From the Inside Flap
Hailed by Victor Hugo as 'the real epic of our age,' Ivanhoe was an immensely popular bestseller when first published in 1819. The book inspired literary imitations as well as paintings, dramatizations, and even operas. Now Sir Walter Scott's sweeping romance of medieval England has prompted a lavish new television production.

In the twelfth century, Sir Wilfred of Ivanhoe returns home to England from the Third Crusade to claim his inheritance and the love of the lady Rowena. The heroic adventures of this noble Saxon knight involve him in the struggle between Richard the Lion-Hearted and his malignant brother John: a conflict that brings Ivanhoe into alliance with the mysterious outlaw Robin Hood and his legendary fight for the forces of good.

'Scott's characters, like Shakespeare's and Jane Austen's, have the seed of life in them,' observed Virginia Woolf. 'The emotions in which Scott excels are not those of human beings pitted against other human beings, but of man pitted against Nature, of man in relation to fate. His romance is the romance of hunted men hiding in woods at night; of brigs standing out to sea; of waves breaking in the moonlight; of solitary sands and distant horsemen; of violence and suspense.' For Henry James, 'Scott was a born storyteller. . . . Since Shakespeare, no writer has created so immense a gallery of portraits.'


About the Author
Sir Walter Scott, the Scotsman who is often credited with inventing the historical novel and who became the most popular author of his day, was born in Edinburgh on August 15, 1771, into a prosperous middle-class family. He was the fourth surviving child of Walter Scott, a staunchly Presbyterian solicitor, and Anne Rutherford, the well-educated daughter of a professor of medicine. Crippled by polio when he was eighteen months old, Scott spent his early childhood convalescing in the Border country southeast of Edinburgh and became fascinated by folklore of the region. At the age of twelve he entered the high school of Edinburgh to study Latin, Greek, and logic; afterward he pursued courses in law and philosophy. Following a five-year apprenticeship in his father's law office, Scott was admitted to the bar in 1792. Five years later he married Charlotte Charpentier, the daughter of a French royalist refugee; they had four children. In 1799 he was named sheriff-depute for the county of Selkirk, and in 1806 he be came a clerk of the Court of Session, two appointments he retained for life.

Scott's literary career dates from 1802, when he published The Minstrelsy of the Scottish Border, a collection of ballads that had never before appeared in print. The book's popularity prompted him to attempt an original work based on Scottish themes, and in 1805 he brought out The Lay of the Last Minstrel, a narrative poem of love, war, and sorcery that, in his words, was 'intended to illustrate the customs and manners which anciently prevailed on the Borders of England and Scotland.' The Lay was an immediate success, and Scott secured fame with two more best-selling 'metrical romances': Marmion (1808) and The Lady of the Lake (1810). Yet in 1813 he declined the offer of Poet Laureatship. A versatile man of letters, Scott also edited The Works of John Dryden (1808) and The Works of Jonathan Swift (1814), two volumes that incorporated biography as a formal component of modern textual scholarship. He also contributed influential essays to the Edinburgh Review and helped found the Tory Quarterly Review.

As the vogue for his poetry waned, Scott turned to other literary forms. Eager to retain both his audience and large income, he hastily revised the draft of an abandoned prose romance and shaped it into the first historical novel. Waverley, Scott's tale of an Englishman who travels to the Scottish Highlands and becomes involved in the Jacobite rebellion of 1745, proved an overnight sensation when it was published anonymously in 1814. The success of Waverley was such that the author's identity soon became common knowledge. Its popularity in England prompted a humorous complaint from Jane Austen: 'Walter Scott has no business to write novels, especially good ones--It is not fair. He has fame and profit enough as a poet and should not be taking the bread out of other people's mouths. I do not mean to like Waverley if I can help it--but I fear I must.'

