A Tangled Web

On the 21st September, 1832 the Scottish poet, historian and novelist Sir Walter Scott died. His personal reputation was mixed, owing to his allegiance with the Union and his political sympathies for the Tory party. In the eyes of his ideological allies he was a hero for championing the United Kingdom as a political and cultural entity, but his detractors dismissed him as a traitor, for repudiating the noble cause of Scottish independence.

His artistic legacy, however, remains assured. He created a distinctly Scottish literary culture which continues to be celebrated. Scott’s contribution to the canon has been incalculable. He is considered by many literary critics to be the inventor of the “historical novel”, and his example influenced the work of other distinguished novelists of the genre such as Georgette Heyer.

The literature of the British Isles is characterised by the conflation of myth with history. Poets and playwrights have always found inspiration in legendary figures like King Arthur, but Scott was the first to portray, and romanticise these characters in the novel form. One example is the 1819 novel “Ivanhoe”, a fictional depiction of medieval England under the Norman yoke. The eponymous hero, Sir Wilfred Ivanhoe is a Saxon, disinherited by his father for pledging allegiance to the Norman King Richard I. His betrayal is doubly painful as he is betrothed to Lady Rowena, a descendant of Saxon nobility.

The princess was originally promised to wed Lord Athelstane, a pretender to the English throne due to his ancestral connection to the last Saxon King Harold Godwinson. Ivanhoe is persuaded by the King to accompany him to fight in the Third Crusade. His conduct in battle is courageous and exemplary and he ultimately wins over the hearts and minds of his enemies.

Scott had similar sensibilities to other artists and writers of the period, who looked fondly back to the medieval times. In contrast to the cynicism and scepticism of the nineteenth century, this vision of the past was definitive and constant. It was a unified society founded upon solid religious and cultural principles.

This characteristically conservative rendition of British history was not universally admired or even accepted. His critics were extremely literal minded and misunderstood the purpose of his work, and were dismayed that he chose to romanticise the past. It seemed that his fellow compatriots were far more content to write tales of grievance, and exaggerated or mythologised the perennial battles between the native Scots and the English usurpers.

Scott was resolute about his work and refused to write bombastic, Anglophobic propaganda. It was tempting to write formulaic pieces for monetary gain, but it would belie his principles. He did not want to degrade himself, and he had enough acuity to see that these were simply vain attempts to undermine the Union. When partisan causes like these infiltrate literature, the art form dies. It is lazy, and shallow to write purely on the basis of a set of caricatures. It also reveals a lack of imagination.

However, caricature itself has a function in literature, but not at the exclusion of other elements. Caricature engenders familiarity, and helps to illustrate a general theme for the purpose of allegory. It has a benign use, but when it is crudely applied for the purpose of propaganda the intention is overtly malign. The reader is compelled to believe that the caricature is literal rather than figurative, and that the narrative is actual truth rather than mere allegory.

Scott reinterpreted the story of “Rob Roy” as an affectionate tribute. He did not wield the legend of a proud warrior as a stick to beat the English, but to honour and reaffirm the courage and resilience of the Scottish people. Scott was in the vanguard of a Romantic literary tradition, a movement of writers and artists who sought to arouse strong feelings in an age of increasing materialism.

The materialists were adamantly opposed to the concept of tradition. They proposed that modernity and futurism should supplant the old ideas. However romanticism was a visceral reaction to the amorality of these rationalists who emerged in the years of revolution. These uncompromising radicals and reactionaries sought to tear down the foundations of European civilisation. Their ultimate aim was to cleanse humanity, divest it from every challenge and erase every difficulty. Science was considered to be the solution for everything that stifled human progress.

His appeal to sentiment in the face of cold reason was timely, as chaos rapidly unfolded across Europe. This hollow eyed mechanistic philosophy only served to deaden the imagination. Scott knew that a continent cast adrift from its moorings is ultimately headed towards disaster. European civilisation itself was a triumph of human imagination. The revolutions across Europe were proof that when ingenuity dies, society descends into primitivism and barbarism.

Scott was an avowed Monarchist as well as a Unionist and a Tory. Pitifully, even now, many people are perplexed by the actual existence of a Scottish Tory, as if that is an inherent contradiction. Scott always sought a compromise between these supposedly competing identities. He was content to reside in a realm that made sense to him, in spite of the bafflement of others. He knew that as a Scotsman, he would have to endure a certain level of political and cultural subordination under the aegis of the Union, and the Crown.

The Crown was founded upon shaky ground, and historically the Celtic nations have always struggled to relate to this institution. This disconnection threatened the Union itself, and the continuity of the sovereign state. The Hanoverian era proved to be a test for the continuity of the British Monarchy. King George III was descended from Prussian Royalty, and in spite of the fact that he was born in Britain, Scottish people did not feel that he represented them.

In 1822, George was due to make an official visit to Edinburgh. This was the first visit to Scotland by a reigning monarch since the coronation of King Charles II in 1651. Scott was appointed by the King as the organiser of the fortnight’s extravaganza. Scott managed to find Scottish royal regalia for the procession at Edinburgh castle. He also persuaded the King’s cohort to wear Highland dress at the banquet at Parliament House, the scene where centuries earlier Scotland ruled as a separate political entity.

The highlight of the banquet occurred when the King decided to raise a toast to the “Clans and Chieftains of Scotland”, prompting the chief of the Macgregor clan to toast “the Chief of Chiefs-the King!”. The two week celebration was a success and the pageantry, pomp and ceremony exemplified the best of the United Kingdom, helping to seal the Union and the survival of the Crown.

Scott spent his final years in financial difficulty, but he dedicated these last years to writing. In fact he became an industrious writer. In the last six years of his life he published six novels, two short stories, two plays and a journal. Scott’s assiduous attention to his art paid off, as shortly after his death the revenue from his books paid off all his debts. Although the greatest debt is his personal devotion to his country.