Walter Scott, página 7 de 22

King George is on the throne, but there are those in Scotland w ho swear loyalty to the Stuart heir, Bonnie Prince Charlie, and are prepared to stake his claim in conflict and bloodshed. Young Edward W averley is caught in the middle: son of a Hanoverian yet nephew and heir to a Jacobite, a captain in the King's army yet drawn to the brave Highlanders and their romantic history. Edward must choose where his loyalties lie, even as his heart is torn between gentle Rose Brawardine, and the passionate, principled Flora Mac-Ivor.

In "The Tapestried Chamber, and Death of the Lairds Jock," Walter Scott intricately weaves together elements of Gothic fiction and Scottish folklore, exploring themes of memory, loss, and the supernatural. The narrative is enriched by Scotts vivid descriptive style, which immerses readers in the atmospheric settings of the Scottish countryside. The juxtaposition of the ordinary and the eerie captivates, as the story unfolds in an antiquated chamber, stirring the haunting ghosts of the past while drawing on the rich tapestry of regional history and legend. Walter Scott, a pivotal figure in the Scottish literary landscape, was inspired by his fascination with Scotlands rugged landscape and complex history. His background as a lawyer and historian, along with his deep-rooted connections to the Scottish Highlands, informed his storytelling approach, melding personal insight with cultural heritage. Scotts passion for preserving Scottish traditions can be seen in this work, reflecting a longing for a bygone era that resonates deeply in the context of early 19th-century Scotland. For readers seeking a compelling blend of history and myth, Scotts "The Tapestried Chamber, and Death of the Lairds Jock" is an essential read. It not only showcases his skillful narrative craft but also invites contemplation on the spectral presence of history in our lives. This timeless tale will appeal to fans of Gothic literature and those intrigued by Scotlands mystique.

It would be difficult to assign any good reason why the author of Ivanhoe, after using, in that work, all the art he possessed to remove the personages, action, and manners of the tale, to a distance from his own country, should choose for the scene of his next attempt the celebrated ruins of Melrose, in the immediate neighbourhood of his own residence. But the reason, or caprice, which dictated his change of system, has entirely escaped his recollection, nor is it worth while to attempt recalling what must be a matter of very little consequence.The general plan of the story was, to conjoin two characters in that bustling and contentious age, who, thrown into situations which gave them different views on the subject of the Reformation, should, with the same sincerity and purity of intention, dedicate themselves, the one to the support of the sinking fabric of the Catholic Church, the other to the establishment of the Reformed doctrines. It was supposed that some interesting subjects for narrative might be derived from opposing two such enthusiasts to each other in the path of life, and contrasting the real worth of both with their passions and prejudices. The localities of Melrose suited well the scenery of the proposed story; the ruins themselves form a splendid theatre for any tragic incident which might be brought forward; joined to the vicinity of the fine river, with all its tributary streams, flowing through a country which has been the scene of so much fierce fighting, and is rich with so many recollections of former times, and lying almost under the immediate eye of the author, by whom they were to be used in composition.

In all Stairs offspring we no difference know,They do the females as the males bestow;So he of one of his daughters marriages gave the ward,Like a true vassal, to Glenluces Laird;He knew what she did to her master plight,If she her faith to Rutherfurd should slight,Which, like his own, for greed he broke outright.Nick did Baldoons posterior right deride,And, as first substitute, did seize the bride;Whateer he to his mistress did or said,He threw the bridegroom from the nuptial bed,Into the chimney did so his rival maul,His bruised bones neer were cured but by the fall.

