgh, originally centred on the High Street in the Old Town and the closes running off it. A central participant here was the bookseller Archibald Constable (1774-1827), the main publisher of nearly all Scott’s works of fiction to the mid-1820s, aided in this by his junior partner Robert Cadell (1788-1849). Having served his apprenticeship in the heart of the Edinburgh book trade, concentrated around the law courts in Parliament House, Constable in 1795 set up his own business on the north side of the High Street, specialising at first in old books (a sign above the door proclaiming ‘Scarce Old Books’, to distinguish the shop from nearby circulating libraries, though some wags at the time interpreted this as ‘Scarce O’ Books’). From this position Constable rapidly established himself a leading publisher in both Scottish and British terms, through entrepreneurial successes such as the Edinburgh Review launched in 1802 and the acquisition of the Encyclopaedia Britannica in 1812. In the case of Scott’s second long poem, Marmion (1808), Constable offered Scott an unprecedented 1000 guineas for the copyright, exploiting this opportunity to demonstrate how upmarket imaginative works might be managed profitably from Edinburgh rather than London. In a letter of 2 May 1808 Scott’s fellow-poet James Hogg remarks how he had witnessed ‘240 copies of Marmion sold in Constable’s shop yesterday forenoon’.

Early Post Office Directories describe Constable’s shop as at ‘the Cross’, this referring to the old Mercat Cross, which originally stood in the High Street below St Giles’ Cathedral (the site is now marked in the pavement), though ‘the Cross’ was also used more generally to denote the area between St Giles’ and the Tron Church. Later Directories give the address as 255 High Street , once part of a tenement building standing on the north side of the High Street (the present street numbering differs), subsequently demolished shortly after 1900 as part of the extension of the present-day City Chambers eastward. In Constable’s day this would have stood adjacent to the new Exchange building, erected in 1753 as an alternative the Mercat Cross for business transactions, as well as a number of busy closes, some now lost (the first presently surviving down the High Street being Anchor Close,
where Scott’s parents had lived early in their marriage, and at the foot of which stood the works of William Smellie, Robert Burns’s printer). Notwithstanding the retail sales witnessed by Hogg, Constable’s premises would have functioned increasingly as an administrative centre for an essentially wholesale operation. Scott’s son-in-law J. G. Lockhart in 1819 described the shop floor as ‘a low dusky chamber, inhabited by a few clerks’, with Constable himself preferring ‘to sit in a chamber immediately above, where he can proceed in his own work’. The concern maintained its commitment to the High Street until the early 1820s before moving to 10 Princes Street [photo shown underneath], close to the Register House, following a more general drift amongst booksellers towards the New Town.

Another key component was the nearby printing works of James Ballantyne (1772-1833), where all the Waverley novels were originally produced. Having printed some of Scott’s earliest works in his native Kelso, Ballantyne in 1802 decided to set up in Edinburgh, locating himself first in the precincts of Holyrood House, then in Foulis Close off the High Street, and finally at Paul’s Work at the North Back of the Canongate. In all this he received financial backing from Scott, who effectively became a hidden partner in the firm. Earlier Waverley novels (unusually) included Ballantyne’s name alongside the publisher on the title-page, while Edinburgh commonly appeared as the main place of origin, reflecting Scott’s deep sense of their Scottish manufacture. Originally a religious hospital for the poor, and later a workhouse, the building was first used to house Ballantyne’s presses in 1805, in what Scott in the following year described as ‘a hall equal to that which the Genie of the lamp built for Aladdin in point of size but rather less superbly furnished’. These presses were of the traditional wooden variety, normally operated by two men, and large numbers of staff, including compositors and proof readers, would have been engaged expediting Scott’s novels (usually comprising three volumes) for an expectant market. Whereas an inventory for 1806 lists twelve presses, by the 1820s more than twenty were engaged, as the impression number for first editions reached as high as 12,000. The most obvious route there from the High Street would have been down Leith Wynd: now no longer in existence, though its point of entry at the Netherbow is still represented by the west side of Jeffrey Street. Lower down from the Canongate, where Ballantyne’s private residence was located, it might be reached through Coul’s Close, one of several lanes then intersecting with the High Street.

Ballantyne’s house at 10 St John’s Street , since demolished, was one of a terrace of stylish houses, offering striking views of Salisbury Crags, whose past residents included the philosopher Lord Monboddo and (more briefly) Tobias Smollett, and in Ballantynes’s own day the novelist Mary Brunton and her husband. Now marked by its surviving entrance from south of the Canongate, the location provided Ballantyne easy access to Paul’s Work, where his printing office (reached through stairs at the side of the building) served as a focal point for many of the day-to-day business dealings relating to the novels. Nowadays his journey there can be paralleled by a walk of some five minutes down New Street, under the railway bridge, then left along Calton Road to a point (immediately beneath the old Calton Gaol)
from where the site of the works can be located to the left in yards now belonging to Waverley Station. In Scott’s time the site would have also allowed relatively easy access in the direction of Leith Docks, from where a large proportion of the Waverley novels were shipped in bales to be bound and marketed in London. Paul’s Work survived further in the nineteenth century, initially through Ballantyne being kept on as an employee after the failure of the firm in 1826, and was not removed by the North British Railway until the 1870s

Scott’s own Edinburgh residence from 1801 to 1826 was at 39 Castle Street, off Princes Street, in the New Town. It was here in a ground-floor study at the back of the house that large sections of the Waverley novels were written, including the last two volumes of Waverley, completed in a burst of several weeks in early summer 1814. As a Principal Clerk of the Court Session, during legal term times he also made regular carriage trips with his fellow Clerks up the Mound to the law courts in Parliament Square, placing him close to the nexus of operations at Constable’s shop. As an anonymous author, intent on keeping at one remove from the booksellers, however it was necessary to act stealthily, and many of negotiations concerning the contracting of his novels were carried out by John Ballantyne (1774-1821), James’s younger brother, who effectively became Scott’s literary agent after the failure of the publishing house of John Ballantyne & Co., another enterprise involving Scott. Numerous small notes relating to business deals between the Ballantynes and Scott’s publishers, many of which must have been by delivered by hand, have survived; and there is evidence enough too of the almost continuous first-hand meetings that must have taken place, whereby deals were struck, manuscripts transmitted, proofs exchanged, and profits calculated.

As a whole, it is hard to imagine a tighter nexus of relationships involving author, agent publisher, and printer. To some extent, this was dissipated in the 1820s owing to Scott’s growing preoccupation with the development his Border home at Abbotsford and the drift of the book trade in Edinburgh towards the New Town. A notable instance of the latter was William Blackwood’s move from premises at 64 Bridge Street (opposite the University Old College) to more fashionable quarters at 17 Princes Street, this occurring shortly after his having secured the contract to publish Scott’s fourth work of fiction, Tales of my Landlord (1816), the one new title to elude Constable’s grip. James Ballantyne for his part shifted his private residence to 3 Heriot Row, whereas his brother presided over auction rooms in Hanover Street. In the wake of Constable’s bankruptcy in 1826, Robert Cadell set up independently at 41 St Andrew Square , incorporated in a building on the east side of the square, once housing the National Bank, prior to its demolition in 1936 to make way for a headquarters for the Royal Bank of Scotland (now unoccupied).

It was from here that he orchestrated the Magnum Opus collected edition of the Waverley Novels (1829-33), as well as a sequence of other editions aimed at all levels of the early Victorian reading market. After Cadell’s death, the copyrights to the Waverley Novels were secured by the Edinburgh firm of Adam & Charles Black, who at the same time removed to 6 North Bridge to accommodate the resultant expansion of their output. In their hands production of Scott’s fiction remained a mainstay of the Edinburgh print industry until at least the end of the century, on a scale comparable to the magnificent Scott Monument that so visibly graces Princes Street today.

The photograph of Parliament Hall was taken with the permission of the Scottish Courts on behalf of The Edinburgh Sir Walter Scott Club by " Lee Live: Photographe r ". It cannot be used for commercial purposes.

Sir Walter Scot: Perceptions of the Highlands and Highlanders

Thu, 19 Nov 2015 20:26:47 GMT

Thursday 19th November 2015

Summary of the Talk:

This talk explored Sir Walter Scott’s evolving perception of the Highlands and Highlanders , his role in shaping the romanticised view of Highland culture , and how his works contributed to changing public attitudes towards the region. It examined Scott’s literary influences, travels, historical perspectives, and his orchestration of the Royal Visit of 1822 .

1. The Influence of the Ossian Poems and Early Perceptions of the Highlands

In the 1760s , James Macpherson’s Ossian poems—allegedly translations of ancient Gaelic poetry—introduced the mystique and heroism of the Highlands to a European audience.
Though later exposed as partly fabricated , they fascinated Napoleon, Romantic writers, and European audiences .
Scott was initially skeptical but found the idea of a mysterious, ancient Highland culture appealing.
He realised the Highlands were vastly different from Edinburgh and the Lowlands— a different language, social structure, and culture .
The Highland-Lowland relationship had always been turbulent , but trade—especially cattle droving —kept them connected.
Scott explored the drovers' way of life in The Two Drovers (1827).

2. Government Control and the Transformation of the Highlands

The Highlands had a history of lawlessness and insurrection , seen in events like:
Battle of Killiecrankie (1689) – A Jacobite victory, which alarmed the government.
Jacobite uprisings (1715 and 1745) – Led to harsh suppression of Highland culture.
Government strategies to control the Highlands :
General Wade’s military roads improved accessibility for British troops.
The Disarming Act (1746) banned tartan, weapons, and bagpipes .
English replaced Gaelic in education and religious reform aimed to stamp out Catholicism.
Ironically, the British Army revived Highland identity by forming Highland regiments , which gained prestige and public admiration .
By 1782 , the ban on tartan was lifted, and Highland culture slowly re-emerged .

3. Scott’s First Encounters with the Highlands

Scott’s legal training introduced him to former Jacobites , including Alexander Stewart of Invernahyle , a veteran of Culloden.
A visit to Invernahyle in his teens left a deep impression:
Heard first-hand stories of the 1745 rebellion.
Witnessed Highland hospitality and traditions .
Described the laird’s wife and daughters working on the land , only to transform into elegant ladies in the evening.
Encountered bagpipe rituals and haggis processions .
His 1792 tour of the Highlands with Adam Ferguson further deepened his knowledge.
Inspired by tales of Rob Roy and Highland clan politics , he saw the Highlands as a land of heroism, loyalty, and poetic beauty .

4. The Role of Landscape and Romanticism in Scott’s Writing

Scott drew inspiration from Highland scenery , which he incorporated into his poetry and novels.
His Minstrelsy of the Scottish Borders (1802-03) reflected his deep knowledge of Borders folklore , but he sought to apply the same approach to the Highlands .
The Lady of the Lake (1810) was a poetic masterpiece , set in the Trossachs, which:
Glorified Highland landscape and history .
Sparked a tourism boom , with wealthy English visitors flocking to the Trossachs.
Served as an early “guidebook” to the Highlands .
The novel Waverley (1814), published anonymously, introduced a romanticised yet complex view of the Jacobites and their cause .
Edward Waverley , a naïve English officer, immerses himself in Highland culture .
Flora MacIvor (Jacobite idealist) and Rose Bradwardine (Lowland pragmatist) symbolise the contrast between Highland passion and Lowland stability .

5. Scott’s Interpretation of Highland Society and Culture

Scott admired Highlanders but lacked direct experience of ordinary Gaelic-speaking people .
He admitted his lack of Gaelic knowledge was a barrier.
Rob Roy (1817) portrayed both the heroism and the lawlessness of the Highlands .
Rob Roy MacGregor is both a noble outlaw and a practical survivor .
Baillie Nicol Jarvie , a Glasgow merchant, provides a Lowland perspective on Highlanders.
Redgauntlet (1824) explored Jacobite nostalgia and Highland loyalty .

6. The Highland Clearances and Scott’s Response

Scott witnessed the impact of the Highland Clearances , where clans were displaced for sheep farming .
In 1814, during a voyage with the Northern Lighthouse Commission , he saw firsthand the economic transformation.
He observed that Highland chiefs had become landlords, breaking the ancient clan bonds .
He struggled to reconcile economic progress with social cost .
He did not explicitly criticise the clearances but acknowledged their tragic impact .

7. Scott’s Role in Reviving Highland Identity – The Royal Visit of 1822

In 1822, King George IV visited Scotland , the first reigning monarch to do so since Charles II (1651) .
Scott orchestrated the visit , crafting a spectacle of Highland pageantry .
He urged clan chiefs to attend in tartan , transforming Edinburgh into a sea of Highland dress .
Scott presented the king with a Gaelic-inscribed St Andrew’s Cross .
This event revived Highland culture , but some critics (e.g., Henry Cockburn, Thomas Carlyle) saw it as theatrical and historically inaccurate .
It established Highland dress as Scotland’s national identity , though Gaelic language continued to decline .

8. Scott’s Legacy in Shaping Highland Perceptions

Scott popularised a romanticised view of the Highlands , blending history, legend, and landscape .
He helped redefine Scotland’s national identity , giving Highland culture a central role despite its earlier suppression.
His literary influence extended worldwide , inspiring opera ( La Donna del Lago ), art, and tourism.
His Highland novels preserved the memory of clan society , even as the real Highlands were changing.
His fusion of Highland and Lowland identities helped Scotland maintain its cultural distinctiveness within the Union .

Key Takeaways and Interesting Points

Scott was both an observer and a creator of Highland identity , helping redefine Scotland’s image through literature and public spectacle .
His encounters with former Jacobites influenced his perception of Highland loyalty, honour, and hardship.
The Lady of the Lake (1810) sparked a tourist boom , as visitors sought to see the romantic Highlands Scott described .
Waverley (1814) humanised the Jacobites , showing their bravery and tragedy without outright endorsing their cause .
Scott’s romanticised view of Highlanders shaped public attitudes , but he never fully understood the Gaelic-speaking lower classes .
The Royal Visit of 1822 cemented tartan as a national symbol , blending Highland tradition with British loyalty .
Scott was sympathetic to the Highland Clearances , but avoided political condemnation .

Final Thoughts

Lt Cdr Dairmid Gunn’s talk highlighted Scott’s deep but evolving understanding of the Highlands , his romantic imagination , and his role in crafting the modern image of Scotland .

Download the [transcript]

Speech introduction by Alasdair Hutton:

The Edinburgh Sir Walter Scott Club is exceedingly fortunate to have Lt Commander Diarmid Gunn OBE as one its longest standing and most loyal and effective members.

Diarmid has been on the Council for more than twenty years and as our Chairman saw the Club’s transition from the twentieth century to this one.

Diarmid was a career officer with the Royal Navy for 20 years serving in Korea and at Suez and of course, since this was the period of the Cold War, at Dartmouth he had learned Russian and as a result he was appointed the Assistant Naval Attache in Moscow and developed a life-long attachment to the country

Diarmid’s OBE came not from his naval service but for his services to Scottish agriculture as Director of the Scottish Agricultural Organisation and his co-ordination of the British Food and Farming Campaign promoted by the Duke of Edinburgh.

But, most importantly for us, Diarmid’s roots are in the highlands. His parents hailed from Caithness and Sutherland and his uncle was the writer Neil Gunn who was one of the group of influential Scottish fiction writers working in the first half of the 20th century and whose literary estate Diarmid looks after.

In this talk Diarmid casts a highlander’s eye over the way Sir Walter Scott perceived and portrayed the Highlands and Highlanders

Something to Write Home About: Surprising Stories in Abbotsford Guest Books

Thu, 08 Oct 2015 19:22:41 GMT

Thursday 8th October 2015

Summary of the Talk

Professor McCracken-Flesher’s lecture focused on Abbotsford, the home of Sir Walter Scott, and its role as a site of cultural memory, literary pilgrimage, and scholarly inquiry. Using the visitor books from 1833 to 1935, she explored how Abbotsford became a living extension of Scott’s literary imagination and a place where space, time, and identity were condensed.

She contrasted Scott’s hospitality with Thomas Carlyle’s disdain for the ‘touristification’ of Abbotsford, pointing out how visitors from all walks of life—famous writers, dignitaries, curious travellers—sought to inscribe themselves into Scott’s world.

McCracken-Flesher argued that Scott’s literary project was about “folding the wilderness into place”—bringing Scotland’s history, geography, and mythology into domestic and textual order. Yet, the chaos of nature and human unpredictability always loomed. Abbotsford was both controlled and uncontrollable, a theatrical stage and a site of lived experience.

She also discussed how visitors like Melville, Dickens, Queen Victoria, and even Mark Twain (under his real name Samuel Clemens) signed the guest books. Unexpected names (like Admiral Farragut and the Chicago lumber merchant H.W. Hoyt) hint at far-reaching networks. These signatures sometimes opened out into vast stories—political, personal, and even tragic.

In conclusion, Abbotsford is not just a preserved home, but a dynamic cultural artefact. Each signature in the guest books offers a lens into how Scott’s legacy resonated across continents and generations.

Noteworthy Highlights and Observations

Scott’s Generosity vs. Carlyle’s Criticism : Scott’s welcoming nature brought a diverse array of guests to Abbotsford, which Carlyle mocked as “infested with tourists.” This tension between celebrity and authenticity still resonates.
Miniature World, Expansive Meaning : Abbotsford is framed as a ‘jewel box’ that condenses history, identity, and place into a curated yet resonant experience—echoing Susan Stewart’s theory of miniaturisation.
Visitor Book as Archive of Memory : The guest books are an untapped scholarly resource, revealing waves of cultural visitors and sometimes entire lives unfolding beyond the margins of a single signature.
Surprising Visitors :
Mark Twain signed under his real name and was previously unnoticed in the books.
Queen Victoria hesitated to sign but eventually did.
Admiral Farragut and H.W. Hoyt connect Abbotsford to American Civil War narratives and labour history.
“Colonel Flapdoodle” playfully underscores how even jokers saw value in leaving their mark.
Domestic Performance : Scott’s household frequently became a space for informal performances and readings. His daughters, especially Anne, were expected to entertain, which sometimes became burdensome.
Landscape as Stage : The carefully curated “serpentine walks” symbolise Scott’s effort to shape nature without completely controlling it—echoing Enlightenment ideals mingled with Romantic wildness.
Scott and Place-Making : Compared with Austen, Scott had a single, mythologised “home” in Abbotsford. It became a pilgrimage site far earlier than Chawton or Bath did for Austen.

Download the [Powerpoint]

Introduction by Alasdair Hutton:

Our speaker this evening is Professor Caroline McCracken-Flesher, Professor of English at the University of Wyoming in Laramie. She took her MA at Edinburgh, and her writing on Scottish literature is widely published. Her books include Possible Scotlands: Walter Scott and the Story of Tomorrow and The Doctor Dissected: A Cultural Autopsy of the Burke and Hare Murders .

I first met Caroline when she came to Abbotsford and Bowhill last year with the Clan Scott Society. She has just received the Clan Scott Society’s highest award, the Order of the Stag. The award recognises her outstanding scholarship in Scottish literature, particularly that of Sir Walter Scott. She regards Scott as a flexible and generous thinker, whose genuine voice appears in his letters and journals.

She will also be giving a talk at the Scottish Parliament on Scottish literature on the topic of “The Humanities in a Posthuman Future.” I’ve no doubt Scott will be central there, too. Tonight, ladies and gentlemen, we are very fortunate to have her with us.

Professor Caroline McCracken-Flesher is Professor of English at the University of Wyoming in Laramie. She took her MA at Edinburgh and her writing on Scottish literature is published widely. Her books include Possible Scotlands: Walter Scott and the Story of Tomorrow and The Doctor Dissected: A Cultural Autopsy of the Burke and Hare Murders . She has just received the Clan Scott Society’s highest award, the Order of the Stag. The award recognizes her “outstanding scholarship and study of Scottish literature, particularly that of Sir Walter Scott.”

Synopsis: Caroline McCracken-Flesher discusses the many contemporary and later visitors to Scott’s home. What did his house mean to these visitors, and why? And what do the Abbotsford visitor books, maintained by Scott’s descendants, tell us about our own trends and needs as tourists?

Sir Walter Scott and his publisher Robert Cadell

Sat, 15 Aug 2015 16:58:29 GMT

Saturday 15th August 2015

Summary of the Talk:

Main Speakers: Roddy Martine, Bryan Hickman (Cockenzie House trustee), Jim Brown (Cadell family expert)

Key Themes and Summary:

Historical Background of Cockenzie House:

Originally linked to the Seton family, who supported the Jacobites and lost their estates after the 1715 uprising.
Purchased in 1736 by William Cadell, a manager for the York Buildings Company, and part of the Cadell family for nearly 200 years.
The house was integral to the salt industry, an essential trade due to its role in preserving food.
Salt and coal were stored and managed from the site, which had unique "clinker walls"—built from industrial waste, a rare architectural feature.

The Cadell Family:

William Cadell was a pioneering industrialist involved in coal, paper, and ironworks. His descendants continued expanding the family’s enterprises.
Francis Cadell helped open the Murray River to trade in Australia, bringing experience and even steam engines from Scotland.
Robert Cadell, born in the house in 1788, became Sir Walter Scott’s trusted publisher.

Robert Cadell and Walter Scott:

After the bankruptcy of Scott and his publisher Archibald Constable, Cadell helped salvage Scott’s finances through a new partnership.
Cadell arranged the publication of Scott's novels in the Magnum Opus editions, acquiring copyrights and building a significant publishing business.
He was instrumental in hiring J.M.W. Turner to illustrate Scott’s works—adding visual prestige and commercial value.
Scott and Turner both visited Cockenzie House; Scott’s diary notes breakfasting there with Mrs. Cadell.

Turner, Illustration, and Legacy:

The house features paintings by Andrew Brown, who retraced Turner’s steps in illustrating Scott’s Scotland.
Cadell played a major role in the commemoration of Scott after his death, lobbying (unsuccessfully) for an obelisk instead of the famous gothic Scott Monument in Edinburgh.

Other Notable Residents and Anecdotes:

Later family members included a Victoria Cross recipient and an early photography enthusiast whose glass negatives were rediscovered under floorboards in the 1970s.
The house hosted plant hunter Sir Everard Im Thurn, linked to Conan Doyle’s The Lost World.
A rare early steamboat photograph (the Tulliallan Castle ) was also discovered on the site.

Recent Use and Conservation:

The house became a nursing home in the 20th century, now operated by a local trust aiming to preserve its legacy with holiday cottages, a restaurant, and events.
It's a popular spot for ghost hunters due to reports of paranormal activity.

Notable/Interesting Points:

Scott's Trust in Cadell: Scott trusted Cadell enough to assign him the copyrights to his literary works—an extraordinary gesture that helped preserve Scott’s legacy and allowed the publication of affordable collected editions.
Turner’s Visit: The presence of J.M.W. Turner at Cockenzie House to sketch for Scott's illustrations links two of the greatest names in 19th-century British culture.
Literary Tourism Pioneer: Scott saw economic and cultural value in publishing historical fiction tied to Scottish landscapes, essentially creating early literary tourism.
Photographic Time Capsule: The discovery of wrapped glass negatives beneath floorboards provides a rare visual insight into mid-19th-century domestic life.
Historical Landscape Painting: A 1630s painting of Seton Palace, one of the earliest depictions of the Scottish landscape, shows the area from a historic viewpoint and is held in the National Portrait Gallery.

Sir Walter’s Trip to the Battlefield of Waterloo

Fri, 19 Jun 2015 12:24:53 GMT

Thursday 3rd May 2012

Summary of the Talk:

Introduction :
The story begins on 23 June 1815 with Walter Scott hearing the news of the victory at Waterloo. This event, marked by celebrations, was a pivotal moment in European history, and Scott, a famous poet, became deeply involved with it.
The talk traces his journey, inspired by his desire to witness the aftermath of the battle, and reflects his connection to historical figures like Napoleon Bonaparte (NB) and the Duke of Wellington.
Departure and Companions :
Scott embarked on his journey to Brussels on 28 July 1815, accompanied by his cousin John Scott, two younger advocates, and a pistol for safety. He was excited to explore the aftermath of the battle and meet key figures of the era, including the Tsar and the Duke of Wellington.
Journey Through Europe :
The trip took Scott through England, Belgium, and France. He visited major cities like Brussels, Antwerp, and Paris, and learned of the chaos and enthusiasm surrounding Napoleon’s defeat.
Scott took a keen interest in the battlefield of Waterloo, where he spent significant time reflecting on the scale of the battle and its historical importance.
Waterloo Battlefield :
Scott described the battlefield as a place of “horrid magnificence,” with over 30,000 dead, including soldiers and horses. It was a symbol of the devastation that marked the end of the Napoleonic Wars.
He collected mementos from the battlefield, including two French cuirasses and a manuscript stained with the blood of a fallen French officer.
Paris :
Scott continued his journey to Paris, observing the political and social climate in the aftermath of Napoleon’s defeat. The tension was palpable, and he made several fascinating observations, including witnessing the grand Russian military review.
He met famous personalities, including the Duke of Wellington, with whom he had a memorable interaction at a ball.
Reflections :
Upon returning to the UK, Scott reflected on the significance of the battle, both in tangible terms (such as the public fund for the battle’s victims) and intangible ones (the profound impact it had on his writing and creative mind).
His impressions were later reflected in works such as Paul’s Letters to his Kinsfolk and Life of Napoleon Buonaparte .

Interesting Points Worth Mentioning:

Walter Scott’s Personal Connection to Napoleon : Scott and Napoleon shared the same birthday (15 August) and both had an early interest in martial matters, which tied them together in a profound way.
Mementos from the Battlefield : Scott’s acquisition of French military items, like the bullet-ridden cuirass, shows his fascination with the physical remnants of history. It also highlights his role as a cultural historian who preserved aspects of the past.
The Cultural Influence of Waterloo : The visit to Paris after the battle illustrated the deep cultural and political shifts happening in France and across Europe. Scott’s observations provide a snapshot of the complex atmosphere following Napoleon’s defeat.
Ghost Stories : The account of the ghostly supper party is particularly eerie, linking both the supernatural and the psychological effects of war and trauma.
The Duke of Wellington’s Influence : The interaction between Scott and the Duke is revealing, showing that despite being a national hero, Wellington was regarded with awe and was a figure of immense respect, even by Scott.

This talk encapsulates Scott’s curiosity about the world, the impacts of major historical events on individuals, and how those moments became woven into the fabric of Scott’s own creative works.

