SCOTT AND THE
Scott’s strategy from the commencement of the
Waverley Novels, it might be argued, was to create a ‘superior’
kind of fiction, pitched in such a way as to draw back a male
book-buying audience as acknowledged readers of fiction.
Ina Ferris in her The Achievement of Literary Authority
(Ithaca, NY and London: Cornell University Press, 1991) has
shown how the privileged discourses at work in Waverley;
or, ’Tis Sixty Years Since (1814) and its immediate successors
were capable of interlocking smoothly with the social-historical
outlook of the Edinburgh and Quarterly reviews,
whose sales at this time exceeded 10,000. A similar
equivalence can be sensed in the seemingly gentle but condescending
spoofing of ‘common’ 
fictional modes in the first chapter of Waverley, a
routine similar to that found in Scott’s review of Maturin’s
Fatal Revenge for the Quarterly in 1810.
Contemporary reviewers followed suit in signalising Scott
as an exceptional novelist who had single-handedly rescued
the genre, and traditional literary history has completed
the process in proclaiming Scott as the innovator of a new
historical novel. In recent years, several commentators
have challenged this view in the light of Scott’s position
vis-à-vis a mostly female-authored ‘national’ fiction,
stemming from Sydney Owenson’s The Wild Irish Girl
Yet there is perhaps a danger in such moves of positioning
newly privileged authors ahead of old favourites, while continuing
to ignore uncharted ground below.
essay aims to show that Scott was more in tune with current
trends and development in contemporary fiction, especially
in the years immediately prior to the publication of Waverley,
than his official aloof stance might suggest. It comes
in the immediate wake of the completion of a new Bibliographical
Survey of Prose Fiction Published in the British Isles 1770–1830,
scheduled for publication in two volumes in Spring 2000.
In all, the second volume, covering the years 1800–1829 inclusive,
provides details of 2,256 novels, published for the first
time during these thirty years, a large proportion of the
entries being based on first editions held in the library
of Castle Corvey, in Germany. Viewed from this vantage
point, Scott’s early fiction output can take on a very different
aspect compared with that provided by the official literary
historical version or by some of the new realignments.
Even handling Scott’s earlier, unspectacularly-presented (12mo)
fiction alongside contemporaneous fiction has the effect of
diminishing a sense of difference.
would be misleading to present Scott as a wholesale reader
of novels throughout his lifehis busy public and private
career clearly militated against that. On the other
hand, there is a danger in fostering an exaggerated reverse
picture, with Lady Scott glutting herself of ‘common’ female
novels from the circulating library, and Scott churning out
masculine masterpieces which she herself hardly knew about.
In particular, there appear to have been two phases when Scott
was especially involved in fiction. The first, which
is relatively well known, occurred in the later 1780s, when
he was apprenticed to his father, and is recorded by the Ashestiel
‘Memoir’ in a section probably written about 1810:
My desk usually contained a
store of the most miscellaneous volumes especially works of
fiction of every kind which were my supreme delight. … all
that was adventurous and romantic I devoured without much
discrimination and I really believe that I have read as much
nonsense of this class as any man now living.
Scott also mentions his subscription
to James Sibbald’s Edinburgh Circulating Library, and, though
the connection is not explicitly made, it is more than likely
that most of his novels were procured that way. A near
contemporary surviving Catalogue [1780–6] of Sibbald’s library,
indicates fiction holdings of approximately 20% from nearly
4,500 items, while appendices point to an accession rate of
some sixty novels annually in the mid-1780s.
This latter reflects an explosion in the production of new
fiction generally at this time, much of it by women authors,
with production doubling in 1785 and reaching new heights
near the end of the decade.
second period of involvement is less well recorded.
Its roots lay in a scheme for a collected edition of novelists,
first discussed between Scott and the publisher John Murray
at Ashestiel early in October 1808, aimed at replacing the
faded-looking Harrison’s Novelist’s Magazine (1780–8).
From the start it was envisaged that the set, in addition
to the main classics, should include in its later volumes
more modern works. Murray’s letter from London of 26
October, shortly after his return, includes under the heading
‘Novels for Consideration’ several titles from the later 1780s,
as well as some translated titles only just issued.
