Walter Scott

Una historia trepidante de guerra, amor y traiciones. Una obra indiscutible de la literatura universal. Traducción de Juan Tomás y Salvany Edición de Helena Castells Savall Cronología de David Hewitt, profesor de literatura en la Universidad de Edimburgo Inglaterra, siglo XII. Desterrado por querer casarse contra los deseos de su padre, el joven y valiente Wilfred de Ivanhoe se pone al servicio de Ricardo Corazon de Leon y parte como cruzado junto a sus tropas para reconquistar Tierra Santa. A su regreso, decidido a recuperar su honor y a reunirse con su amada pero prohibida Lady Rowena, rapidamente se vera en medio de una lucha por el poder entre el noble rey Ricardo y su hermano, Juan Sin Tierra, un traidor despreciable y sin escrupulos. Solo Ivanhoe, con la ayuda de Robin de Locksley -el legendario Robin Hood-, tiene la clave para defender su buen nombre y el de la Corona. El estudio sociolinguistico del doctor Graham Tulloch analiza como Walter Scott demostro que escribir sobre el pasado puede ser un modo de opinar sobre el presente. Una cronologia sobre el autor de la mano de David Hewitt, profesor de literatura en la Universidad de Edimburgo, completa los apendices para

En El anticuario (1816), una de las obras maestras de Walter Scott –en nueva traducción de Francisco González, Arturo Peral y Laura Salas–, la imaginación romántica despliega espectacularmente todos

In "The Complete Novels of Walter Scott (Illustrated)," readers are ushered into the captivating realm of early 19th-century literature, where Scotts masterful blend of historical narrative and romanticism illuminates the social and political landscape of his time. This comprehensive collection showcases not only Scotts exceptional narrative craft but also his unique ability to weave intricate plots featuring robust characters against the backdrop of vivid Scottish landscapes. Enhanced by exquisite illustrations, this edition deepens the readers engagement with themes such as chivalry, nationalism, and the complexities of identity, delivering both entertainment and scholarly insight. Walter Scott, a pioneering figure in the development of the historical novel, was profoundly influenced by his Scottish heritage and the tumultuous history of Britain. His background as a poet and a lawyer endowed him with a rich vocabulary and a keen understanding of human nature, elements that permeate his narratives. Scotts passion for history and folklore is evident throughout his work, as he sought to rekindle national pride during a period of political change and cultural disruption, ultimately shaping the literary canon of his time. This illustrated edition is highly recommended for readers who appreciate intricate storytelling coupled with deep historical context. Both novices and seasoned readers of classic literature will find solace and stimulation in Scotts narratives, making this collection an indispensable addition to any literary library. Dive into the world of Walter Scott and experience the grandeur of his complete works.

Having, in the tale of the Heart of Mid-Lothian, succeeded in some degree in awakening an interest in behalf of one devoid of those accomplishments which belong to a heroine almost by right, I was next tempted to choose a hero upon the same unpromising plan; and as worth of character, goodness of heart, and rectitude of principle, were necessary to one who laid no claim to high birth, romantic sensibility, or any of the usual accomplishments of those who strut through the pages of this sort of composition, I made free with the name of a person who has left the most magnificent proofs of his benevolence and charity that the capital of Scotland has to display...

Un noble francés llamado Quintin Durward recibe la misión de ejercer como caballero protector de la bella dama Isabel, con la que su tío, el viejo Lord Crawford, pretende casarse con la colaboración politica del duque de Borgoña. Se trata de una alianza estrategica. Isabelle, Condesa de Marcroy, no esta interesada en los esponsales y decide instalarse en Tours. Durante el viaje, su carruaje es asaltado por el melevolo William De la Marek, pero su paladin Durward llega para defenderla y el rey Luis XI la acoge bajo su proteccion. Con el apoyo y amistad del gitano Hayraddin, Durward entra al servicio de la corona. Tras multiples aventuras, el invencible espadachin y un sinfin de peripecias (incluso romanticas), la alianza de Borgoña y Escocia se produce finalmente.

The Heart of Midlothian is the seventh of Sir Walter Scotts Waverley Novels. It was originally published in four volumes on 25 July 1818, under the title of Tales of My Landlord, 2nd series, and the author was given as "Jedediah Cleishbotham, Schoolmaster and Parish-clerk of Gandercleugh". Although the identity of the author of the Waverley Novels was well known by this time, Scott still chose to write under a pseudonym. The book was released only seven months after the highly successful Rob Roy. Scott was at the time recovering from illness, and wrote at an even more furious pace than usual. When the book was released, it more than matched the popularity of his last novel.The Heart of Midlothian is often regarded as Scotts finest novel. Much of the dialogue is in Lowland Scots, and some editions carry a glossary.