Download the [transcript] ( talk notes only )

Reading Waverley

Thu, 14 May 2015 13:13:53 GMT

Thursday 15th May 2015

Summary of the Talk:

Jenny Calder discussed her lifelong engagement with Sir Walter Scott’s Waverley, which she first read as a teenager. She explored how Scott’s novel served as both a thrilling narrative and an introduction to Scottish history—particularly the Jacobite risings. For her, Waverley was a gateway into Scottish identity and heritage, especially meaningful since she didn’t grow up in Scotland.

Calder examined Scott’s dual role as storyteller and historian. Unlike oral tradition, which conveys history through narrative alone, Scott felt compelled to explain and contextualise the past for his readers. This makes his novels dense by modern standards, but also rich in detail and interpretation. She contrasted this with Hilary Mantel’s more immersive historical fiction, which embeds interpretation in narrative rather than using an overt authorial voice.

The talk also considered Scott’s influence on 19th-century literature—impacting writers from Dickens and George Eliot to Tolstoy and Fenimore Cooper. Calder noted that Scott’s method of historical fiction helped other nations, like America, define their origin stories.

Despite his popularity in the 19th century, Scott’s readership declined in the 20th. Calder reflected on how her own education largely ignored him—aside from Ivanhoe , taught without context. She argued that Scott’s work, wrongly dismissed as overly romantic or verbose, remains rich, complex, and deeply relevant today.

Scott’s fiction is a response to the rapid societal changes of his time—urbanisation, industrialisation, and the erosion of old ways of life. His novels aim to preserve vanishing traditions without resisting progress. Abbotsford, his home, was a physical extension of this mission: a curated collection of Scotland’s cultural past.

Turning to Waverley itself, Calder unpacked the novel’s structure, characters, and emotional tension. Edward Waverley’s journey—from naive English outsider to disillusioned participant in the 1745 rising—provides a lens through which readers experience Highland life. Calder praised the vivid descriptions, especially the Battle of Prestonpans, which balances romanticism with brutal realism.

She then discussed her own adaptation. Her goal was to make Waverley more accessible to modern readers. This involved:

Trimming dense prose and background exposition
Removing literary allusions and excessive punctuation
Keeping all Scots words (aside from minor edits)
Preserving the story’s tone, rhythm, and essential character

Calder argued that Waverley still speaks to today’s issues—governance, identity, class, and Scotland’s place in the UK. She ended by affirming Scott’s importance as a gateway to Scottish history, echoing historian Tom Devine’s recommendation that young people read Scott to better understand the country’s past.

Interesting Points & Insights

Scott’s Dual Role : Calder insightfully notes that Scott wasn't just telling stories—he was interpreting history. This historical framing makes his novels denser but adds lasting value.
Relevance Today : The talk made a powerful case for why Waverley still matters, especially in light of current discussions around identity, nationalism, and governance in Scotland.
Romanticism vs. Reality : Calder’s reading challenges the idea that Scott was merely romanticising the Highlands. She highlights his balanced depiction—showing both cultural richness and harsh realities.
Call for a Film Adaptation : Calder expressed frustration that Waverley hasn’t yet been adapted for screen, despite its cinematic visuals and compelling plot.
Adaptation Methodology : Her editorial process—cutting without losing the novel’s rhythm—was itself a form of literary stewardship, preserving Scott’s voice while making it accessible.
Abbotsford as a Parallel : Comparing Waverley to Abbotsford was an elegant metaphor—both are curated expressions of a culture at risk of vanishing.
Literary Influence : Her emphasis on Scott’s legacy across European and American fiction was compelling. Few authors have had such a wide-reaching impact.

Jenni Calder was born in Chicago, educated in the United States and England, and has lived in or near Edinburgh since 1971. After several years of part-time teaching and freelance writing, including three years in Kenya, she worked at the National Museums of Scotland from 1978 to 2001 successively as education officer, Head of Publications, script editor for the Museum of Scotland, and latterly as Head of Museum of Scotland International. In the latter capacity her main interest was in emigration and the Scottish diaspora. She has written and lectured widely on Scottish, English and American literary and historical subjects, and writes fiction and poetry as Jenni Daiches. She has two daughters, a son and a dog.

Jenny shares her experiences reading the works of Sir Walter Scott from a young age, highlighting "Waverley" as her gateway into Scottish history. She emphasizes the significance of Scott's exploration of the Jacobite risings, underscoring how the proximity of these events to his own time made his historical fiction resonate powerfully. Scott’s approach combined the oral tradition of storytelling with detailed historical context, striving to educate readers about Scotland's past and fostering an appreciation for its cultural heritage. She contrasts Scott's style with contemporary authors like Hilary Mantel, noting how Scott's frequent authorial interventions can both charm and frustrate modern readers. Despite a decline in readership in the 20th century, Scott's influence on 19th-century fiction was extensive, impacting writers like Dickens and Tolstoy. Finally, Jenny argues that Scott's vivid storytelling, character creation, and commitment to historical accuracy remain relevant today, offering valuable insights into the past that inform our understanding of contemporary identity.

Synopsis: In Waverley Scott demonstrated that Scotland had a distinctive history and a vibrant identity. Scott’s concern that accelerating industrialisation and changing ways of life would destroy evidence of the past drove him to ensure history was not lost. His passion for collecting stories and artefacts paralleled his commitment to preserving the past through his writing.

Waverley is a compelling account of the Jacobite Rising and its background. With a mission to illuminate, Scott explains and interprets which paradoxically can make it harder for 21 ^st century readers. But Scott’s fiction provides a gateway to Scotland’s past. There is much to be gained through reading about Waverley’s young naïve hero ignorant of Scotland caught up in an episode that had profound consequences and still resonates. The aim of the recently published abridged version is to attract a new readership and renew enthusiasm for a writer too often neglected.

Burns & Scott: Builders of the Scottish Nation

Thu, 16 Apr 2015 10:43:33 GMT

Thursday 16th April 2015

Summary of the Talk:

Professor Gerard Carruthers delivered a wide-ranging and provocative lecture exploring how Robert Burns and Walter Scott contributed to the shaping of Scottish cultural identity. He challenged traditional 20th-century narratives that criticise Burns and Scott as creators of a false or backward-looking version of Scotland. Carruthers argued instead for their role as modern, secular, Enlightenment-driven thinkers who helped forge a plural, diverse Scottish identity that still resonates today.

Key themes included:

Reappraisal of Burns and Scott : Carruthers rejected simplistic binaries—Burns as nationalist versus Scott as unionist—and questioned the dismissal of their work by literary figures like Hugh MacDiarmid and Edwin Muir.
Literature as historical intervention : Both writers, Carruthers asserted, presented history in nuanced, critical ways that merge storytelling with political and social commentary.
Misappropriation by 19th-century figures : He singled out William Motherwell and John Gibson Lockhart as having politically hijacked the legacies of Burns and Scott, warping their reception into reactionary or imperialist symbols.
Rejection of nationalist essentialism : Carruthers was critical of the urge to imagine a “pure,” harmonious Scottish culture, arguing instead for the value of internal contradictions and plural perspectives.
Romanticism’s real Scottish roots : Contrary to claims that Scotland lacked a proper Romantic tradition, Carruthers cited examples like James Hogg’s Confessions of a Justified Sinner as evidence of a rich and complex Romanticism in Scotland.

Notable Insights & Points Worth Highlighting

Scott’s admiration for Burns : Walter Scott referred to Burns as his “favourite Scottish author” and contributed to early Burns scholarship. He corrected inaccuracies in James Currie’s early biography and advocated for the inclusion of Love and Liberty (The Jolly Beggars) —a neglected but socially and artistically rich piece.
Contradictions are central, not flaws : Burns and Scott both understood that identity is inherently complex. Carruthers praised their portrayal of multiple Scotlands —Jacobites, Covenanters, gypsies, Jews, and more—rather than a monolithic cultural narrative.
Parallel traditions across Britain and Ireland : The romanticising and institutionalising of literary figures (Burns in Scotland, Moore in Ireland, Shakespeare in England) followed similar patterns, showing this was not a uniquely Scottish issue.
Misuse of the Burns clubs : Carruthers provocatively linked the growth of Burns clubs in the early 19th century with British efforts to control working-class unrest. He argued they were encouraged (unlike trade unions) to channel energy into safer, nationalistic outlets.
Lockhart's damaging legacy : John Gibson Lockhart, Scott’s son-in-law, was singled out as a key figure in distorting Romanticism in Scotland. Carruthers noted Lockhart’s class-based framing of Burns as a reckless peasant and Scott as an aloof gentleman, a view that stuck in subsequent criticism.
Burns’s political radicalism : The idea that Burns was merely co-opted by the establishment was dismissed. His excise role, Carruthers argued, gave him time and access to continue his cultural mission—collecting songs, writing, and staying connected to the people.
Burns and Scott as Enlightenment figures : Their works reflect Enlightenment universalism—the idea that human nature doesn’t radically change. Despite shifts in culture and belief, core moral and emotional truths remain.
Importance of plurality in modern Scotland : The talk ended by affirming the relevance of Burns and Scott’s pluralistic visions to contemporary Scotland. Carruthers argued this is more useful than the rigid binaries of MacDiarmid’s Scottish Renaissance movement.

Synopsis: Robert Burns and Walter Scott operate similarly brilliant imaginative agendas with Scotland's past. They pay attention to and promote that history via their work in ways that broadcast enduring ideas of Scotland to the wider world. Burns sometimes receives credit, and Scott its opposite - largely for political reasons - for their coinages of the nation. Both of these great Romantic writers, however, have been critiqued, most especially during the twentieth century for not being 'modern' enough. In poetry, fiction and song, however, Burns and Scott deal in sophisticated, sensitive ways with the changes and movement of Scottish history, with psychology and human sentiment that have lasting contemporary resonances. Professional Burns and Scott criticism have grasped their first rate literary and cultural significance, but it remains to be seen if a wider popular apprehension can one day do the same.

Kaiser Wilhelm II 1914 - Napoleon Bonaparte 1814

Thu, 09 Oct 2014 17:41:50 GMT

Thursday 9th October 2014

Summary of the Talk:

Sir Hew Strachan’s lecture explores the complex connections between Scottish martial identity, the literary legacy of Sir Walter Scott, and the experience of the First World War. Rather than a direct comparison of Wilhelm II and Napoleon Bonaparte, the talk focuses on how war—particularly 1914—was perceived, shaped, and remembered in light of earlier military traditions and literature.

The lecture unfolds in three major parts:

Scott and the Scottish Warrior Tradition:
Scott's romanticised image of Scotland’s past, especially the Highland warrior, had a deep impact on how Scotland viewed itself.
By the early 20th century, this vision became institutionalised through the British army’s maintenance of Highland regiments, even as actual recruitment declined.
Despite low enlistment pre-1914, Scotland made an enormous contribution to the war once it began—24% of Scottish males of military age enlisted, compared to 22% in England’s regions.
Scott’s Literary Influence and War Literature:
Many young men going to war had read Scott, whose novels influenced their ideas of heroism and martial glory.
Scottish contributions to war literature included Ian Hay ( The First 100,000 ), John Buchan ( Greenmantle ), and Robert Service ( The Rhymes of a Red Cross Man ). These writers, although popular during the war, fell out of the literary canon later.
Their works reflect both pride and growing disillusionment with war, mirroring Scott’s own nuanced views on military life.
Commemoration and Memory:
Post-war memorials drew heavily on romantic and medieval imagery—Highland officers in kilts, St. George, and idealised soldiers.
Scott’s influence is seen in these artistic choices, sustaining the image of the heroic Scottish warrior.
Over time, memorials and public sentiment shifted from glorification to grief, reflecting the traumatic scale of loss.
This marked a transition in Scottish cultural memory—from heroic martial pride to a more sombre, reflective remembrance of war and its costs.

Interesting and Noteworthy Points

Romanticisation vs. Reality: Strachan critiques the gap between Scott’s romanticised Scotland and the grim industrial realities of 20th-century warfare. This contrast becomes especially poignant when examining how Scott’s influence shaped expectations that were not matched by actual recruitment or experience.
Scott’s Indirect ‘Responsibility’: With humour and historical insight, Strachan notes that Scott can partly be “blamed” for institutionalising the myth of the Highland warrior, which then created unrealistic military expectations by the late 19th century.
Volunteerism and Urban Enlistment: The myth of the Highland martial tradition masks a more urban, working-class reality: the majority of Scottish recruits came from cities like Glasgow and Edinburgh, often driven by unemployment or peer pressure, not just patriotic fervour.
Territorial Army and Drill Halls: A distinctive feature of Scottish military culture was the role of local drill halls, which became entry points to war service, reflecting a blend of community engagement and inherited martial tradition.
War Poetry and the Canon: Scottish writers of the war, although initially influential, have not remained central in the English literary canon—unlike southern poets such as Wilfred Owen or Siegfried Sassoon.
Evolving Commemoration: The evolution from heroic statues to memorials emphasising suffering and sacrifice marks a cultural transformation in how war was processed and remembered, particularly in a post-Scott, post-industrial age.

Alternative angle

Introduction by Alasdair Hutton:

I could not be more pleased that Professor Sir Hew Strachan has accepted our invitation to deliver the joint lecture this year held by the Edinburgh Sir Walter Scott Club and the Faculty of Advocates and we are most grateful to the Faculty for allowing us the privilege of using this room for the lecture.

Sir Hew is one of the world's foremost authorities on the First World War, the centenary of the start of which we remember this year.

Like Sir Walter Scott, Professor Strachan was born in Edinburgh but there their paths diverged and Sir Hew gained his first degree at Corpus Christi College in Cambridge where he was elected a research fellow and subsequently lectured. He was also a senior lecturer in war studies at the Royal Military Academy, Sandhurst and he presently holds the Chair of Chichele Professor of the History of War at All Souls College in Oxford.

Amongst his many other distinctions, which would take most of the evening to relate, Sir Hew is a Reserve Brigadier, an officer in the Queen’s Bodyguard for Scotland – the Royal Company of Archers and in May he was appointed Her Majesty’s Lord Lieutenant in Tweeddale.

Tonight Sir Hew will span that period from 1814 when Sir Walter Scott was writing and Napoleon Bonaparte was attempting to dominate Europe to a century ago in 1914 when the German Kaiser Wilhelm chose to display similar ambitions and dragged not just Europe but the world into war.

Beyond the Border: Sir Walter Scott’s Minstrelsy in Story and Song

Thu, 04 Sep 2014 17:19:32 GMT

Thursday 4th September 2014

Summary of the Performance:

The event was a rich blend of storytelling and song celebrating Sir Walter Scott's Minstrelsy of the Scottish Border . Margaret Bennett and Lori Watson explored Scott’s deep connection to traditional ballads, tracing the influences of his childhood, family, travels, and literary work. Musical interludes featured traditional songs and ballads—some collected by Scott, some performed in oral tradition, and others Scott reworked into poetic or narrative form.

Bennett recounted Scott's childhood illness (polio) and his convalescence with his grandparents near Kelso, where he absorbed Border folklore, history, and ballads. His Aunt Janet, in particular, was pivotal in shaping his imagination and love of story.

As a teenager, Scott was captivated by Bishop Percy’s Reliques and began memorising and reciting old ballads. He also began collecting them seriously around 1792, aided by various friends and fellow enthusiasts, including James Hogg, the “Ettrick Shepherd.” He travelled widely to gather oral traditions, often using sticks marked with notches as field notes.

The event showcased several ballads with strong emotional themes: love, betrayal, loss, vengeance, and the supernatural. Notable ballads included:

Johnny O'Breadisley
The Dowie Dens of Yarrow
Mary Hamilton – a tragic tale of courtly disgrace and execution, discussed in historical and cultural context
John of Hazelgreen – one of the rare ballads with a happy ending
Glenfinlas – a supernatural tale adapted by Scott from a Gaelic legend
MacCrimmon’s Lament – evoking Highland mourning and legacy

The evening closed with a group rendition of "Goodnight and Joy Be With You All," echoing the conviviality and shared heritage Scott so valued.

Noteworthy and Interesting Points

Polio and Recovery : Scott's early illness and unusual folk healing (wrapped in sheepskin) are recounted as formative. His grandfather’s encouragement to crawl after a watch chain is a touching example of home-spun therapy.
Aunt Janet's Influence : A significant early storyteller in Scott’s life. She introduced him to a mix of Bible tales and Border ballads.
Scott’s Oral Memory : He had an astonishing ability to memorise ballads and entire books, which contributed to his lifelong passion for literature.
No Pen, Just Notches : While collecting, Scott often used notched sticks to record songs instead of pen and paper—later transferring them into his compiled Minstrelsy.
Women as Custodians : Many ballads were preserved and passed on by women, such as Margaret Laidlaw (James Hogg’s mother), who famously told Scott, “You’ve spiled them a’ together. They were made for singing, no for reading.”
Burns and Henderson : Parallels were drawn between Scott and other key figures in preserving Scottish oral tradition, like Robert Burns and Hamish Henderson.
Ballads Beyond Scotland : Songs like "John of Hazelgreen" were found sung in Newfoundland and North Carolina—testament to the Scots diaspora.
Scott’s Light Humour : Anecdotes about dinners at Abbotsford show Scott’s love for music, song, and the occasional mischievous rhyme.
Emotional vs. Historical Truth : The evening highlighted that the lasting power of ballads often lies not in their factual accuracy, but in their emotional resonance.
McCrimmon’s Lament : One of Scott’s most affecting pieces, inspired by hearing the story of the last of the hereditary pipers on the Isle of Skye.

Alternative angle:

A Colloquium on Waverley

Sun, 03 Aug 2014 08:05:35 GMT

Sunday 3rd August 2014

Summary of the Talk:

Professors Claire Lamont and Peter Garside led a discussion on Waverley (1814) by Sir Walter Scott, marking the novel’s bicentenary and its role in establishing the historical novel. Both scholars have contributed significantly to modern editions of Waverley . The event was chaired by Alasdair Hutton.

Key Points from Peter Garside’s Talk

Publication & Initial Reception (1814)

Waverley was published anonymously on 7 July 1814 in Edinburgh , followed by a London release.
It was an instant success, with early editions selling out quickly.
Scottish literary circles, including Jane Austen and Anne Grant of Laggan, quickly suspected Scott as the author.
Scott officially revealed his authorship only in 1827.

2. Historical & Literary Context

The novel was initially written in two phases : in 1805 (later disproven) and then between 1813-14 .
It is widely credited with introducing the historical novel , blending fiction with real historical events.

3. Narrative Structure & Composition

Waverley follows an English protagonist who undergoes cultural and political transformation after traveling to Scotland.
The novel's structure reflects Scottish Enlightenment historical theories , showing different societal "stages":
Feudal society in the Lowlands (Baron Bradwardine’s estate).
Clan-based society in the Highlands (Mac-Ivor’s home).
Modernization imposed by the Hanoverian government post-1745.

4. Waverley’s Journey and Cultural Encounters

The protagonist experiences Highland culture , witnessing both its romanticized beauty and its brutal reality .
The Highland feast scene highlights the power structure within the clan system.
Waverley’s attraction to Flora Mac-Ivor is both personal and ideological, influencing his shift toward the Jacobite cause.

5. Political & Social Themes

The novel portrays romanticism vs. realism :
Waverley begins as a romantic idealist but is forced to confront political and military realities .
The Highlanders’ loyalty to their chieftain over the state is contrasted with modern governance structures.
The novel subverts Gothic and Romantic tropes , presenting Scotland in both picturesque and gritty realism .

Key Points from Claire Lamont’s Talk

Two Interpretations of Waverley

A coming-of-age story about Edward Waverley.
A historical novel detailing the Jacobite Rising of 1745 .

2. Historical Setting & Realism

The novel is set in 1744-46 , culminating in the defeat of the Jacobites at Culloden (1746) .
Waverley highlights the clash between romanticized Jacobitism and harsh political realities .

3. The Romantic vs. The Realistic

Waverley initially imagines himself as a romantic hero but faces real war, destruction, and suffering .
His involvement with Bonnie Prince Charlie is driven more by romantic ideals than political conviction.
His disillusionment leads him to ultimately assimilate into the Hanoverian order .

4. The Decline of the Highlands

The novel documents the destruction of Highland culture post-1745:
Military retaliation by Hanoverian forces.
Suppression of clan structures .
Economic and social change , shifting Scotland toward modernization.
The Mac-Ivor clan’s fate represents the broader theme of cultural erasure .

5. The Dual Ending

Waverley’s personal story ends happily , with marriage and settlement.
The Highlanders’ story ends tragically , as their way of life is extinguished .
The novel highlights the inevitability of societal change through the lens of Scottish Enlightenment thought .

Interesting Points & Takeaways

Jane Austen’s reaction : She found Waverley unfairly good, fearing Scott’s entry into novel-writing would overshadow other authors.
Philosophical History : Scott’s portrayal of the Highlands aligns with Adam Smith’s stadial theory , showing a society forcibly modernized.
Tourism & Romanticization : Scott is often credited (or blamed) for creating the romanticized image of Scotland , shaping modern Scottish tourism .

Final Thoughts

The colloquium highlighted how Waverley is more than just a Jacobite novel—it is a profound exploration of historical change, cultural clash, and personal transformation . While Waverley’s journey leads to personal stability , the novel also mourns the loss of Highland culture —a theme that still resonates today.

Download the [transcript]

Russia and Scottland: Russia’s debt to Sir Walter

Thu, 15 May 2014 08:25:33 GMT

Thursday 15th May 2014

Summary of the Talk:

Dairmid's talk explored Russia’s literary and cultural connections with Sir Walter Scott .

Key Themes & Discussion Points

1. The Evolution of the Russian Language & Literature

18th Century Russia : The aristocracy spoke French, which dominated literature, salons, and private conversations.
Mikhail Lomonosov & Nikolai Karamzin : Developed Russian as a literary language by blending Church Slavonic with everyday Russian.
Catherine the Great (1762-1796) : Promoted Russian in education and law, though French remained dominant.
Napoleonic Wars (1803-1815) : Shifted perceptions—French was associated with the enemy, and Russian gained national prestige.
Pushkin’s Contribution : Revolutionized Russian literature by refining and expanding the language, much like Scott did for English and Scots.

2. Sir Walter Scott’s Influence on Russian Writers

Early Translations :
Scott’s novels were first read in French translations before Russian versions appeared in the late 1820s .
The Scottish dialect in Scott’s novels was often lost, leading Russian readers to believe Scottish peasants were highly refined.
Alexander Pushkin (1799-1837):
Read Scott’s novels in French and admired his historical novel style .
The Captain’s Daughter (1836), a novel about the Pugachev Rebellion (1773-75) , was inspired by Scott’s historical method .
Used Scott’s device of placing fictional characters in historical events .
The heroine Masha mirrors Jeanie Deans from The Heart of Midlothian .
Mikhail Lermontov (1814-1841):
Fascinated by Scotland due to his Scottish ancestry ( Learmonth ).
Admired Old Mortality , mentioning it in A Hero of Our Time.
Found Scott’s novels "dry" but loved The Lady of the Lake and Ossian .
Fyodor Dostoyevsky (1821-1881):
Read Scott extensively, though his own work was darker and more psychological.
Poor Folk was influenced by Scott’s St. Ronan’s Well & The Monastery .
Recommended Scott for fostering imagination and moral depth .
Leo Tolstoy (1828-1910):
War and Peace (1869) follows Scott’s historical novel model.
Tolstoy’s blend of fictional and historical characters echoes Waverley.
Found Scott’s common folk more authentic than his own.

3. The Popularity of Scott in 19th Century Russia

Women loved Scott’s heroines , who were seen as strong and intelligent.
Fashion trends : Parisian and Russian ladies wore tartan and "Scottish" outfits inspired by Scott.
Russian nobility admired Scott :
Princess Galatzina hosted a Scott-themed evening in Paris where Russian women wore tartan.
Tsar Nicholas I recommended writing "à la Scott" to Pushkin.

4. Scott’s Legacy in Russia

Soviet Period (1928-1991) :

Despite Western censorship, Scott’s works were widely published .
1960s "Mini Thaw" : 20 volumes of Scott’s works were printed.
Waverley became one of the most-sold books in Russia.

Modern Russia :

Scott remains recommended reading in schools.
Professor Dolinin describes Scott as essential for children’s moral and historical education .
However, modern readers struggle with long novels due to digital distractions.

Interesting Points & Takeaways

Pushkin’s Famous Book Request : While in exile, he asked for:

Scott’s novels
Fouché’s Memoirs
Pickles
Limburg cheese
Schiller’s works
A corkscrew!
A mix of literary and practical survival tools !

2. Scott’s Unexpected Influence on Fashion :

Russian women wore "Rebecca caps" (from Ivanhoe ).
Quentin Durward coats became a trend.
Court balls featured Scott-inspired tableaux vivants .

3. Lermontov’s Scottish Connection :

Descended from the Learmonths , who claimed lineage from Thomas the Rhymer .

4. Dostoyevsky’s Opinion on Scott :

"Develops imagination and moral depth."
Recommended Scott as a counterbalance to existential despair .

5. Fast Reader’s Hilarious Summary of War and Peace :

After reading it in 10 minutes , he said:
"I think it was about Russia." ��‍♂️

Final Thoughts

Scott’s impact on Russian literature is profound , shaping Pushkin, Lermontov, Dostoyevsky, and Tolstoy .
His historical novel model inspired Russia’s greatest authors .
His romanticized Scottish identity became popular in Russia , influencing fashion, literature, and even royal recommendations .
While his works remain valued , modern Russian readers—like in the West— increasingly favor shorter, faster-paced stories .

Download the [transcript]

Introduction by Alasdair Hutton:

This Club is exceedingly fortunate to have Lt Commander Dairmid Gunn OBE as one its longest standing and quietly effective members.

Dairmid has been on the Council for more than twenty years and as our Chairman saw the Club’s transition from the twentieth century to this one.

Dairmid was a career officer with the Royal Navy for 20 years serving in Korea and at Suez and of course, since this was the period of the Cold War, at Dartmouth he had learned Russian from the very distinguished Russian émigré Count Sologoop. As a result he was appointed the Assistant Naval Attache in Moscow and developed a life-long attachment to the country

He was recruited by the great Sir Fitzroy Mclean to head the Scottish end of the Great Britain - USSR Association to help with Russian visitors and that eventually became the Scotland – Russia Forum.

But his OBE came not from his naval service but for his services to Scottish agriculture as Director of the Scottish Agricultural Organisation and his co-ordination of the British Food and Farming Campaign promoted by the Duke of Edinburgh.