Scott in his letter of 30 October, which crossed with Murray’s,
pressed the case for the inclusion of material still in copyright;
and also requested that Murray send Hookham’s and Lane’s circulating
library catalogues so that he could survey the field.
On 17 November Murray was able to send the specified catalogues,
the same letter enclosing a list considerably extending the
agreed ‘additional’ titles, with works such as Charlotte Smith’s
Old Manor House (1793), Ann Radcliffe’s Romance
of the Forest (1791) and Mysteries of Udolpho (1794),
and Maria Edgeworth’s Belinda (1801)marked as a
group as ‘all Copy R[igh]t’.
Murray’s letters also show him sending copies of novels to
Scott by mail-coach, a procedure that probably accelerated
when the latter’s planned visit south was postponed.
In many ways, the situation parallels that of the 1780s, though
Scott’s own position changes from consumer to a potential
exploiter of the mode. Output of new fiction at this
time was booming, as Figure 1, based on the entries in the
forthcoming Novels bibliography, illustrates. In all
111 new titles are found with 1808 imprints, the largest figure
by far for the years surveyed.
1. Total Output of New Fiction, 1800–29
novels scheme continued into the new year, but then foundered
on the breakdown of relations between Murray and James and
John Ballantyne (Scotts printer and literary agent respectively),
and was finally pre-empted by the appearance of Anna Barbauld’s
fifty-volume British Novelists (1810). One survivor
from the wreck, I would suggest, however, is no less than
Waverley itself. Similarities between the first
chapter’s burlesque of novel modes and the Maturin review,
as well as other internal and bibliographical evidence, point
to an inception in 1808/9, rather than as Scott later implied
in 1805. The next clear sign of an engagement occurs
in early Autumn 1810, when sample chapters were sent to James
Ballantyne, and his brother John, newly established as a bookseller/publisher,
advertised Waverley as ‘in the press’.
Though the evidence again is ultimately unclear, it seems
likely that Scott, encouraged partly by the now evident popularity
of the ‘national tale’, went on to write the Highland incidents
in the story, before falling back on the more certain rewards
of another poem.
Scott’s own account is to be believed the unfinished manuscript
went into the attic at Abbotsford, and was forgotten, but
in reality, with an uncompleted novel on hand he most likely
kept a firm eye on the market. This would have been
facilitated through John Ballantyne’s association with Longman
& Co, for whom Ballantyne now served as Edinburgh agent.
Longmans were steady ‘middle-market’ producers of fiction
at this period, publishing between 1810 and 1814 some thirty
new titles, representing slightly less than 10% of output,
against a noticeably smaller base. By this stage the
house had built up a group of regular (mainly female) novelists,
such as Amelia Opie and the Porter sisters, on occasions paying
out advances as large as four or five hundred guineas.
As Figure 2 indicates, their list reflected a more general
pattern of female dominance in the period, with women novelists
accounting for more than 50% of production in six years between
1810–17, even allowing for a considerable gender-unknown component.
Female-authored novels outnumber those by males by two to
one in years 1810, 1812, 1813, 1814, and 1816, and are never
exceeded during the whole decade. As these figures suggest,
the Waverley novels first emerged at a time when male authorship
was at an unusually low ebb; though from 1820 the position
changes sharply, and by the later 1820s, no doubt partly because
of Scott’s influence, male novelists are dominant.
2. Gender, by Percentage, 1800–29
bibliographical entries below describe three novels, all by
women writers, which Scott might have come across in his second
main engagement with fiction, and where it is possible to
draw interesting parallels with the first phase of Waverley
fictions to 1819.
THE LOYALISTS: AN HISTORICAL NOVEL. BY THE AUTHOR OF LETTERS
TO A YOUNG MAN, A TALE OF THE TIMES, &C.
IN THREE VOLUMES.
London: Printed for Longman, Hurst, Rees, Orme, and Brown,
I 364p; II 307p; III 352p. 12mo. 21s (ECB, ER, QR).
ER 20: 501 (Nov 1812); QR 7: 471 (June 1812); WSW I: 557.
BRu ENC; ECB 631; NSTC W1348 (BI BL, C, O).