Over the next eighteen years Scott turned out some two dozen 'Waverley' novels. These so-called 'Scottish novels,' which are now widely considered to be his best work, deal with significant events in that nation's transition from feudalism to modern times. Among the most enduring are Guy Mannering (1815), The Antiquary (1816), The Black Dwarf (1816), Old Mortality (1816), Rob Roy (1818), The Heart of Midlothian (1818), The Bride of Lammermoor (1819), and Redgauntlet (1824). A second series of novels, including Ivanhoe (1819) and Quentin Durward (1823), are concerned with medieval history in England and Europe. A final group, notably Kenilworth (1821) and Woodstock (1826), focus on the Tudor - Stuart era in England.

In recognition of his literary achievements, Scott was awarded a baronetcy in 1818, and the enormous profits realized from his books enabled him to maintain a lavish country estate at Abbotsford. But the financial crash of 1826 forced Scott and his publishing partner James Ballantyne heavily into debt. Refusing to declare bankruptcy Scott labored endlessly to pay off creditors, though his personal liability was roughly ú130,000. He published The Life of Napoleon Buonaparte (1827), a nine-volume work that included a full history of the French Revolution; in 1828 he began preparing a 'Magnum Opus' edition of his works. In addition he turned out four last novels: The Fair Maid of Perth (1828), Anne of Geierstein (1829), Count Robert of Paris (1832), and Castle Dangerous (1832). Sir Walter Scott died at Abbotsford on September 21, 1832, and was buried at Dryburgh Abbey.


Excerpt. © Reprinted by permission. All rights reserved.
In that pleasant district of merry England which is watered by the river Don, there extended in ancient times a large forest, covering the greater part of the beautiful hills and valleys which lie between Sheffield and the pleasant town of Doncaster. The remains of this extensive wood are still to be seen at the noble seats of Wentworth, of Wharncliffe Park, and around Rotherham. Here haunted of yore the fabulous Dragon of Wantley; here were fought many of the most desperate battles during the Civil Wars of the Roses; and here also flourished in ancient times those bands of gallant outlaws whose deeds have been rendered so popular in English song.

Such being our chief scene, the date of our story refers to a period towards the end of the reign of Richard I., when his return from his long captivity had become an event rather wished than hoped for by his despairing subjects, who were in the meantime subjected to every species of subordinate oppression. The nobles, whose power had become exorbitant during the reign of Stephen, and whom the prudence of Henry the Second had scarce reduced into some degree of subjection to the crown, had now resumed their ancient license in its utmost extent; despising the feeble interference of the English Council of State, fortifying their castles, increasing the number of their dependants, reducing all around them to a state of vassalage, and striving by every means in their power to place themselves each at the head of such forces as might enable him to make a figure in the national convulsions which appeared to be impending.

The situation of the inferior gentry, or franklins, as they were called, who, by the law and spirit of the English constitution, were entitled to hold themselves independent of feudal tyranny, became now unusually precarious. If, as was most generally the case, they placed themselves under the protection of any of the petty kings in their vicinity, accepted of feudal offices in his household, or bound themselves, by mutual treaties of alliance and protection, to support him in his enterprises, they might indeed purchase temporary repose; but it must be with the sacrifice of that independence which was so dear to every English bosom, and at the certain hazard of being involved as a party in whatever rash expedition the ambition of their protector might lead him to undertake. On the other hand, such and so multiplied were the means of vexation and oppression possessed by the great barons, that they never wanted the pretext, and seldom the will, to harass and pursue, even to the very edge of destruction, any of their less powerful neighbours who attempted to separate themselves from their authority, and to trust for their protection, during the dangers of the times, to their own inoffensive conduct and to the laws of the land.