As a fluent Russian linguist Dairmid was well aware of how much Sir Walter Scott influenced Russian writing in the first half of the nineteenth century being read by such distinguished novelists as Pushkin and Tolstoy and tonight he will outline Russia’s debt to Sir Walter in Russia and Scotland.

Marmion, A Tale of Flodden Field: A Marketing Triumph

Thu, 12 Sep 2013 09:24:04 GMT

Thursday 12th September 2013

Summary of the Talk:

Alasdair Hutton’s talk explored Sir Walter Scott’s Marmion as both a historical and literary work, particularly questioning whether it truly is A Tale of Flodden Field or rather a brilliant piece of marketing. He examined the historical context of the Battle of Flodden (1513), how Scott wove the battle into his poem, and why the poem became such a success.

1. The Battle of Flodden: Historical Background

The Political Context:
The battle was not merely a clash between Scotland and England but was tied to the larger European conflict involving France, England, and the Papacy.
James IV of Scotland had long tried to be a peacemaker but was ultimately bound by the Auld Alliance with France.
In 1512, James renewed the alliance, promising to attack England if Henry VIII invaded France.
James IV’s Decision to Invade England:
Henry VIII launched his campaign in France in June 1513.
James IV led his army into England to relieve pressure on France.
Despite supernatural warnings (a ghostly figure at Linlithgow and a voice naming doomed men in Edinburgh), James persisted.
The Scottish Army:
Well-supplied and reinforced with French military advisers.
Occupied a strong position at Flodden Edge with well-prepared fortifications.
Brought modern artillery, including the famed "Seven Sisters" cannons.
The Fatal Scottish Mistakes:
The Scots abandoned their strong position when the English approached from the north.
Scottish artillery, positioned too high, fired over the English.
The Scots fought with long pikes, an effective tactic on level ground but disastrous on uneven terrain.
The English, using shorter halberds (billhooks), broke the Scottish formations and slaughtered them in close combat.
The Aftermath:
James IV was killed in battle, along with much of Scotland’s nobility.
The English refused to take prisoners, slaughtering the Scottish forces.
Thirteen earls, fourteen lords, an archbishop, and two bishops were among the dead.
The battle left Scotland leaderless and devastated.

2. Marmion and Its Use of Flodden

A Misleading Title?
Despite being called A Tale of Flodden Field , the battle itself only appears near the end of the poem.
The first four and a half cantos focus on the fictional Marmion , his treachery, and his downfall.
Flodden is first mentioned only a third of the way through Canto IV.
Scott’s Storytelling Priorities:
The poem is more about Marmion’s journey, deceit, and ultimate fate than the historical battle.
Marmion’s treatment of Clare de Clare, Constance de Beverley, and Sir Ralph de Wilton dominates the narrative.
Even when the poem reaches Flodden, Scott dwells more on the rumoured affair between James IV and Lady Heron than on the military strategy.
Scott’s Depiction of the Battle:
The battle sequence is vividly written, bringing the action to life.
He captures the desperation and chaos of the fight.
His description is largely accurate, though he does not credit James IV for his early tactical successes.

3. Marmion as a Marketing Triumph

Scott’s Genius for Promotion:
Marmion followed the success of The Lay of the Last Minstrel.
Scott knew a dramatic morality tale set in Scotland would captivate readers.
The title A Tale of Flodden Field gave the poem emotional weight, even though it was primarily about Marmion’s downfall.
Scott’s Role in Scottish Cultural Revival:
Marmion was part of Scott’s larger effort to revive Scottish history and pride.
A decade later, he played a key role in rediscovering the Honours of Scotland and orchestrating King George IV’s visit to Scotland.
He gave Scots a renewed sense of national identity.

Key Takeaways:

Marmion is not truly A Tale of Flodden Field but rather a morality tale set against the backdrop of the battle.
The Battle of Flodden was a tragic event for Scotland, driven by political alliances rather than direct enmity with England.
Scott’s poem brilliantly mixed history with fiction, ensuring its commercial and cultural success.
Even today, Marmion remains a compelling read, demonstrating Scott’s enduring ability to shape how history is remembered.

Download the [transcript]

Scott in 2013: New Scholarship, Old Connections, and the Case of Rokeby

Thu, 16 May 2013 09:39:45 GMT

Thursday 16th May 2013

Summary of the Talk:

Fiona Robertson’s talk explored contemporary scholarship on Sir Walter Scott, particularly how his work is studied today and how Rokeby (1813) fits within his literary career. She examined the significance of Scott’s friendships, his connection to place, and how architectural and literary legacies intertwine. The talk was given in 2013, marking the bicentenary of Rokeby and coinciding with the reopening of Abbotsford House, Scott’s self-designed home.

1. The Changing Landscape of Scott Scholarship

Scott’s Historical Reputation:

Early Scott studies focused heavily on place and personal connections—how his works were rooted in specific landscapes and friendships.
The trend was established by Scott himself in the introductions to Marmion and other works.
By 2013, there was a shift in Scott scholarship, integrating newer critical perspectives.

The Edinburgh Companion to Scott (2012):

Edited by Robertson, this book captured modern perspectives on Scott.
It reflected how Scott was being reassessed as both a Scottish and an international figure.
The Companion covered neglected aspects of his work, including economics, material culture, and his role in shaping Romanticism.

New Trends in Scott Studies:

Increased focus on material production, antiquarianism, and Scott’s role in the literary marketplace.
Renewed interest in lesser-known works like Rokeby.
Examination of Scott’s political economy and his views on religious fundamentalism and banking.
Recognition of Scott’s sophistication as a writer, moving beyond past dismissals of him as simplistic.

2. The Case of Rokeby (1813)

A Neglected Poem:

Rokeby is one of Scott’s least-discussed long poems.
Its bicentenary was marked by an exhibition at the Bowes Museum (Rokeby: Poetry and Landscape), linking Scott’s poetry to J. M. W. Turner’s paintings.

Scott’s Connection to Rokeby Hall:

The poem is deeply tied to Scott’s friendship with John Morritt, the owner of Rokeby Hall.
Morritt was one of Scott’s closest friends and among the first to know Scott was the anonymous author of Waverley.
Scott visited Rokeby Hall multiple times and admired its landscapes, which influenced the poem.

The Poem’s Structure and Themes:

Set during the English Civil War, Rokeby follows a convoluted plot involving murder, lost heirs, and inheritance disputes.
Unlike Scott’s Scottish romances, it is rooted in English history, which may explain why it did not resonate as strongly with the public.
Thematically, it explores possession and dispossession—who owns land, history, and tradition.

Ties to Architecture:

Scott was designing Abbotsford while writing Rokeby .
He was fascinated by place-building—constructing literary and physical spaces.
Rokeby erases the historical transition of the estate and replaces it with a fictional history, mirroring how Scott mythologized his own Abbotsford estate.

Literary and Cultural Impact:

The poem helped popularize the landscapes of Teesdale, much like his Scottish works did for the Highlands.
However, its lack of a strong national myth (compared to The Lady of the Lake or Marmion ) made it less enduring in popular memory.

3. Scott’s Architectural and Literary Legacy

Abbotsford and Cultural Identity:

Scott’s home, Abbotsford, was a “romance in stone”, reflecting his love for historical fiction and medieval aesthetics.
Unlike Morritt’s Rokeby Hall (which remains privately owned), Abbotsford has undergone multiple transformations, now functioning as a public heritage site.

Reassessing Rokeby in 2013:

Robertson argued that Rokeby remains underappreciated.
It deserves attention for its historical setting, narrative complexity, and connection to Scott’s architectural imagination.
The poem highlights Scott’s preoccupation with inheritance—both in estates and in literary tradition.

Key Takeaways:

Scott’s reputation is evolving , with modern scholarship acknowledging his depth and complexity.
Rokeby is an important but overlooked work , showcasing Scott’s engagement with English history and personal friendships.
Scott’s literary and architectural projects were intertwined , as seen in the connections between Rokeby and Abbotsford.
Scott’s legacy is dynamic , with Abbotsford reinvented as a heritage site while Rokeby Hall remains a private residence.

Download the [transcript]

Scott and Malta: A Mediterranean Adventure

Thu, 11 Apr 2013 09:54:54 GMT

Thursday 11th April 2013

Summary of the Talk:

Lt Cdr Dairmid Gunn’s talk explores Sir Walter Scott’s final journey to the Mediterranean, focusing on his time in Malta in late 1831. The talk examines Scott’s declining health, his motivations for the voyage, his encounters in Malta, and the inspiration he found there for his unfinished novel The Siege of Malta. The lecture also reflects on Scott’s long-standing fascination with the island’s history, particularly the Knights of St John and the Great Siege of 1565.

1. Context: Scott’s Declining Years and Motivation for Travel

By 1830, Scott had suffered two strokes and was in failing health.
He was financially ruined after the 1826 stock market crash, refusing to declare bankruptcy and instead working tirelessly to repay his debts.
Despite his condition, he continued to write, producing Woodstock, The Fair Maid of Perth, Anne of Geierstein, Count Robert of Paris, Castle Dangerous, and Tales of a Grandfather.
Encouraged by his family and publisher Robert Cadell, Scott embarked on a voyage to the Mediterranean in hopes that the warmer climate would aid his recovery.

2. The Journey to Malta

Scott’s original plan was to travel overland through Europe, meeting Goethe in Germany along the way, but concerns over his health led to an alternative sea route.
Through political connections, Scott secured passage aboard HMS Barham , a Royal Navy frigate.
He was accompanied by his son Walter and daughter Anne.
The ship’s crew and officers treated Scott with great respect, recognizing his literary status.
The voyage included stops along the Spanish and North African coasts, where Scott observed historical sites linked to Moorish and European conflicts.
He was particularly fascinated by Gibraltar, Algiers, and the newly formed volcanic island, Graham Island (which later sank back into the sea).

3. Scott’s Arrival in Malta

The Barham arrived in Malta on 21st November 1831 , but Scott and his party were placed in quarantine due to the ongoing cholera epidemic.
They were housed at Fort Manoel , where Scott’s imagination was sparked by the island’s rich history.
He met key figures in the British administration, including the Acting Governor, military officers, and his old friend John Hookham Frere , a scholar and diplomat who had settled in Malta.
Scott was deeply impressed by Grand Harbour , the city of Valletta , and St John’s Co-Cathedral , where he admired the tomb of Jean Parisot de Valette , the hero of the Great Siege of 1565.

4. The Influence of Malta on Scott’s Writing

Scott had long been fascinated by Vertot’s The Knights of Malta , which he had read as a child.
He intended to write a historical novel, The Siege of Malta , focusing on the 1565 battle between the Knights of St John and the Ottoman Empire.
Inspired by his surroundings, he developed characters such as the Spanish knight Don Manuel de Vilheyna and his nephew, Francisco.
The novel also depicted real historical figures, including La Vallette , Mustapha Pasha , and Dragut .
Scott’s description of the siege borrowed heavily from Vertot but added dramatic embellishments, such as the gruesome exchange of mutilated bodies and severed heads between the opposing forces .

5. Challenges and Scott’s Departure from Malta

Scott’s health continued to decline, and Anne worried about his ability to cope with social demands.
He attended several events, including a military ball in his honour , but struggled physically.
He spent much of his time in Frere’s company, discussing history and literature.
Due to Walter’s military obligations and the Barham’s operational needs, Scott had to leave Malta on 13th December 1831 , much sooner than planned.
His medical advisors were concerned that the brief stay had not provided enough time for recovery.

6. Scott’s Final Months and The Siege of Malta

After leaving Malta, Scott traveled to Naples and then to Rome, but his health worsened.
He returned to Britain in 1832, where he died later that year.
The Siege of Malta remained unfinished and was later criticized as one of his weakest works, largely because he had rushed the ending and abandoned key fictional characters .
Despite its flaws, the novel reflects Scott’s lifelong fascination with chivalry, religious warfare, and historical grand narratives .

Key Takeaways:

Scott’s journey to Malta was both a literary and personal adventure , undertaken despite his failing health.
Malta’s history deeply influenced him , particularly the story of the Knights of St John.
His final novel, The Siege of Malta , was inspired by his visit , but his illness prevented it from being fully realized.
The visit symbolized the end of his remarkable career , as he left behind a legacy of historical fiction that shaped perceptions of European and Scottish history.

Download the [transcript]

Editing Scott’s Last Edition

Thu, 15 Nov 2012 16:57:14 GMT

Thursday 15th November 2012

Summary of the Talk:

The talk focuses on the editorial challenges and the methodology behind editing the Magnum Opus edition of Sir Walter Scott's Waverley Novels in the Edinburgh Edition of the Waverley Novels (EEWN). The Magnum Opus edition, published between 1829 and 1833, was Scott's final edition of his novels, and it included significant revisions, new introductions, and explanatory notes.

The core of the text is about the efforts to prepare Scott’s Waverley Novels for modern publication, with specific emphasis on the challenges faced in editing Scott’s Magnum edition. Alexander reflects on how the Magnum edition—published posthumously—was designed for a broader, more popular market and included both revisions to the text and the addition of introductions and notes. These texts were often rewritten or annotated by Scott himself, sometimes in collaboration with assistants.

The Edinburgh Edition of the Waverley Novels takes a different editorial approach by returning to the first editions of Scott's novels, rather than using the Magnum as the copy text. The editors then present the Magnum Introductions and notes separately to avoid confusion. The editorial team aimed to correct errors that accumulated in the Magnum over time and ensure clarity in distinguishing between Scott’s original text and later additions.

Alexander explains how the editorial team dealt with several challenges:

The difficulty in deciphering Scott’s handwriting in the interleaved manuscripts, which were vital in understanding the original revisions Scott made.
Decisions on whether to accept changes made by Scott, his assistant, or his publisher, Robert Cadell.
The question of whether to restore quotations to their original form or to leave them in the modified form they appeared in the Magnum edition.
The editorial handling of hundreds of notes Scott made on his novels, which were a mix of glosses on Scots terms and historical references.

Interesting Points:

The Interleaved Set : Scott’s revisions were done on a special edition of his novels that Cadell prepared for him, with blank pages between the printed ones where Scott could make alterations. This "Interleaved Set" was crucial in understanding Scott’s later revisions and is highlighted as a key resource for the editors.
The Editorial Approach : One of the main decisions was to prioritize the first editions of the novels over the Magnum edition for the core text, ensuring that the original text was preserved. The Magnum’s revisions, such as Scott’s extensive footnotes and introductions, are presented separately in later volumes.
Scott’s Autobiographical Element : The Introductions in the Magnum are seen as semi-autobiographical, providing insights into Scott’s life and literary career. However, Alexander suggests that these accounts are sometimes self-serving or selective, such as Scott’s inaccurate statements about the genesis of certain works.
Misreadings in the Magnum : There are several amusing misreadings and errors that crept into the Magnum edition. For example, Scott refers to a "ruddy vicar" in one instance, but the Magnum has it as a "muddy vicar" due to a transcription mistake. There are also instances where Scott’s assistants altered his more informal or colloquial style to something more formal.
Annotations and Anecdotes : Scott's notes often included rich historical anecdotes and engaging stories, making them more entertaining than purely scholarly. For instance, in Redgauntlet , Scott provides an amusing note about a lawyer's daily routine of drinking a "noontide dram" at a coffeehouse, which adds a touch of humor to the historical context.
The Complexity of Quotations : When dealing with long quotes in the Magnum, the editors had to decide whether to preserve Scott’s changes to his sources or return to the original texts. This was a significant editorial decision, given Scott’s tendency to alter or paraphrase his sources, sometimes to fit his own literary or moral agenda.
The Source of "The Heart of Mid-Lothian" : One of the most interesting revelations involves the acknowledgment of Helen Walker as the inspiration for the character of Jeanie Deans. Scott himself suggests that his fictional account might have altered or "improved" upon the true story, raising questions about the fidelity of his literary adaptations.

This article offers fascinating insights into the meticulous work involved in editing historical literary texts, particularly Scott's, which straddle the line between history, autobiography, and fiction. It also underscores the collaborative nature of modern scholarly editions and the complex decisions editors face in preserving an author’s legacy while making it accessible to contemporary readers.

Download the [transcript]

Besoms, Keelies, and Merry-Men: Scott’s contributions to Jamieson’s Dictionary

Thu, 14 Jun 2012 11:58:44 GMT

Thursday 14th June 2012

Summary of the Talk:

The talk explores the significant role that Sir Walter Scott played in the creation of Dr. John Jamieson’s Etymological Dictionary of the Scottish Language and its 1825 Supplement . The talk highlights the intricate collaboration between Jamieson, a minister and lexicographer, and Scott, who was not only a poet but also a key editor and contributor to the Dictionary.

Key Points:

Jamieson’s Dictionary Project : Jamieson began the work in 1787 and spent over 20 years compiling the first comprehensive dictionary of the Scots language. His approach was innovative, laying the groundwork for historical lexicography, emphasizing tracing words back to their earliest forms and citing a wide range of sources, including manuscripts, newspapers, and living authors.
Scott’s Contributions : While Scott is best known for his literary work, his involvement with the Dictionary was also lexicographical. As well as contributing words and examples from his own works (including Waverley and The Lay of the Last Minstrel ), he provided bibliographic support to Jamieson, offering copies of rare texts and helping him to find subscribers.
Collaboration : The relationship between Jamieson and Scott began in 1795, when they met as fellow antiquarians. Scott supported Jamieson by purchasing parts of his coin collection and introducing him to other literary figures who would contribute to the Dictionary. Over the years, Scott lent books from his personal library and provided copies of rare texts like Sir Eger , which Jamieson used in his work.
Scott’s Editorial Influence : Scott’s impact was also felt in his editorial contributions. His annotations on Jamieson’s text, noted in his copy of the Dictionary, offered suggestions for new words and clarified definitions. For example, Scott helped refine the definition of "keelie" (a term for a young hawk or rough city youth), and made important revisions to words like "besom" (a derogatory term for a woman).
Scott’s Literary Influence : Jamieson quoted extensively from Scott's literary works, including from The Minstrelsy of the Scottish Border - a work to which Jamieson had also contributed. These texts provided valuable examples of Scots words and usages, many of which had not appeared before in printed sources.
The Role of the Waverley Novels : After the publication of the Waverley novels, Jamieson had a wealth of new material from Scott’s works to draw upon. These enriched his Supplement with contemporary examples of Scots terms and expressions, for example Scott’s description of the game Hy-jinks from Guy Mannering which is quoted verbatim in the Supplement.

Interesting Points:

Scott’s Manuscript Annotations : The talk details Scott’s personal annotations in his copy of the 1808 Dictionary, which includes over 80 notes in Scott's hand, suggesting new terms to include or providing more accurate definitions. Many of these annotations were included in the 1825 Supplement, although they are not always credited specifically to Scott.
Friendship and Mutual Respect : The friendship between Jamieson and Scott was not just professional but also personal. Scott's support was essential for Jamieson’s work, and their correspondence reveals a mutual respect and affection that lasted for decades.

In summary, Rennie’s talk sheds light on how Sir Walter Scott, through both his literary works and personal contributions, played an essential role in the creation and evolution of Jamieson’s Dictionary, blending literary artistry with linguistic scholarship.

Download the [transcript]

Scott and James Hogg: A City and Country Friendship

Thu, 03 May 2012 02:03:07 GMT

Thursday 3rd May 2012

Summary of the Talk:

Dr. Gillian Hughes explores the long-standing friendship between Sir Walter Scott and James Hogg, which spanned over thirty years. Despite the differences in their social standing and literary reputations—Hogg's feelings of jealousy and Scott's occasional condescension—the relationship remained solid. Hogg regarded Scott as a father figure, even likening their bond to that of a family, with Scott as a patron and guiding influence in Hogg's literary career. Although Hogg was likely older than Scott, the latter maintained a senior position, particularly because of their initial relationship formed when Scott sought material for Minstrelsy of the Scottish Border.

Their friendship developed gradually, beginning with Hogg providing ballad material for Scott in the early 1800s, and Scott’s later support for Hogg’s literary ambitions. Scott helped Hogg by assisting with the publication of The Mountain Bard (1807), among other works, and even dedicated the volume to him. Despite Scott’s own growing success, he continued to support Hogg, including helping him publish The Spy and advising him on his financial and literary matters. However, Scott's judgment of Hogg's potential was occasionally less enthusiastic.

While Scott enjoyed his status in Edinburgh, Hogg struggled in the city, both financially and in finding his place among other literary figures. The two friends had some tensions, notably a quarrel over Scott's refusal to contribute to Hogg’s poetic repository, but these disagreements were often reconciled.

The friendship deepened when Hogg's success with The Queen's Wake (1813) renewed his confidence. As Hogg found more stability, he enjoyed collaboration with Scott, particularly in events like the publication of The Ettrick Garland . Scott continued to be an influential figure in Hogg’s life, both as a patron and a source of inspiration, helping Hogg navigate both literary and personal difficulties.

Later, Scott’s declining health led to more emotional exchanges between the two. Despite their differences in social status and the occasional tension, Hogg and Scott maintained a deep and supportive friendship throughout their lives.

Interesting Points to Mention:

Familial Bond: Hogg regarded Scott as a father figure, even calling him a "step-son" when Scott’s son married Hogg’s friend, Lockhart. This shows the closeness they shared, transcending mere friendship to a familial connection.
Scott's Patronage: Scott helped Hogg throughout his life, not only in promoting his works but also in offering financial and career advice. This patronage was particularly significant as it kept Hogg’s literary career alive when he was struggling in Dumfriesshire.
The Myth of Their First Meeting: Hogg later romanticized their first meeting, giving it a dramatic flair, including the idea of Scott being reprimanded by Hogg’s mother for his ballad collection. This myth-making highlights the deep impact their relationship had on Hogg.
Scott’s Cool Judgment: At one point, Scott suggested that Hogg had just enough talent to undermine his own trade, a harsh assessment for someone who would later write The Private Memoirs and Confessions of a Justified Sinner. This moment reflects Scott’s sometimes practical and realistic view of Hogg’s literary potential.
Hogg's Increasing Confidence: After his success with The Queen’s Wake , Hogg became more confident and less anxious about his reputation, aided by Scott’s support, especially during events like the publication of The Ettrick Garland.

This exploration of their relationship illustrates a complex but enduring bond between two of Scotland's literary giants, shaped by patronage, mutual respect, and personal struggles.

Download the [transcript] or read the [bulletin]

Illustrating Scott's Fiction

Thu, 13 Oct 2011 22:43:51 GMT

Thursday 13th October 2011

Summary of the Talk:

The lecture focuses on the creation and contents of the online database [Illustrating Scott] , which compiles over 1500 illustrations related to Sir Walter Scott's novels from the period 1814 to 1901. The resource, launched two years prior to the lecture, includes records of illustrations, with details such as the artist, engraver, and the scene or character depicted.

Creation of the Database :
The project was a one-year effort funded by a British Academy Small Research Grant and aided by existing collections at Edinburgh University, including the Corson Collection and [Walter Scott Digital Archive] .
The database contains illustrations primarily from 19th-century editions of Scott's novels, with over 800 entries from works published from 1814 to 1871 and 375 from separate books of illustrations.
Entries include over 50 engravings from early periodicals, such as The Lady’s Magazine.
Database Design :
It categorizes illustrations according to 14 fields, including the name of the work, artists, illustration types (e.g., lithographs or etchings), dimensions, and keywords related to characters, themes, and locations.
A notable feature is the Subject Keywords field, which categorizes the visual elements, such as animals, people, and events.
Illustrations' Significance :
Illustrations in Scott's novels were initially rare for new novels at the time, but became more common, especially after the 1819 publication of Novels and Tales of the Author of Waverley .
The first illustrations were often retrospective, such as those by Alexander Nasmyth, depicting scenes based on Scott's descriptions.
By the mid-1820s, both Edinburgh and London became key sites for Scott-related illustrations, with artists like Sir William Allan, Charles Robert Leslie, and Richard Westall contributing.
Impact of Illustrations :
Scott’s novels, particularly Ivanhoe , inspired extensive illustration in various formats, including separate illustration suites and those included in full editions like the Magnum Opus (1829-33).
The illustrations were aimed at enhancing the reader's experience, often adhering closely to Scott's textual descriptions. However, there was also a trend toward dramatic interpretations, such as those by Westall, which sometimes strayed from historical authenticity.
Later Editions and Continued Influence :
As editions continued into the mid and late 19th century, including the Abbotsford (1842-47) and Library (1852-53) edition, the importance of illustrations persisted. Publishers like A. & C. Black introduced new designs in the 1870s, often incorporating artwork by Scottish artists.
The lecture concludes with the impact of Scott’s illustrations in modern editions, particularly by Penguin and World’s Classics, which still use illustrations as a marketing tool to appeal to readers.

Interesting Points:

Illustrations and Historical Accuracy : The shift from strictly historical to dramatic or picturesque representations is an intriguing aspect of Scott's illustrated editions. This balance between artistic license and historical detail is an important theme for those studying the evolution of book illustrations.
Scott's Influence on Illustration Trends : Scott’s role in shaping the use of illustrations in fiction is significant. His novels, illustrated by well-known artists, helped set the standard for other literary works, influencing the inclusion of images in the marketing of novels.
Contemporary Relevance : The ongoing debate regarding the use of illustrations in modern editions, especially the importance of ensuring they match the narrative tone, continues to influence publishing decisions today.

This lecture and the [Illustrating Scott] database highlight the essential role of illustrations in the reception of Scott’s work and their impact on how readers interact with his fiction.

Download the [transcript]

Colloquium on Redgauntlet

Sat, 13 Aug 2011 20:29:21 GMT

Saturday 13th August 2011

Summary of the Talk:

The colloquium highlights Redgauntlet's deep connection with Scottish history, particularly the Jacobite past.

Professor Kathryn Sutherland explores Redgauntlet as a culmination of Scott’s historical novels, examining Scotland's tumultuous past from the 1679 Bothwell Bridge events to the aftermath of the 1745 Jacobite Rebellion. Sutherland emphasizes that Scott combines history with imagination, presenting history not just as a series of events, but as a framework through which to interpret human lives and ideologies. Scott, a historian deeply influenced by figures like David Hume, used his novels to question the limitations of history itself, reflecting on how events are shaped by the storytelling process.

Scott contrasts two extreme responses to history through his characters: the passionate fanaticism of Hugh Redgauntlet and the apathetic disinterest of Darsie Latimer. Darsie, uninterested in history, serves as an unconventional protagonist, offering a contrast to characters like Edward Waverley, who engage deeply with their historical context. Darsie’s indifference is highlighted by his failure to react emotionally to significant historical moments, such as his inheritance of an estate linked to his family’s history. His journey reflects a disconnection from history, unlike other characters in Scott’s works who are shaped by their historical environment.