Notes: Further edns: 2nd edn. 1812 (Corvey), CME
3-628-48893-1; Boston 1813 (NUC).
SANTO SEBASTIANO: OR, THE YOUNG PROTECTOR. A NOVEL. IN FIVE
VOLUMES. BY THE AUTHOR OF THE ROMANCE OF THE PYRENÉES.
London: Printed for George Robinson, 25, Paternoster-Row,
I 418p; II 405p; III 416p; IV 422p; V 455p. 12mo. 30s (ECB,
ER 9: 500 (Jan 1807); WSW I: 233.
BL 12650.aaa.166; ECB 514; NSTC C4645 (BI E).
Notes: Colophon in vol. 1 reads: ‘T. Davison, Printer,
Whitefriars’, vol. 2, 3, and 4 read: ‘Printed by William
Ballintine, Duke-Street, York-buildings, Strand’, vol. 5
reads: ‘Printed by S. Hollingsworth, Crane-Court, Fleet-street’.
Further edns: 2nd edn. 1809 (NSTC); 3rd edn. 1814 (Corvey),
CME 3-628-48619-X; 4th edn. 1820 (NUC); 1847 (NSTC); Philadelphia
1813 (NUC). Published in penny numbers as The Heiress
of Montalvan; or, First and Second Love, W. Caffyn,
Oxford Street, London, 1845-6 (Summers).
COTTIN, [Sophie Ristaud];
MEEKE, [Mary] (trans.).
ELIZABETH; OR, THE EXILES OF SIBERIA. A TALE, FOUNDED ON
FACTS. ALTERED FROM THE FRENCH OF MADAME DE COTTIN, BY MRS.
London: Printed at the Minerva-Press, for Lane, Newman,
and Co. Leadenhall-Street, 1807.
vi, 237p. 12mo. 4s 6d (ER).
ER 10: 241 (Apr 1807), 10: 493 (July 1807).
CtY Hfd29.602m; xNSTC.
Notes: Trans. of Élisabeth, ou les exilés
de Sibérie (Paris, 1806). This story also appeared
with Meeke’s translation of Ducray-Duminil’s Julien;
or, My Father’s House (CME 3-628-48208-9), published
by the Minerva Press with the same year imprint. French
language version of this tale received a full review in
ER, 11: 448-62 (Jan 1808). ECB 138 lists 3rd edn. 1809,
Further edns: 1808 (NSTC C3815); 3rd edn. 1809 (NSTC); 1810
(NSTC); Dublin 1811 (NSTC); 1814 (NSTC); [at least 15 more
edns. to 1850]; Philadelphia 1808 (NUC).
The Loyalists: An Historical
Novel, by Mrs Jane West appeared in 1812, by which point
West was an established author, well known for a series of
conservative anti-Jacobin novels, all published by Longmans,
beginning with A Gossip’s Story (1796).
In this instance (her fifth novel) she makes a distinctive
shift in employing a historical setting, the English Civil
War. The story’s hero, Evellin, a loyal royalist, is
in reality Sir Allan Neville, heir to the Earldom of Bellingham,
who, on the advice of his treacherous brother-in-law, De Vallance,
has fled from London. Evellin finds a temporary haven
in Ribbesdale, Lancashire, where he eventually marries Isabel,
the sister of the staunchly Anglican divine Dr Beaumont.
A rival local admirer of Isabel had been the fainéant
Sir William Waverly [sic] of Waverly Park, ‘lord of
a vast demesne, but selfish, ignorant, scant of courtesy,
and proud of wealth’ (I, 36). With the onset of hostilities,
in spite of entreaties from the now Colonel Evellin, Sir William
hedges his bets, fearful of losing out. At last he throws
his hat in with Prince Rupert, but is then mortally wounded,
reportedly shot by his own son, who at his instigation had
joined the Cromwellian forces. Waverly Hall becomes
‘a complete ruin’:
A few of the meaner offices,
and a part of the walls, marked where the residence stood,
which once sheltered crafty selfishness. The park afforded
a temporary asylum to a gang of gipseys, whose cattle grazed
unmolested on the unclaimed demesne … (II, 179)
was not the first wavering Waverley to have appeared in a
novel: as Wilbur L. Cross’s article of 1902 indicates, the
most likely single source for Scott’s choice is Charlotte
Smith’s Desmond (1792).