So I told them these storiesand othersto lure them to the printed book, much as carrots are dangled before the nose of the reluctant donkey. They are four average intelligent children enough, but they hold severely modern views upon storybooks. Waverley, in especial, they could not away with. They found themselves stuck upon the very threshold.Now, since the first telling of these Red Cap Tales, the Scott shelf in the library has been taken by storm and escalade. It is permanently gap-toothed all along the line. Also there are nightly skirmishes, even to the laying on of hands, as to who shall sleep with Waverley under his pillow.It struck me that there must be many oldsters in the world who, for the sake of their own youth, would like the various Sweethearts who now [vi]inhabit their nurseries, to read Sir Walter with the same breathless eagerness as they used to dohow many years agone? It is chiefly for their sakes that I have added several interludes, telling how Sweetheart, Hugh John, Sir Toady Lion, and Maid Margaret received my petty larcenies from the full chest of the Wizard.At any rate, Red Cap succeeded in one casewhy should he not in another? I claim no merit in the telling of the tales, save that, like medicines well sugar-coated, the patients mistook them for candies andasked for more.The books are open. Any one can tell Scotts stories over again in his own way. This is mine.S. R. CROCKETT.

Since it hath pleased the Almighty God, out of his infinite mercy, so to make us happy, by restoring of our native King to us, and us unto our native liberty through him, that now the good may say, magna temporum felicitas ubi sentire quoe velis, et dicere licet quoe sentias, we cannot but esteem ourselves engaged in the highest of degrees, to render unto him the highest thanks we can express. Although, surprisd with joy, we become as lost in the performance; when gladness and admiration strikes us silent, as we look back upon the precipiece of our late condition, and those miraculous deliverances beyond expression. Freed from the slavery, and those desperate perils, we dayly lived in fear of, during the tyrannical times ...

Guy Mannering or The Astrologer is a novel by Sir Walter Scott, published anonymously in 1815. According to an introduction that Scott wrote in 1829, he had originally intended to write a story of the supernatural, but changed his mind soon after starting. The book was a huge success, the first edition selling out on the first day of publication: The Novel or Romance of Waverley made its way to the public slowly, of course, at first, but afterwards with such accumulating popularity as to encourage the Author to a second attempt. He looked about for a name and a subject; and the manner in which the novels were composed cannot be better illustrated than by reciting the simple narrative on which Guy Mannering was originally founded; but to which, in the progress of the work, the production ceased to bear any, even the most distant resemblance. The tale was originally told me by an old servant of my fathers, an excellent old Highlander, without a fault, unless a preference to mountain dew over less potent liquors be accounted one. He believed as firmly in the story as in any part of his creed.A grave and elderly person, according to old John MacKinlays account, while travelling in the wilder parts of Galloway, was benighted. With difficulty he found his way to a country seat, where, with the hospitality of the time and country, he was readily admitted. The owner of the house, a gentleman of good fortune, was much struck by the reverend appearance of his guest, and apologised to him for a certain degree of confusion which must unavoidably attend his reception, and could not escape his eye. The lady of the house was, he said, confined to her apartment, and on the point of making her husband a father for the first time, though they had been ten years married. At such an emergency, the laird said, he feared his guest might meet with some apparent neglect.

When the Editor of the following volumes published, about two years since, the work called the "Antiquary," he announced that he was, for the last time, intruding upon the public in his present capacity. He might shelter himself under the plea that every anonymous writer is, like the celebrated Junius, only a phantom, and that therefore, although an apparition, of a more benign, as well as much meaner description, he cannot be bound to plead to a charge of inconsistency. A better apology may be found in the imitating the confession of honest Benedict, that, when he said he would die a bachelor, he did not think he should live to be married. The best of all would be, if, as has eminently happened in the case of some distinguished contemporaries, the merit of the work should, in the readers estimation, form an excuse for the Authors breach of promise. Without presuming to hope that this may prove the case, it is only further necessary to mention, that his resolution, like that of Benedict, fell a sacrifice, to temptation at least, if not to stratagem.It is now about six months since the Author, through the medium of his respectable Publishers, received a parcel of Papers, containing the Outlines of this narrative, with a permission, or rather with a request, couched in highly flattering terms, that they might be given to the Public, with such alterations as should be found suitable.** As it maybe necessary, in the present Edition(1829), to speak upon the square, the Author thinks it proper to own, that the communication alluded to is entirely imaginary.These were of course so numerous, that, besides the suppression of names, and of incidents approaching too much to reality, the work may in a great measure be, said to be new written. Several anachronisms have probably crept in during the course of these changes; and the mottoes for the Chapters have been selected without any reference to the supposed date of the incidents.