Sutherland argues that Redgauntlet is Scott's boldest novel in confronting historical issues. Scott treats history as both an ideological construct and an imagined event, particularly in the fictional scenario of a third Jacobite uprising in 1765, which never took place. This non-event serves as a commentary on the pervasive influence of history and its failure to explain or resolve the complex narratives of human life.

Professor David Hewitt examines the narrative structure of Redgauntlet , particularly the complex interplay of different narrative voices. He discusses how the novel mixes various forms of storytelling—from Darsie's journal to letters and stories within stories. Hewitt draws attention to how Scott uses the act of writing as a form of psychological therapy for the character of Darsie. The narrative itself explores themes of self-exploration and the construction of personal and collective histories. Darsie’s struggle with his identity and his attempts to understand his place in history reflect Scott’s broader theme of how individuals and nations create meaning from their pasts.

The novel also presents multiple narratives, each offering different perspectives on history, identity, and legacy. From Wandering Willie’s Tale to the stories of Sir Alberick Redgauntlet, these diverse narratives provide readers with various ways of interpreting historical events, highlighting Scott’s exploration of how histories are constructed.

Interesting Points:

Historical Imagination: Sutherland and Hewitt both highlight Scott’s innovative approach to history, treating it not just as a sequence of events but as a narrative shaped by human imagination and ideology. This approach reflects Scott’s broader engagement with history as a means of understanding human behavior and societal change.
Darsie Latimer’s Apathy: Darsie, as an apathetic protagonist, contrasts sharply with Scott’s usual characters who are shaped by history. His lack of engagement with the past raises interesting questions about identity, historical responsibility, and personal growth.
Multiple Narrative Forms: The novel’s structure, which includes various narrative voices, reflects Scott’s exploration of how different perspectives on history can coexist. The combination of letters, journals, and stories within stories creates a layered narrative that challenges readers to think critically about how history is told and understood.
History as a Construct: One of the key themes discussed is how Redgauntlet invites readers to see history as something that can be constructed, deconstructed, and reinterpreted. The characters in the novel, like Redgauntlet, engage with history in a way that shapes their identities and actions, but the narrative itself suggests that history is not a fixed set of facts but a fluid, interpretive process.

This colloquium offers a deep dive into Scott's treatment of history, narrative, and identity in Redgauntlet , revealing how the novel challenges traditional views of history and the role of the writer in shaping our understanding of the past.

Download the [Transcript] or Read the [Bulletin]

The 2011 annual colloquium was devoted to Scott’s novel Redgauntlet (1824), and also served as the Club’s own marking of Scott’s birthday. Both speakers had been involved in new editions of this key work, in which Scott returns to the subject of Jacobitism as well as exhibiting an array of novelistic skills. Emeritus Professor David Hewitt is one of the editors of the Edinburgh Edition of the novel, republished as a Penguin, and which is based on the first edition; and Professor Kathryn Sutherland is editor of the World’s Classic edition, based on the Magnum Opus edition, reissued in 2011 by Oxford University Press. Professor Hewitt held the post of Regius Chalmers Chair in English Literature at the University of Aberdeen until his retirement; Professor Sutherland is Professor of Bibliography at Oxford University. The discussion, which reached an animated conclusion, was chaired by Professor David Purdie.

Walter Scott and the Painting of Scottish History

Thu, 19 May 2011 11:14:03 GMT

Thursday 19th May 2011

Summary of the Talk:

Dr. John Morrison examines the relationship between Walter Scott’s literary works and the evolution of Scottish history painting, with a particular focus on the contributions of artist David Allan. Scottish history painting became a significant artistic endeavour in the 19th century, influenced by the historical novels of Scott and the growing interest in Scottish national identity.

Allan, after struggling to sell paintings derived from his travels, turned to Scottish historical subjects in 1819, influenced by Scott and his son-in-law J.G. Lockhart. This shift to Scottish themes was not only a commercial attempt but also an effort to explore and preserve Scotland's cultural identity, especially after the Union with England had seemingly eroded it. The artist’s works, like The Murder of Archbishop Sharpe , reflected Scott's approach to history: depicting historical events through the lens of ordinary people rather than as grandiose, heroic tales.

Scott, Allan, and Lockhart envisioned history painting as a way to foster a sense of Scottish uniqueness while remaining loyal to the British Union. Allan’s works, including his portrayals of Mary, Queen of Scots, Robert Bruce, and Bonnie Prince Charlie, painted Scottish history in a way that emphasized noble, heroic figures but also stressed the unity of Scotland within Great Britain. This unionist-nationalist view dominated Allan’s approach to Scottish history, with some works presenting iconic figures in a manner that was consistent with Scott’s romanticized portrayal of Scotland’s past.

Additionally, the painting of religious history was a significant branch of Scottish history painting, with figures like David Wilkie and George Harvey offering nuanced depictions of Scotland’s religious history, particularly the Covenanters. These works reflected Scotland’s evolving religious identity and the ongoing debates surrounding Presbyterianism, often drawing contemporary political and social parallels.

Key Points Worth Mentioning:

Allan's Shift to Scottish Historical Themes : Allan’s move to paint Scottish historical subjects was deeply influenced by Scott's vision of preserving Scottish identity. This was not just an artistic choice but a response to the perceived cultural erosion post-Union.
The Role of History Painting in National Identity : The intertwining of history painting and the cultivation of Scottish national identity is crucial. Allan’s paintings not only aimed to depict historical events but also to foster a collective, romantic vision of Scotland’s past, shaping national pride.
Scott's Influence on Allan : Scott’s literary works had a profound influence on Allan’s artistic output, with many of Allan's paintings drawing inspiration from Scott's portrayal of Scottish history, emphasizing ordinary people’s experiences in major historical events.
Religious History and Its Impact : The work of artists like Wilkie and Harvey, who painted scenes from Scotland’s religious history, reveals how these artists responded to contemporary issues, especially the debates surrounding the Church of Scotland, the Covenanting period, and the Disruption.
The Tension between Unionism and Nationalism : Allan’s works, although focused on Scotland’s history, emphasize a vision that celebrates Scotland’s distinctiveness while affirming its place within the broader British context, balancing both unionist and nationalist sentiments.

In essence, the article explores how art and literature collaborated to shape a national consciousness, especially through the depiction of Scottish history in a time of evolving political and cultural identity.

Download the [Transcript] or Read the [Bulletin]

Scott, Newman and Abbotsford

Thu, 14 Apr 2011 21:54:07 GMT

Thursday 14th April 2011

Summary of the Talk:

This lecture explores the unexpected connection between Sir Walter Scott and John Henry Newman , two of the most influential figures of the 19th century, despite never having met. It discusses their intellectual and spiritual journeys, their shared appreciation of history, and their impact on literature and religious thought.

1. The Connection Through Abbotsford

Pope Benedict XVI’s 2010 visit to Britain highlighted an unusual link between Newman and Abbotsford, Scott’s home.
In 1872, Newman gifted a set of vestments to Mary Monica Hope Scott , Scott’s great-granddaughter, symbolizing a final intertwining of their legacies.
Abbotsford had become a literary pilgrimage site , much like Yasnaya Polyana (Tolstoy’s home).

2. Scott’s Influence on Newman

Scott was born in 1771, 30 years before Newman (b. 1801).
Newman was deeply influenced by Scott’s early poetry, such as The Lay of the Last Minstrel, Marmion, and The Lady of the Lake .
Scott’s historical novels, particularly Waverley, Ivanhoe, Old Mortality, and The Heart of Midlothian, shaped Newman’s literary imagination.

3. Scott and Newman’s Diverging Lives

Scott , a Presbyterian turned Episcopalian , was a historian and novelist immersed in Scottish folklore and medieval Catholic themes.
Newman , originally a Low Church Anglican , became an intellectual and theologian, later converting to Roman Catholicism .
Scott built Abbotsford , embedding it in the historical landscape of the Scottish Borders, while Newman’s intellectual home was Oxford , where he led the Oxford Movement .

4. Financial and Religious Crises

Scott faced financial ruin in 1825 but heroically wrote prolifically to pay off his debts, producing five novels, The Life of Napoleon Bonaparte , and other works.
Newman faced intellectual and religious turmoil . As a leader of the Oxford Movement, he sought to restore Catholic traditions within Anglicanism , eventually converting in 1845.
Both resisted modernity: Scott opposed the 1832 Reform Act , fearing societal decay, while Newman feared liberalism’s effect on Christianity .

5. Mediterranean Journeys: A Strange Parallel

In the 1830s , both men separately visited Malta, Naples, and Rome for health reasons.
Scott, despite illness, was a curious and sociable traveler , fascinated by Malta’s Christian-Moslem history and attempted a novel ( The Siege of Malta ).
Newman, more reserved and introspective , suffered illness in Sicily and wrote his famous poem Lead, Kindly Light during a becalmed sea journey .

6. Newman’s Rise and the Hope-Scott Family

In 1852 , Newman visited Abbotsford as a guest of John Hope Scott (Scott’s grandson-in-law), who, with his wife Charlotte , had converted to Catholicism .
Mary Monica Hope Scott, the recipient of Newman’s vestments , later witnessed Newman’s elevation to Cardinal in 1879 .

7. Newman’s Intellectual Legacy

Apologia Pro Vita Sua (1864) – Newman’s personal theological defense after Charles Kingsley accused him of dishonesty.
The Dream of Gerontius – A poem later set to music by Edward Elgar .
The Grammar of Assent (1870) – A philosophical defense of faith.
University Vision – Newman’s book The Idea of a University (1873) described a holistic education.

8. Conclusion: A Shared Legacy

Newman admired Scott’s moral vision and historical imagination , seeing him as a precursor to Catholic thought.
Scott’s integrity and courage in the face of financial ruin paralleled Newman’s spiritual struggles .
Newman’s definition of a gentleman —one who avoids causing pain and fosters ease—could fittingly describe Scott.

Interesting Points

Newman’s childhood admiration for Scott’s poetry – He memorized lines from The Lay of the Last Minstrel and Marmion.
Scott’s bold depiction of Catholicism – At a time when Catholicism was viewed with suspicion, Scott’s novels like The Abbot and The Monastery were surprisingly fair to Catholic clergy.
Both men’s resistance to change – Scott feared the Reform Act of 1832 , while Newman feared liberal theology .
Their Mediterranean travels – Both visited Malta, Naples, and Rome for health reasons, yet Scott engaged with history, while Newman’s journey was one of spiritual crisis.
Newman’s emotional reaction to Lockhart’s biography of Scott – He was moved to tears, reinforcing the idea that Scott was a literary and moral guide for him.
Newman’s famous hymn Lead, Kindly Light – Written in despair while stranded at sea, it became one of the most beloved Christian hymns.
Newman’s rise to Cardinal despite never being a bishop – A rare honor, granted by Pope Leo XIII .

This lecture highlights two towering figures of 19th-century Britain , their unexpected connections , and their parallel struggles against modernity —one in literature, the other in theology.

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Scott, India, and the Muslim Gentleman

Thu, 03 Feb 2011 11:50:49 GMT

Thursday 3rd February 2011

Summary of the Talk:

Dr Robert Irvine examines how Sir Walter Scott’s works reflect a period of British imperial history when attitudes toward India and its people were more open to cultural exchange—before the rigid racial hierarchies of the Raj era fully took hold.

He explores how Scott’s fiction, particularly The Surgeon’s Daughter and The Talisman , captures a fleeting window of Anglo-Indian hybridity and mutual curiosity (as described by William Dalrymple in White Mughals ), where interfaith romances and cross-cultural respect were not uncommon, especially among East India Company officials stationed at Indian courts.

In The Surgeon’s Daughter , the character Adam Hartley is presented as morally upright and sympathetic to Indian culture. He is contrasted with other morally corrupt Europeans in India.
The Muslim ruler Haider Ali, disguised as a fakir, plays a crucial role in restoring moral order, using Islamic justice rather than colonial law.
In The Talisman , Saladin, the great Muslim leader of the Crusades, is similarly noble, rational, and commanding. He stands in stark contrast to the self-serving and petty Christian crusaders.

Both texts use the figure of the Muslim gentleman —Haider Ali and Saladin—as embodiments of a kind of idealised, aristocratic authority , rooted in chivalry, justice, and individual worth.

Interesting Points Worth Mentioning:

The “Muslim Gentleman” as a Fantasy of Aristocratic Authority:
Irvine argues that Scott uses Muslim rulers like Haider and Saladin to imagine a world where aristocratic hierarchy still holds moral authority—at a time when British aristocracy was under pressure from reformist and democratic movements.
India as a Moral Testing Ground:
The Surgeon’s Daughter positions India as a place of moral reckoning, where European characters either become corrupted or, like Hartley, prove their virtue. Haider Ali's justice—rooted in Islam—is key to the resolution of the plot.
Saladin as a Symbol of Inner Wholeness:
In The Talisman , Saladin is described as the “diamond” at the centre of a ring—stable, complete, and not defined by others. His disguises and command of different roles show power through internal consistency and self-respect.
Parallels Between 18th-Century India and 12th-Century Palestine:
Though set centuries apart, both novels reflect Scott’s interest in cultural contact zones, where European and Islamic civilisations meet, clash, and sometimes find common ground through shared codes of honour.
Critique of British Imperial Hypocrisy:
The talk notes how Scott contrasts corrupt, self-serving British characters with noble Muslim rulers, subtly critiquing the moral standing of Britain’s imperial project—especially in the earlier, loot-driven days of the East India Company.
Scott’s Interest in Social Hierarchies over Race:
Drawing on David Cannadine’s Ornamentalism , Irvine suggests Scott saw foreign cultures (especially aristocracies) not as “others” but as mirrors of Britain’s own social order—making hierarchy the real currency of empire, more than race.
East as a Safe Space for Conservative Fantasy:
In Scott’s post-Napoleonic world, where British social order is shifting, the East becomes a backdrop for imagining stable, benevolent aristocratic rule.

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To The Lighthouses: Scott and the Stevensons in Orkney and Shetland

Thu, 04 Nov 2010 15:48:30 GMT

Thursday 4th November 2010

Summary of the Talk:

Penny's lecture explores the journeys made by Sir Walter Scott and Robert Stevenson in the early 19th century. It touches on the interactions between the two notable figures and the subsequent literary legacies tied to their visits to Orkney and Shetland.

Walter Scott’s 1814 Journey : Scott travelled with Robert Stevenson and the Commissioners of the Northern Lights on a yacht to inspect lighthouses in Scotland's Northern Isles. This trip, in the summer of 1814, was significant for Scott, as it was a period of uncertainty after the publication of his first novel Waverley. Scott's account of the journey, published later in his biographer J.G. Lockhart's Life of Sir Walter Scott , features a blend of historical and literary observations.
Robert Stevenson’s Influence : Robert Stevenson, an engineer, played a significant role in the development of Scotland’s lighthouse infrastructure, particularly the Bell Rock lighthouse. His observations from this trip are less whimsical than Scott’s and more focused on the practicalities of the lighthouses and the geography.
Robert Louis Stevenson’s 1869 Visit : The next generation, Robert Louis Stevenson, also visited the Northern Isles in 1869, accompanying his father on a similar lighthouse inspection. His letters reveal his youthful disinterest in the engineering work, in contrast to his later literary career.
Scott vs. Stevenson’s Narratives : Scott’s narrative is filled with a sense of adventure, romanticism, and surprise, typifying his literary style. He describes encounters with eccentric characters and reflects on the peculiarities of the Northern Isles. In contrast, Robert Stevenson’s account is more meticulous and factual, aimed at documenting the lighthouses and antiquities for later use.
Cultural and Literary Context : The lecture also sheds light on the literary context of the time. While Scott’s fame was already established, lesser-known poets in Shetland, such as Dorothea Primrose Campbell and Margaret Chalmers, were producing works that contrasted with Scott’s grandeur. Chalmers, in particular, wrote poems that depict Shetland’s middle-class life, capturing intimate social moments like tea ceremonies.

Interesting Points:

Scott’s Holiday Style : Scott’s approach to his 1814 journey was more carefree, embracing unpredictability, and viewing the trip almost like a vacation. This is in contrast to Stevenson’s more serious and factual account.
The 'Pict' of North Ronaldsay : A humorous anecdote involving a preacher mistaken for a Pict (an ancient Scottish tribe) was a memorable tale that Scott included in The Pirate . It highlights the interplay between fact and fiction in Scott's narrative, as the “Pict” turned out to be a modern ironmonger from Edinburgh.
Tea-Drinking as Social Ritual : The lecture brings attention to Margaret Chalmers’ poem about tea-drinking, which serves as a metaphor for Shetland's connection with the rest of the world. This was a more domestic, social perspective in contrast to the more “romantic” or Gothic views that both Scott and Stevenson explored.
Legacy of Scott’s Visit : Despite the lack of formal publication of Scott’s 1814 account, his influence on the region was profound. Alexander Peterkin, a local figure, even drew comparisons between the landscape of Orkney and Scott’s profile, showcasing how deeply Scott had embedded himself in the cultural consciousness of Scotland.

This lecture explores the contrasts in how these literary figures viewed the Northern Isles and provides a fascinating lens into the intersection of adventure, literature, and history.

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Scott and Byron: The Generosity of Friendship

Thu, 16 Sep 2010 15:16:20 GMT

Thursday 16th September 2010

Summary of the Talk:

Allan Massie's talk explores the complex and evolving relationship between Sir Walter Scott and Lord Byron, two towering figures in literature, emphasizing their mutual respect and generosity despite their differences. Here’s a summary and key points worth noting:

Introduction to the Talk : Massie sets the stage by acknowledging both the Scottish Byron Society and the Sir Walter Scott Club. He highlights the importance of the talk, given the speaker’s deep knowledge of both writers.
Early Tension and Byron’s Defence of Scott : In 1823, Byron defended Scott in a letter to Stendhal, correcting a critical comment on Scott's character. Byron admired Scott's sincerity and open nature, an interesting gesture given their previous tensions, including Byron’s satirical attack on Scott in English Bards and Scotch Reviewers.
Byron's Admiration for Scott : Despite their early clash, Byron's admiration for Scott grew. He was influenced by Scott’s poetry, particularly The Lay of the Last Minstrel , and upon meeting Scott, found him “beautiful as an angel” and excellent company.
Generosity in Their Relationship : Massie notes Scott's remarkable generosity when he acknowledged Byron’s success, saying simply, “Byron beat me” and moving on to write novels. This was a rare display of humility, especially given the competitive nature of literary fame.
Their Shared Characteristics and Differences : Both men were prolific writers who preferred to live as men of the world rather than in the “Ivory Tower” of literature. They were both physically disabled—Scott limping from a war injury, and Byron’s clubfoot—but neither allowed it to define their lives. Politically, they were opposites: Scott was a Tory and Byron a liberal Whig, yet their friendship transcended these differences.
The Significance of the Friendship : Their friendship was marked by mutual respect, despite Scott’s more conservative nature and Byron’s rebelliousness. Massie emphasizes how Scott, despite public opinion, stood by Byron during his personal and public crises, demonstrating a generous and understanding spirit.
Their Literary Influence on Each Other : Byron was steeped in Scott’s Waverley novels, often quoting them. Byron admired Scott’s ability to evoke historical themes and figures, and their influence on each other’s works is evident.
Byron's Death : Massie concludes by quoting a poignant passage from his novel The Ragged Lion , in which Scott reflects on Byron’s maturity and the bravery he showed in his final years, especially in his fight for Greek independence.

Interesting Points:

Byron’s Defense of Scott : The letter Byron wrote to Stendhal defending Scott's character is a striking example of literary generosity, particularly since it was unprovoked and unreciprocated.
Scott’s Generosity After Byron’s Success : Despite Byron surpassing him in literary fame with Childe Harold, Scott showed remarkable generosity, admitting that Byron had bested him while gracefully shifting focus to his novels.
Political and Religious Views : Despite their differing political leanings, Scott’s Toryism and Byron’s liberalism did not prevent them from respecting each other. Their conversations about religion also reflect the nuanced approach both took to faith.
Byron’s Influence on Scott : Byron’s admiration for Scott’s Waverley novels was profound, and he even quoted from them in his personal letters, demonstrating the literary exchange between them.
The Gifts They Exchanged : The exchange of meaningful gifts—a gold-mounted dagger from Scott and an urn of ancient bones from Byron—symbolized their deep mutual respect.

In sum, Massie's talk illuminates a deep and evolving friendship between two of literature’s giants, highlighting how respect, generosity, and understanding can transcend differences and rivalries.

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Introduction by acting Chairman, Lt Cdr Dairmid Gunn OBE.

The first talk of the autumn season is always an important occasion for the Sir Walter Scott Club of Edinburgh. This evening we are fortunate in having members of the Scottish Byron Society to share the occasion with us. The title of the talk is apposite – Scott and Byron: The Generosity of Friendship - and I am certain the talk itself will be appreciated equally by members of both the Club and the Society. Some of those present are members of both circles – a sort of dual nationality.

Our speaker tonight, the distinguished writer and journalist Allan Massie, has written about both the great men in his books The Ragged Lion and Byron’s Travels. I have read the former with pleasure and cannot think of a better introduction to Scott for those unacquainted with the man and his work. I have not read Byron’s Travels but can assume with confidence that it would be a delight to read in view of Allan Massie’s deep knowledge of the continent of Europe, its literature and writers.

Allan Massie has yet another claim to be the ideal speaker for tonight’s event. In 1989 he was president of this club, and I would recommend that you listen to his presidential address that year, now obtainable from the Club’s website, a site so tastefully and comprehensively created by our honorary treasurer, Lee Simpson. In my opinion, the address is one of the finest tributes to Scott and his work that I have heard in any forum. To listen to it would add something special to what I am sure will be a memorable paper from the same speaker tonight. Mr Massie may I ask you to give your paper.

Colloquium on The Lady of The Lake

Sun, 23 May 2010 14:17:48 GMT

Sunday 23rd May 2010

Summary of the Talks:

This colloquium, held in the Trossachs to celebrate the bicentenary of The Lady of the Lake (1810), featured presentations by Dr. Alison Lumsden and Dr. Nicola Watson under the chairmanship of Professor David W. Purdie. The event combined scholarly analysis with literary tourism, culminating in a boat trip on Loch Katrine aboard the SS Sir Walter Scott.

Key Themes and Insights:

1. The Literary and Historical Significance of The Lady of the Lake

The Lady of the Lake marked the peak of Scott’s poetic fame, selling 25,000 copies in eight months , surpassing all previous poetry sales records in Britain.
It played a crucial role in shaping the Romantic perception of the Scottish Highlands , particularly the Trossachs.
Francis Jeffrey, a notable critic of Scott, praised it as a vast improvement over his earlier works , acknowledging its stronger characterization and skillful plot construction .
The poem's mass appeal reached across Europe and America, reinforcing Scott’s literary dominance.

2. Alison Lumsden’s Analysis: The Enduring Value of The Lady of the Lake

Dr. Lumsden addressed why Scott’s poetry—especially The Lady of the Lake —remains significant beyond its impact on tourism.

Scott’s Poetry as the Foundation of His Fiction

Scott is best known today for his novels, but his fictional works were deeply informed by his poetry .
His poetry and novels share thematic concerns, particularly:
The negotiation between past and present .
The role of the writer in shaping historical memory .
The use of framed narratives (which later became a defining feature of his novels).

The Romanticized vs. Real Highlands

Critics argue that Scott romanticized and "fossilized" the Highlands , presenting them as a relic of the past.
However, Lumsden suggests that The Lady of the Lake actually offers a more nuanced and modern take on Scottish identity .
The poem acknowledges its own artifice , highlighting how perceptions of history and place are constructed rather than inherent.
James Hogg’s critique : He humorously called it a "lying poem," questioning why people saw the Trossachs as special simply because Scott described them that way.

The Role of Power and Perception

King James V’s misguided romantic vision of the Highlands leads to political miscalculations .
His failure to understand Highland culture nearly costs him his life when he is confronted by Roderick Dhu and his clansmen .
The tension in the poem reflects a broader concern with leadership and national unity —a theme Scott would explore further in his novels.

3. Nicola Watson’s Analysis: The Tourism Boom Inspired by Scott

Dr. Watson explored how The Lady of the Lake triggered a new wave of literary tourism , reshaping the Trossachs’ cultural landscape.

Pre-1810: Loch Katrine as a Picturesque Destination

Before Scott’s poem, Loch Katrine was known mainly to local gentry and early travelers .
Writers like James Robertson and Sarah Murray described it as a picturesque site , emphasizing its mix of the sublime (mountains) and the beautiful (lake reflections) .

Post-1810: Scott’s Transformative Influence on Tourism

After The Lady of the Lake was published, tourist numbers skyrocketed :
In 1806 , there were 6-7 carriages per day in peak season.
By 1810 , that number rose to 500 daily .
Infrastructure rapidly developed to accommodate visitors:
A hotel was built in Callander .
James Stuart became the first official guide, offering boat trips to "Ellen’s Isle" .
Tourist rituals emerged , such as:
Collecting twigs and quartz pebbles from famous sites.
Blowing horns to imitate Fitz-James’ call in the poem.
Reading or reciting extracts of the poem during their visit .

Victorian Expansion of Scott Tourism

By the 1840s , tourism infrastructure had expanded further:
The Trossachs Hotel (inspired by Abbotsford) was built.
Steamships began operating on Loch Katrine:
The Gypsy (1843)
Rob Roy (1846)
SS Sir Walter Scott (1899)
The trend of using Scott’s poem as a travel guide continued well into the 20th century .
Even Queen Victoria and Prince Albert visited Loch Katrine , inspired by Scott’s descriptions.

The Decline of Scott Tourism

By the late 19th and early 20th centuries, The Lady of the Lake became more associated with school curriculums than with leisure reading .
School editions of Scott’s works shifted perception from enjoyment to academic obligation .
A 1927 school textbook reflects this shift, requiring students to:
Write essays comparing the real Trossachs to the Scottish Highlands of legend .
Reflect on how the landscape had changed since the days of Roderick Dhu .

Notable Takeaways:

Scott’s poetry was the foundation of his later historical fiction , and themes in The Lady of the Lake anticipate those in Waverley and beyond.
The poem played a major role in the "invention" of the Romantic Highlands , helping shape Scottish identity in both literary and touristic contexts.
Scott’s awareness of constructed reality is surprisingly modern —he explores how history, power, and landscape are shaped by perception .
Tourism in the Trossachs was fundamentally reshaped by the poem , influencing infrastructure, place-names, and even travel behaviors .
While Scott tourism thrived in the 19th century, the shift to educational readings in the 20th century led to its decline .