The composition of the early chapters of Waverley at
least by 1810 also clearly precludes any possibility that
West’s novel influenced the inception of Scott’s work.
Yet there are a number of factors which might have guided
Scott to this title in the interim years before completiona similarity in subject to Rokeby (1813) is oneso it is perhaps not entirely vain to look for an element
of overlap in the later stages of Scott’s novel.
The dilapidation of West’s Waverly Hall matches in some ways
the devastation at Tully-Veolan in Waverley after the
suppression of the Jacobite rising, though Scott’s account
offers a bleaker and more generalised view of the downside
of civil discord. In both novels, too, the renovated
and re-possessed estate offers a symbol for a newly united
society. In West’s account, the inheritors are Evellin’s
daughter, Isabel, and her husband, the decent son of the dastardly
It was agreed to disuse the
dishonoured name of De Vallance, and adopt the endeared appellative
of Evellin, to which was annexed the title of Baronet.
Waverly-Park was now changed into Evellin-hall. An elegant
mansion was erected on the scite of the ruins … (III, 341)
is not beyond the bounds of possibility that West’s novel
left trace marks on a number of subsequent Waverley novels,
say The Tale of Old Mortality (1816). A single
instance must suffice here, however, to show how similar motifs
were manipulated by both authors, albeit ultimately in different
ways. One interesting feature of The Loyalists
is the way in which the anagram Evellin is employed to mask
the identity of Sir Allan Neville, finally persisting to the
extent that it serves to re-name an estate. In Scott’s
third novel, The Antiquary (1816), the unknown Lovel
first emerges from his chrysalis as Major Neville, and then
is revealed to be the son of Eveline, the deceased wife of
Earl of Glenallan. Scott’s relish in the word play involved
is apparent in the following exchange:
But whowho is he? continued
Lord Glenallan, holding the Antiquary with a convulsive
Formerly I would have called him Lovel,
but now he turns out to be Major Neville.
Whom my brother brought up as his
natural sonwhom he made his heirGracious Heaven! the
child of my Eveline!
In this instance, however, the
disclosure of disguises leads more directly and obtrusively
to the restoration of male lineage.
second novel first came to my attention indirectly, and at
first hardly seemed worth following as a lead. In his
Recollections of Sir Walter Scott (1837), R. P. Gillies
recalls a visit by Scott circa 1813 to his private library
when Scott ‘wished to find out a now-forgotten novel, entitled
Santo Sebastiano .
Santo Sebastiano: Or, the Young Protector, an anonymous
work by Catherine Cuthbertson, was first published in 1806,
and rapidly became one of the most popular novels of its time.
Cuthbertson’s output was widely advertised in front-page adverts
in both the London and Edinburgh, and between 1810–14 she
stood at the height of her (anonymous) fame. Notwithstanding
its unwieldy look, Santo Sebastiano is still immensely
readable, filled as it is with interesting characters and
dramatic incidents, and marked by sharp social satire.
Its orphan heroine, Julia de Clifford, not unexpectedly considering
the commonness of such denouements, turns out to be a rich
heiress, as the granddaughter of the Duke of Avondale.