The title of this work has not been chosen without the grave and solid deliberation, which matters of importance demand from the prudent. Even its first, or general denomination, was the result of no common research or selection, although, according to the example of my predecessors, I had only to seize upon the most sounding and euphonic surname that English history or topography affords, and elect it at once as the title of my work, and the name of my hero. But, alas! what could my readers have expected from the chivalrous epithets of Howard, Mordaunt, Mortimer, or Stanley, or from the softer and more sentimental sounds of Belmour, Belville, Belfield, and Belgrave, but pages of inanity, similar to those which have been so christened for half a century past? I must modestly admit I am too diffident of my own merit to place it in unnecessary opposition to preconceived associations; I have, therefore, like a maiden knight with his white shield, assumed for my hero, WAVERLEY, an uncontaminated name, bearing with its sound little of good or evil, excepting what the reader shall hereafter be pleased to affix to it. But my second or supplemental title was a matter of much more difficult election, since that, short as it is, may be held as pledging the author to some special mode of laying his scene, drawing his characters, and managing his adventures...

The Bride of Lammermoor is a historical novel by Sir Walter Scott, published in 1819. The novel is set in the Lammermuir Hills of south-east Scotland, and tells of a tragic love affair between young Lucy Ashton and her familys enemy Edgar Ravenswood. Scott indicated the plot was based on an actual incident. The Bride of Lammermoor and A Legend of Montrose were published together as the third of Scotts Tales of My Landlord series. As with all the Waverley Novels, The Bride of Lammermuir was published anonymously. The novel claims that the story was an oral tradition, collected by one "Peter Pattieson", and subsequently published by "Jedediah Cleishbotham". The 1830 "Waverley edition" includes an introduction by Scott, discussing his actual sources. The later edition also changes the date of the events: the first edition sets the story in the 17th century; the 1830 edition sets it in the reign of Queen Anne, after the 1707 Acts of Union which joined Scotland and England. The story is the basis for Donizettis 1835 opera Lucia di Lammermoor.

The scene of this romance is laid in the fifteenth century, when the feudal system, which had been the sinews and nerves of national defence, and the spirit of chivalry, by which, as by a vivifying soul, that system was animated, began to be innovated upon and abandoned by those grosser characters who centred their sum of happiness in procuring the personal objects on which they had fixed their own exclusive attachment. The same egotism had indeed displayed itself even in more primitive ages; but it was now for the first time openly avowed as a professed principle of action. The spirit of chivalry had in it this point of excellence, that, however overstrained and fantastic many of its doctrines may appear to us, they were all founded on generosity and self denial, of which, if the earth were deprived, it would be difficult to conceive the existence of virtue among the human race.Among those who were the first to ridicule and abandon the self denying principles in which the young knight was instructed and to which he was so carefully trained up, Louis XI of France was the chief. That sovereign was of a character so purely selfishso guiltless of entertaining any purpose unconnected with his ambition, covetousness, and desire of selfish enjoymentthat he almost seems an incarnation of the devil himself, permitted to do his utmost to corrupt our ideas of honour in its very source. Nor is it to be forgotten that Louis possessed to a great extent that caustic wit which can turn into ridicule all that a man does for any other persons advantage but his own, and was, therefore, peculiarly qualified to play the part of a cold hearted and sneering fiend.The cruelties, the perjuries, the suspicions of this prince, were rendered more detestable, rather than amended, by the gross and debasing superstition which he constantly practised.

The Talisman takes place at the end of the Third Crusade, mostly in the camp of the Crusaders in Palestine. Scheming and partisan politics, as well as the illness of King Richard the Lionheart, are placing the Crusade in danger. The main characters are the Scottish knight Kenneth, a fictional version of David of Scotland, Earl of Huntingdon, who returned from the third Crusade in 1190; Richard the Lionheart; Saladin; and Edith Plantagenet, a relative of Richard.