Conclusion: Lasting Impact

The colloquium concluded that The Lady of the Lake remains a rich and relevant text , not only for its historical and literary significance but also for its reflection on identity, perception, and power . Far from being merely a romanticized portrayal of Scotland, Scott’s poem invites readers to question how realities—both historical and cultural—are created.

This discussion reinforced why The Lady of the Lake should still be read today, not just as a relic of the past but as a dynamic work that continues to shape the cultural imagination of Scotland and beyond

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A Mighty Treasure: James C. Corson's Collection of Scottiana

Thu, 13 May 2010 14:47:04 GMT

Thursday 13th May 2010

Summary of the Talk:

Paul Barnaby's talk offers an insightful overview of James C. Corson's collection of Scottiana, known as the Corson Collection, which he amassed throughout his life.

Corson was a passionate scholar of Sir Walter Scott and began collecting Scottiana as a teenager. His collection grew over several decades, largely focusing on biographical and critical works related to Scott, including books, manuscripts, prints, and memorabilia. It eventually became one of the largest and most significant private collections of Scott-related materials in the world.

Corson was born in Edinburgh in 1905 and worked as a librarian at Edinburgh University until his retirement. His collection includes over 6,800 printed books, rare editions of Scott's works, illustrated editions, musical and theatrical adaptations, as well as a variety of memorabilia and personal papers. His collection also contains critical works and scholarly articles, with a major focus on biographical materials. The collection was sold to Edinburgh University in 1978 and is now housed in the University Library.

Corson’s collection is unique for its comprehensive scope, covering not only Scott's literary works but also his cultural and material impact. Corson paid special attention to posthumous editions and the public reception of Scott's work, including rare books, illustrated editions, and even tourist memorabilia related to Scott and his legacy.

Notable Points:

Early Influence of Scott : Corson’s fascination with Scott began in his youth, particularly when he was introduced to The Lady of the Lake in school, which sparked his lifelong interest in Scott's works.
Strategic Collecting : Corson was resourceful in building his collection, overcoming financial constraints by frequenting bookshops, catalogs, and auctions. He also cleverly solved the problem of space by selectively acquiring items that focused on Scott’s literary and biographical significance.
Unique Items : Among the rare and unique pieces in the collection are:
Presentation copies of Scott's first publication.
Illustrated editions, including some of the first photographic illustrations in British books.
Early musical adaptations of Scott’s works, including operas by composers like Beethoven and Schubert.
Memorabilia and Realia : Corson’s collection extends beyond books, including items like miniature models of Scott's chair, Abbotsford-themed porcelain, and even a set of plastic knights related to the 1952 film Ivanhoe . This memorabilia reflects both Corson’s personal obsession with Scott and his foresight about the cultural value of such items.
Critical Legacy : Corson’s papers, including his unpublished manuscript projects and scholarly correspondence, contribute significantly to the study of Scott. His ‘Scott Dictionary’ containing over 200,000 notes on Scott’s life and works remains a critical resource for Scott scholars.
Digital Archive : The University of Edinburgh has digitized much of the collection in the Walter Scott Digital Archive, making it accessible to scholars and the public. The archive serves as a valuable research tool and showcases the broad cultural influence of Scott, as well as Corson’s dedication to preserving and understanding his legacy.

In essence, Corson's collection stands as a monumental tribute to Scott’s life and works, offering invaluable insights into both the man himself and the way his works shaped cultural identity, particularly in Scotland.

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Link : [The Corson Collection]

Sir Walter Scott and Thomas Moore

Thu, 11 Feb 2010 11:29:09 GMT

Thursday 11th February 2010

Listen to the talk below:

Summary of the Talk:

Kath Hardie’s talk explored the lives, careers, and legacies of Sir Walter Scott and Thomas Moore , two literary giants of the early 19th century. Despite their vastly different backgrounds—Scott from a well-off Edinburgh family and Moore from a modest Dublin household—their careers intertwined, and they both left lasting cultural legacies.

1. Early Lives & Education

Walter Scott (b. 1771) came from an educated Scottish family and attended Edinburgh University at 12 , where he developed an early passion for ballads and history. By the 1790s, he was an advocate, collector of ballads, and a newlywed.
Thomas Moore (b. 1779) was the son of a Dublin grocer. His ambitious mother ensured he was well-educated, and he entered Trinity College at 16 , where he associated with Irish nationalists. However, unlike his peers, he was no soldier and pursued literature instead.

2. Literary Careers & Achievements

Scott became famous as a collector and editor of Scottish ballads , publishing Minstrelsy of the Scottish Borders (1802-1803). His own poetry gained fame with The Lay of the Last Minstrel (1805) and Marmion (1808), but the rise of Lord Byron led him to shift to novel writing, starting with Waverley (1814), marking the beginning of the historical novel genre .
Moore initially gained fame for his translations of Anacreon’s Odes (Greek poetry on wine, women, and song). He became known as Ireland’s unofficial poet-laureate due to his Irish Melodies (1808-1834), including classics like The Minstrel Boy and The Last Rose of Summer . His Lalla Rookh (1817), an Oriental romance, was a literary sensation.

3. Personal Struggles & Reputation

Scott became the leading literary figure of his time, built Abbotsford House, and played a key role in reviving Scottish cultural identity , particularly through the royal visit of George IV in 1822.
Moore , despite his literary success, suffered financial trouble due to a dishonest deputy in Bermuda , leading him to flee to the Continent. He later burned Lord Byron’s memoirs under pressure from Byron’s family and associates, a decision he regretted.

4. Friendship & Mutual Respect

Despite Moore’s earlier satirical digs at Scott in his writing, the two men met and became close friends. Their shared love of folk traditions and mutual admiration led to a warm friendship, as seen in Moore’s 1825 visit to Scott at Abbotsford , where he entertained Scott’s family with music.

Moore was deeply moved by Scott’s financial struggles and wrote sympathetically about him, contrasting with those who gloated over Scott’s misfortune.

5. Decline & Legacy

Scott , facing financial ruin, worked tirelessly to pay off debts, worsening his health. By 1830, when Moore visited him for the last time, Scott was in poor health , barely able to converse. He died in 1832.
Moore , who outlived all his children, spent his final years in grief, fading into obscurity. Today, he is remembered primarily for his lyrical Irish songs .

Interesting Points & Observations

Cross-Dressing at Balls – Moore attended a grand ball where the Duke of Hamilton dressed as a young lady, and the Duke of Clarence as an old woman!
Byron’s Influence – Moore and Scott both admired Byron, but Moore burned Byron’s memoirs, a controversial act.
Scott's National Impact – Scott essentially revived Scottish cultural traditions , including the popularity of kilts after George IV’s visit.
The Theatre Ovation (1825) – In Edinburgh, Moore and Scott were cheered by a theatre audience as symbols of their nations , Scotland and Ireland.

Final Thought

While Scott’s historical novels reshaped British literature, Moore’s melodic poetry captured the Irish soul. Both men were storytellers of their nations , and their legacies remain embedded in cultural memory.

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Kath's talk was accompanied by music and songs by Ian Scott and the celebrated Scottish folk trio Chapter 4. Listen to the performance:

Bricks Without Straw

Thu, 07 Jan 2010 21:18:41 GMT

Article from 2010 Bulletin

Summary of the Article:

The article delves into the history of Sir Walter Scott's review of his own works, particularly his first series of Tales of My Landlord (comprising The Black Dwarf and Old Mortality ). The review, published in the Quarterly Review of January 1817, is one of the few times Scott directly commented on his novels. There is a longstanding debate about the authorship of this review, as Scott claimed to have collaborated with his friend William Erskine, although there is little concrete evidence that Erskine contributed significantly.

Milne's article examines the manuscript and printed version of the review, uncovering discrepancies between the two. Notably, the manuscript contains a long passage that was omitted from the final published version. Milne suggests that Scott might have taken a more prominent role in the review than initially thought, particularly in defending Old Mortality from critiques by the Reverend Dr. Thomas McCrie. The review ultimately defends Scott's portrayal of the Covenanters in the novel, despite McCrie's arguments that Scott lacked sympathy for them.

Milne also reflects on an encomium of the author in the printed review, which seems somewhat exaggerated for Scott to have written about himself. It raises the possibility that it was added by someone else, like the Quarterly's editor William Gifford or the publisher John Murray.

Key Points of Interest:

Collaboration Mystery : Scott's claim of collaborating with Erskine remains unclear, with no substantial evidence of Erskine's involvement in the final product.
Manuscript Discrepancy : A long passage from Mr. Blackadder’s narrative about the Battle of Bothwell Bridge was omitted in the final printed review. This change may have been made to allow Scott to directly counter McCrie's criticism.
Literary Comparisons : The article contains a strong comparison between Scott and Shakespeare, with a passage praising Scott’s genius in a way that might have been written by someone else, potentially an editor.
Refutation of Criticism : Scott’s review presents a firm rebuttal to McCrie’s claim that Old Mortality was unsympathetic to the Covenanters, illustrating Scott’s deeper command of historical sources.

Milne’s article adds complexity to the understanding of Scott’s role in his own literary critique, while also revealing the challenges of studying early 19th-century literary history, where authorship and collaboration were often more ambiguous than today.

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Presidential Perspectives

Thu, 07 Jan 2010 20:42:36 GMT

Article from 2010 Bulletin

Summary of the Article:

The article reflects on Sir Walter Scott as seen through the eyes of past Presidents of The Edinburgh Sir Walter Scott Club. Silvester explores the viewpoints of six influential individuals: Sir Herbert Grierson, Hesketh Pearson, C.S. Lewis, Sir Hugh Walpole, Sir Arthur Quiller-Couch, and John Buchan. These men were not only literary scholars but also figures who greatly admired Scott and contributed to our understanding of him.

Introduction : Silvester highlights the shared qualities of these six men, such as their scholarship, war experience, and a traditional approach to literature, contrasting it with the growing cerebral and dogmatic literary criticism of their time.
Sir Herbert Grierson (1866-1960) : Grierson, an esteemed scholar, emphasizes Scott's contribution to English literature, particularly in his edition of Scott's letters. He criticizes Carlyle's misunderstanding of Scott, especially regarding his character and style. Grierson praises Scott for his blend of practical and imaginative interests and stresses that Scott's writing transcended mere entertainment.
Hesketh Pearson (1887-1960) : Pearson, a biographer and actor, focuses on Scott's personal life, his virtues, and his humanity. He discusses Scott's Toryism and deference to rank, emphasizing his respect for tradition over modern social changes. Pearson defends Scott against accusations of snobbery and highlights his modesty and practicality in personal affairs.
C.S. Lewis (1898-1963) : Lewis, famous for The Chronicles of Narnia , discusses Scott’s portrayal of life and his role as an entertainer rather than a moral commentator. Lewis defends Scott’s work as a product of artistic integrity, emphasizing his honesty in writing and his avoidance of self-indulgence, which marked the literary conscience of modern writers.
Sir Hugh Walpole (1884-1941) : Walpole reflects on Scott's fall from popularity, acknowledging how literary tastes have shifted. He emphasizes Scott’s powerful portrayal of Scotland and the universal qualities of his novels. Walpole criticizes the literary elitism that caused Scott’s decline but calls for a reappreciation of his works.
Sir Arthur Quiller-Couch (1863-1944) : Known for his affection towards Scott, Quiller-Couch highlights Scott's sincerity and contrasts his romanticism with the emerging realism of the 19th century. He praises Scott’s insight into human nature and defends him against critics who reduce him to mere sentimentality. Quiller-Couch stresses Scott's standing as a figure of great literary value.
John Buchan (1875-1940) : Buchan, who had a strong connection to Scott due to their shared Scottish heritage, emphasizes Scott’s blend of imagination and realism. He defends Scott’s sense of common sense and practicality, offering a detailed analysis of Scott’s characters and his writing style. Buchan sees Scott’s work as timeless and deeply humane, and he considers his character as central to his enduring appeal.

Interesting Points:

Timelessness of Scott's Work : Many of the past Presidents note that despite Scott’s fall from critical favour in the 20th century, his works still have much to offer, with some predicting a resurgence in appreciation.
Scott’s Humanity : A recurring theme is Scott’s personal character—his modesty, kindness, and practical nature. These qualities contrast with the idealized or romanticized portrayals often given to literary figures.
Scott’s Impact on Literature : The article discusses how Scott was a foundational figure in literature, blending realism with romanticism, and how his work was instrumental in shaping narrative fiction in a way that was accessible to ordinary readers.
Criticism of Modern Literary Trends : The article critiques the cerebral and theoretical nature of modern literary criticism, which contrasts with the humane, artistic, and accessible approach of Scott and his contemporaries.

This article offers a rich exploration of Scott through the lens of influential literary figures, reinforcing the importance of understanding him not just as a writer, but as a man whose character and worldview continue to resonate.

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Colloquium on Rob Roy

Sat, 20 Jun 2009 21:06:57 GMT

Saturday 20th June 2009

Summary of the Talks:

The Colloquium on Rob Roy features two speakers: Alasdair Hutton and Professor David Hewitt, offering insights into the novel by Sir Walter Scott. Here's a summary of the key points discussed:

Background on Rob Roy :

Context of Writing : Scott began writing Rob Roy in August 1817, shortly after visiting Rob Roy MacGregor's cave. He faced challenges during the writing due to health issues, particularly biliary colic. Despite this, he finished the novel by December 1817, and it was published by the end of the month. It was an immediate success, with the first edition selling out quickly.
Critical Reception : The novel received positive reviews overall, with a notable critique from The Edinburgh Review regarding Diana Vernon's character. More recent analysis, such as that by Allan Massie, suggests that Rob Roy champions commerce over the feudal honour embodied by Rob Roy himself, with Baillie Nicol Jarvie representing a more modern, civil society.

Alasdair Hutton's Perspective:

Modernity of the Novel : Hutton describes Rob Roy as a surprisingly modern novel, filled with intrigue, adventure, and romance. He finds it gripping, though he points out that the protagonist, Francis Osbaldistone, isn't a particularly memorable character, being too virtuous and perfect. In contrast, Baillie Nicol Jarvie stands out as a strong and relatable character. The villain, Rashleigh Osbaldistone, is less vividly drawn, but his evil nature enhances the story's tension.
Rob Roy as a Noble Savage : Hutton also reflects on Scott’s portrayal of Rob Roy as a figure who moves between worlds, guided by a personal moral code that stands in contrast to the genteel society. He highlights the moral clarity of Helen McGregor’s decision to execute a traitor, which reflects a harsh but clear justice in her society.

Professor David Hewitt's Analysis:

Narrative Structure : Hewitt points out that Rob Roy is Scott's only first-person narrative, told by Frank Osbaldistone, who reflects on past events. The story spans several years, and Frank's narration is influenced by his experiences, especially his evolving relationship with his father. As he recounts the events of 1715, Frank’s reflection on his own life becomes central to the narrative.
Economic and Social Themes : Hewitt delves into the economic undercurrents in the novel, highlighting how Scott links Protestantism, liberty, and economic prosperity. The character of Baillie Nicol Jarvie exemplifies this integration of individual wealth and social responsibility. Scott also explores how financial desperation drives characters like Rob Roy and Sir Hildebrand to rebellion.
Frank's Growth : Frank Osbaldistone evolves both intellectually and personally as he reflects on the events of 1715. He begins as a supporter of the modern British state but comes to recognize that Rob Roy and others like him were victims of a system that marginalized them. Frank’s journey is both personal (reconciliation with his father) and ideological (understanding the costs of modernity).

Interesting Points to Mention:

Narrative Technique : The use of a first-person narrator is significant because it allows Scott to explore how personal experience influences one’s perspective, particularly in Frank’s reflective recounting of past events.
Economic Insights : The novel subtly addresses the tensions between traditional ways of life (represented by Rob Roy) and the modern, capitalist society emerging in the 18th century. This is reflected in characters' financial struggles and their relationship with the state.
Moral Codes and Justice : Scott’s exploration of different moral systems is a key theme, particularly in the contrast between the Highland code of honour and the values of mainstream society.
Rob Roy as a Tragic Hero : Rob Roy is portrayed as a tragic figure who is caught between an old way of life and the pressures of a modern, capitalist society, offering a poignant critique of economic development’s impact on traditional cultures.

These observations reveal Rob Roy as more than just an adventure story, offering deep reflections on identity, morality, and the tensions between tradition and progress.

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The Great Unknown: Scott as Poet, Critic and Historian

Thu, 04 Jun 2009 21:13:01 GMT

Thursday 4th June 2009

Summary of the Talk:

The talk explores Sir Walter Scott's contributions beyond his fame as a novelist, delving into his poetry, literary criticism, and historical writing. Here’s a summary of each section:

Scott the Poet :
Scott is often dismissed as a poet "fit for boys" rather than adults, with critics underappreciating his poetic achievements.
His poetry, including works like The Lay of the Last Minstrel and Marmion , is characterized by vivid descriptions and patriotism, with a strong connection to the Scottish landscape and history.
Scott's approach to writing was not perfectionist, as he produced a large body of work quickly. His poetry often mixes elegance with straightforwardness, sometimes dismissed by critics but praised for its power and human perception.
Key themes in his poetry include patriotism, nostalgia, and the natural world, with notable lyrical passages such as those in The Lady of the Lake .
Scott the Critic :
Silvester argues that Scott, as a critic, was more generous and approachable than many of his contemporaries. He is less focused on academic theories and more on broad, accessible discussions of literature.
In The Lives of the Novelists , Scott gave insightful and fair assessments of 18th-century novelists like Richardson, Fielding, Smollett, and Sterne. He praised Richardson's naturalism and Fielding's narrative techniques.
Scott's critiques also reflect his deep engagement with history, politics, and character studies, contrasting with more modern, dogmatic critical approaches.
His literary criticism was based on a vast knowledge of literature and human nature, displaying warmth and openness to diverse literary figures.
Scott the Historian :
While Scott's historical contributions are most prominent in his novels, they are also evident in his historical works, such as Tales of a Grandfather .
Scott treated history with a combination of vivid storytelling, character sketches, and a sense of the political and social contexts behind historical events.
He portrayed Scottish history with both romantic tales and a grounded view of realpolitik, providing a rich, accessible history that was both entertaining and educational.

Interesting Points:

Scott's poetry, though often overlooked, offers a detailed portrayal of Scottish identity and landscape, blending narrative and lyrical forms.
As a critic, Scott’s generosity and wide-ranging interest in authors across genres make his work valuable for understanding 18th-century literature.
His historical works are more than just factual accounts; they engage readers with dynamic narratives, connecting personal stories to broader political and social movements, showing Scott’s deep commitment to preserving and interpreting Scotland’s past.

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Abbotsford: Past, Present and Future

Thu, 14 May 2009 20:29:17 GMT

Thursday 14th May 2009

Summary of the Talk:

The talk offers an insightful overview of Abbotsford House, highlighting its history, current status, and plans for its future.

Historical Background :
Sir Walter Scott purchased the site of Abbotsford in 1811 for £4200. The property, originally a small farmhouse on the Tweed, was expanded during Scott's life. He transformed it into a sprawling estate with 1400 acres, which became a prominent landmark.
Abbotsford was continuously expanded, and Scott's vision was to create a home filled with historical artefacts and books. It became a popular place for visitors, including notable figures such as Queen Victoria, Washington Irving, and Charles Dickens.
Post-Scott Era :
After Scott's death in 1832, Abbotsford remained in the family, with further expansions made by Scott’s descendants, including the addition of a Catholic Chapel during the 1850s.
Jean Maxwell-Scott and her sister Patricia were responsible for managing Abbotsford during the 20th century. After Patricia’s death, Jean managed the house until 2004, when decisions regarding Abbotsford's future became uncertain.
The Future of Abbotsford :
In 2008, the Abbotsford Trust was formed to manage the house and its collections. The trust faced financial challenges but recognized the need to update Abbotsford to ensure its sustainability.
A feasibility study led to a £10 million restoration project. The trust applied for funding from various sources, including the Heritage Lottery Fund (HLF), Historic Scotland, and Scottish Government, eventually securing £4.5 million.
Planned developments include the restoration of the house, new facilities like a restaurant, visitor centre, education suites, and outdoor trails, alongside increased educational and public engagement efforts.
The goal is to modernize Abbotsford while preserving Scott’s legacy and vision for the property.

Interesting Points:

Scott’s Vision : Scott’s attachment to Abbotsford was deep. His wish to "spit into the Tweed" and have a place that was entirely his own reflects his strong connection to the land and its history.
Cultural Legacy : The house is not only a testament to Scott’s personal taste and literary achievements but also a rich cultural site that has hosted numerous famous visitors. The continued efforts to preserve and expand its legacy are crucial for future generations to appreciate Scott’s contributions to literature and Scottish heritage.
Challenges and Restoration : The document highlights the immense challenges faced by the Abbotsford Trust, especially regarding the building's preservation. The need for modern amenities while maintaining the historical integrity of the house is a delicate balance.
Educational Focus : The future plans for Abbotsford include an educational shift, with programs aimed at both children and adults. This focus on education is a significant step in ensuring that Abbotsford remains a place of learning and inspiration, in line with Scott’s own intellectual pursuits.

The restoration and future plans for Abbotsford are vital not only for preserving the physical structure but also for ensuring that Scott's literary and cultural legacy endures in the 21st century.

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Some Classical Quotation and Allusion in The Journal of Sir Walter Scott, (1825 – 1832)

Wed, 12 Nov 2008 12:43:55 GMT

Wednesday 12th November 2008

Summary of the Talk:

This talk examines Sir Walter Scott's use of classical references, particularly Latin and Greek, in his personal journal. The Journal , written by Scott from 1825 to 1832, contains his thoughts, daily activities, and literary reflections, as well as several allusions to classical texts.

Classical Education Influence : Scott’s education in Latin and classical literature, beginning from his school days, deeply influenced his writing. Purdie discusses how Scott’s classical background is evident in the 42 classical quotations in the Journal , primarily in Latin, and how they reflect Scott's intellectual engagement with ancient texts throughout his life.
Sundial Inscription : One of the first quotations Scott used in the Journal is derived from the Gospel of John (9:4), "I must work the works of him that sent me, while it is day: the night cometh, when no man can work." This was inscribed on a sundial at Abbotsford, where Scott spent much of his life. Scott reflected on this inscription in the Journal , emphasizing the passage of time and the urgency of work.
Literary References : The quotations include works by authors like Horace, Virgil, and others. For example, the Latin quote "Rari apparent nantes in gurgite vasto" is drawn from Vergil's Aeneid , depicting a dramatic image of survivors after a shipwreck, which Scott used metaphorically for his dinner gatherings.
Philosophical Undertones : The references reflect Scott's personal and professional struggles, particularly his efforts to manage his debts and maintain his household at Abbotsford. The classical allusions often serve as a parallel to his own life circumstances, showing his connection to themes of endurance, fate, and duty in classical literature.
Friendship and Reflections on Death : Scott’s relationships, including his friendship with poets like Thomas Moore and his thoughts on the passing of friends, are woven into these reflections. He uses classical aphorisms and quotes to comment on human nature, mortality, and the value of friendships.

Interesting Points:

Scott's Classical Knowledge : His ability to seamlessly weave in classical quotations suggests a deep, almost photographic memory. This classical influence was not just academic but integrated into his daily life and reflections, making his Journal an interesting intersection of personal experiences and literary heritage.
Personal Struggles and Literary Output : The Journal is also a record of Scott’s struggle to pay off his debts, juxtaposed against his literary productivity. The classical quotations underscore his sense of duty to complete his work, even when faced with financial ruin and physical frailty.
Use of Classical Imagery for Social Gatherings : The way Scott used references from works like the Aeneid to describe his social life adds an extra layer of richness to the Journal , blending classical scholarship with modern social commentary.

This paper highlights the extent to which classical literature shaped Scott’s thinking and writing, offering insights into his intellectual life and the broader cultural context in which he lived.

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Scott and Satire

Thu, 06 Nov 2008 22:31:09 GMT

Thursday 6th November 2008

Summary of the Talk:

This t alk explores the satirical attacks on Sir Walter Scott, particularly how his literary fame made him a target for parody and mockery during the Romantic period. Despite the era's generally serious tone, satire was a prominent literary force, with writers often ridiculing each other. Kelly highlights how Scott, despite his massive success, became a central figure in this satirical culture.

Scott as a Satirical Target : The piece outlines the numerous satirical works directed at Scott, including Byron’s English Bards and Scotch Reviewers (1808), where Byron criticized Scott’s commercial success and poetic style. Other works included The Lay of the Scotch Fiddle, The Caledonian Comet , and Sir Albon , all of which ridiculed Scott’s narratives, politics, and public persona.
Scott’s Response : Scott’s reaction to these attacks was often measured and dismissive, as illustrated in his letter to his friend Morritt, where he claimed not to be affected by the parodies. His self-assurance contrasts with his financial struggles, as noted by Byron and others.
Satires Beyond Scott : Kelly discusses how satirical works, like Marmion Travestied and The Lay of the Last Minstrel, Travesty , used Scott as a vehicle to mock not only his works but also the culture and politics of the time. For example, some parodies focused on Scott’s obsession with topography and antiquity.
Scott’s Politics : Satirical critiques often took aim at Scott's political views, with some satirists mocking his ultra-royalist leanings and perceived hypocrisy. A notable satire is Leigh Hunt’s The Feast of the Poets (1811), which humorously criticized Scott's political conservatism.
American Satire : One of the most notable and unique examples discussed is James Kirke Paulding’s The Lay of the Scottish Fiddle (1813), an American satire that parodied Scott’s work, particularly his footnotes and editorial practices. This is seen as a clever and critical response, as Paulding not only mocks Scott's style but also parodies his method of historical narrative.

Interesting Points:

The persistence of Scott’s literary legacy and his role in shaping national narratives led to his prominence as a figure of mockery, especially from peers who sought to critique the commodification of poetry.
The variety of satirical approaches, from direct mockery of Scott's characters to playful deconstructions of his footnotes, reflects the complex relationship between Scott and his critics.
The American perspective on Scott, particularly Paulding’s satire, introduces a layer of transatlantic cultural exchange in literary criticism, which is often overshadowed by more traditional British critiques.

This piece illustrates how Scott's literary success made him both a revered figure and a target of irreverence, highlighting the tension between his popularity and the scepticism it provoked in some quarters.

