Edinburgh Edition of the Waverley Novels – serie

In his ever-popular romance of Tudor England, Scott brilliantly recreates all the passion, brutality, verve and vitality of the Elizabethan world. Only two of his novels end tragically - Kenilworth ends with the death of Amy Robsart, who unwisely loved Queen Elizabeth’s favourite, the Earl of Leicester.

The Tale of Old Mortality describes the lives - and often violent deaths - the hopes, and the struggles, of the Covenanters in late seventeenth-century Scotland. A tale of extremism, bigotry and cruelty, it is redeemed by its characters’ courage and loyalty, and their passionate belief in religious and civil liberty. Considered to be one of the greatest novels of the nineteenth century, its influence pervades European writing from Stendhal to Tolstoy.

Set in south-west Scotland in the immediate aftermath of the 1707 Union, The Black Dwarf was intended to be a story about the first, abortive, Jacobite uprising of 1708. Instead it developed into a gothic tale of the supernatural. This new edition brings out the virtues in the story, long overlaid by Scott’s embellishments in later editions.

Meg Dods, a sentimental virago, keeps a rundown inn in a derelict Tweedale village, while the young Laird is living way beyond his means. When a nearby spring becomes a Spa, life changes as a hotel and a troop of social climbers move in. But this is not a tale of antique virtue giving way to decadent ostentation: although the gang at the ‘Well’ dance the seven deadly sins, everyone in the book has feet of clay.

The third of the Waverley Novels is dominated by two old men, Jonathan Oldbuck (the Antiquary of the title) and the beggar Edie Ochiltree. Together they apply their knowledge of the past to sort out the confusion of the present, and in doing so restore the fortunes of ancient houses. This was Scott’s favourite among his novels, and presents a quizzical and amusing view of the profession of history and, by implication, of Scott’s own practice as writer and collector.

Edward Waverley is a young, cultured man whose sensibilities lead to his involvement in the Jacobite Rising of 1745. In his journey into Scotland, down to Derby, and back up again, he explores the cultural and political geography of Great Britain.Waverley; or, 'tis Sixty Years Since was Scott's first novel, but like its final chapter, 'A Postscript, which should have been a Preface', it appears as one of the last in this series, so that the full weight of experience gained from editing Scott's fiction can be brought to understanding his most influential novel, the one which gave its name to the Waverley Novels. To this edition, P. D. Garside brings new insights and new information, and he establishes a text which is significantly different from its predecessors.

Guy Mannering, or The Astrologer, first published in 1815, was Walter Scott's second novel. Guy Mannering only half-believes in his art, but does believe in the ability of his patriarchal power, wealth and social position to sort out social confusion. However he has to learn the limits of a nabob's authority in a society that (in the 1780s) is no longer a single hierarchy but has many subsets, each with its own laws - gypsies, smugglers, Edinburgh lawyers, the Border store farmer, the traditional landowner. Guy Mannering is set at the time of the American Revolution, and represents a Scotland at once backward and advanced, patriarchal and commercial, traditional and modern, a country in very varied stages of progression. This is the first modern edition of one of Scott's finest works. It is based on the first edition, but is corrected from the manuscript, and restores around two thousand readings lost through error or misunderstanding. For the first time it includes Scott's extended portraits of the Edinburgh literati which were unaccountably omitted from the printed version.

Rob Roy is set in 1715, but it is less concerned with the Jacobite Rising than with the economic and political conditions which brought it about, and the remarkable entrepreneurial spirit of the new Hanoverian capitalists which resisted it. It celebrates the freebooting daring of the hero's father in the City of London and the robust balancing of generosity and selfish calculation which is required in successful enterprise, and which motivates one of Scott's most lively creations, the Glasgow merchant Baillie Nicol Jarvie.Rob Roy is nominally a retrospective autobiography written by Frank Osbaldistone and is suffused with a sense of loss both personal and cultural. The personal is the loss of his wife Diana; the cultural is epitomised in Rob Roy who is the hunted victim of a society richer and more powerful than his own.The text is based upon the first edition, corrected with readings from the manuscript, and is supported by comprehensive historical and explanatory annotation.

