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WALTER SCOTT
IVANHOE
Москва, 2018
УДК 82-311.6
ББК 84
Walter Scott
Ivanhoe / W. Scott. – М. : T8RUGRAM / Original, 2018. –
630 с.
ISBN 978-5-521-06015-3
Ivanhoe
was the first of Scott’s novels to adopt a
purely English subject and was also his first attempt
to combine history and romance, which later influenced Victorian medievalism. Set at the time of the
Norman Conquest, Ivanhoe returns from the Crusades to claim his inheritance and the love of Rowena and becomes involved in the struggle between
Richard Coeur de Lion and his Norman brother
John. The gripping narrative is structured by a series
of conflicts: Saxon versus Norman, Christian versus
Jew, men versus women, played out against Scott’s
unflinching moral realism.
УДК 82-311.6
ББК 84
BIC FC
BISAC FIC014000
© T8RUGRAM, оформление, 2018
ISBN 978-5-521-06015-3 © Original, 2018
CONTENTS
Sir Walter Scott ..................................................5
Introduction .....................................................8
Chapter I ........................................................28
Chapter II .......................................................39
Chapter III ......................................................54
Chapter IV ......................................................64
Chapter V .......................................................74
Chapter VI ......................................................85
Chapter VII ...................................................101
Chapter VIII ...................................................117
Chapter IX .....................................................131
Chapter X .....................................................143
Chapter XI .....................................................155
Chapter XII .................................................... 165
Chapter XIII ...................................................179
Chapter XIV ...................................................190
Chapter XV ....................................................201
Chapter XVI ...................................................208
Chapter XVII ..................................................223
Chapter XVIII .................................................229
Chapter XIX ...................................................239
Chapter XX ....................................................248
Chapter XXI ...................................................257
Chapter XXII ..................................................268
Chapter XXIII .................................................279
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WALTER SCOTT
Chapter XXIV .................................................289
Chapter XXV ..................................................303
Chapter XXVI .................................................313
Chapter XXVII ................................................322
Chapter XXVIII ...............................................343
Chapter XXIX .................................................359
Chapter XXX ..................................................373
Chapter XXXI ................................................. 384
Chapter XXXII .................................................401
Chapter XXXIII ................................................418
Chapter XXXIV ................................................434
Chapter XXXV .................................................445
Chapter XXXVI ................................................460
Chapter XXXVII ...............................................470
Chapter XXXVIII ..............................................486
Chapter XXXIX ................................................497
Chapter XL ....................................................512
Chapter XLI ...................................................533
Chapter XLII ..................................................544
Chapter XLIII .................................................560
Chapter XLIV .................................................574
Endnotes ......................................................588
4
SIR WALTER SCOTT
The creator of the historical novel and one of the most popular writers of his era, Sir Walter Scott was born in Edinburgh,
Scotland, on August 15, 1771. During his lifetime, Scott witnessed industrialization and worker rebellions, revolution and
the Napoleonic wars. He saw Scotland rise from a fragmented
backwater to become a sophisticated cultural center. His literary
works consolidated national pride and materially contributed to
Scotland’s cultural development. Despite the fascinating movements and upheavals of his own time, Scott found his true glory
in the strife and striving of earlier eras. Inspired in his youth by
ballads of his ancestors and their Border Wars with England,
Scott spent his life looking to history to illuminate the present.
Indeed, most of his works – including his greatest, and best-selling, novels such as Ivanhoe and Rob Roy – offer compelling images of times past.
As a solicitor and a writer to the signet, Scott’s father was
well acquainted with land disputes among residents along the
England-Scotland border that persisted well into the nineteenth
century. His son experienced this storied area firsthand. After
contracting polio when he was two years old, Walter was sent
to his grandparents’ house in Sandy Knowe in the Border region
to convalesce. There he developed a love of literature, gilded by
his grandmother’s stories about the area. Permanently lamed but
well enough to walk with a cane, Scott attended the High School
in Edinburgh, where, along with the traditional ballads he loved,
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WALTER SCOTT
he favored the works of Shakespeare, Spenser, and Italian poet
Ludovico Ariosto. Popular and intellectually promising, Scott
studied the classics and law at Edinburgh University.
Although he worked throughout his life as an advocate and
later as principal clerk to the Court of Session, Scott’s literary
ambitions surfaced early in the form of ardent love poetry. He
also developed a passion for collecting ballads; in 1802 he published a compendium, The Minstrelsy of the Scottish Border. He
also wrote tremendously popular narrative poems, including The
Lay of the Last Minstrel (1805) and The Lady of the Lake (1810).
During the second decade of the nineteenth century, Scott
was offered the position of poet laureate, which he declined, and
a baronetcy, which he accepted. Although his fame was assured
by the popularity of his poems, he chose to publish his novels
under a pseudonym – perhaps uncertain how they would be received. In 1814 the anonymously published Waverley sold out
the entire first run in a matter of days. Critics and readers alike
loved Scott’s historical romances; his subsequent novels, such
as Guy Mannering (1815), Rob Roy (1817), and his master-piece,
Ivanhoe (1819), set sales records and sparked fervent speculation
about their authorship. Scott did not reveal that he had written
the novels until 1827.
Sir Walter Scott was at the apex of his powers in the early
1820s, when he published one or more works each year; he entertained King George IV in Edinburgh and received honorary
degrees from Oxford and Cambridge. He had made a fortune
publishing his work through a company he owned with childhood friend James Ballantyne, but even Scott was not immune to
the recession that gripped Britain in 1825. By the end of 1826 he
had lost everything, his wife had died, and his health was failing.