No introduction can be more appropriate to the work than some account of the singular character whose name is given to the title-page, and who, through good report and bad report, has maintained a wonderful degree of importance in popular recollection. This cannot be ascribed to the distinction of his birth, which, though that of a gentleman, had in it nothing of high destination, and gave him little right to command in his clan. Neither, though he lived a busy, restless, and enterprising life, were his feats equal to those of other freebooters, who have been less distinguished. He owed his fame in a great measure to his residing on the very verge of the Highlands, and playing such pranks in the beginning of the 18th century, as are usually ascribed to Robin Hood in the middle ages,and that within forty miles of Glasgow, a great commercial city, the seat of a learned university. Thus a character like his, blending the wild virtues, the subtle policy, and unrestrained license of an American Indian, was flourishing in Scotland during the Augustan age of Queen Anne and George I. Addison, it is probable, or Pope, would have been considerably surprised if they had known that there existed in the same island with them a personage of Rob Roys peculiar habits and profession.

Dos talentos excepcionales se dan cita en esta obra, el del escritor escoces Walter Scott y el del emperador Napoleon Bonaparte, personalidad singular y protagonista fundamental de la Historia con ma

Si es vol escoltar la meva veu i si ningú més en aquesta sala s'alça en nom del cavaller Ivanhoe, afirmo que ell acceptarà qualsevol desafiament honorable. Si la meva pobra garantia afegeix seguretat a la inestimable penyora d'aquest sant peregrí, empeny

El mejor arquero, defensor de los pobres y oprimidos, luchaba contra el sheriff de Nottingham y el príncipe Juan sin Tierra, que utilizaban la fuerza pública para acaparar ilegítimamente las riquezas de los nobles que se les oponian. En la Inglaterra medieval , todo individuo que se oponia a los edictos reales era considerado un forajido.

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.

Walter Scott - La viuda de las montañas, nos relata la historia de una mujer que debido a las circunstancias trágicas que rodearon la muerte de su marido se ve condenada a la soledad y a la tristeza. Luego de que los clanes de las Tierras Altas de Escocia fueron reprimidos, el hijo de la Viuda de las Montañas reune bajo su timido mando a un grupo de rebeldes para organizar la defensa contra los invasores franceses.

Un nativo de Edimburgo, caballero y pícaro, noble y rufián, de nombre Chrystal Croftangry, cuenta a un público que él siente cercano -como si estuviera en una taberna escocesa una noche de invierno alrededor de un fuego- una serie de historias que acontecen en su ciudad y en su país. El libro se va tejiendo como al modo de unas 1001 noches escocesas. De las historias que se nos cuentan, todas bastante amenas, destacan por su patetismo y fondo trágico "La viuda de las tierras altas" y "Los dos pastores". Quizás el verdadero protagonista del libro, además de los hombres y mujeres de Escocia, sea el arte de contar historias interesantes, historias que parten de la anécdota local para llegar a tipos y verdades universales.

In "Letters on Demonology and Witchcraft," Walter Scott embarks on a fascinating exploration of the cultural and historical perceptions of witchcraft and demonology during the late 18th and early 19th centuries. Written in the epistolary form, the book combines personal reflections with scholarly analysis, navigating through folklore, superstition, and the legal treatises that shaped societal views on witchcraft. ScottAos prose is marked by an engaging blend of narrative fervor and analytical rigor, offering readers a window into the Enlightenments tensions between reason and the supernatural, all while drawing from various literary and historical sources to substantiate his arguments. Walter Scott, a celebrated figure in Scottish literature, was deeply influenced by the tumultuous socio-political landscape of his time, as well as by his own fascination with Scottish history and folklore. His works, often steeped in romanticism, reflect a reverence for the past and an acute awareness of the cultural narratives that define national identity. "Letters on Demonology and Witchcraft" is a testament to Scotts erudition, as he deftly intertwines personal belief with scholarly inquiry, reflecting his broader concerns with superstition and morality. This work is a must-read for anyone interested in the intersections of literature, history, and psychology. It serves not only as a rich historical document but also as a contemporary commentary on the persistent nature of belief and fear surrounding the supernatural. Readers seeking a profound understanding of the societal implications of witchcraft across time will find ScottAos insights both enlightening and relevant.