The Heart of Mid-Lothian is precisely focused on the trials for murder of John Porteous and of Effie Deans in 1736 and 1737. Yet it is a chronicle—Scott’s only chronicle—which spans the eighty years of the life of David Deans, whose death takes place in 1751. It is the most complex of all Scott’s narratives. It is also the most challenging in that it raises in an acute fashion the problem of a judicial system that does not produce justice. Scott places this fundamental issue in its immediate political context, in history as represented by the life of Deans, and alongside the justice of Providence as perceived by his daughter Jeanie, the greatest of Scott’s heroines.This edition of The Heart of Mid-Lothian provides a new text established in accordance with the tried policies and practices of the Edinburgh Edition of the Waverley Novels, and in its annotation treats comprehensively the novel’s historical, legal, religious and cultural sources.

The most haunting and Shakespearean of Scott’s novels, The Bride of Lammermoor is a fast-paced tragedy set on the eve of the 1707 Union. The proud young Master of Ravenswood sees his estate pass to the astute Sir William Ashton. When Ravenswood falls in love with Ashton’s daughter, her diabolical mother takes extreme measures to thwart the match - with tragic results. A story of immense gloomy power, infused by the unforgiving spirit of the North Sea."The Edinburgh Edition respects Scott the artist by 'restoring' versions of the novels that are not quite what his first readers saw. Indeed, it returns to manuscripts that the printers never handled, as Scott's fiction before 1827 was transcribed before it reached the printshop. Each volume of the Edinburgh edition presents an uncluttered text of one work, followed by an Essay on the Text by the editor of the work, a list of the emendations that have been made to the first edition, explanatory notes and a glossary … The editorial essays are histories of the respective texts. Some of them are almost 100 pages long; when they are put together they constitute a fascinating and lucid account of Scott's methods of compostion and his financial manoeuvres. This edition is for anyone who takes Scott seriously."Times Literary Supplement

Against the background of Montrose’s campaign of 1644-5, this spirited novel centres on one of Scott’s most memorable creations - Sir Dugald Dalgetty of Drumthwacket. This hard-headed Aberdonian contrasts tellingly with the weird and passionate Highland feud in which he becomes perilously entangled, as the narrative moves from Dalgetty’s unflinching encounter with the Duke of Argyll, to his dramatic escape from Inveraray Castle, to the battle of Inverlochy."The Edinburgh Edition respects Scott the artist by 'restoring' versions of the novels that are not quite what his first readers saw. Indeed, it returns to manuscripts that the printers never handled, as Scott's fiction before 1827 was transcribed before it reached the printshop. Each volume of the Edinburgh edition presents an uncluttered text of one work, followed by an Essay on the Text by the editor of the work, a list of the emendations that have been made to the first edition, explanatory notes and a glossary … The editorial essays are histories of the respective texts. Some of them are almost 100 pages long; when they are put together they constitute a fascinating and lucid account of Scott's methods of compostion and his financial manoeuvres. This edition is for anyone who takes Scott seriously."Times Literary Supplement

The first of Scott’s Waverley novels burst upon an astonished world in 1814. Its publication marked the emergence of the modern novel in the western world, influencing all the great nineteenth-century writers. This handsome new edition of Sir Walter Scott’s novels captures the original power and freshness of his best-loved novels.

Set on the eve of the Protestant Reformation in Scotland, The Monastery is full of supernatural events, theological conflict, and humour. Located in the lawless Scottish Borders, the novel depicts the monastery of Kennaquhair (a thinly disguised Melrose Abbey, whose ruins are still to be seen near Scott's own home at Abbotsford) on the verge of dissolution, and the fortunes of two brothers as they respond to a new social and religious order. Highlights of the narrative include a moving encounter between two representatives of opposing sides in the Reformation controversy who had been students together in less troubled times, and the final formal procession of the Kennaquhair monks as the Reformed forces arrive. A talking-point when the work was first published, the mysterious spectral White Lady, guardian of the magical Black Book, still intrigues readers. A strong comic element is provided by Sir Piercie Shafton with his absurd linguistic mannerisms fashionable at the English court. The narrative is preceded by one of Scott's most charming and playful introductory exchanges between the fictional local antiquary Cuthbert Clutterbuck and the Author of Waverley.