Determined not to declare bankruptcy, Scott pledged the future
earnings of his writings to pay off his debts. In addition to bur-
6
IVANHOE
densome hack work he took to increase his income, he wrote at
least one book a year, including Woodstock (1826), Life of Na-
poleon Buonaparte (1827), and The Fair Maid of Perth (1828). At
work on a complete collection of his writings, Scott had a stroke
in 1831 and died on September 21, 1832, at his Scottish estate,
Abbotsford.
7
INTRODUCTION
From the beginning, Ivanhoe was distinguished by its huge
readership and cult appeal. It sold 10,000 copies in its first two
weeks, an unheard-of rate in 1819. That same year, a stage version
opened in New York, and later Rossini composed Ivanhoe, the opera. Walter Scott had begun his literary career two decades earlier
as a collector of Scottish ballads. He then turned his hand to poetry, specializing in grand romantic vistas and heroic themes from
Scottish history. “The Lady of the Lake” (1810) made his name and
fortune (which he later lost). But then along came Lord Byron. Almost overnight, Childe Harold’s Pilgrimage made Scott’s narrative
poetry seem provincial and old hat. Making a virtue of necessity,
Scott turned to fiction, with spectacular results. Waverley (1814),
which looked back to Bonnie Prince Charlie’s Scots rebellion of
1745, was something altogether new to the British reader: the recreation of an entire historical canvas, populated by romantic but
credible characters, acting out Britain’s painful emergence from
its tribal past into modernity and nationhood. Variations on these
themes inspired a further sequence of highly successful “Scottish”
novels until in 1819, the ever-restless Scott felt the Caledonian
well had run dry, and he ventured a new tale removed in both
time and place: the England of the Middle Ages. The result was a
book that can lay claim to being the most widely read novel of the
nineteenth century, and among the most popular of all time.
Ivanhoe maintains a strong readership today, when the rest of
Scott’s extraordinary literary output has sunk into obscurity, but
8
IVANHOE
it has never been a great critical success. The Scott purists wish
he had never traveled south to England at all, and his compatriot
David Daiches typifies the twentieth-century scholarly opinion
of the novel: “Ivanhoe, though it has qualities of its own, is much
more superficial than any of the Scottish novels, and is written
throughout on a much lower plane. Scott did not, in fact, know
the Middle Ages well and he had little understanding of its social
or religious life” (“Scott’s Achievement as a Novelist,” p. 46; see
“For Further Reading”). Since the 1980s, critics have turned back
to Ivanhoe as an important thesis on British nationalism, and for
its racial and sexual themes, but whatever the vicissitudes of its
reputation among literary scholars, the novel always has enjoyed
a cultural afterlife that much exceeded its scope and pretensions
as literature. Ivanhoe single-handedly revived the age of chivalry
in the Western popular imagination, and produced a cult of medieval rites and manners that persists into our own age, with its
“Dungeons and Dragons” and Lord of the Rings. As for its cultural politics, the impact of Ivanhoe has been felt most deeply and
controversially not in Britain, but in the United States.
“I lie here dying, slowly dying, under the blight of Sir Walter,” wrote Mark Twain to a friend in 1903 (Letters, p. 738). Scott
loomed large for Twain the writer, who lamented the impact of
his “wordy, windy, flowery ‘eloquence’” on American literature.
But far more serious for Twain was the enduring cultural impression made by Scott’s Ivanhoe on the American South. The antebellum South was an essentially feudal system of rank and caste,
and its white ruling class found in Scott’s romantic tale of chivalrous knights, powerful land-owning barons, and loyal serfs a glorious mirror image of itself. For Twain, whatever impetus toward
modernization had existed toward “liberty, humanity, and progress” in the South was effectively smothered by the popularity of
Scott, whose novels “set the world in love with dreams and phan-
9
WALTER SCOTT
toms; with decayed and swinish forms of religion; with decayed
and degraded systems of government; with the sillinesses and
emptinesses, sham grandeurs, sham gauds, and sham chivalries of
a brainless and worthless long-vanished society.” The Scott “disease,” he went so far as to say, had caused the Civil War (Missis-
sippi Writings, pp. 500-501). Ivanhoe became, arguably, even more
necessary to the South after that war was lost. Scott’s title character spends much of the novel in disguise, and achieves his greatest triumph in the character of “The Disinherited Knight.” He is
named for his estate – he is Wilfred of Ivanhoe – but does not
or cannot claim it. Ivanhoe the place is never visited and barely
mentioned, as if forgotten. The novel’s title thus points to a glaring absence in the world of the novel, both spiritual and material.
England has been conquered, and the spoils have gone to the victorious Normans. As his chivalric pseudonym suggests, Ivanhoe
the man is a complex figure representing both inherited nobility
and loss, a romantic composite uniquely designed to appeal to
the defeated Confederate sensibility.
If Ivanhoe’s fall from land-owning scion to homeless errant
knight elicited a fragrant bitterness for the southern reader, no
less intoxicating was the situation of his heart, torn between the
blond, blue-eyed Saxon princess, Rowena, and the exotic Jew,
Rebecca. It is one of literature’s most intriguing love triangles.
Much controversy surrounds Scott’s representation of Jews in
Ivanhoe, but one suggestive means of understanding the intense
and destabilizing desires Rebecca inspires is as a figure for the
white man’s attraction for and resistance to the prospect of racial
mixture. This is certainly how the late-nineteenth-century African-American novelist Charles Chesnutt interpreted Ivanhoe’s
dilemma. For Chesnutt, Scott was “the literary idol of the South,”
and Chesnutt’s novel, The House Behind the Cedars (1900), contains a fascinating revision of one of Ivanhoe’s central episodes,
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