Вальтер Скотт – Ivanhoe (страница 2)

Although Scott was writing fiction, he was using real historical events as his backdrop and framework. Some literary scholars use the term ‘faction’ to describe this hybrid between fact and fiction. The results can be misleading because the reader receives an obscured version of history, partly from the narrative tale and partly from the partiality of the author. Even when historians attempt to document historical events as accurately as possible, in reference books, they can only ever arrive at a ‘version’ of history. Added to this is the author’s choice of literary style which further blurs the lines between historical fact and fiction.

Rob Roy tells the story of an Englishman named Frank Osbaldistone who travels to Northumberland, an English county that borders southern Scotland. The eponymous Rob Roy is Rob Roy MacGregor, a real-life outlaw and folk hero, whom Osbaldistone encounters several times as the story plays out. Scott paints Rob Roy as a mysterious and powerful character, who devotes his life to the defence of Scotland against the tyranny of the English monarchy and parliament. Thus, Scott did a good job at expanding the myth and legend of Rob Roy and extending his fame and reputation to an international audience.

Most of Scott’s novels have Scotland as their setting, but not all. A notable exception is Woodstock (1826), which is set in England following the English Civil War. The story is about the failure of the revolutionaries to control and run the nation, with the ultimate reinstatement of the English monarchy as the son of the executed King Charles I reclaims the throne to become King Charles II. The eponymous Woodstock was a royal residence near Oxford – Woodstock Manor – which was surveyed for its assets in 1649 following the execution of the king. Legend has it that the commissioners were tormented in their beds night after night during their stay by, what became known as, the ‘Good Devil’ of Woodstock. In 1660, the year that saw King Charles II begin his reign, a pamphlet was published explaining that one of the servants had been responsible for the strange nocturnal goings on, but people preferred the idea that a supernatural entity had been assigned to haunt the civil servants by the executed king.

The story of Ivanhoe (1820) is set in medieval England in the late 12th century – AD 1194 to be precise. This period in history was dominated by Christian fanaticism, when noblemen believed they would secure their passage to heaven by crusading against the Saracens in the Middle East. The central character is Wilfred of Ivanhoe, a Saxon and supporter of the Norman King, Richard I. As the setting is only 130 years after the Norman Conquest, Wilfred is not well regarded by his Saxon kith and kin.

Richard is abroad on the Continent, following the Third Crusade, and thought to be held captive. His brother, Prince John, has assumed the throne in Richard’s absence and is abusing his powerful position. During a jousting tournament, Wilfred is badly wounded and finds himself captive. The Black Knight then appears on the scene and Wilfred is rescued. The Black Knight turns out to be none other than King Richard himself in disguise, for he has returned to England covertly to find out what his brother has been up to.

Ivanhoe is famous for introducing the legend of Robin Hood to popular fiction. In the story, Robin of Locksley and his men are allies of Wilfred and Richard. Robin is portrayed as a happy-go-lucky outlaw in command of his merry men, and this became the model for the Robin Hood known and loved today. The legend of Robin was part of English folklore, although he was formerly known as a rather more mysterious figure, who wore a hood to obscure his identity. Scott’s version of the character is able to reveal his identity because he possessed an untouchable quality that meant he had no reason to fear anyone. This made him the perfect outlaw: debonair, and acting on behalf of the common man – stealing from the rich Normans and giving to the poor Saxons.

As one might expect from his characterization of Robin Hood, Scott’s interpretation of this historical era is rather romanticized. The lot of the Saxons under Norman rule was, in truth, rather dire. Life was cheap and Saxons were severely and cruelly punished for breaking the Norman laws of the land, often paying with their lives for relatively minor offences. Starvation, disease, and pestilence were part of everyday life for all except those in positions of power. Scott’s version of medieval England was, for good or ill, a highly sanitized, picture-book version.

Scott now holds a curious place in the history of English literature. While he is rather disregarded in the context of his ability as a writer, he is seen as something of an innovator with his ideas. The basic notion that one might take real events and bring them to life in the form of a novel was immediately attractive to the reader. It made the fictitious elements seem more believable, not least because the reader had no clear idea of where fact ran into fiction. Of course, from Scott’s point of view it made the process of planning his books easier, because the structure of major events was already in place. In addition, Scott was a historian, so his acquired knowledge gave him the perfect platform on which to imagine and build his stories. Some might say that it was a lazy way to write, but others might say that it was inspired. One thing is for sure: Scott’s legacy is a tradition in historical fiction that is now seen ubiquitously in books, films, plays and television.

Now fitted the halter, now traversed the cart,

And often took leave,—but seemed loath to depart!

—Prior.

Dedicatory Epistle

To

The Rev. Dr Dryasdust, F.A.S.

Residing in the Castle-Gate, York.

Much esteemed and dear Sir,

It is scarcely necessary to mention the various and concurring reasons which induce me to place your name at the head of the following work. Yet the chief of these reasons may perhaps be refuted by the imperfections of the performance. Could I have hoped to render it worthy of your patronage, the public would at once have seen the propriety of inscribing a work designed to illustrate the domestic antiquities of England, and particularly of our Saxon forefathers, to the learned author of the Essays upon the Horn of King Ulphus, and on the Lands bestowed by him upon the patrimony of St Peter. I am conscious, however, that the slight, unsatisfactory, and trivial manner, in which the result of my antiquarian researches has been recorded in the following pages, takes the work from under that class which bears the proud motto, “Detur digniori”. On the contrary, I fear I shall incur the censure of presumption in placing the venerable name of Dr Jonas Dryasdust at the head of a publication, which the more grave antiquary will perhaps class with the idle novels and romances of the day. I am anxious to vindicate myself from such a charge; for although I might trust to your friendship for an apology in your eyes, yet I would not willingly stand conviction in those of the public of so grave a crime, as my fears lead me to anticipate my being charged with.

I must therefore remind you, that when we first talked over together that class of productions, in one of which the private and family affairs of your learned northern friend, Mr Oldbuck of Monkbarns, were so unjustifiably exposed to the public, some discussion occurred between us concerning

the cause of the popularity these works have attained in this idle age, which, whatever other merit they possess, must be admitted to be hastily written, and in violation of every rule assigned to the epopeia. It seemed then to be your opinion, that the charm lay entirely in the art with which the unknown author had availed himself, like a second M’Pherson, of the antiquarian stores which lay scattered around him, supplying his own indolence or poverty of invention, by the incidents which had actually taken place in his country at no distant period, by introducing real characters, and scarcely suppressing real names. It was not above sixty or seventy years, you observed, since the whole north of Scotland was under a state of government nearly as simple and as patriarchal as those of our good allies the Mohawks and Iroquois. Admitting that the author cannot himself be supposed to have witnessed those times, he must have lived, you observed, among persons who had acted and suffered in them; and even within these thirty years, such an infinite change has taken place in the manners of Scotland, that men look back upon the habits of society proper to their immediate ancestors, as we do on those of the reign of Queen Anne, or even the period of the Revolution. Having thus materials of every kind lying strewed around him, there was little, you observed, to embarrass the author, but the difficulty of choice. It was no wonder, therefore, that, having begun to work a mine so plentiful, he should have derived from his works fully more credit and profit than the facility of his labours merited.