The Abbotconcludes the fiction begun in The Monastery. Scott follows the fortunes of young Roland Graeme as he emerges from rural obscurity to become an attendant of Mary Queen of Scots during her captivity in Lochleven Castle. Roland's part in Mary's escape from the Castle is excitingly narrated, and Mary herself is vividly characterised in captivity, in her brief period of freedom, and in her final defeat. Based on the first edition, this new text restores, from Scott's manuscript and from the evidence of early American editions set from proof sheets at different stages, nearly 2000 authorial readings hitherto omitted. It has also been possible for the first time, on the evidence of history, to make coherent the family relationships in the novel.Key Features*Authoritative text*Detailed explanatory notes and glossary*Essay giving a detailed account of background to the novel, its composition and its subsequent textual development*Textual apparatus

No historical figures appear in The Pirate, and there are no historical events, but it is still an historical novel because it dramatises those ‘corners of time’ where an old era is coming to an end, and a new is beginning. The novel is set in Orkney and Shetland in 1689, and for the northern isles the ‘Glorious Revolution’ actually means the beginning of the cultural dominance of Scotland and the advent of English power.Scott draws heavily on the diary he kept on his tour round the lighthouses of Scotland in 1814. In both the diary and the novel he weighs the real need to improve the agricultural methods of this barely subsistence economy against the force of tradition and the human cost of rapid change.The plot hinges on an illicit relationship, and is driven by dark men twisted by their criminality, an obsessed woman searching for her lost son, and the murderous rivalry of two young men - a family tale which illustrates the uses and abuses of traditional lore, as well as Scott’s extraordinary grasp of the literature of the north.

Set at the end of the reign of James VI and I, The Fortunes of Nigel sits among Walter Scott’s richest creations in political insight, range of characterisation and linguistic virtuosity.Well versed in the political literature of the period, Scott drew a detailed picture of London in the early 17th century while charting the effects of Scottish influx into the English capital: the ambitions and fears of the incomers and the suspicion they aroused. The complex web of political (and sexual) intrigue, and especially of all-important financial dealings and double-dealings, is traced with a master’s hand.No Scott novel has a more memorable cast of characters. King James heads them, with his childish irresponsibility and elusive character: a would-be Solomon and father of his country, theological disputant, prurient bisexual. But not far behind are jeweller George Heriot, clockmaker Davie Ramsay, courtier Sir Mungo Malagrowther, servant Richie Moniplies and many vivid minor characters. Steeped in Jacobean drama, this tale shows Scott revelling in the linguistic riches of the age. Previous editions have obscured his virtuosity (as seen in a dazzlingly proto-Joycean monologue by a Greenwich barber), but painstaking examination of the manuscript and proofs for this new edition allows the full vigour of Scott’s achievement to be savoured for the first time.

‘Here is a plot without a drop of blood; and all the elements of a romance, without its conclusion’, comments the King towards the end of Scott’s longest, and arguably most intriguing, novel. Set against the backdrop of the Popish Plot to overturn Charles II, Peveril of the Peak explores the on-going tensions between Cavalier and Puritan loyalties during the fraught years of Restoration England. Ranging from Derbyshire to the Isle of Man and culminating in London it is a novel which interweaves political intrigue, personal responsibilities and the ways in which the forces of history are played out in the struggles of individual human lives. But its true subject is perhaps the role of narration and the limits of storytelling itself. In this, the first scholarly edition of Peveril, Alison Lumsden recovers a lost novel.

Quentin Durward is a young Scotsman seeking fame and fortune in the France of Louis XI in the fifteenth century. He knows little and understands less, but Scott represents his ignorance and naiveté as useful to ‘the most sagacious prince in Europe’ who needs servants motivated solely by the desire for coin and credit and lacking any interest in France which would interfere with the execution of his political aims. In Quentin Durward Scott studies the first modern state in the process of destroying the European feudal system.By far the most important of Scott's sources for Quentin Durward is the splendid Memoirs of Philippe de Comines. Comines, who has more than a walk-on role in the novel itself, was trusted councillor of Charles the Bold of Burgundy until 1472, when Louis XI persuaded him to enter his service. Scott's contrasting portraits of Louis and Charles, crafty king and fiery duke, essentially derives from Comines, whose memoirs are generally regarded as the first example of modern analytical history rather than chronicle. But it is as story that Quentin Durward succeeds, and it is one of Scott’s most absorbing tales.