Nevertheless in constructing the plot Cuthbertson shows unusual
skill, in holding together two main components: present events
in England and past events which have already taken place
abroad, the revelation of the latter eventually disclosing
the mystery of identity. One interesting effect is the
way in which the unknown and alien unexpectedly intrude into
the domestic present. An incident of this kind takes
place when Julia, walking on the Dorsetshire seashore, is
almost kidnapped by seamen:
one of the men instantly sprung
from the boat, and, fleet as the wind, almost instantaneously
seized her in his arms, and was bearing her, struggling, shrieking,
to the boat; when two gentlemen, on horseback, with attendants,
came at full speed down the path-way, and presenting pistols
at the man who held Julia, he let her drop, deprived of senses,
upon the sands; and taking to the boat, again, he, with his
companions, got off to the cutter, which immediately stood
out to sea. (II, 189–90)
a whole the novel throws up a number of parallels with Guy
Mannering (1815), Scott’s second novel, which in the course
of composition Scott himself described as ‘a tale of private
life only varied by the perilous exploits of smugglers and
Just as in the above seashore incident one might sense the
seeds of the kidnapping of the young Henry Bertram, which
ends the first narrative phase in Guy, so another attempt
on Julia de Clifford’s life, a sudden and abortive shooting,
brings to mind the wounding of young Hazelwood by the newly-returned
Bertram (consecutive Ch. 31). The saviour of Cuthbertson’s
heroine is her secret protector and eventual husband:
Lord St. Orville, encircling
our heroine’s waist with his left arm, pressed her with convulsive
eagerness to his breast, to shield her from threatened destruction;
and with his right hand grasped at a pistol, directed to her
heart; but as, with almost frensied rapidity, he turned the
muzzle from her, he received the contents of the dreadful
weapon in his side. (III, 302)
At this point one approaches
a level of difference. Scott’s account is given through
the eyes of Julia Mannering, herself an avid reader of novels
and something of a self-dramatist. One might also point
to broader re-orientations, such as Scott’s masculinisation
of the familiar trope in women’s fiction of the rediscovered
heiress. Whereas the Julia de Clifford’s social position
remains painfully uncertain for the bulk of Cuthbertson’s
novel, in Guy, with the past disruptions already mostly
laid out, there is little doubt who Brown really is when he
purposefully first strides into novel. Already it could
argued Scott is found actively ‘recycling’ female forms of
fiction into heartier and more profitable male equivalents.
last title for consideration is Sophie Cottin’s short tale,
Elizabeth; or, the Exiles of Siberia, first published
in French in 1806, which includes a number of parallels with
Scott’s The Heart of Mid-Lothian (1818). Cottin’s
‘Elizabeth’ was one of the most recent works to be considered
for inclusion in Murray and Scott’s projected edition of novelsas a foreign work it was not subject to the rules of copyright
and hence freely available. It was first published in
English in a translation by Mary Meeke, packaged in 1807 by
the Minerva Press both as a single volume and as a makeweight
in another work translated by Meeke (see ‘Notes’ field in
Entry listed above). Mrs Meeke, at that point, was one
of the Minerva’s most popular and successful authors.
Indeed, between 1796 and 1823 she was responsible for no less
twenty-five original works of fiction in ninety-three volumes,
making her unquestionably the most prolific novelist of the
Romantic era, outmatching incidentally Scott’s own twenty-three
novels in seventy-five volumes.
Elizabeth itself rapidly gained a reputation as a classic
moral tale, and was frequently reprinted both in Meeke’s and
other translations. In fact, no other work included
in the forthcoming Novels Bibliography, for the years 1800–29,
received more further editions to a cut-off point in 1850at least twenty to that date. This figure excludes
versions in French, which were also much in use as an educational
tool, as combining language tuition with homiletic instruction.
planning with the Heart of Mid-Lothian a novel that
would highlight Presbyterian virtues, it is not impossible
that Scott’s mind hit on this classic pietistic story, itself
by now more exclusively marketed as a text for ‘young persons’.
Certainly the similarities between the two plots are striking.
In Elizabeth, the heroine makes a long trip on foot
to plead on behalf of her exiled parents, finally gaining
a pardon through a direct appeal to the Emperor in Moscow.
In the Heart, Jeanie Deans’s journey to London likewise
culminates in a similar appeal to the Crown, in the person
of Queen Caroline. There are also some interesting overlaps
in the specifics of both narratives. Cottin’s Elizabeth
enlists the support of an admirer, Smoloff, the governor’s
son, while planning her journey, confiding in him first, though
eventually her parents are told before she sets off.
Jeanie leaves without telling her father, but the gap is filled
by her admirer and confidant, Butler, who sends a letter
to Davie Deans. Both heroines are waylaid by robbers,
but are guarded by a firm faith. Just as Jeanie resides
in London with Mrs Glass, Elizabeth after arriving in Moscow
receives protection from an innkeeper and his wife.
