Sir Walter Scott's immensely popular Waverly novels enthralled readers with their dashing mix of historical fiction, romance, and revenge. This installment, originally published in 1819, takes place in the early 1700s amid Scotland's Lammermuir Hills. Edgar and Lucy's troubled relationship — beset by social, political, and religious barriers — reflects Scotland's struggles in the early 18th century, as the country and its citizens were torn asunder by the Jacobite rebellions. Scott's treatment of the lovers' inexorable destiny unfolds in a gothic atmosphere, punctuated by supernatural elements and symbolic imagery. The inspiration for Donizetti's opera Lucia di Lammermoor, this novel remains a compelling example of its author's ability to transmute the effects of historical change into literary art.
Ivanhoe follows the life of a 12th-century Saxon knight, Ivanhoe, who is disowned by his father after pledging his loyalty to Richard the Lionheart of England. Ivanhoe falls in love with Lady Rowena, a princess, and sets out on a mythic quest to prove his worth. Along the way he encounters a host of legendary characters, including Robin Hood and the Knights Templar. Will the young knight survive to win the heart of Lady Rowena?
Ivanhoe is an epic tale of adventure, love, and bravery against all odds. It is a welcomed addition to Momentum's Classic Romance series.
"Caught at the right age, or in the right mood, it is hard to imagine a reader finding any book more exciting or more delightful ... a wonder of suspense." — A.N. Wilson
The story centers on Frank Osbaldistone, an aspiring poet whose reluctance to enter his father's business leads to banishment in Northumbria. There he joins his foxhunting relatives at their ancestral estate, where his suspicions of his cousin Rashleigh's efforts to steal the family business are intensified by a rivalry for the hand of high-spirited Diana Vernon. In desperation, Frank turns to the outlaw Rob Roy for help in pursuing Rashleigh across the Highlands. Sir Walter Scott's captivating evocation of a country on the brink of rebellion blends history with fiction for a tale of intrigue, conflict, and romance.
OR 'TIS SIXTY YEARS HENCE
By SIR WALTER SCOTT, Bart.
Under which King, Bezonian? speak, or die!
_Henry IV. Part II._
MARY MONICA HOPE SCOTT
THIS EDITION OF
THE NOVELS OF HER GREAT-GRANDFATHER
BY THE PUBLISHERS.
In printing this New Edition of the Waverley Novels, the
Publishers have availed themselves of the opportunity thus
afforded them of carefully collating it with the valuable interleaved
copy in their possession, containing the Author's latest
manuscript corrections and notes; and from this source they
have obtained several annotations of considerable interest, never
before published. As examples of some of the more important
of these may be mentioned the notes on ``High Jinks'' in Guy
Mannering, ``Pr<ae>torium'' in the Antiquary, and the ``Expulsion
of the Scotch Bishops'' in the Heart of Midlothian.
There have also been inserted (within brackets) some minor
notes explanatory of references now rendered perhaps somewhat
obscure by the lapse of time. For these, the Publishers have
been chiefly indebted to Mr. David Laing, Secretary of the
Bannatyne Club, and one of the few surviving friends of the
Fortunately there is now little more required in the way of
annotation to the Waverley Novels; but in order to afford every
facility of reference, a special glossary has been added to such
of the novels as require it, and each volume will contain a
separate index. A General Index will also be appended to the
concluding volume of the series.
EDINBURGH, _December_ 1869,
ADVERTISEMENT TO EDITION 1829
It has been the occasional occupation of the Author of Waverley for
several years past to revise and correct the voluminous series of
Novels which pass under that name, in order that, if they should
ever appear as his avowed productions, he might render them in
some degree deserving of a continuance of the public favour with
which they have been honoured ever since their first appearance. For
a long period, however, it seemed likely that the improved and illustrated
edition which he meditated would be a posthumous publication.
But the course of the events which occasioned the disclosure of the
Author's name having in a great measure restored to him a sort of
parental control over these Works, he is naturally induced to give
them to the press in a corrected, and, he hopes, an improved form,
while life and health permit the task of revising and illustrating
them. Such being his purpose, it is necessary to say a few words
on the plan of the proposed Edition.
In stating it to be revised and corrected, it is not to be inferred
that any attempt is made to alter the tenor of the stories, the character
of the actors, or the spirit of the dialogue. There is no doubt
ample room for emendation in all these points---but where the tree
falls it must lie. Any attempt to obviate criticism, however just,
by altering a work already in the hands of the public, is generally
unsuccessful. In the most improbable fiction the reader still desires
some air of vraisemblance, and does not relish that the incidents of
a tale familiar to him should be altered to suit the taste of critics,
or the caprice of the author himself. This process of feeling is so
natural that it may be observed even in children, who cannot endure
that a nursery story should be repeated to them differently from the
manner in which it was first told.
But without altering in the slightest degree either the story or the
mode of telling it, the Author has taken this opportunity to correct
errors of the press and slips of the pen. That such should exist
cannot be wondered at, when it is considered that the Publishers
found it their interest to hurry through the press a succession of the
early editions of the various Novels, and that the Author had not
the usual opportunity of revision. It is hoped that the present
edition will be found free from errors of that accidental kind.
The Author has also ventured to make some emendations of a
different character, which, without being such apparent deviations
from the original stories as to disturb the reader's old associations,
will, he thinks, add something to the spirit of the dialogue, narrative,
or description. These consist in occasional pruning where the language
is redundant, compression where the style is loose, infusion of
vigour where it is languid, the exchange of less forcible for more
appropriate epithets---slight alterations, in short, like the last touches
of an artist, which contribute to heighten and finish the picture,
though an inexperienced eye can hardly detect in what they consist.
With a New Introduction by Caroline McCracken-Flesher and an Afterword by A. N. Wilson
From the Paperback edition.