A circumstance which greatly tended to enhance the tyranny of the nobility and the sufferings of the inferior classes arose from the consequences of the Conquest by Duke William of Normandy. Four generations had not sufficed to blend the hostile blood of the Normans and Anglo-Saxons, or to unite, by common language and mutual interests, two hostile races, one of which still felt the elation of triumph, while the other groaned under all the consequences of defeat. The power had been completely placed in the hands of the Norman nobility by the event of the battle of Hastings, and it had been used, as our histories assure us, with no moderate hand. The whole race of Saxon princes and nobles had been extirpated or disinherited, with few or no exceptions; nor were the numbers great who possessed land in the country of their fathers, even as proprietors of the second or of yet inferior classes. The royal policy had long been to weaken, by every means, legal or illegal, the strength of a part of the population which was justly considered as nourishing the most inveterate antipathy to their victor. All the monarchs of the Norman race had shown the most marked predilection for their Norman subjects; the laws of the chase, and many others, equally unknown to the milder and more free spirit of the Saxon constitution, had been fixed upon the necks of the subjugated inhabitants, to add weight, as it were, to the feudal chains with which they were loaded. At court, and in the castles of the great nobles, where the pomp and state of a court was emulated, Norman-French was the only language employed; in courts of law, the pleadings and judgments were delivered in the same tongue. In short, French was the language of honour, of chivalry, and even of justice, while the far more manly and expressive Anglo-Saxon was abandoned to the use of rustics and hinds, who knew no other. Still, however, the necessary intercourse between the lords of the soil, and those oppressed inferior beings by whom that soil was cultivated, occasioned the gradual formation of a dialect, compounded betwixt the French and the Anglo-Saxon, in which they could render themselves mutually intelligible to each other; and from this necessity arose by degrees the structure of our present English language, in which the speech of the victors and the vanquished have been so happily blended together; and which has since been so richly improved by importations from the classical languages, and from those spoken by the southern nations of Europe.

This state of things I have thought it necessary to premise for the information of the general reader, who might be apt to forget that, although no great historical events, such as war or insurrection, mark the existence of the Anglo-Saxons as a separate people subsequent to the reign of William the Second, yet the great national distinctions betwixt them and their conquerors, the recollection of what they had formerly been, and to what they were now reduced, continued, down to the reign of Edward the Third, to keep open the wounds which the Conquest had inflicted, and to maintain a line of separation betwixt the descendants of the victor Normans and the vanquished Saxons.

--

The sun was setting upon one of the rich grassy glades of that forest which we have mentioned in the beginning of the chapter. Hundreds of broad-headed, short-stemmed, wide-branched oaks, which had witnessed perhaps the stately march of the Roman soldiery, flung their gnarled arms over a thick carpet of the most delicious green sward; in some places they were intermingled with beeches, hollies, and copsewood of various descriptions, so closely as totally to intercept the level beams of the sinking sun; in others they receded from each other, forming those long sweeping vistas in the intricacy of which the eye delights to lose itself, while imagination considers them as the paths to yet wilder scenes of silvan solitude. Here the red rays of the sun shot a broken and discoloured light, that partially hung upon the shattered boughs and mossy trunks of the trees, and there they illuminated in brilliant patches the portions of turf to which they made their way. A considerable open space, in the midst of this glade, seemed formerly to have been dedicated to the rites of Druidical superstition; for, on the summit of a hillock, so regular as to seem artificial, there still remained part of a circle of rough, unhewn stones, of large dimensions, Seven stood upright; the rest had been dislodged from their places, probably by the zeal of some convert to Christianity, and lay, some prostate near their former site, and others on the side of the hill. One large stone only had found its way to the bottom, and, in stopping the course of a small brook which glided smoothly round the foot of the eminence, gave, by its opposition, a feeble voice of murmur to the placid and elsewhere silent streamlet.

