Ivanhoe - Walter Scott (e ink ebook reader txt) 📗
- Author: Walter Scott
- Performer: -
Book online «Ivanhoe - Walter Scott (e ink ebook reader txt) 📗». Author Walter Scott
The Project Gutenberg EBook of Ivanhoe, by Walter Scott
(#1 in our series by Walter Scott)
Copyright laws are changing all over the world. Be sure to check the
copyright laws for your country before downloading or redistributing
this or any other Project Gutenberg eBook.
This header should be the first thing seen when viewing this Project
Gutenberg file. Please do not remove it. Do not change or edit the
header without written permission.
Please read the “legal small print,” and other information about the
eBook and Project Gutenberg at the bottom of this file. Included is
important information about your specific rights and restrictions in
how the file may be used. You can also find out about how to make a
donation to Project Gutenberg, and how to get involved.
Welcome To The World of Free Plain Vanilla Electronic Texts
eBooks Readable By Both Humans and By Computers, Since 1971
*****These eBooks Were Prepared By Thousands of Volunteers!*****
Title: Ivanhoe
Author: Walter Scott
Release Date: Sep, 1993 [EBook #82]
[Yes, we are more than one year ahead of schedule]
[This file was first posted on August 4, 2002]
[Most recently updated: August 4, 2002]
Edition: 15
Language: English
Character set encoding: ASCII
START OF THE PROJECT GUTENBERG EBOOK, IVANHOE ***Prepared by “John P Roberts, Jr”
IVANHOE;
A ROMANCE.
Now fitted the halter, now traversed the cart,
And often took leave,----but seemed loath to depart!*
The motto alludes to the Author returning to the stage repeatedly after having taken leave.Prior.
INTRODUCTION TO IVANHOE.
The Author of the Waverley Novels had hitherto proceeded in an
unabated course of popularity, and might, in his peculiar
district of literature, have been termed “L’Enfant Gate” of
success. It was plain, however, that frequent publication must
finally wear out the public favour, unless some mode could be
devised to give an appearance of novelty to subsequent
productions. Scottish manners, Scottish dialect, and Scottish
characters of note, being those with which the author was most
intimately, and familiarly acquainted, were the groundwork upon
which he had hitherto relied for giving effect to his narrative.
It was, however, obvious, that this kind of interest must in the
end occasion a degree of sameness and repetition, if exclusively
resorted to, and that the reader was likely at length to adopt
the language of Edwin, in Parnell’s Tale:
“‘Reverse the spell,’ he cries, ‘And let it fairly now
suffice. The gambol has been shown.’”
Nothing can be more dangerous for the fame of a professor of the
fine arts, than to permit (if he can possibly prevent it) the
character of a mannerist to be attached to him, or that he should
be supposed capable of success only in a particular and limited
style. The public are, in general, very ready to adopt the
opinion, that he who has pleased them in one peculiar mode of
composition, is, by means of that very talent, rendered incapable
of venturing upon other subjects. The effect of this
disinclination, on the part of the public, towards the artificers
of their pleasures, when they attempt to enlarge their means of
amusing, may be seen in the censures usually passed by vulgar
criticism upon actors or artists who venture to change the
character of their efforts, that, in so doing, they may enlarge
the scale of their art.
There is some justice in this opinion, as there always is in such
as attain general currency. It may often happen on the stage,
that an actor, by possessing in a preeminent degree the external
qualities necessary to give effect to comedy, may be deprived of
the right to aspire to tragic excellence; and in painting or
literary composition, an artist or poet may be master exclusively
of modes of thought, and powers of expression, which confine him
to a single course of subjects. But much more frequently the
same capacity which carries a man to popularity in one department
will obtain for him success in another, and that must be more
particularly the case in literary composition, than either in
acting or painting, because the adventurer in that department is
not impeded in his exertions by any peculiarity of features, or
conformation of person, proper for particular parts, or, by any
peculiar mechanical habits of using the pencil, limited to a
particular class of subjects.
Whether this reasoning be correct or otherwise, the present
author felt, that, in confining himself to subjects purely
Scottish, he was not only likely to weary out the indulgence of
his readers, but also greatly to limit his own power of
affording them pleasure. In a highly polished country, where so
much genius is monthly employed in catering for public amusement,
a fresh topic, such as he had himself had the happiness to light
upon, is the untasted spring of the desert;---
“Men bless their stars and call it luxury.”
But when men and horses, cattle, camels, and dromedaries, have
poached the spring into mud, it becomes loathsome to those who at
first drank of it with rapture; and he who had the merit of
discovering it, if he would preserve his reputation with the
tribe, must display his talent by a fresh discovery of untasted
fountains.