In the summer of 1765 Darsie Latimer sets out to discover the secret of his parentage in a journey to the wilds of Dumfriesshire. But very soon he discovers that he must confront not geographical but ideological wilds, for he is kidnapped by Edward Hugh Redgauntlet and involved in a last, fictional, attempt to restore the Stuarts to the British throne. The violent past is repeatedly recalled: the oral diablerie of the inset ‘Wandering Willie’s Tale’, probably the greatest short story ever written in Scots, provides a grotesque vision of the structures of an older Scotland. It is this older Scotland which Redgauntlet wishes to restore.

Set at the time of the Third Crusade (1189 - 92), The Betrothed is the first of Scott’s Tales of the Crusaders. The betrothed is Eveline, daughter of a Norman noble, who is a victim of the Crusade in that her intended husband is required by the Church to fulfil his vow to join the war and departs for three years. The full horror of an arranged marriage, and of being a possible prize as men seek to gain possession of her is vividly realised—the heroine is never free; her fate is always determined by the agency of men. And being set on the Marches of Wales, it is not just men but differing cultures that strive for mastery over her.The Betrothed is a problem novel: as Scott was writing he himself was arranging the marriage of his elder son. It is a problem novel too in that it was deeply disliked by Scott’s printer and publisher who forced significant changes. What Scott was required to do to meet their objections has been confronted for the first time in this, the first critical edition of the novel.

The second of Tales of the Crusaders, The Talisman is set in Palestine during the Third Crusade (1189 - 92). Scott constructs a story of chivalric action, apparently adopting a medieval romance view of the similarities in the values of both sides. But disguise is the leading theme of the tale: it is not just that characters frequently wear clothing that conceals their identity, but that professions and cultures hide their true nature. In this novel the Christian leaders are divided by a factious criminality, and are contrasted to the magnanimity and decisiveness of Saladin, the leader of the Moslem armies. In a period when the west was fascinated with the exotic east, Scott represents the Moslem other as more humane than the Christian west.The Talisman is one of Scott’s great novels. It is a superb tale. It is also a bold departure as, for the first time, Scott explores not cultural conflict within a country or society but in the opposition of two world religions.

Woodstock opens in farce, yet it is one of Scott's darkest novels. It deals with revolution, to Scott the most disturbing of all subjects: 'it appears that every step we made towards liberty, has but brought us in view of more terrific perils'. Written during the financial crisis which led to his insolvency in January 1826, the novel, Scott feared, 'would not stand the test'. Yet it does: it is set in England in 1651 as Parliamentary forces hunt the fugitive Charles Stewart who days previously had been defeated at Worcester. In the superb portrait of Cromwell we see a self-torturing despot who attempts to be in full control in the name of religion; in the rakish Charles we see a man without self-reflection whose own libertarianism after his restoration to the English throne in 1660 permitted a great burgeoning in scientific enquiry and the arts.This edition of Woodstock is based on the first, but emended in the light of readings in the manuscript and proofs that were misread, and at times deliberately suppressed, as Scott's own hand-written words were turned into a printed book.

Chronicles of the Canongate is unique among Scott's works as it is his only collection of shorter fiction. It contains his best-known tales, 'The Highland Widow' and 'The Two Drovers', and a third, less well known but of startling originality, 'The Surgeon's Daughter'. The three are set within the framing narrative of Chrystal Croftangry, an old bankrupt with pretensions to literature, who must inevitably be seen as a portrait of the artist facing up to his own insolvency in 1826.Tales in a framework have a long ancestry in European and Oriental literature, and in Chronicles of the Canongate Scott adapts the genre with consummate skill. Each of the stories and Croftangry's narrative may be read independently, but together they constitute a themed work in which the narrator treats of the cultural conflicts in the new Britain and its growing empire in the thirty years from 1756.This edition of Chronicles of the Canongate recovers a truly inventive work which is here republished in its original form for only the second time since Scott's death in 1832.