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An Evening with Scott

Wed, 08 Oct 2008 21:51:48 GMT

Wednesday 8th October 2008

Summary of the Performance:

Scott Moffat, who portrays Sir Walter Scott in this performance delves into Scott's life, with the central narrative framed as Scott himself recounting his early experiences, family history, personal reflections, and notable relationships.

The performance begins with Scott discussing his ancestry, particularly his maternal and paternal family connections to the ancient clans of the Scottish Borders. He recounts his early childhood illness and subsequent recovery at Sandy Knowe, a farmhouse near Kelso. His fond memories from this period, including time spent in nature and with the shepherd Auld Sandy Ormiston, are central to his connection to the Borderlands.

As Scott reflects on his life, he delves into significant influences, like his grandmother's tales of Border heroes and his sentimental ties to the Jacobite cause. He also discusses his youthful affection for these historical themes, which would later inspire his literary work. The text highlights Scott’s love for Scottish culture and history, particularly the influence of the Borders on his writing.

Scott shares anecdotes about important figures in his life, such as James Hogg, William Wordsworth, and Washington Irving. He describes his personal relationship with these literary figures, including humorous and touching moments. He also reflects on his own struggles, such as the financial difficulties he faced later in life, partly due to his lavish lifestyle at Abbotsford and the collapse of his business dealings.

In the latter part of the performance, Scott discusses the personal grief he felt after the death of his wife, Charlotte, and his thoughts on aging, death, and the passage of time. He concludes with a reflection on the inevitable decline of life and the wisdom gained from experience.

Interesting Points:

Scott’s Ancestry : His family lineage is steeped in the history of the Scottish Borders, filled with warriors, rebels, and Jacobites. This background shaped his work and identity.
The Influence of Sandy Knowe : Scott's time at Sandy Knowe, surrounded by nature and rural life, had a profound impact on his health and imagination. It also formed his lifelong love for the Border landscape, which would become a recurring theme in his writing.
The Financial Struggles : Despite his literary success, Scott faced financial ruin, exacerbated by the construction of Abbotsford and risky investments. He wrestled with bankruptcy but remained determined to repay his creditors through his literary work.
Personal Grief : The emotional weight of Charlotte’s death is palpable in Scott’s reflections. His grief, paired with his thoughts on death and the afterlife, is deeply personal and touching.
Literary Friendships : Scott’s relationships with other writers, particularly Byron and Wordsworth, are fascinating. He presents Byron as a playful, generous man and Wordsworth as a profound, albeit somewhat solitary, figure.
Tom Purdie : A loyal servant, Tom Purdie’s friendship and support of Scott is highlighted as one of the most meaningful in his life. Their deep bond is an endearing aspect of Scott’s story, especially when contrasted with the more formal relationships he had with other figures of high society.
Legacy and Aging : As Scott reflects on his advancing age, he poignantly contemplates the final stages of life, accepting both its challenges and its wisdom. His thoughts on death suggest a deep philosophical acceptance.

Overall, the performance offers a rich, multifaceted portrayal of Sir Walter Scott, mixing humour, personal anecdotes, and introspection to explore his life and legacy.

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Jeanie Deans and the Captain's Daughter

Wed, 14 May 2008 17:15:57 GMT

Wednesday 14th May 2008

Summary of the Talk:

Dairmid Gunn’s talk examines the influence of two novels by Sir Walter Scott, Rob Roy and The Heart of Midlothian , on Alexander Pushkin’s famous work The Captain's Daughter . Gunn explores how Scott’s writing, particularly his historical novels, shaped Pushkin’s approach to Russian literature.

Pushkin, known as a transformative figure in Russian literary history, was heavily influenced by Scott’s narratives, notably through the use of historical fiction and his portrayal of complex, morally grounded characters. Gunn discusses Pushkin’s admiration for Scott's method of integrating fictional characters into historical contexts, a technique Pushkin later adopted in The Captain's Daughter , which is set against the backdrop of the Pugachev Rebellion in 18th-century Russia. Pushkin's novel features historical figures, particularly the rebel leader Pugachev, but departs from Scott by making the historical character the dominant figure.

The talk highlights Pushkin’s early admiration for Scott and how Scott’s novels shaped Pushkin’s writing style, including his approach to language, character development, and historical storytelling. Gunn also draws comparisons between characters from Scott’s Rob Roy and The Captain’s Daughter , particularly the roles of the protagonists and their moral dilemmas.

Interesting Points:

Cultural Cross-pollination : Gunn underscores the fascinating cultural exchange between Scottish and Russian literature, exemplified by Pushkin’s admiration for Scott. This highlights how literature transcends national boundaries, influencing writers across Europe.
Pushkin's Literary Evolution : Pushkin’s transition from a Byron-inspired romantic poet to a more restrained, historical novelist can be seen as a reaction to both his personal circumstances and the influence of Scott. This shift is pivotal in understanding how Pushkin’s work influenced later Russian writers.
Historical Accuracy vs. Fiction : The blending of historical events with fictional characters in Scott’s novels deeply influenced Pushkin, though he adapted this formula in The Captain’s Daughter by prioritizing historical figures, which contrasts with Scott’s technique of focusing on fictional characters within real events.
Character Parallels : Gunn draws a direct comparison between the characters in Rob Roy and The Captain’s Daughter . For example, Pushkin’s Grinev and Scott’s Frank Osbaldistone share a similar arc of growing through personal adversity and loyalty, echoing the themes of honour and duty.
Role of Women : Gunn also notes the significant roles that female characters play in both novels. Jeanie Deans, from The Heart of Midlothian , and Marya Mironova from The Captain’s Daughter , are portrayed as women of strength and moral conviction, illustrating a cross-cultural portrayal of virtue and redemption.
Pushkin’s Constraints : Pushkin’s careful navigation of censorship in Imperial Russia led him to make the Pugachev Rebellion more of a symbolic event than a literal one. This freedom in creative adaptation shows the limitations writers faced during the era and how they used these constraints to fuel deeper narrative complexities.

Overall, the talk sheds light on the nuanced connections between Scott and Pushkin, demonstrating how these literary giants from different cultural backgrounds influenced each other.

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Annotating Waverley

Thu, 06 Dec 2007 07:10:59 GMT

Thursday 6th December 2007

Summary of the Talk:

The text focuses on the editorial work involved in producing the Edinburgh Edition of Sir Walter Scott's Waverley , particularly through the lens of annotation. Garside details the extensive editorial process that includes historical notes, explanatory annotations, and glossaries, providing an understanding of the novel's setting, characters, and references to various sources. This edition aims to assist modern readers in navigating the complex historical and literary references that might otherwise be lost on contemporary audiences, especially those unfamiliar with 18th-century Scottish history and culture.

Key Points of Interest:

Editorial Approach:
Garside emphasizes the delicate balance needed when annotating Waverley to avoid over-explaining or becoming intrusive, as excessive annotation might disrupt the original reader experience and obscure the novel's initial "obscurity."
He mentions how modern annotation, often used for academic purposes, has grown in volume and detail over the years due to better resources and tools like the internet.
Role of Annotation:
While annotation helps modern readers understand historical and cultural contexts (such as classical quotes, legal references, and Scottish vernacular), Garside notes that the role of an annotator is not to impose modern views but to provide clarity on what might have been clear to readers in Scott’s time.
An interesting aspect Garside discusses is how annotation can sometimes alter the original reading experience, making the modern reader more informed than Scott's original audience, which could reduce the historical "thrill" of the text.
Specific Editorial Challenges:
One challenge mentioned is Scott’s use of Classical and obscure references, such as Latin misquotations, which are often central to the characterization of figures like the Baron of Bradwardine.
Garside highlights how Scott's personal book collection and annotations on his own books (such as his notes in Allan Ramsay’s Tea-Table Miscellany ) provide valuable insights into his influences and narrative style.
Historical Context and Topography:
Garside explores the historical setting of Waverley , focusing on how Scott’s precise use of topography and chronology adds richness to the narrative. The novel’s historical context, such as the Jacobite Rising of 1745, is interwoven with the fictional narrative to give readers a sense of the lived experiences of the time.
A particularly notable observation is how Scott’s novel reflects historical and topographical sites in Scotland, such as Doune Castle and Duddingston, adding layers of meaning to the plot and character development.
Scott’s Bibliomania and Personal Engagement with Books:
A fascinating point raised is Scott's deep engagement with his library, as evidenced by the annotated books in the Abbotsford Library, where Scott made personal notes on books he owned and used them as sources for his writing.
Garside discusses how Waverley contains numerous references to books that Scott owned, including works on astrology, classical texts, and legal references, which informed the characters and plot.
Waverley’s Title:
Garside delves into the origins and meaning of the title Waverley and its subtitle 'Tis Sixty Years Since . He discusses potential influences, including Charlotte Smith’s novel Desmond and connections to historical events such as the Jacobite Rising and Trafalgar.
Narrative and Legal Texts:
The text also references how Scott integrates legal references within the novel, particularly through characters like the Baron of Bradwardine and Baillie Macwheeble, who cite Scots law. Garside points out that these references add authenticity to the characters, especially in their connection to feudal rights and legal matters.

Conclusion: Garside's reflections reveal how Scott’s work can be richly interpreted through both historical and literary lenses, and how modern editors and annotators play an essential role in ensuring that Scott’s layered references and complex narrative are accessible to contemporary readers. The Edinburgh Edition not only serves as an academic resource but also as an invitation to engage deeply with Scott's work and its cultural, historical, and literary context.

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Scott and Australia

Thu, 25 Oct 2007 16:26:32 GMT

Wednesday 25th October 2007

Summary of the Talk:

Graham explores the connections between Sir Walter Scott and Australia, focusing on his limited yet interesting engagement with the country and its people. Scott never visited Australia, but he maintained relationships with influential figures from the colony, such as the governors Lachlan Macquarie and Sir Thomas Brisbane, both Scots. These connections were largely through correspondence, recommendations, and the exchange of books and cultural information.

Tulloch highlights several key points:

Scott's Influence on Australian Literature : Although Scott never wrote specifically about Australia, his works significantly impacted Australian authors like Rolf Boldrewood and Joseph Furphy, with themes from Ivanhoe appearing in Australian novels. Scott's novels were popular in Australia, with copies sent and occasionally printed there.
Governor Correspondence : Scott corresponded with two Scottish governors of New South Wales, Macquarie and Brisbane. Through these relationships, he extended his support to convicts, settlers, and others. For example, Macquarie sent Scott a book about Michael Howe, a bushranger, which intrigued Scott's interest in outlaws, a recurring theme in his works.
Convicts and Exiles : Scott used his influence to assist convicts who sought clemency or new opportunities. One notable example is Andrew Stewart, a man Scott helped after his conviction for theft, resulting in a sentence of transportation to Australia rather than execution.
Gifts and Curiosities : Scott received several gifts from his Australian correspondents, including emus, which caused him considerable distress. Despite the emus being impractical, they highlighted the connection Scott had with Australian settlers and his curiosity about the colony.
Books on Australia : Scott's library included books related to Australia, such as Barron Field's First Fruits of Australian Poetry and an account of Michael Howe. These works provided Scott with some insight into Australian life, particularly colonial conditions and early literature.
Scott’s Generosity : Tulloch emphasizes Scott's generous nature, showing how Scott would use his influence to help people, even those across the globe, demonstrating a consistent pattern of support for those in need.

Interesting Points to Mention:

Scott’s Correspondence with Governors : His interactions with Macquarie and Brisbane are fascinating, as they highlight Scott's practical use of his influence to assist individuals in Australia, from convicts to settlers.
The Emu Incident : The emu gift, which Scott initially misunderstood as harmless birds, is a humorous yet telling example of the unexpected challenges Scott faced through his Australian connections. It also illustrates the oddities of cross-cultural exchange during the time.
Convicts and Literature : The connection between Scott and convicts like Andrew Stewart is a poignant example of how Scott’s actions impacted individual lives, particularly in the context of Australian transportation.

Tulloch’s paper provides a unique insight into how even a distant and often overlooked connection, such as Scott's relationship with Australia, follows the broader patterns of his life, defined by a deep sense of generosity and concern for individuals regardless of their location.

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Scott, Wilderness and North America

Wed, 10 Oct 2007 11:56:49 GMT

Wednesday 10th October 2007

Summary of the Talk:

The text explores the thematic parallels between the landscapes described in Walter Scott's novels and the North American wilderness, particularly as experienced by Scots immigrants and explorers. It focuses on how Scott and his characters engage with the wild landscapes, comparing them to the untamed environments in North America, which Scots were familiar with through their emigration and frontier experiences. Here are the key points and themes discussed:

The Highlands and North America’s Wilderness : Calder explores how Scott depicted the Scottish Highlands as a place of rugged beauty, where nature and human history are deeply intertwined. This mirrors the experiences of Scots in North America, where they encountered vast wildernesses like the Rockies, which were both beautiful and brutal.
Scott's Romanticizing of Wilderness : The narrative highlights how Scott’s characters, particularly in Waverley , are drawn to the wilderness not just for its danger but for its romantic allure. The wilderness is portrayed as a land full of adventure, where human survival and nature are inseparable. This is mirrored in the way early American explorers and fur traders, many of whom were Scots, viewed the untamed lands they settled.
Native Americans and Highlanders : Calder draws comparisons between the Highland Scots and Native Americans, suggesting that both groups were deeply connected to their lands, with cultures that were inextricably linked to their environments. She notes that both groups were perceived as "wild" by outsiders, with their ways of life often viewed as being at odds with the encroaching "civilization."
Impact of Scottish Explorers on American Wilderness : Scots like Robert Stuart and Washington Irving contributed significantly to the mythos surrounding American wilderness, with their travels and writings framing the land as a place of adventure and hardship. However, unlike Scott’s portrayal of the Highland wilderness as tied to a past way of life, the American frontier was seen as a space for expansion and new beginnings.
Cultural Clashes : Calder reflects on how both Scott’s works and the narratives of American frontier life deal with the tension between old and new ways of life. The Scottish Highlanders are depicted as a culture rooted in a disappearing past, while the settlers in North America are seen as pioneers forging a new future.
Scott's Influence on American Writers : The influence of Scott on American writers like Irving is significant, as these authors also grappled with the themes of wilderness, civilization, and the encroachment of modernity on traditional ways of life. Irving’s writings, for instance, reflect the romantic ideals of wilderness exploration, inspired by both his readings of Scott and his experiences in the Highlands.
The Decline of Wilderness : Both Scott and his American counterparts express a sense of loss as the wilderness, whether in the Highlands or the American frontier, becomes increasingly tamed by human development. Scott’s nostalgia for a disappearing Scotland is mirrored by American writers like Irving and Murray, who sought to experience the untouched wilderness before it was altered forever.
John Muir's Contribution : Calder concludes by mentioning John Muir, the Scottish-born naturalist, who sought to preserve the American wilderness rather than let it be destroyed by human activity, contrasting with earlier Scots who were eager to experience it before it vanished.

Interesting Points:

The theme of landscape being integral to culture: Both Scott and American frontier writers suggest that one's connection to the land shapes their identity and survival. The Highlands’ wildness is depicted as integral to the Highlander’s identity, just as the wilderness of North America is vital to the pioneer and native cultures.
The contrast between "old world" and "new world": Scott's works, while looking to the past, highlight the tension between an idealized wilderness that is rapidly disappearing and a future shaped by industrialization and settlement, a theme echoed in the development of America.

This exploration invites us to reflect on the connection between landscapes and identities, and how these connections are disrupted by colonialism and the march of progress.

Download the [transcript] or read the [bulletin]

Premiere of Scott Musical Settings by Sophia Scott

Fri, 07 Sep 2007 21:59:50 GMT

Friday 7th September 2007

Summary of the Review:

The review recounts a special concert performance held at Abbotsford, where composer and pianist Ronald Stevenson was accompanied by his granddaughter, Anna-Wendy, on violin. The concert featured the premiere of "Scott Music Settings," which was a collection of traditional Scottish airs and ballads arranged by Stevenson and Sophia Scott, Sir Walter Scott's eldest daughter. The event marked a significant occasion, as it was likely the first time the songs had been heard at Abbotsford since Scott’s death in 1832.

Key points include:

The program was divided into two parts: the first half consisted of five traditional Scottish airs, while the second half featured ten ballads from the "Abbotsford Collection of Border Ballads," arranged by Sophia Scott.
Ronald Stevenson, a distinguished composer and pianist, has an extensive body of work, including over 500 piano compositions.
Anna-Wendy Stevenson, a professional violinist, performed with her grandfather, bridging two generations of musical talent.
The second half of the concert highlighted a series of ten ballads, including pieces like “The Cruel Sister” and “The Laidley Worm,” showcasing varying styles and emotions.
The concert concluded with Stevenson’s "South Uist Folksong Suite," a work inspired by traditional Scottish folk songs.

An interesting aspect of the event was the philosophical discussion of whether words lead the music or vice versa, relating to the broader themes of the 2007 Edinburgh International Festival. Additionally, the concert's informal atmosphere, with the performers offering introductions to the pieces, created a unique and intimate experience for the audience.

The evening was deemed a rare and memorable occasion, with the impeccable organisation and warmth of the performers receiving widespread appreciation.

Download the [transcript] or read the [bulletin]

The Artistes:

Ronald Stevenson (piano):

As a virtuoso pianist and composer of international stature, Ronald Stevenson's place in the annals is assured. With his life-long passion
for Scotland's traditional music, Ronald has arranged many pieces including all of these in this programme. With the breadth of his interests and expertise, he is an accomplished scholar and an inspiring teacher, indicated by his musical children and his granddaughter Anna-Wendy Stevenson.

Anna-Wendy Stevenson (violin):
A professional musician in her own right, Anna-Wendy has sustained the connection between Scottish and Classical with her proficiency in both idioms. An orchestral leader and internationally travelled 'fiddler', she has recently added a composing dimension with her recent "new voices" commission for Celtic Connections Festival.

Together then in harmony, two musicians at different stages of their lives and careers, connected over two generations with an appreciation of music lovingly handed down.

The Programme:

Part One:

Sir Walter Scott (Bart): slow air by W. Marshall (1748-1833)
Jock o'Hazeldean
Lament for Neil Crow's second wife
My Love is like a red, red rose (to the tune Burns chose)
My Love she's but a lassie yet Burns song

Interval

Part Two:

Ten airs from the Abbotsford Collection of Border Ballads (premiere) collected and arranged by Sophia Scott:
Brown Robin,
The Cruel Sister
Clerk Colvin,
John the Scott
Lady Elspet
Erlington
Hobbie Noble
Jamie Telfer
The Outlaw Murray
The Laidley Worm
South Uist Folksong Suite by Ronald Stevenson

James Robertson and Walter Scott

Thu, 07 Jun 2007 08:14:39 GMT

Thursday 7th June 2007

‘Can the d evil speak truth?’ Irrational history in the novels of James Robertson and Walter Scott

Summary of the Talk:

Martin's text explores the intertextual relationship between James Robertson's novels and the works of Sir Walter Scott, particularly focusing on the portrayal of history and the idea of progress. The paper contrasts the historical perspectives of both authors, drawing attention to how Robertson engages with Scott's legacy while simultaneously undermining his approach to history.

Key Themes and Concepts:

The Role of History in Fiction : Robertson, like Scott, writes historical novels, but his works question the traditional view of history as a linear, progressive story. Whereas Scott often accepts the inevitability of progress, Robertson is more sceptical, presenting history as fragmented and subjective. This scepticism is evident in Robertson's novels, such as The Fanatic, Joseph Knight, and The Testament of Gideon Mack , where historical narratives are often presented as constructs, shaped by the present and filtered through personal experiences.
The Influence of Scott : Robertson is influenced by Scott but diverges significantly in how he handles historical events. He critiques Scott’s linear view of history, particularly the idea that progress is inevitable and always positive. Robertson’s characters, such as Andrew Carlin in The Fanatic , frequently confront the consequences of history's failures, questioning the simplistic view of historical inevitability.
Modernity vs. Tradition : Robertson uses his characters to reflect on Scotland’s modern identity in contrast to its historical and often troubled past. His modern Scotland is pluralistic and multifaceted, resisting the clear-cut narrative of progress found in Scott’s works. Robertson critiques the reduction of history to a simple progression, instead suggesting that history is often a series of conflicting, coexisting narratives.
Cultural History and Folk Beliefs : Robertson often integrates folk tales and irrational beliefs into his narratives, reflecting the ongoing influence of these elements on modern society. This contrasts with Scott's more rational approach to history, where folklore and superstition are typically secondary to the grand narrative of progress.
Existential Questions and Human Subjectivity : The paper explores how Robertson, like Scott, engages with the subjective nature of history. His characters are often caught between personal beliefs, cultural narratives, and the broader historical forces that shape their lives. For example, in The Testament of Gideon Mack , the protagonist grapples with a deeply personal crisis of faith and identity, while in Joseph Knight , the historical truths about slavery and freedom are challenged through the subjective experiences of the characters.

Notable Points:

Intertextual References : Robertson’s characters often reference or reflect Scott’s works, whether through direct homage or through shared thematic concerns. The characters of The Fanatic echo Scott’s historical figures, yet Robertson uses them to critique the way history has been represented.
Folk History vs. Official History : The paper highlights how Robertson’s works challenge the dominant narratives of history by reintroducing folk tales and superstitions, suggesting that these elements still play a crucial role in shaping modern Scotland’s identity.
Historical Progress and Its Costs : Robertson contrasts Scott's acceptance of historical progress with his own critique of progress, particularly in the context of Scotland’s troubled past. His characters are often trapped in cycles of personal and historical failure, unable to escape the repercussions of their past actions.

Conclusion:

The key takeaway from this analysis is that while Robertson is clearly influenced by Scott, he challenges the notion of history as a linear progression. His work suggests that history is not a straightforward path but a complex, fragmented narrative shaped by personal experiences, cultural myths, and irrational beliefs. Robertson’s novels offer a more sceptical and nuanced view of history, questioning the costs of progress and the authenticity of historical narratives.

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The Real Age of Scott

Thu, 03 May 2007 18:57:16 GMT

Thursday 3rd May 2007

Summary of the Talk:

This talk explores the enduring legacy of Sir Walter Scott, particularly focusing on the period following his death and the transformation of Scottish publishing. Here are key points and a summary of the text:

Early Popularity and Long-lasting Influence :
Hazlitt initially doubted Scott's future, implying his success might be short-lived, but Scott's reputation grew well beyond his death in 1832. By the 1830s, Scott's works were still widely celebrated, even if the 'Golden Age' of Scottish culture seemed to fade with the death of key figures like Scott.
The Changing Publishing Landscape :
The Scottish book trade underwent a significant transformation during the 19th century. The industrial revolution, urbanization, and technological advancements (such as the introduction of paper-making machines and faster printing methods) changed how books were produced, making them more accessible to the public.
By the mid-century, mass production methods led to rapid growth in the publishing industry, with firms like W. & R. Chambers and others adapting to new technology and business models.
The Crisis of 1825-1826 :
Scott's personal financial troubles, notably his involvement in the collapse of the publishing house Archibald Constable, were a significant event in the book trade. Despite this crisis, the Scottish publishing industry did not collapse but continued to thrive, expanding internationally.
The Rise of the Common Reader :
The 19th century saw the emergence of a wider, more diverse reading public. Early in the century, books were often too expensive for the average person. By the 1830s, cheaper reprints and second-hand markets allowed Scott's works to reach a much broader audience, especially among the lower classes.
The Global Reach of Scott :
The Scottish book trade had a significant impact on literature in the British Empire and beyond. Scottish publishers played a vital role in spreading Scott's works across the world, from India to Canada and Australia, creating an enduring connection to Scottish culture for emigrants.
Technological and Social Change :
The advent of technologies like the penny post and the expansion of the railway network revolutionized book distribution. By the mid-19th century, the book trade was no longer confined to Scotland but had expanded across Britain and internationally.
The Enduring Legacy of Scott :
Even in the late 19th century, Scott remained an iconic figure. His works continued to be widely read and cherished, and their influence extended across the globe. His popularity was particularly notable among Scottish emigrants, who maintained a strong connection to Scottish culture through his novels.

Interesting Points:

Scott’s Influence on the Book Trade :
Scott’s success played a significant role in the rise of the Scottish book trade, which saw technological and commercial transformations that contributed to its growth throughout the 19th century. His works were pivotal in establishing a larger market for literature, which benefited publishers for decades.
Global Impact :
The international reach of Scott's works, especially among emigrants, shows how literature can transcend geographical and cultural boundaries. His novels were a key part of the cultural identity for Scottish settlers across the British Empire.
The Role of New Technologies :
The technological advancements in printing, publishing, and distribution, such as the introduction of industrial paper-making machines and faster printing presses, were crucial in making Scott's works accessible to a wider audience, shifting the book trade from small-scale operations to large industrial enterprises.
Changing Reading Habits :
The social and economic changes of the 19th century allowed more people, including those from the working class, to read books. The shift towards mass-market books and the creation of cheap editions helped democratize literature, allowing Scott’s works to become widely read.

This analysis emphasizes how the economic, technological, and social transformations in Scotland during the 19th century contributed to the enduring legacy of Walter Scott, both within Scotland and globally.

Download the [transcript] or read the [bulletin]

Scott and the Edinburgh Reviewers

Thu, 05 Oct 2006 13:33:21 GMT

Thursday 5th October 2006

Summary of the Talk:

This lecture explored the relationship between Sir Walter Scott and the Edinburgh Review, particularly his interactions with key figures such as Francis Jeffrey, Henry Brougham, Henry Cockburn, and Sydney Smith. Woolman argues that the intellectual environment fostered by the Review played a crucial role in Scott’s literary career and, by extension, in establishing Edinburgh as a major literary hub for thirty years.

Key Themes:

Scott’s Literary Ambition and Versatility

Scott’s career evolved from collecting Scottish ballads ( Minstrelsy of the Scottish Border ) to translating German works, writing epic poetry, and eventually pioneering the historical novel.
His drive was fueled by a desire for fame, wealth, and recognition.

2. Friendship and Rivalry with Francis Jeffrey

Scott and Jeffrey first met at the Speculative Society in the early 1790s. Their relationship was characterized by mutual respect, but also critical friction.
Jeffrey’s review of Marmion in 1808 was mixed, which contributed to Scott’s eventual disillusionment with the Edinburgh Review.
Despite their political differences (Scott was a Tory, Jeffrey a Whig), they maintained a complex but lasting friendship.

3. Henry Brougham’s Role in the Review

Brougham was known for his intelligence but also for his ambition and ruthless criticism.
Scott distrusted him, referring to him as “the God of Whiggish Idolatry.”
Brougham’s influence contributed to the Review’s reputation for harsh critiques.