The human figures which completed this landscape were in number two, partaking, in their dress and appearance, of that wild and rustic character which belonged to the woodlands of the West Riding of Yorkshire at that early period. The eldest of these men had a stern, savage, and wild aspect. His garment was of the simplest form imaginable, being a close jacket with sleeves, composed of the tanned skin of some animal, on which the hair had been originally left, but which had been worn off in so many places that it would have been difficult to distinguish, from the patches that remained, to what creature the fur had belonged. This primeval vestment reached from the throat to the knees, and served at once all the usual purposes of body-clothing; there was no wider opening at the collar than was necessary to admit the passage of the head, from which it may be inferred that it was put on by slipping it over the head and shoulders, in the manner of a modern shirt, or ancient hauberk. Sandals, bound with thongs made of boar's hide, protected the feet, and a roll of thin leather was twined artificially round the legs, and, ascending above the calf, left the knees bare, like those of a Scottish Highlander. To make the jacket sit yet more close to the body, it was gathered at the middle by a broad leathern belt, secured by a brass buckle; to one side of which was attached a sort of scrip, and to the other a ram's horn, accoutred with a mouthpiece, for the purpose of blowing. In the same belt was stuck one of those long, broad, sharp-pointed, and two-edged knives, with a buck's-horn handle, which were fabricated in the neighbourhood, and bore even at this early period the name of a Sheffield whittle. The man had no covering upon his head, which was only defended by his own thick hair, matted and twisted together, and scorched by the influence of the sun into a rusty dark-red colour, forming a contrast with the overgrown beard upon his cheeks, which was rather of a yellow or amber hue. One part of his dress only remains, but it is too remarkable to be suppressed; it was a brass ring, resembling a dog's collar, but without any opening, and soldered fast round his neck, so loose as to form no impediment to his breathing, yet so tight as to be incapable of being removed, excepting by the use of the file. On this singular gorget was engraved, in Saxon characters, an inscription of the following purport: 'Gurth, the son of Beowulph, is the born thrall of Cedric of Rotherwood.'

Beside the swineherd, for such was Gurth's occupation, was seated, upon one of the fallen Druidical monuments, a person about ten years younger in appearance, and whose dress, though resembling his companion's in form, was of better materials, and of a more fantastic description. His jacket had been stained of a bright purple hue, upon which there had been some attempt to paint grotesque ornaments in different colours. To the jacket he added a short cloak, which scarcely reached half-way down his thigh; it was of crimson cloth, though a good deal soiled, lined with bright yellow; and as he could transfer it from one shoulder to the other, or at his pleasure draw it all around him, its width, contrasted with its want of longitude, formed a fantastic piece of drapery. He had thin silver bracelets upon his arms, and on his neck a collar of the same metal, bearing the inscription, 'Wamba, the son of Witless, is the thrall of Cedric of Rotherwood.' This personage had the same sort of sandals with his companion, but instead of the roll of leather thong, his legs were cased in a sort of gaiters, of which one was red and the other yellow. He was provided also with a cap, having around it more than one bell, about the size of those attached to hawks, which jingled as he turned his head to one side or other; and as he seldom remained a minute in the same posture, the sound might be considered as incessant. Around the edge of this cap was a stiff bandeau of leather, cut at the top into open work, resembling a coronet, while a prolonged bag arose from within it, and fell down on one shoulder like an old-fashioned nightcap, or a jelly-bag, or the head-gear of a modern hussar. It was to this part of the cap that the bells were attached; which circumstance, as well as the shape of his head-dress, and his own half-crazed, half-cunning expression of countenance, sufficiently pointed him out as belonging to the race of domestic clowns or jesters, maintained in the houses of the wealthy, to help away the tedium of those lingering hours which they were obliged to spend within doors. He bore, like his companion, a scrip attached to his belt, but had neither horn nor knife, being probably considered as belonging to a class whom it is esteemed dangerous to entrust with edge tools. In place of these, he was equipped with a sword of lath, resembling that with which harlequin operates his wonders upon the modern stage.
The outward appearance of these two men formed scarce a stronger contrast than their look and demeanour. That of the serf, or bondsman, was sad and sullen; his aspect was bent on the ground with an air of deep dejection, which might be almost construed into apathy, had not the fire which occasionally sparkled in his red eye manifested that there slumbered, under the appearance of sullen despondency, a sense of oppression, and a disposition to resistance. The looks of Wamba, on the other hand, indicated, as usual with his class, a sort of vacant curiosity, and fidgety impatience of any posture of repose, together with the utmost self-satisfaction respecting his own situation and the appearance which he made. The dialogue which they maintained between them was carried on in Anglo-Saxon, which, as we said before, was universally spoken by the inferior classes, excepting the Norman soldiers and the immediate personal dependants of the great feudal nobles. But to give their conversation in the original would convey but little information to the modern reader, for whose benefit we beg to offer the following translation:

