Waverley · Chapter
Editor's Introduction to Waverley explained
The editor discusses the composition and reception of Waverley, noting Scott's deliberate slow start, his autobiographical reflections on education, and the contrast between English and Scottish settings.
What happens
The editor discusses the composition and reception of Waverley, noting Scott's deliberate slow start, his autobiographical reflections on education, and the contrast between English and Scottish settings. The chapter explores Scott's creative process, the novel's historical context, and its enduring appeal through character, humor, and poetry.
Themes in this chapter
Education and Self-Development
Scott reflects on Waverley's desultory studies and romantic readings as autobiographical, debating the value of classical education versus self-directed learning.
Romanticism vs. Reality
The contrast between the calm English meadows and the heroic Highland world illustrates the tension between romantic ideals and harsh realities.
Change and Transition
The novel captures a world in transition, from clannish loyalty to modern society, as seen in the fading memories of the Forty-five.
Characters to notice
- Edward Waverley
Described as a 'sneaking piece of imbecility' by Scott; his romantic readings are autobiographical.
- Sir Everard Waverley
Portrayed as kindly and honourable, part of the calm English atmosphere.
- Flora MacIvor
Mentioned for her heroic heart and high, selfless hopes.
- Rose Bradwardine
Noted for her shy refinement as a foil to Flora.
- Bailie Macwheeble
Cited as a character Scott preferred over any in Waverley.
- Davie Gellatley
Praised for his songs and inspired poetic touches.
- Baron of Bradwardine
Described as beloved, bearing his lot with good-humoured composure.
- Prince Charles Edward Stuart
Mentioned in the gallant hour of Holyrood.
Key passages
“These introductory chapters have been a good deal censured as tedious and unnecessary; yet there are circumstances recorded in them which the Author has not been able to persuade himself to retract or cancel.”
Scott acknowledges criticism of the slow start but defends the autobiographical details of Waverley's reading.
Scott's defense of the early chapters as essential to character development.
“To be sure, we may say with Virgilius Maro, 'Fuimus Troes'—and there's the end of an auld sang. But houses and families and men have a' stood lang eneugh when they have stood till they fall with honour.”
The Baron reflects that all things must end with honour, like the fall of Troy.
The Baron's stoic acceptance of decline, quoted as an example of the novel's tenderness.