4. The Edinburgh Review’s Influence

Founded in 1802 by a group of intellectuals, including Jeffrey and Sydney Smith, the Review transformed literary criticism.
Scott initially contributed reviews but distanced himself after repeated critiques of his work and political content he found objectionable.
The Review had global reach, with 14,000 subscribers, and wielded great influence in literary and political spheres.

5. Scott’s Shift to the Quarterly Review

Following his break with the Edinburgh Review, Scott supported the establishment of the Quarterly Review , a Tory-leaning rival.
This move marked a turning point in his political and literary affiliations.

6. Scott’s Bankruptcy and Enduring Pride

After Scott’s financial collapse in 1826, he resolved to repay his debts through his writing.
Despite personal hardship, he maintained his dignity, as observed by contemporaries like Cockburn.

7. Scott’s Legacy and the Edinburgh Literary Scene

The interplay between Scott and the Edinburgh Reviewers was central to the city’s golden age of literature.
Even in disagreement, these figures respected each other’s talents, reinforcing Edinburgh’s role as a center of literary excellence.

Notable Insights:

Scott’s ability to maintain friendships despite literary and political disagreements set him apart as a figure of diplomacy and resilience.
Jeffrey’s review of Marmion was a turning point in Scott’s career, influencing his pivot toward novels.
The Friday Club , a social gathering of literary figures including Scott and Jeffrey, demonstrated that their camaraderie endured despite ideological differences.
Scott’s reputation transcended the Edinburgh Review’s critiques , with his novels achieving international fame.
Jeffrey’s inscription on the Scott Monument acknowledges Scott’s literary significance, comparing his works to those of Shakespeare.

Conclusion:

Woolman’s lecture illustrates how Scott and the Edinburgh Reviewers were both collaborators and competitors, shaping Scottish literature and intellectual life. Their debates, friendships, and rivalries collectively reinforced Edinburgh’s cultural pre-eminence in the early 19th century.

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A Tale of Three Knights: Sir Walter, Sir Arthur and Sir Wilfred of Ivanhoe

Thu, 04 May 2006 09:37:08 GMT

Thursday 4th May 2006

Summary of the Talk:

The article explores the connections between Sir Walter Scott's novel Ivanhoe and its adaptation into an opera by Sir Arthur Sullivan. Here's a summary and some notable points:

The piece starts by explaining how Professor Purdie was invited to present a paper at the Sir Arthur Sullivan Society’s annual meeting, discussing Scott’s Ivanhoe as it relates to Sullivan’s opera. The opera adaptation of Ivanhoe was Sullivan’s only foray into grand opera and was staged in 1891, though it has not been frequently revived. The opera was commissioned at the request of Queen Victoria, who was keen on an English grand opera, inspired partly by Sullivan's previous works and the cultural popularity of Scott's medieval romance.

Purdie goes on to describe the opera's plot, noting that it differs significantly from the novel in structure, focusing on key scenes rather than a full retelling. Notably, the opera compresses multiple events from the novel, such as the tournament at Ashby-de-la-Zouche and the storming of Torquilstone castle, while also adding some lighter, comic elements to counterbalance the drama.

Interesting Points:

The Legacy of Sir Arthur Sullivan : Sullivan is remembered not only for his collaborations with W.S. Gilbert but also for his broader musical contributions, including oratorios, sacred music, and choral works. The Ivanhoe opera shows his versatility beyond light opera, blending darker tones and sophisticated orchestration.
Historical Context of Ivanhoe : The opera adaptation focuses heavily on themes of racial tension between Saxons and Normans, a motif that Scott emphasized in the novel despite historical criticism. The opera also highlights themes of religious and social tension, notably through the character of Rebecca, who faces a trial for witchcraft.
Opera's Reception and Impact : Sullivan’s Ivanhoe had a strong initial run, performing 156 times, but the opera house where it was staged, the Royal English Opera House, closed soon after. The opera was rarely revived until the 20th century, when amateur productions brought it back into the spotlight.
The Operatic Interpretation of Characters : Some characters, like Friar Tuck, are given more light-hearted roles in the opera to balance the heavy themes. Sullivan’s use of comic moments and songs, such as the drinking song, helps create a contrast to the more serious drama of the novel.
Rebecca’s Role : Rebecca emerges as a powerful character in both Scott’s novel and Sullivan’s opera. Her aria and struggles form an essential narrative thread in the opera, particularly in her resistance to Sir Brian de Bois Guilbert.

The article is a detailed reflection on the opera’s development, reception, and its connections to the original novel, providing insight into the art of transforming literature into music.

Download the [transcript] or read the [bulletin]

You Can’t Go Home Again

Thu, 09 Feb 2006 14:44:08 GMT

Thursday 9th February 2006

Summary of the Talk:

Caroline's talk explores the idea of "home" within the context of Scottish identity, particularly in the post-Union era and the opening of the Scottish Parliament. McCracken-Flesher argues that the desire to "come home" or "return" is an ongoing theme in Scottish culture, seen in songs and political discourse, but it is fraught with contradictions.

Key points of the text:

Desire for Home : The notion of returning home is central to many Scottish songs, both from emigrants and those still in Scotland. This desire isn't just sentimental but deeply tied to the idea of reclaiming Scotland as a place where Scots can belong.
Home and Identity : McCracken-Flesher delves into the complex relationship between "home" and identity. Home, in Scottish culture, is often seen as a place of return but also one of contestation. The "home" of Scotland, whether in a political sense (the Parliament) or a cultural sense, is ever-changing and uncertain.
Walter Scott's Influence : McCracken-Flesher uses Walter Scott’s works to highlight the problematic nature of returning home. Scott’s novels, such as The Bride of Lammermoor, The Pirate, and Saint Ronan’s Well , show that home is not static and cannot be returned to in the same form. It may stifle personal growth, and any attempt to return often leads to a distorted or problematic version of home.
The Scottish Parliament : The opening of the Scottish Parliament in 1999 was seen as a return to Scottish sovereignty, but McCracken-Flesher suggests that the physical space of the Parliament building is less of a home and more of a contested space. The ongoing debates about its costs and function reflect a broader unease about what Scotland is and who it belongs to.
Global Identity and the Internet : The concept of home is also examined through the lens of globalization and the internet. McCracken-Flesher notes that the internet, with its global reach, complicates traditional notions of Scottishness. While the internet allows for a virtual “home,” it also brings new challenges regarding identity and belonging.

Interesting points:

Scott's View of Home : Walter Scott’s exploration of home as a space that can both nurture and stifle is intriguing. In novels like The Bride of Lammermoor , Scott questions the desirability of returning to one's roots, suggesting that doing so may prevent growth and limit the self.
The Scottish Parliament as "Home" : The Scottish Parliament's new building, while symbolically significant, is presented as a space of discomfort and contention. McCracken-Flesher suggests that Scotland’s identity might thrive not by returning to an idealized "home" but by embracing the challenges and differences within its political and cultural spaces.
Global Scots and the Internet : The rise of global Scots and the virtual presence of Scotland via the internet presents a fascinating twist on the idea of home. The internet allows for a more fluid and dynamic sense of identity, where Scotland is no longer a fixed place but a space that exists in constant exchange.

In conclusion, McCracken-Flesher's work suggests that Scotland's search for "home" is not about a literal return to the past but about navigating the complex, ever-evolving notions of identity, place, and belonging in a globalized world. The idea of home, in the Scottish context, is always elusive and shifting, leaving Scots to continually negotiate their connection to it.

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Scott and Ireland

Thu, 01 Dec 2005 16:53:27 GMT

Thursday 1st December 2005

Summary of the Talk:

This talk explores the significant but often overlooked relationship between Sir Walter Scott and Irish history, culture, and literature.

Impact of Ireland on Scott : Despite writing less about Ireland directly compared to other British writers, Scott's work was deeply influenced by Irish history and culture. His characters and themes often reflect the Irish experience, particularly in works like The Lay of the Last Minstrel and Waverley , where he draws parallels between Scottish and Irish identities, especially in the context of Jacobite uprisings.
Scott's Literary Relationship with Ireland : Edwards argues that Scott's understanding and portrayal of Irish culture and folklore shaped his literary genius. He emphasizes that Scott's The Lay of the Last Minstrel could easily be adapted to describe Irish Gaelic minstrels, drawing connections between the history of Scotland and Ireland. Scott was keen on preserving oral traditions, a sentiment shared by many Irish writers, and this influenced his work profoundly.
Swift and Scott's Relationship : Edwards delves into Scott's admiration for Jonathan Swift, who greatly impacted his understanding of Irish identity. Scott, in his biography of Swift, showcases his respect for Swift's nuanced approach to Irish political issues and his ability to craft characters and narratives that blend the personal with the political.
Maria Edgeworth's Influence : Maria Edgeworth, an Irish novelist, had a particularly strong impact on Scott. Edwards highlights that Edgeworth's work, especially Castle Rackrent, provided Scott with a model for the nationalistic historical novel, which he adapted for Scotland in works like Waverley . Edgeworth's portrayal of Irish characters helped Scott approach his own nation's portrayal in a more balanced, empathetic way.
Gender and Social Equality : Edwards also points out that Edgeworth's influence on Scott went beyond national identities, shaping his portrayal of women. Scott, inspired by Edgeworth's focus on gender equality, created strong female characters in his novels, such as Flora MacIvor and Jeanie Deans, who were often depicted as morally, intellectually, and culturally superior to their male counterparts.

Interesting Points:

Connection between Scottish and Irish Literature : The blending of Scottish and Irish identities in Scott's work, especially in the context of folklore and history, highlights the shared cultural experiences and struggles of these nations under British rule.
Scott's Relationship with Swift : Scott's biographical work on Swift demonstrates his keen understanding of Irish history, and his ability to reconcile differing political viewpoints, including those of the English and Irish.
Edgeworth’s Influence on Scott : The debt Scott owed to Edgeworth, particularly in his approach to the nationalistic novel and his treatment of gender equality, is crucial for understanding the evolution of his writing style and the direction his work took.
Folklore and Tradition : The importance of folklore and the role of traditional storytellers, both in Scotland and Ireland, plays a vital role in shaping Scott's work. His interest in preserving cultural heritage through storytelling is a central theme throughout his novels.

This lecture provides a rich exploration of how Scott's literary career was intertwined with Irish history and literature, emphasizing the enduring influence of Irish culture on his work.

Download the [Transcript] or Read the [Bulletin]

Walter Scott and His Artists

Thu, 29 Sep 2005 19:28:12 GMT

Thursday 29th September 2005

Summary of the Talk:

This lecture explores Sir Walter Scott’s deep and evolving relationships with visual artists—both during his lifetime and posthumously—highlighting how Scott not only inspired countless depictions of himself but also fundamentally shaped how artists (and later the public) visualised Scotland.

The lecture focuses on:

Portraiture of Scott , especially by artists like Henry Raeburn , C.R. Leslie , William Allan , and David Wilkie . Raeburn’s portraits became iconic, though Scott himself favoured Allan.
Scott’s complex relationship with being painted—he found it tiresome, often humouring artists out of friendship or social obligation rather than vanity.
William Allan and Rev. John Thomson of Duddingston were personally close to Scott and frequently collaborated with or were inspired by him. Thomson, in particular, was more appreciated by Scott than the famously difficult J.M.W. Turner , despite Turner’s superior technical ability.
The “Provincial Antiquities and Picturesque Scenery of Scotland” project was a major commercial and artistic undertaking that Scott helped shape through writing and collaboration with various artists.
Scott’s work transformed the way the Scottish landscape was perceived , intertwining real places with fictional resonance. Fast Castle became Wolf’s Crag; Loch Katrine became Ellen’s Isle.
Tourism exploded in the wake of Scott’s publications, and artists, publishers, and entrepreneurs responded with paintings, illustrations, and guidebooks to match.
The lecture touches on the popularity of Scott’s novels as subjects for stage, tableau vivant, and later engravings , as well as his legacy through public monuments —notably the Scott Monument in Edinburgh.
Scott’s writing often evoked artistic comparison (e.g. referencing Wilkie or Salvator Rosa), showing his awareness of visual language even if he lacked formal training in the arts.

Interesting Highlights

Scott’s first known portrait was painted when he was just five , already showing his distinct features.
Though Raeburn’s portraits are now the most enduring images of Scott, he himself found them unflattering (“a very chowder-headed person of me”).
C.R. Leslie acted like a modern paparazzo at Abbotsford, chasing Scott around to sketch him from all angles!
Scott called Turner “sordid,” noting his itchy palm and obsession with payment, despite admiring his genius.
William Allan was the only non-family member present at Scott’s death , underlining their closeness.
The way Scott’s fiction transformed Scottish geography into a “life-size map of history” was revolutionary—turning familiar places into pilgrimage sites for readers.
John Knox’s 1840 painting shows a fashionable young tourist on Loch Katrine, directly influenced by The Lady of the Lake —a visual representation of literary tourism.
Over 300 artists created more than 1,000 works based on Scott’s novels between 1805 and 1870.
Scott’s influence extended to the stage and opera, with works like Donizetti’s Lucia di Lammermuir and Sullivan’s Ivanhoe drawing from his novels.
The description of mourning in The Antiquary is likened to Wilkie’s painting Distraining for Rent —showing Scott’s power to write scenes with the vividness of fine art.
Scott often name-dropped artists in his novels to enrich visual imagination (e.g. Raeburn in Waverley , Wilkie in The Antiquary ).
The Scott Monument in Edinburgh, with John Steell’s statue of Scott and Maida, became a key symbol of Scott’s posthumous legacy.

Download the [transcript] or read the [bulletin]

Scott and the Ettrick Shepherd

Mon, 15 Aug 2005 17:18:02 GMT

Monday 15th August 2005

Summary of the Talk:

James Robertson's talk reflects on the complex and multifaceted relationship between Sir Walter Scott and James Hogg, known as the Ettrick Shepherd. The discussion highlights the key events in their literary collaboration and personal connection, offering insights into their personalities and the dynamics of their friendship.

The traditional view posits that Scott was a supportive patron to Hogg but found him somewhat embarrassing due to Hogg’s social awkwardness and eccentricities. Hogg, in turn, admired Scott but often expressed dissatisfaction with Scott’s aristocratic leanings. Despite these tensions, a deep mutual respect and fondness prevailed throughout their relationship. Both men navigated their interactions carefully, using their personas and writings to manipulate public perception. Scott found amusement in Hogg’s quirks but remained loyal, while Hogg played up his “rustic” persona to his advantage, often mocking the pretensions of polite society.

However, the relationship was further complicated by Scott’s son-in-law, John Gibson Lockhart, who became increasingly critical of Hogg, particularly after Hogg published The Domestic Manners and Private Life of Sir Walter Scott in 1834, a memoir that Lockhart saw as insulting to Scott’s legacy. This tension between Hogg and Lockhart contrasts with the deeper bond Hogg shared with Scott.

Their relationship began in 1801 when Scott, working on Minstrelsy of the Scottish Border, met Hogg, a shepherd with a rich oral tradition. Scott, impressed by Hogg’s natural talent and character, forged a friendship that would span years. Hogg, although grateful for Scott’s support, often felt overshadowed by Scott's success, leading to occasional conflicts. Notably, their differences were exacerbated when Hogg’s work The Brownie of Bodsbeck was seen as a response to Scott’s Old Mortality , though Hogg insisted his novel was written before Scott’s.

Despite these issues, Hogg always acknowledged Scott’s generosity and support. In later years, Hogg reflected on the tension between their respective literary schools—Scott’s emphasis on chivalric themes versus Hogg’s focus on rural and democratic roots. Their eventual fallouts were often linked to Hogg’s sensitivity about his work being overshadowed or misinterpreted by Scott’s influence.

Interesting Points Worth Mentioning:

Mutual Manipulation of Public Image : Both Scott and Hogg carefully constructed their public personas. Scott often mocked Hogg in private but was supportive in public, while Hogg played up his "shepherd" image to gain social access. This manipulation of image was a strategy for both men to further their own careers and reputations.
Hogg’s Critique of Scott : Hogg did not shy away from criticizing Scott, especially regarding Scott’s aristocratic sympathies. This critique, especially in Hogg’s Anecdotes of Sir W. Scott, angered Scott’s biographer, John Gibson Lockhart, who felt it undermined Scott’s legacy. Hogg's observations show a different, more democratic approach to Scottish identity compared to Scott’s romanticized, aristocratic view.
The Brownie of Bodsbeck vs. Old Mortality : The publication of Hogg’s The Brownie of Bodsbeck after Scott’s Old Mortality created tension, as Hogg felt unfairly labelled as an imitator. This episode reflects deeper issues between the two, particularly Hogg’s struggle for recognition outside of Scott’s shadow.
Hogg’s Masterpiece : The Memoirs and Confessions of a Justified Sinner is recognized as Hogg’s masterpiece and a significant work in Scottish literature. Interestingly, it bears no trace of Scott’s influence, suggesting that Hogg excelled creatively when not under Scott’s literary guidance.
Legacy and Reversal of Reputation : Robertson notes that in the 19th century, Scott’s fame far outstripped Hogg’s, but in the modern era, the reverse is true. This shift in reputation emphasizes how literary fortunes can change over time, and how both writers have been re-evaluated in contemporary contexts.

The talk also touches on the influence of Scott on other writers, like Hans Christian Andersen, who was inspired by Scott’s work. Hogg’s own literary influence is part of a broader European context, showing that Scott’s impact extended beyond British borders.

In conclusion, Robertson’s talk reflects the complexities of the Scott-Hogg relationship—marked by affection, rivalry, and mutual influence—and offers a rich portrait of two major figures in Scottish literature.

Download the [Transcript] or Read the [Bulletin]

Scott Revolutionised: What We Have Learned from Editing the Waverley Novels

Thu, 02 Jun 2005 21:29:26 GMT

Thursday 2nd June 2005

Summary of the Talk:

This talk explores how the Edinburgh Edition of the Waverley Novels (EEWN) has transformed our understanding of Walter Scott as both writer and artist. Through twenty years of collaborative editorial work, the EEWN has challenged long-held assumptions about Scott’s carelessness and revealed the complex, deliberate nature of his craft.

The project involved extensive research into Scott’s manuscripts, correcting hundreds of misreadings, restoring omitted lines, and reversing distortions introduced by editors, printers, and copyists over the centuries. Far from being a hasty or careless author, Scott emerges as a thoughtful, meticulous reviser whose texts were often compromised by intermediaries in the publication process.

Hewitt argues that editing Scott has revealed him to be a much more intellectually rigorous and stylistically adventurous writer than previously understood. The EEWN not only restores his original texts but also reasserts the sophistication of his language, narrative structure, and historical vision.

Key Points and Insights

1. Scott was not careless.
Despite the common view, Scott revised heavily and carefully. What many believed to be stylistic flatness or inconsistency was often the result of compositorial or editorial interference.

2. Hundreds of corrections made.
Examples from The Heart of Mid-Lothian, Redgauntlet , and The Antiquary show major changes: restoring ‘savour’ instead of ‘favour’ (with biblical resonance), or ‘artisans’ instead of ‘citizens’, providing sharper social detail.

3. Extensive textual loss and distortion.
Entire phrases, lines, and words were regularly dropped during transcription or printing. These losses have altered characterisation, tone, and thematic depth across many novels.

4. Scott’s own image was misleading.
Though he sometimes presented himself as a rushed or lazy writer, this was a public pose. His private manuscripts and extensive proof corrections contradict this self-image.

5. Pressure to sanitise.
Scott’s publishers often bowdlerised or censored material. Examples include removing references to pregnancy, toning down language, or deleting implications about sexual relationships, especially in Saint Ronan’s Well and Count Robert of Paris.

6. Language innovation.
Scott was adventurous in his language, integrating Scots, reviving old terms, coining neologisms, and incorporating Americanisms. His use of dialect and linguistic variety was groundbreaking and often resisted by his editors.

7. Punctuation reflects interpretation.
Early printers imposed conventional punctuation which often flattened Scott’s expressive style. EEWN restores original dashes and rhythms found in his manuscripts, which better represent character speech and narrative tone.

8. Long planning periods.
While Scott wrote rapidly, his ideas were often developed years in advance. The Pirate, for instance, drew on a tour of the northern isles made seven years before its publication.

9. Depth of learning and reference.
Scott’s quotations—from Shakespeare to obscure chapbooks—are integral to his themes and characterisation. The EEWN’s annotations show how densely referential his work is, often embedding hidden meanings only apparent to learned readers.

10. Ivanhoe and the historical novel.
Despite historical liberties and anachronisms, Scott’s aim was not strict historical accuracy but moral and political reflection. Ivanhoe is viewed as the first major English novel on race relations and national identity.

11. Reassessing Scott's place in literature.
The EEWN has helped restore Scott’s status by showing his texts as layered, deliberate, and rich in intertextual complexity. This aligns with modern appreciation of metafiction and layered narrative voice.

12. Future of Scott studies.
The EEWN paves the way for a new edition of Scott’s poetry and expanded research into his influence on literature, culture, and nationalism. The upcoming catalogue of his chapbook collection at Abbotsford is expected to open further avenues of scholarship.

Download the [transcript] or read the [bulletin]

Lord Byron and Sir Walter Scott: The Meanderings of a Byronist

Thu, 07 Apr 2005 22:38:30 GMT

Thursday 7th April 2005

Summary of the Talk:

Geoffrey C. Bond, a heritage consultant and former lawyer, delivers a deeply personal and literary reflection on the connections between Lord Byron and Sir Walter Scott. Speaking as an enthusiastic amateur rather than an academic, Bond traces Byron's life, legacy, and complex relationship with Scotland, while drawing comparisons with Scott.

Bond recounts his own early connection with Byron via Newark-on-Trent and Burgage Manor—where Byron's early poetry took shape. He offers historical insights into the formation and evolution of the Byron Society and the broader international admiration for Byron.

The talk explores Byron’s youthful attack on Scott in English Bards and Scotch Reviewers , followed by an eventual reconciliation and growing admiration. Byron and Scott’s mutual literary respect is emphasised, especially as Scott praised Childe Harold and Byron in turn became a devoted reader of Scott’s novels.

Bond examines Byron’s dual identity—half-English, half-Scottish—and his struggle with Scottishness. Though Byron distanced himself at times from Scotland, he embraced it sentimentally in later works like Don Juan , Canto X. Comparisons between the poets’ personalities, careers, fame, financial dealings, and physical ailments (both were lame) are interwoven throughout.

The lecture ends with Bond’s appeal for greater collaborative study of Byron and Scott, suggesting the subject remains underexplored.

Interesting Points & Highlights:

Personal Touches:

Bond lives in Burgage Manor , Byron’s former home, which adds warmth and credibility to his talk.
He was once a presenter on Antiques Roadshow and Something to Treasure, revealing a lifelong fascination with literary heritage.

Byron vs Scott: Literary & Personal Contrasts:

Byron attacked Scott early in his career but later wrote to him in apology, acknowledging his error.
Byron admired Scott's poetry and fiction, reportedly reading Scott’s novels dozens of times.
Byron saw Scott as “the monarch of Parnassus” and “Aristo of the North.”

Scott’s Influence on Byron:

Scholars like John Clubbe and Bernard Beatty argue that Byron’s Scottish upbringing shaped his identity and themes—even when he rejected them.
Beatty suggests Byron abandoned Scottishness publicly but retained it internally, visible in his cosmopolitan but still Gordon-rooted identity.

Fascinating Literary Anecdotes:

Byron and Scott first met in 1815 in John Murray’s rooms; they reportedly left “stumping” downstairs side by side.
Scott’s son-in-law, Lockhart, challenged Byron to represent England in literature as Scott did Scotland.

Sales & Popularity:

Both poets outsold Shelley and Keats during their lifetimes— The Lay of the Last Minstrel and Childe Harold were major bestsellers.
Scott was financially ruined by the 1826 banking crash; Byron, despite early financial difficulty, became wealthy through his writing.

Reflections on Legacy:

Byron’s Don Juan is praised as satire of the highest order.
Bond laments that no definitive comparative study of Byron and Scott exists, urging more exploration.

Download the [transcript] or read the [bulletin]

Living with Scott

Fri, 03 Dec 2004 11:09:44 GMT

Friday 3rd December 2004

Summary of the Talk:

In this talk, Eric Anderson reflects on his personal journey with the works of Sir Walter Scott, spanning over 55 years. His introduction to Scott came through studying The Lay of the Last Minstrel and Marmion in his early teens, which sparked a lifelong appreciation for Scott’s works, particularly his poetry and ballads. Anderson's exposure to Scott deepened further through winning the Edinburgh Sir Walter Scott Club [Essay Prize] , where he became more involved with Scott’s novels.

Anderson shares how his study of Scott’s Journal —which he edited over five years—became a personal experience of "living with Scott." He humorously recounts the process of researching graveyards for names mentioned in Scott's works, the rigorous writing schedule he followed, and the constant presence of Scott in his life. He speaks of the friendships and intellectual connections he forged with other scholars, like Dr. Corson, who contributed significantly to Scott studies.

The talk also reflects on the deep respect Anderson developed for Scott as a person, highlighting his hard work despite personal suffering and his remarkable generosity of spirit. Anderson admires Scott's wisdom, self-reliance, and moral strength, alongside his ability to inspire through his writings.

Finally, Anderson notes the privilege of "living with Scott" and how this process brought him to appreciate Scott’s lasting impact on literature and his own life. Anderson concludes by sharing his admiration for Scott's character and contributions, expressing a personal wish to always be surrounded by Scott's works.

Interesting Points to Highlight:

Personal Connection : Anderson felt that Scott became a constant presence in his life, which is reinforced by his emotional connection to Scott's works. For instance, he often quotes lines from Scott's poetry when crossing the border into Scotland.
The Rigorous Editing Process : Anderson’s dedication to editing Scott’s Journal included searching graveyards for names mentioned in the text and adhering to a strict schedule of writing based on Scott’s own routines. This level of commitment underscores his personal investment in the project.
Philosophical and Moral Insights : Scott’s wisdom, especially his views on education, personal conduct, and self-reliance, is highlighted. Anderson shares Scott’s advice, such as his criticism of sending everyone to university and his beliefs on living with integrity in the public eye.
Admiration for Scott’s Character : Anderson speaks of Scott not just as a writer, but as a man of great moral character. His ability to balance courage with humility, and his ability to laugh and find joy even in adversity, made a profound impact on Anderson.
Scott's Legacy : Anderson reflects on the importance of preserving Scott’s home, Abbotsford, and how the continuity of his family’s ownership of the house for over 170 years is a rare privilege for a writer.