'The curse of St. Withold upon these infernal porkers!' said the swineherd, after blowing his horn obstreperously, to collect together the scattered herd of swine, which, answering his call with notes equally melodious, made, however, no haste to remove themselves from the luxurious banquet of beechmast and acorns on which they had fattened, or to forsake the marshy banks of the rivulet, where several of them, half-plunged in mud, lay stretched at their ease, altogether regardless of the voice of their keeper. 'The curse of St. Withold upon them and upon me!' said Gurth; 'If the two-legged wolf snap not up some of them ere nightfall, I am no true man. Here, Fangs! Fangs!' he ejaculated at the top of his voice to a ragged, wolfish-looking dog, a sort of lurcher, half mastiff, half greyhound, which ran limping about as if with the purpose of seconding his master in collecting the refractory grunters; but which, in fact, from misapprehension of the swineherd's signals, ignorance of his own duty, or malice prepense, only drove them hither and thither, and increased the evil which he seemed to design to remedy. 'A devil draw the teeth of him,' said Gurth, 'and the mother of mischief confound the ranger of the forest, that cuts the fore-claws off our dogs, and makes them unfit for their trade! Wamba, up and help me an thou beest a man; take a turn round the back o' the hill to gain the wind on them; and when thou'st got the weather-gage, thou mayst drive them before thee as gently as so many

FROM THE PUBLISHER

At the dawn of the Middle Ages, a gripping tale of chivalry and suspense emerges. Two distinguished knights — one Saxon, one Norman — have returned from the Crusades. Though they fought on the same side, they now have a score to settle. What begins as a joust between two rivals quickly escalates into clanwide mayhem and a fast-paced series of battles for revenge, honor, and love.Sir Walter Scott's Ivanhoe was one of the first great historical novels of western literature. At last, this extraordinary work has been brought to life as a lavishly illustrated storybook. Marianna Mayer's inspired adaptation combined with magnificent oil paintings by John Rush create an essential introduction to the classic. This exquisitely designed page-turning volume is perfect for anyone with a passion for adventure.

Author Biography: Marianna Mayer has written many distinguished books for children, including The Twelve Dancing Princesses, The Unicorn and the Lake, and Young Jesus of Nazareth. She lives in Connecticut. John Rush is an award-winning artist whose work has appeared in galleries, on book covers, and in major magazines. He lives in Illinois.

SYNOPSIS

Ivanhoe was the first of Scott's novels to take place in the middle ages but it is far from being the fantastic, medievalist romance associated (in the critical imagination) with a visionary Britain that never was. This is the first novel in English to deal seriously with issues of race. At the same time, it provides an exciting read to

FROM THE CRITICS

AudioFile

Christopher Lee and Peter Cushing were the Karloff and Lugosi of the British horror film revival of the '60s. Cushing went on to better things, but Lee's breakout never quite. . .broke out. Here, narrating an abridged version of Scott's classic chivalric romance, he demonstrates one possible reason. Despite his sonorous voice, elegant accent, and spot-on characterizations, he never fully engages with the material or the listener. The abridger could have helped him also by less drastically emasculating the derring-do. Y.R. © AudioFile 2005, Portland, Maine

WHAT PEOPLE ARE SAYING

Walter Scott is out and away the king of the romantics. — Jonathan Lyons