Whereas the Duke of Argyle accompanies Jeanie at her interview
with Caroline, in Elizabeth Smoloff, who is found in
attendance on the Emperor, performs a similar function.
there is an essential difference, it lies in Scott’s application
of the story. Elizabeth’s journey serves as an illustration
of filial devotion and piety, Jeanie’s provides a model through
which Scott can explore the issue of Anglo-Scottish relations
after the Union. An initially private concern is thus
made obtrusively public in its bearing, encouraging assessments
such as Monthly Review’s that the author had ‘raise[d]
himself from the general mass of novelists to sit on the same
bench with the annalists of his country’.
Noticeably less effusive was the reviewer in Blackwood’s
Magazine, almost certainly the veteran Henry Mackenzie,
who noted a number of specifically literary prototypes,
including for Jeanie’s character and journey ‘the French story
of Elizabeth ’.
new then was Waverley? Very new according to
Henry Cockburn: ‘The unexpected newness of the thing, the
profusion of original characters, the Scotch language, Scotch
scenery, Scotch men and women, the simplicity of the writing,
and the graphic force of the descriptions, all struck us with
an electric shock of delight.’
Cockburn’s most emphatic word noticeably is ‘Scotch’, yet
even here there is room for further reappraisal, notwithstanding
recent manoeuvres involving the ‘national’ tale. No
space as yet has been found in literary history for such works
as Caledonia; or, the Stranger in Scotland: A National
Tale (4 vols, 1810; CME 3-628-48270-4), written under
the pseudonym of Kate Montalbion, but probably by Catherine
Bayley, Sarah Wigley’s Glencarron: A Scottish Tale
(3 vols, 1811; CME 3-628-48921-0), and the sequence of titles
by Honoria Scott (herself possibly identifiable as Mrs Susan
Fraser), which includes The Vale of Clyde: A Tale (2
vols, 1810; CME 3-628-48543-6), A Winter in Edinburgh
(3 vols, 1810; CME 3-628-48544-4), and Strathmay: Or Scenes
in the North, Illustrative of Scottish Manners (2 vols,
1813). Our comparative lack of knowledge of such authors
and their titles, now made more accessible through Corvey,
indicates that still more excavation is needed in certain
domains of the novel.
term ‘common’ was used by J. B. S. Morritt, in a letter to
Scott of 14 July 1814, shortly after his having received a
presentation copy of Waverley: ‘Your manner of narrating
is so different from the slipshod sauntering verbiage of common
novels … that it cannot, I think, fail to strike anybody who
knows what stile is, though amongst the gentle class of readers
who swallow every blue-backed book in a circulating library
for the sake of the story, I should fear that half the knowledge
of nature it contains and all the real Humour would be thrown
away’ (The Private Letter-Books of Sir Walter Scott,
edited by William Partington (London, 1930), p. 111).
Notwithstanding the hugely condescending (and sexist) spin
given to the term by Morritt here, ‘common’ arguably offers
a more apt term than ‘popular’ to describe the more general
output of fiction in this period, before the advent of a mass
Review 3: 6 (May 1810), 339–47.
my own article, ‘Popular Fiction and National Tale: Hidden
Origins of Scott’s Waverley’, Nineteenth-Century
Literature 46: 1 (1991), 30–53. More recent reappraisals
include: Katie Trumpener, ‘National Character, Nationalist
Plots: National Tale and Historical Novel in the Age of Waverley,
1806–1830’, ELH 60 (1993), 685–731; Ina Ferris, ‘Translation
from the Borders: Encounter and Recalcitrance in Waverley
and Clan-Albin’, Eighteenth-Century Fiction
9: 2 (Jan 1997), 203–22; and Ian Dennis, Nationalism and
Desire in Early Historical Fiction (Basingstoke: Macmillan,
1997), especially Chs. 1 and 2.
University Press: general editors Peter Garside, James Raven,
and Rainer Schöwerling. Volume 2 is edited by Peter
Garside and Rainer Schöwerling, with the assistance of
Christopher Skelton-Foord and Karin Wünsche. Tables
and figures for this volume were prepared with the help of
on Himself, ed. David Hewitt (Edinburgh: Scottish Academic
Press, 1981), p. 32.
New Catalogue of the Edinburgh Circulating Library: Containing
Twenty Thousand Volumes (Edinburgh, ; with appendices
of ‘New Books’ to 1786), surviving copy in National Library
of Scotland [henceforth NLS].