If the author, who finds himself limited to a particular class of
subjects, endeavours to sustain his reputation by striving to add
a novelty of attraction to themes of the same character which
have been formerly successful under his management, there are
manifest reasons why, after a certain point, he is likely to
fail. If the mine be not wrought out, the strength and capacity
of the miner become necessarily exhausted. If he closely
imitates the narratives which he has before rendered successful,
he is doomed to “wonder that they please no more.” If he
struggles to take a different view of the same class of subjects,
he speedily discovers that what is obvious, graceful, and
natural, has been exhausted; and, in order to obtain the
indispensable charm of novelty, he is forced upon caricature,
and, to avoid being trite, must become extravagant.
It is not, perhaps, necessary to enumerate so many reasons why
the author of the Scottish Novels, as they were then exclusively
termed, should be desirous to make an experiment on a subject
purely English. It was his purpose, at the same time, to have
rendered the experiment as complete as possible, by bringing the
intended work before the public as the effort of a new candidate
for their favour, in order that no degree of prejudice, whether
favourable or the reverse, might attach to it, as a new
production of the Author of Waverley; but this intention was
afterwards departed from, for reasons to be hereafter mentioned.
The period of the narrative adopted was the reign of Richard I.,
not only as abounding with characters whose very names were sure
to attract general attention, but as affording a striking
contrast betwixt the Saxons, by whom the soil was cultivated, and
the Normans, who still reigned in it as conquerors, reluctant to
mix with the vanquished, or acknowledge themselves of the same
stock. The idea of this contrast was taken from the ingenious
and unfortunate Logan’s tragedy of Runnamede, in which, about the
same period of history, the author had seen the Saxon and Norman
barons opposed to each other on different sides of the stage. He
does not recollect that there was any attempt to contrast the two
races in their habits and sentiments; and indeed it was obvious,
that history was violated by introducing the Saxons still
existing as a high-minded and martial race of nobles.
They did, however, survive as a people, and some of the ancient
Saxon families possessed wealth and power, although they were
exceptions to the humble condition of the race in general. It
seemed to the author, that the existence of the two races in the
same country, the vanquished distinguished by their plain,
homely, blunt manners, and the free spirit infused by their
ancient institutions and laws; the victors, by the high spirit of
military fame, personal adventure, and whatever could distinguish
them as the Flower of Chivalry, might, intermixed with other
characters belonging to the same time and country, interest the
reader by the contrast, if the author should not fail on his
part.
Scotland, however, had been of late used so exclusively as the
scene of what is called Historical Romance, that the preliminary
letter of Mr Laurence Templeton became in some measure necessary.
To this, as to an Introduction, the reader is referred, as
expressing author’s purpose and opinions in undertaking this
species of composition, under the necessary reservation, that he
is far from thinking he has attained the point at which he aimed.
It is scarcely necessary to add, that there was no idea or wish
to pass off the supposed Mr Templeton as a real person. But a
kind of continuation of the Tales of my Landlord had been
recently attempted by a stranger, and it was supposed this
Dedicatory Epistle might pass for some imitation of the same
kind, and thus putting enquirers upon a false scent, induce them
to believe they had before them the work of some new candidate
for their favour.
After a considerable part of the work had been finished and
printed, the Publishers, who pretended to discern in it a germ of
popularity, remonstrated strenuously against its appearing as an
absolutely anonymous production, and contended that it should
have the advantage of being announced as by the Author of
Waverley. The author did not make any obstinate opposition, for
he began to be of opinion with Dr Wheeler, in Miss Edgeworth’s
excellent tale of “Maneuvering,” that “Trick upon Trick” might be
too much for the patience of an indulgent public, and might be
reasonably considered as trifling with their favour.
The book, therefore, appeared as an avowed continuation of the
Waverley Novels; and it would be ungrateful not to acknowledge,
that it met with the same favourable reception as its
predecessors.
Such annotations as may be useful to assist the reader in
comprehending the characters of the Jew, the Templar, the Captain
of the mercenaries, or Free Companions, as they were called, and
others proper to the period, are added, but with a sparing hand,
since sufficient information on these subjects is to be found in
general history.
An incident in the tale, which had the good fortune to find
favour in the eyes of many readers, is more directly borrowed
from the stores of old romance. I mean the meeting of the King
with Friar Tuck at the cell of that buxom hermit. The general
tone of the story belongs to all ranks and all countries, which
emulate each other in describing the rambles of a disguised
sovereign, who, going in search of information or amusement, into
the lower ranks of life, meets with adventures diverting to the
reader or hearer, from the contrast betwixt the monarch’s outward
appearance, and his real character. The Eastern tale-teller has
for his theme the disguised expeditions of Haroun Alraschid with
his faithful attendants, Mesrour and Giafar, through the midnight
streets of Bagdad; and Scottish tradition dwells upon the similar
exploits of James V., distinguished during such excursions by the
travelling name of the Goodman of Ballengeigh, as the Commander
of the Faithful, when he desired to be incognito, was known by
that of Il Bondocani. The French minstrels are not silent on so
Comments (0)