These points showcase not just Anderson's academic approach to Scott’s work, but also his deep personal connection to the author, making the "Living with Scott" experience truly intimate.

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Scott and America

Thu, 21 Oct 2004 21:33:27 GMT

Thursday 21st October 2004

Summary of the Talk:

Prof. Hook begins by highlighting the immense popularity of Sir Walter Scott in America, particularly in contrast to modern undergraduates who might not recognize Scott’s enduring influence. He contrasts Scott’s role in shaping the Scottish tourism industry and his subtle yet profound role in a war related to America—though not the first transatlantic war.

Early Life and Views on America:

Hook delves into Scott's early life and his views on the American Revolution, which were initially not sympathetic toward the American colonies, as Scott was loyal to the British Crown. He reveals an ironic twist: despite this early antipathy, Scott would go on to capture the American imagination more profoundly than any other author.

Scott’s Initial Reception in America:

Scott’s first literary reception in America was lukewarm, with critics dismissing his early works as too local to appeal to a wider audience. However, despite this early resistance, Scott’s works like The Lay of the Last Minstrel and subsequent narrative poems found wide readership across the U.S., with Scott quickly becoming a literary sensation.

Scott's American Popularity:

By the time of the Waverley Novels , Scott had become immensely popular in America. Some reports claim nearly 200,000 copies of the novels sold, showing his widespread influence. Hook notes that American critics frequently praised Scott’s works, drawing comparisons to Shakespeare.

Influence on American Literature and Identity:

Scott’s works were influential in shaping American literature, with his historical and romantic storytelling inspiring American writers, especially James Fenimore Cooper. His celebration of Scottish history served as a model for American authors to build their own national literature, emphasizing local history and culture, much as Scott did for Scotland.

Scott’s Impact on the American South:

One of the more controversial aspects of Scott’s legacy, particularly in America, is his influence on the South, especially during the period leading up to the Civil War. Some believe Scott’s romanticized view of the aristocratic, feudal society in his novels played a part in shaping Southern identity. Mark Twain famously argued that Scott’s romantic nationalism contributed to the South’s misguided sense of self, culminating in the Civil War. Hook also notes how elements of Scott’s fiction, like the portrayal of secret societies, may have resonated with groups like the Ku Klux Klan, furthering the influence of Scott’s cultural legacy in the South.

Key Points of Interest:

Scott's Influence on Tourism : Scott’s writing helped create the Scottish tourism industry, as his readers travelled to see the locations described in his works.
Scott’s Early American Reception : Despite initial scepticism about Scott's relevance, his works became hugely popular, especially in the early 19th century.
Romanticism and National Identity : Scott’s romantic nationalism helped shape both Scottish and American literary traditions, influencing American writers to focus on their own national heritage.
Scott and the South : Scott’s depiction of aristocratic values in his novels may have contributed to the cultural identity of the American South, with some even claiming his work played a role in the ideological foundation of the Confederacy.

Prof. Hook’s analysis reveals the deep and enduring impact Scott had not only on American literature but also on the cultural and social fabric of the United States, from the romantic ideals in literature to the political implications in the South.

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Beyond the Border: Sir Walter Scott's Minstrelsy

Tue, 27 Apr 2004 20:39:53 GMT

Tuesday 27th April 2004

Summary of the Performance:

The event was designed as a musical and narrative presentation, incorporating both storytelling and live music. The performance aimed to explore Walter Scott's Minstrelsy of the Scottish Border and its impact on the study and preservation of Scottish ballads. The presentation included guitar arrangements, some based on traditional tunes like Niel Gow's Lament for His Second Wife , which would have originally been played on instruments like the lute or guitar in Scott’s time. The focus was not only on the historical context of these songs but also on the way these ballads were preserved and passed down through oral tradition.

Key points:

Walter Scott’s Background and Connection to Ballads:
Walter Scott’s early life was deeply influenced by the lore and ballads of the Scottish Borders, which were part of his childhood experience.
His grandmother’s tales of Border feuds and his early immersion in ballads like those found in Ramsay’s Tea-table Miscellany played a major role in shaping his future work as a ballad collector.
Ballad Collection and Performance:
Scott’s method of collecting ballads was deeply immersive. He would travel, sometimes horseback, to gather songs, often with fellow Borderers like William Laidlaw and John Leyden.
He made a point of collecting from living traditions, even if this meant hearing incomplete or evolving versions of ballads.
Scott would often use notched sticks to record song versions while on these tours, relying on his exceptional memory to retain the ballads he collected.
The Importance of The Minstrelsy Collection:
Scott’s Minstrelsy of the Scottish Border (1802) remains one of the most significant collections of Scottish ballads. It was ground-breaking in its attempt to preserve these oral traditions.
The collection not only documented the lyrics but also sparked a global interest in Scottish folk music and balladry.
Scott’s ballads also provided a window into the emotional and historical context of the time, offering insights into the social, political, and personal tensions of the Scottish Borders.
Legacy of Ballads:
Even after centuries, ballads such as The Dowie Dens of Yarrow and Lord Randall continue to resonate, with versions being passed down and recorded across generations, even in places like Newfoundland and Appalachia.
The ballads Scott collected are often incomplete, with multiple versions existing, but they retain a core emotional and narrative structure that transcends regional differences.
Cultural Impact:
Bennett and Stanage emphasize how these songs were not just for performance but were part of an ongoing cultural exchange, often discussed, reinterpreted, and passed down through oral tradition, even into modern times.
They also reflect how, even when versions of the songs differ, the underlying themes of love, betrayal, tragedy, and heroism remain consistent.

Interesting Points:

Scott's Collecting Method: His reliance on memory and informal, practical methods of recording songs (using notched sticks instead of written notes) shows the deeply immersive and personal nature of his ballad collecting. This method contrasts with modern, more structured approaches to research and data collection.
International Influence: It is fascinating how these ballads transcended borders—both literal and cultural—making their way into other cultures and regions, even being adapted to local contexts (e.g., "Lord Randall" becoming "Lord Donald" in Scotland and North America). This speaks to the universal appeal of these songs and their emotional resonance across different times and places.
Cultural Preservation: Scott’s work not only preserved ballads that might have otherwise been forgotten but also gave them new life, allowing them to be appreciated in contemporary contexts like folk music festivals and even in academia today.

In summary, Bennett and Stanage's talk explored the enduring legacy of Sir Walter Scott's Minstrelsy , showcasing its significant role in preserving Scottish cultural heritage and its continued influence on folk music and ballad scholarship worldwide. The performance also highlighted how ballads remain vital to cultural identity and collective memory, even as they evolve over time.

Download the [transcript] or read the [bulletin]

Young Walter Scott and Old Dr. Hutton

Thu, 08 Jan 2004 08:10:36 GMT

Article from 97th Annual Bulletin 2004

Summary of the Article:

The article discusses the only meeting between Robert Burns and Walter Scott, which took place in the company of several Enlightenment figures, including James Hutton, the Scottish geologist. This event occurred around 1787 when Scott was 16, and Hutton was 61. Hutton was already developing his revolutionary theories on geology, particularly his concept of deep time, which challenged the then-dominant Biblical chronology of Earth's creation.

The article explores Scott's awareness of Hutton's work, noting that by 1795, when Scott was 24, he had already encountered Hutton's ideas through his publications. Scott references "old Dr. H—n" in The Antiquary (1816), indirectly acknowledging Hutton's influence. However, at the time of the Burns soiree, it seems that Hutton, absorbed in his work, was unaware of Scott's emerging authorship.

Hutton's ideas, though controversial, began gaining recognition long after his death. Scott, aware of the debate, participated in discussions through the Friday Club, founded in 1803 with some of Hutton’s associates. It was only much later, with the contributions of Charles Lyell and Charles Darwin, that Hutton's work gained the respect it deserved.

The article also highlights an interesting geographical connection between Siccar Point, where Hutton famously studied rock formations, and Fast Castle, which Scott mentions in his novel The Bride of Lammermuir (1819). The two sites are linked by proximity, and Scott refers to Fast Castle as the inspiration for the fictional Wolf’s Crag in his novel.

Key Points of Interest:

Meeting of Burns and Scott : The meeting took place with other Enlightenment figures, with Hutton being part of this group. The painting representing this meeting is significant for its depiction of the two literary giants.
Hutton's Theory of Deep Time : Hutton's revolutionary concept that Earth was much older than the 6000 years suggested by Biblical chronology laid the groundwork for modern geology, although it was not fully accepted during his lifetime.
Scott's Awareness of Hutton's Work : Scott, despite being younger, was well aware of Hutton's ideas and referenced them in his work, suggesting a connection between the two intellectuals even if Hutton didn’t know Scott as an author.
Geographical Link : The connection between Siccar Point and Fast Castle (featured in The Bride of Lammermuir ) is a subtle but fascinating detail. Scott's reference to Fast Castle, which he had only viewed from the sea, shows an overlap between his literary imagination and the actual places studied by Hutton.
The Impact of Hutton’s Ideas : Hutton's work on deep time was controversial during his lifetime but eventually influenced later geologists, including Charles Lyell and Charles Darwin, changing the scientific understanding of Earth’s history.

This piece provides an intriguing insight into the intellectual environment of 18th-century Scotland and the connections between literature, geology, and the figures who shaped both fields.

Download the [transcript] or read the [bulletin]

Scott in Schools

Tue, 06 Jan 2004 07:50:10 GMT

Article from 97th Annual Bulletin 2004

Summary of the Article:

The article examines the significant role that Sir Walter Scott's works played in the educational system, particularly in the context of Scottish and English schools in the 19th and early 20th centuries. It starts by highlighting the waning interest in Scott’s works in schools during the early 2000s, as reflected in the lack of participation in the Scott Club's [Essay Prize] competition. However, the article then moves on to show how Scott's influence was profound in schools like Ludlow Grammar School and Watson’s College in the past.

The article delves into various school traditions, such as reciting Scott’s passages at events, like the Elocution Prize at Ludlow Grammar School in 1911, where students recited Scott's Tales of a Grandfather , including dramatic moments like Montrose’s last words. The inclusion of Scott’s works, like Waverley and The Betrothed , in school curricula was a key element of the academic experience for students. These novels were often part of holiday reading assignments, as well as competition texts in subjects like History.

Burns also discusses how Scott’s works were used to promote historical awareness, particularly through reading novels that dealt with Scottish history and culture, such as Kenilworth and Ivanhoe . The article highlights the irony of Scott’s enduring presence in educational programs despite his waning popularity in later years.

Additionally, Burns touches on some fascinating points about how Scott's works were tied to the broader educational experience, including the specifics of students memorizing selected passages for prizes, and the use of Scott's books in teaching history. He also includes references to former students who were inspired by Scott, showing the lasting influence of his work on both the educational system and on individuals' lives.

Interesting Points:

Impact of Scott in Early Education : The article shows how Scott’s works were used as a central part of the educational system, even in English schools like Ludlow Grammar School, where passages from Scott’s novels were recited in public competitions.
Shift in Reading Habits : The piece hints at a shift away from traditional literary figures like Scott in the modern educational system, pointing out how today’s more pressurized school environments struggle to find time for such literary "extras."
Personal Connections to Scott’s Works : Burns explores the personal connection some individuals had to Scott's novels. For instance, Wilfred Partington, a former pupil, not only remembered Scott fondly but later compiled anthologies of Scott's Letter Books in his career.
Ludlow Grammar School’s Embrace of Scott : The school’s use of Scott's works, including The Betrothed , shows how Scott's historical novels were integrated into the curriculum to teach history and Scottish culture, demonstrating the extent of Scott’s educational influence.
Cultural and National Identity : The mention of “Bruce and Wallace” in Scott’s speech highlights the role of Scott's works in fostering a sense of national pride and historical awareness, especially in terms of Scottish history.

This article paints a vivid picture of how Sir Walter Scott’s literary legacy shaped the academic and cultural environments of the past and provides insights into how literature once served to build both educational and national identity.

Download the [transcript] or read the [bulletin]

A Bramah Pen

Thu, 06 Nov 2003 13:12:11 GMT

Article from 97th Annual Bulletin 2004

Summary of the Article:

The article begins with a recounting of [Dr. Iain Brown's lecture] at the National Library of Scotland on November 5th, 2003, which focused on Sir Walter Scott. Dr. Brown’s talk, rich with humour and scholarship, included a reminder of the famous occasion when Scott had to shoot a crow to obtain a pen-feather to fashion a writing tool. The lecture also referenced a portrait of Scott by Sir John Watson Gordon showing Scott at his desk with a Bramah pen.

Inspired by the lecture, the author describes her visit to Scott's residence at 39 North Castle Street in Edinburgh [photos]. The experience unfolds serendipitously when a conversation with a railway booking clerk leads her to explore Scott's home, where she is given a private tour of the study, garden, and basement. During the tour, the author reflects on Scott’s writing process and diligence, particularly how he managed to write the last two volumes of Waverley in just a few short weeks.

In addition to descriptions of the physical layout of Scott’s residence, the article also includes a touching anecdote about Scott’s bull-terrier, Camp, who was buried in the garden. The garden itself is described in detail, along with the connection to the famous portrait of Scott.

The piece concludes by linking a Bramah pen to the author’s access to Scott’s home. A chance remark about the pen opens the door to this exploration of Scott’s life and work.

Interesting Points:

The Bramah Pen Connection : The mention of the Bramah pen as a tool of choice for Scott sparks a series of events that ultimately allow the author to visit Scott's home. This demonstrates how an item associated with Scott can serve as a gateway to learning more about his life.
Scott's Writing Process : The anecdote about Scott’s tireless work ethic, writing the final volumes of Waverley in a few weeks, provides insight into his determination and creativity. The portrayal of the hand, which continually wrote pages through the night, adds a personal touch to Scott’s legacy of literary dedication.
Camp’s Burial : The inclusion of Camp, Scott’s beloved dog, buried in the garden adds a human and emotional element to the piece. It highlights the personal side of Scott's life, blending his literary achievements with his deep affection for his family and pets.
The Architecture of Scott’s Home : The descriptions of the study and garden offer readers a visual connection to the physical spaces where Scott worked. It’s fascinating to see how the environment influenced his creativity and daily life.

This essay cleverly blends history, personal narrative, and literary scholarship, making the reader appreciate both Scott’s work and his personal environment. It shows how a seemingly mundane object, like a pen, can spark a journey into the past.

Download the [transcript] or read the [bulletin]

Sir Walter Scott: A Life in Manuscripts

Wed, 05 Nov 2003 21:57:11 GMT

Wednesday 5th November 2003

Summary of the Talk:

This lecture discusses the history and development of the National Library of Scotland's Scott collection, which began in 1850 with the donation of a part of Waverley’ s manuscript by James Hall. The collection grew over time and became a world-renowned repository of Scott’s literary remains, including manuscripts, letters, and proofs. Dr. Brown highlights key items from this collection, offering a ‘hands-on’ presentation of Scott’s personal manuscripts and correspondence.

Noteworthy Points:

Foundations of the Collection :
The National Library of Scotland’s Scott collection began with James Hall’s donation of a Waverley manuscript in 1850, and since then has expanded significantly. Notably, this included many key donations from Hall, Archibald Constable, Robert Cadell, and others.
Scott’s Advocacy for Libraries :
As an advocate and curator of the Faculty Library, Scott demonstrated his early engagement with literature and libraries, emphasizing their importance for scholarship. Items like a borrowing slip and letters concerning the expansion of the Faculty Library illustrate Scott’s investment in preserving knowledge.
Scott’s Personal Correspondence :
Scott’s letters reveal much about his personality, relationships, and even his financial struggles. His famous correspondence about emus sent by a New South Wales donor is an amusing example, showcasing Scott’s wit and his concerns over his living situation and the impact of these emus on his estate.
Scott’s Financial Struggles and Ambitions :
The lecture touches on Scott’s financial troubles, his dependence on writing to support his lifestyle, and his efforts to write himself out of debt. This includes a detailed look at Scott’s final years, particularly through the Interleaved Set of Waverley Novels , which Scott used to revise his works in a bid to recover his finances.
Manuscripts and Letters :
Throughout the presentation, Dr. Brown highlights several important manuscripts and letters. These items reflect different aspects of Scott's life, from his early legal career to his later literary achievements, and illustrate his dedication to preserving Scottish heritage through both his works and his family history.
Significant Exhibits :
Items like the Waverley manuscript, the Interleaved Set , and correspondence about Scott’s personal and professional life reveal much about his legacy. These items provide a vivid picture of Scott’s life, struggles, and enduring influence on Scottish literature and history.

Interesting Points to Note:

The manuscript of Waverley , initially acquired for a modest sum, grew in value as it became the keystone of a national collection.
Scott’s obsession with family history and his dedication to preserving his legacy are clearly evident in the manuscripts about his family and lineage.
The collection also highlights the contrast between Scott’s romanticized public persona and the financial pressures that fuelled much of his writing.
The presentation focused on Scott’s personality, bringing to life not just the great literary works but also the man behind them.

Conclusion : Dr. Brown’s presentation offers a thorough and engaging exploration of Sir Walter Scott's legacy, both as a writer and as a collector of manuscripts. The National Library’s Scott collection is shown to be an invaluable resource not just for understanding Scott’s work, but for comprehending the broader historical and cultural context of his life.

Download the [transcript] or read the [bulletin]

Summary of the Talk: (v2)

This lecture ex plores the historical development of the National Library of Scotland's vast collection of Scott’s manuscripts and papers. The collection, regarded as one of the greatest accumulations of literary remains in the world, began with a key donation in 1850. James Hall, a London-based advocate, donated much of the manuscript of Waverley to the Library of the Faculty of Advocates, marking the start of a long tradition of collecting Scott's literary works. This set the stage for the eventual establishment of the National Library of Scotland, which now holds an unparalleled assortment of Scott-related materials.

The lecture recounts the growth of the collection over 150 years, covering major acquisitions and developments. Notably, it includes Scott's manuscripts, letters, and related papers, such as proofs, legal documents, and early drafts. The session also highlighted Scott's transition from poet to novelist, illustrated by manuscripts like Waverley and Marmion . Dr. Brown discussed Scott's influence, showing how his works continue to shape literary history, as well as the personal and professional challenges Scott faced throughout his career.

Key topics included Scott's career as an advocate, the manuscripts of his novels, and insights into his personal life through letters and drafts. Dr. Brown also discussed the Interleaved Set of the Waverley novels , an edited collection that Scott used to revise his works during his final years to restore his finances. This particular manuscript is seen as symbolic of Scott's resilience in the face of financial ruin and physical decline.

Dr. Brown’s presentation focused on tangible connections to Scott’s life, such as his legal career, his dedication to Abbotsford, and his family’s role in the preservation of his legacy. He explored the evolution of Scott’s writing and the personal struggles behind his public success, making his life and work more accessible to both scholars and enthusiasts.

Key Points of Interest:

James Hall's donation of the Waverley manuscript in 1850, which sparked the foundation of Scotland's Scott manuscript collection.
The Interleaved Set , which showcases Scott's efforts to revise and complete his works while battling financial difficulties.
The personal nature of Scott’s letters , such as the humorous anecdotes from his correspondence, like the emu correspondence in 1827, which sheds light on his character and personal life.
The final years of Scott's life , marked by significant health issues and financial struggles, yet his dedication to writing remained unwavering.
The influence of Scott’s work on modern authors and artists, demonstrated by illustrations and adaptations based on his novels.

This talk emphasizes the multifaceted nature of Scott's legacy, exploring his life as both a literary giant and a man with very human challenges, all conveyed through his manuscripts and correspondence.

Walter Scott’s Cruise with the Lighthouse Commissioners

Tue, 27 May 2003 21:35:34 GMT

Article from 2003 Bulletin

Summary of the Talk:

This piece details Sir Walter Scott's voyage aboard the yacht of the Commissioners of the Northern Lights in 1814. Scott sailed with a group of Commissioners, engineers, and guests to inspect lighthouses and potential sites for new ones along Scotland’s coast, from Leith to Greenock, over six weeks. The article elaborates on Scott's role as a guest, rather than an official member of the commission, and how the voyage provided Scott with ample opportunity to enjoy Scotland's coastal scenery and gather inspiration for his future works.

The voyage was led by Robert Stevenson, the renowned lighthouse engineer, and was a unique blend of official inspection and leisure. Scott, who was already a successful poet at the time, had just published his first novel Waverley weeks before the trip. The article also touches on Scott's friendships, his literary modesty, and the events that shaped his work. For example, Scott's observations from the cruise influenced his later novel The Pirate , which draws heavily from his experiences in the Shetland and Orkney islands.

The journey was not without its difficulties, including bad weather, seasickness, and the threat of American privateers, yet Scott greatly enjoyed the trip. The experience enriched his understanding of Scottish geography and folklore, which later found expression in his writings. The article concludes by discussing how the voyage inspired Scott's writing, particularly The Pirate , blending his travels with local lore and history.

Interesting Points:

Scott’s Role in the Voyage: Although Scott was not a formal member of the Lighthouse Commissioners, his role as a guest was significant for his intellectual contributions and his enjoyment of the journey.
The Mystery of the Yacht’s Name: There is ambiguity around the name of the yacht Scott sailed in, referred to in his diary as the Lighthouse Yacht . The assumption is it was called Pharos, a continuation of the name used for previous Lighthouse yachts.
Scott's Relationship with the Legal Profession: Interestingly, the Lighthouse Commissioners were largely composed of legal professionals, a legacy of Scotland’s legal traditions. This highlights Scott's connection to the legal world, as he was a lawyer before becoming a full-time writer.
Influence on The Pirate : The scenery and experiences during the voyage influenced Scott’s novel The Pirate , especially his observations of Shetland and Orkney, where he noted the local culture, seafaring traditions, and even met a figure who inspired one of the novel’s characters.
The Pirate’s Reception: When The Pirate was published, it was met with mixed reviews, with some critics feeling that Scott had "written himself out." However, the novel's vivid depictions of the Northern Isles showcased Scott's continued ability to blend travel, local lore, and history.
Scott’s Literary Modesty: Despite the immense success of Waverley , Scott remained modest about his authorship of the novel and did not openly acknowledge it until much later. He even expressed concerns that writing novels might be considered inappropriate for a man of his legal standing.

This article gives a vivid insight into Scott’s life during a pivotal moment in his literary career and the sources of inspiration that contributed to his lasting legacy.

Download the [transcript] or read the [bulletin]

Paul Scott suggested some time ago to the National Trust that it would be a good idea for one of their cruises in the Black Prince to follow the course which Sir Walter Scott took in 1814 in the yacht of the Lighthouse Commissioners. They accepted the idea and the cruise left Leith on 27 May and ended at Greenock on 3 June 2003. The following is the text of a lecture which Paul Scott gave at the beginning of the cruise.

J. M. W. Turner’s Illustrations to the Work of Sir Walter Scott

Thu, 06 Feb 2003 10:01:17 GMT

Article from 2003 Bulletin

Summary of the Article:

The essay explores the collaboration between the renowned painter J. M. W. Turner and author Sir Walter Scott, specifically in the creation of illustrations for Scott’s works. Hill draws a comparison between the artistic processes of the two men and how they used their respective crafts toelevate Scott's literature.

Scott's Use of Imagination in History : Scott's historical novels often blend reality with imagination, acknowledging the artistic input required to represent history. Turner’s illustrations reflect this by using their own imaginative techniques to visualize Scott’s texts.
Cadell’s Influence : The publisher Robert Cadell played a significant role in bringing Scott’s work to a broader market, creating affordable, illustrated editions that attracted a new, less affluent audience. He recognized Turner’s name as a way to enhance sales and decided to use Turner for the illustrations.
Turner’s Artistic Process : Turner’s illustrations were not merely literal representations of Scott’s text. Instead, Turner focused on capturing mood and symbolism, creating images that were more about evoking emotion than providing historical accuracy. For example, in illustrations like The Field of Waterloo, Turner conveyed the emotional impact of a scene rather than depicting it literally.
Scott’s and Turner’s Artistic Interpretations of History : Both artists used historical material in a symbolic way to enhance the emotional depth of their works. Scott’s historical fiction was often a 'collage' of fact and imagination, while Turner similarly used artistic license in his illustrations, blending topographical accuracy with emotional and symbolic content.
Symbolism and Mood in Turner’s Work : Turner’s works were characterized by their use of landscapes to create a stage for Scott’s stories. He avoided depicting literal events from the text but instead created a setting that would evoke the appropriate mood and allow the viewer to engage with the narrative in a personal way.
Scott and Turner’s Mutual Influence : Hill argues that both Turner and Scott contributed equally to the creative process, with Scott’s words setting the stage for Turner’s visuals. The text and image work together to bring out a more profound, symbolic interpretation of history, where mood and atmosphere play as much a role as historical accuracy.
Historical vs. Emotional Representation : A critical distinction is made between how Turner and Scott represent history. While Scott integrates fictionalized historical events to evoke a particular 'spirit' of an age, Turner emphasizes what has been lost, as shown in his depiction of ruins and the passage of time, such as in Norham Castle. This contrasts with Scott’s more restorative view of history.

Interesting Points:

Imaginative License : Both Scott and Turner employed imaginative freedom in their works, altering reality for emotional or thematic purposes. This shows how both artists understood history not as an exact recitation of events but as a vehicle for exploring human experience and emotion.
Symbolism in Turner’s Work : The essay delves into how Turner’s landscapes are rich in symbolism. For instance, his landscapes are often empty, allowing the viewer to project the narrative onto them, a creative decision that links to Scott’s approach to literature, where the imagination of the reader is essential.
The Role of the Publisher : Cadell’s role as an intermediary between Scott and Turner is fascinating, showing how publishing decisions influenced the collaboration between the two artists. His awareness of market trends and use of Turner’s reputation underscores the growing commercialization of literature and art in the 19th century.

This analysis highlights the synergy between Scott's literary vision and Turner's artistic interpretation, suggesting that their partnership was instrumental in creating an iconic artistic representation of Scottish history. The collaboration also illustrates how both artists used their respective crafts to evoke emotional truths rather than historical precision.

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For some years the [Essay Competition] has been in abeyance, regrettably because of lack of interest in the schools which for many years previously had participated. Fraser Elgin recalls sitting this at Watson’s College in 1933 and 1934, unfortunately without success. It was decided in 2002 to offer the competition to the university and Professor Ian Campbell undertook to organise this. A panel of judges awarded the prize of £250 to Richard Hill and his winning essay is attached here.