MS 3877, ff. 170–1.
Letters of Sir Walter Scott, ed. H. J. C. Grierson (London
1932–7; 12 vols), II, 114–15. The Minerva Library founded
by William Lane, in Leadenhall Street, and Thomas Hookham’s
fashionable West End library, in Old Bond Street, were probably
the two best-known London circulating libraries of the period,
and had extensive stocks of fiction.
MS 3877, ff. 2045; MS 910, f. 37.
For details concerning
this phase of activity, and other related evidence, see Claire
Lamont’s Introduction to the Clarendon Press edition of Waverley
(Oxford, 1981), pp. xxiii–xxv; also my own article, ‘Dating
Waverley’s Early Chapters’, The Bibliotheck
13: 3 (1986), 61–81.
Quotations below are taken
from the copy of the first edition held in the Bristol University
Library Early Novels Collection, with references being given
in parenthesis within the main text. The Corvey library
holds a copy of the second edition, also published in 1812
(Corvey Microfiche Edition [CME] 3-628-48893-1).
See ‘An Earlier Waverley’, Modern Language
Notes 17: 2 (Feb 1902), 88–90.
Antiquary, ed. David Hewitt (Edinburgh, 1995; Edinburgh
Edition of the Waverley Novels 3), p. 352.
of Sir Walter Scott, Bart. (London, 1837), p. 197.
are from the first edition, with references given in parenthesis
in the main text. The Corvey copy (CME 3-628-48619-X)
is a third edition of 1814, published by a consortium of booksellers,
consisting of Robinsons (the original publishers), Longmans,
Cradock & Joy, and A. K. Newman of the Minerva Press.
a letter to J. B. S. Morritt, 19 Jan 1815 (Letters of Scott,
ed. Grierson, IV, 13).
balance shifts more fully in Meeke’s favour if four translations
of fiction (in thirteen volumes) are also counted.
Review of Tales of
My Landlord, 2nd series [i.e. The Heart of Mid-Lothian],
Monthly Review, n.s. 87 (Dec 1818), 362.
Edinburgh Magazine 3: 17 (Aug 1818), 569.
Memorials of His Time
(Edinburgh, 1856), p. 281.
This article is copyright © 1999 Centre
for Editorial and Intertextual Research, and is the result
of the independent labour of the scholar or scholars credited
with authorship. The material contained in this
document may be freely distributed, as long as the origin
of information used has been properly credited in the appropriate
manner (e.g. through bibliographic citation, etc.).
Thanks are due
to the trustees of the National Library of Scotland for permission
to cite manuscript materials in the library's care in this
is a revised version of a paper originally presented at the
6th Quadrennial Meeting of the International Scott Conference,
Scott, Scotland and Romanticism held at the University
of Oregon, Eugene, on 2125 July 1999.
TO THIS ARTICLE
P. D. GARSIDE. Walter Scott and the
Novel, 1808-1819, Cardiff Corvey: Reading the Romantic
Text 3 (September 1999). Online: Internet (date accessed):
Peter Garside (MA Cantab., PhD Cantab., AM
Harvard) is Professor of English Literature at Cardiff University
and Chair of the Centre for Editorial and Intertextual Research. As
well as specialising in Romantic and Augustan literature,
he has recently completed work on a Bibliographical Survey
of Prose Fiction Published in the British Isles (with
James Raven and Rainer Schöwerling; OUP forthcoming),
and is currently editing James Hoggs Private Memoirs
and Confessions of a Justified Sinner.
His other involvements include
participation in the advisory board of the Edinburgh Edition
of the Waverley Novels (from 1985) and the Stirling/South
Carolina Edition of the Collected Works of James Hogg (from
1991), as well as editing for both projects. He
has published widely in the field of Scottish fiction, publishing
history, and Romantic literature, and recent publications
relevant to fiction of the Romantic period include a chapter
on Romantic Gothic, in Literature of the Romantic
Period, ed. Michael ONeill (Oxford, 1998), pp. 31540.
Last modified 10 September
This document is maintained by Anthony Mandal (Mandal@cf.ac.uk).