Contents: / The Wild Gallant / The Rival Ladies / The Indian Queen / The Indian Emperor, or the Conquest of Mexico by the Spaniards / Secret Love, or the Maiden Queen

Waverley is among Walter Scotts first novels and one of the original Western historical novels. The sprawling story takes place during the Jacobite Rising from 1745 and follows the life of Edward Waverley, a British soldier who falls in love with a Scottish woman and joins a revolutionary army. Waverley shows why Scott is considered one of the forefathers of European romanticism, as the tale follows an individual hero on a grand journey through beautifully vivid settings. However, Edward Waverley follows in the footsteps of Don Quixote as a protagonist whose dreams of heroism are difficult to achieve. This dramatic tale has elements of picaresque comedy as Scott creates a less than heroic protagonist that finds himself in ironic situations that he is ill-prepared for. Political intrigue, romance, and breathtakingly beautiful depictions of the Scottish landscape are Scotts trademark elements that make this classic novel a rewarding read. Waverley was celebrated at the time of its release for an accurate portrayal of Gaelic revolutionaries, but it remains timeless due to its poignant storytelling and lyrical prose. Waverley is recommended for fans of historical fiction or romanticism.-

In "The Betrothed" and "The Talisman," Walter Scott intricately weaves narratives that explore themes of love, loyalty, and the historical tensions of medieval Scotland. Written in a style characteristic of the Romantic era, Scott employs vivid descriptions and rich character development to evoke a sense of time and place, inviting readers to immerse themselves in the chivalric ideals and social complexities of his protagonists. These tales not only entertain but also serve as a commentary on the socio-political landscape of Scotts own time, reflecting the growing interest in Scottish identity and history during the early 19th century. Walter Scott, a pivotal figure in the development of the historical novel, drew deeply from his Scottish heritage and personal experiences, which influenced his storytelling. His extensive knowledge of history, coupled with his passion for Scottish folklore, inspired him to resurrect the past in his works, making it accessible and relevant to his contemporary audience. As a poet and novelist, Scotts ambition to blend romance with history forms the backbone of his literary endeavors, showcasing his mastery in crafting compelling narratives. "The Betrothed" and "The Talisman" not only enchant with their romantic plots but also engage readers with profound reflections on courage and fidelity. This collection is essential for those who seek to understand the evolution of historical fiction and appreciate its roots in cultural identity, positioning Scott as a cornerstone of the genre. Readers eager for a compelling dive into Scotlands storied past will find these works both enlightening and thoroughly enjoyable.

In "Marmion: A Tale of Flodden Field," Walter Scott crafts a richly evocative narrative set against the backdrop of the historic Battle of Flodden in 1513. The poem intertwines romance, chivalry, and patriotism with a dynamic blend of narrative and lyrical verse, effectively capturing the tumultuous spirit of early 16th-century Scotland. Scotts use of vivid imagery and meticulous historical detail reflects his deep engagement with the Romantic movement while simultaneously honoring the ballad traditions that preceded him. Through character-driven storytelling, Scott examines themes of honor, betrayal, and national identity, making it a seminal work that bridges the gap between the medieval past and the Romantic idealization of it. Walter Scott, often regarded as the father of the historical novel, was deeply influenced by his Scottish heritage and the turbulent historical context of his time. His extensive knowledge of Scottish history and literature, coupled with his passion for preserving the past, fueled his desire to create a tapestry that celebrates the complexities of Scottish national identity. "Marmion" specifically reflects Scotts perspective on the historical battle and its lingering implications for the Scottish psyche. I highly recommend "Marmion: A Tale of Flodden Field" to readers interested in both historical literature and the Romantic era. This narrative not only provides a riveting glimpse into a pivotal moment in Scottish history but also showcases Scotts masterful storytelling ability. Engage with this tale to explore the interplay of history, poetry, and national sentiment that has influenced literature for generations.

Walter Scotts "The Bride of Lammermoor" intricately weaves a tragic tale set against the evocative backdrop of 17th-century Scotland, rich with historical detail and gothic elements. The narrative centers on the doomed romance between Lucy Ashton and Edgar Ravenswood, exploring themes of love, familial loyalty, and societal pressure. Scotts use of lyrical prose and vivid imagery contributes to a haunting atmosphere, while the interplay of political intrigue and personal tragedy situates the work squarely within the Romantic literary canon, reflecting the complexities of human emotion amid the turbulent landscape of Scottish history. Walter Scott, often hailed as the father of the historical novel, drew on his Scottish heritage and legal background to inform his writing. His deep knowledge of Scottish folklore, history, and culture is palpable in "The Bride of Lammermoor," making it a reflection of his profound engagement with the past. Scotts experiences in law and his fascination with storytelling propelled him to create narratives that bridge the gap between history and fiction. This novel is highly recommended for readers seeking a rich tapestry of romance, psychological depth, and historical context. Scotts compelling characters and intricate narrative structure not only entertain but also provoke reflection on the interplay of personal and societal forces, rendering "The Bride of Lammermoor" a timeless exploration of human passion and despair.