The Fair Maid of Perth centres on the merchant classes of Perth in the fourteenth century, and their commitment to the pacific values of trade, in a bloody and brutal era in which no right to life is recognised, and in which the Scottish nobles fight for control of the weak Scottish monarchy, and clans are prepared to extinguish each other to gain supremacy in the central Highlands. It is a remarkable novel, in part because late in his career Scott has a new subject, and in part because he employs a spare narrative style that is without parallel in the rest of his oeuvre. Far too many critics, from his son-in-law J.G. Lockhart to the present day, have written off late Scott, and seen his last works as evidence of failing powers. The readers of this edition of The Fair Maid of Perth will see that these critics are mistaken, for in it we witness a luminous creative intelligence working at high pressure to produce a tightly organised and deeply moving novel.

Anne of Geierstein (1829) is set in Central Europe in the fifteenth century, but it is a remarkably modern novel, for the central issues are the political instability and violence that arise from the mix of peoples and the fluidity of European boundaries. With Anne of Geierstein Scott concludes the unfinished historical business of Quentin Durward, working on a larger canvas with broader brush-strokes and generally with more sombre colours. The novel illustrates the darkening of Scott's historical vision in the final part of his career. It is also a remarkable manifestation of the way in which the scope of his imaginative vision continued to expand even as his physical powers declined. This new edition is based upon the first edition but is corrected by recovering from the manuscript about 2000 readings lost in some cases by misreadings of what Scott had written, but in many others from the assumption that those who processed Scott's text knew better than he did. This is the first modern critical edition of what was in its day a remarkably successful novel.

Count Robert of Paris, condemned by Scott’s printer as ‘altogether a failure’, was later prepared for publication by his son-in-law, J. G. Lockhart , and his publisher Robert Cadell. What appeared was a bowdlerised, tamed and tidied version of what Scott had written and dictated. This edition, the first to have returned to the manuscript and to the many surviving proofs, realises Scott’s original intentions. Scott’s last full novel has many roughnesses, but it also challenges the susceptibilities of his readers more directly than any other and in that lay its fault in the eyes of the lesser men who condemned it.

Castle Dangerous is the realisation of a thirty-year old project of Scott’s to retell a story found in Barbour’s Brus. Set in the early fourteenth century during the Scottish Wars of Independence, an English knight for a love wager commits himself to defend Douglas Castle against Scottish attempts to retake it. The ballad-like story embraces intriguing elements including national rivalry, and the idealisation and betrayal of love. The Douglas area, seen as an almost surrealist landscape of ravines, trenches, and tombs, and in abysmal weather, forms an appropriate setting for an impressively bleak narrative.

Scott wrote short stories throughout his career, some included within novels, others published separately in periodicals. This collection of the stories from periodicals extends from his earliest published fiction to his last and comprises pieces from The Edinburgh Annual Register (1811), The Sale-Room (1817), Blackwood's Edinburgh Magazine (1817-1818) and The Keepsake (1828-1831). Only three of these stories have been regularly reprinted; the other five are here made readily available for the first time. Publication in periodicals offered Scott new opportunities to explore the potential of the short story form and to demonstrate his enormous versatility as a writer of fiction.

Between 1829 and 1833 the first complete edition of Scott's fiction appeared, in 48 volumes issued one a month, each illustrated with two engravings, and with introductions and notes by Scott himself. The Magnum Opus, as it was familiarly called, was a project which aimed to reduce the enormous debt of over £126,000 which landed on Scott during the financial crisis of 1825-26, but it was much more than an exercise in book-making. Scott's introductions are semi-autobiographical essays in which he muses on his own art and the circumstances which gave rise to each of his works of fiction. His notes illustrate his text, sometimes with simple glosses, sometimes by quotations from historical sources, but most strikingly with further narratives which parallel rather than explain incidents and situations in the fiction.These volumes constitute the first systematic representation of Scott's contributions to his last great edition, the edition which defined the final shape of Scott's fiction for the nineteenth century. They conclude the publication of the Edinburgh Edition of the Waverley Novels, and as they include addenda and corrigenda covering the whole 28 volumes of Scott's fiction in the EEWN, they are an indispensable conclusion to the set. But above all they illustrate the parabolic imagination of the man who made the historical novel an intellectual force.