Waverley; or, 'Tis sixty years since — Complete — Key Ideas to Explore
Edition facts
Waverley; or, 'Tis sixty years since — Complete — Key Ideas to Explore can be approached with a clearer sense of reading commitment from its source measurements: 210,175 words, 15 hr 14 min estimated reading time, and 23 detected text sections.
The text analysis averages about 28.6 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Historical fiction,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
There was at this time a circulating library in Edinburgh, founded, I believe, by the celebrated Allan Ramsay, which, besides containing a most respectable collection of books of every description, was, as might have been expected, peculiarly rich in works of fiction. It exhibited specimens of every kind, from the romances of chivalry and the ponderous folios of Cyrus and Cassandra, down to the most approved works of later times. I was plunged into this great ocean of reading without compass or pilot; and, unless when some one had the charity to play at chess with me, I was allowed to do nothing save read from morning to night. I was, in kindness and pity, which was perhaps erroneous, however natural, permitted to select my subjects of study at my own pleasure, upon the same principle that the humours of children are indulged to keep them out of mischief. As my taste and appetite were gratified in nothing else, I indemnified myself by becoming a glutton of books. Accordingly, I believe I read almost all the romances, old plays, and epic poetry in that formidable collection, and no doubt was unconsciously amassing materials for the task in which it has been my lot to be so much employed.
At the same time I did not in all respects abuse the license permitted me. Familiar acquaintance with the specious miracles of fiction brought with it some degree of satiety, and I began by degrees to seek in histories, memoirs, voyages and travels, and the like, events nearly as wonderful as those which were the work of imagination, with the additional advantage that they were at least in a great measure true. The lapse of nearly two years, during which I was left to the exercise of my own free will, was followed by a temporary residence in the country, where I was again very lonely but for the amusement which I derived from a good though old-fashioned library. The vague and wild use which I made of this advantage I cannot describe better than by referring my reader to the desultory studies of Waverley in a similar situation, the passages concerning whose course of reading were imitated from recollections of my own. It must be understood that the resemblance extends no farther.
Time, as it glided on, brought the blessings of confirmed health and personal strength, to a degree which had never been expected or hoped for. The severe studies necessary to render me fit for my profession occupied the greater part of my time; and the society of my friends and companions, who were about to enter life along with, me, filled up the interval with the usual amusements of young men. I was in a situation which rendered serious labour indispensable; for, neither possessing, on the one hand, any of those peculiar advantages which are supposed to favour a hasty advance in the profession of the law, nor being, on the other hand, exposed to unusual obstacles to interrupt my progress, I might reasonably expect to succeed according to the greater or less degree of trouble which I should take to qualify myself as a pleader.
It makes no part of the present story to detail how the success of a few ballads had the effect of changing all the purpose and tenor of my life, and of converting a painstaking lawyer of some years' standing into a follower of literature. It is enough to say, that I had assumed the latter character for several years before I seriously thought of attempting a work of imagination in prose, although one or two of my poetical attempts did not differ from romances otherwise than by being written in verse. But yet I may observe, that about this time (now, alas! thirty years since) I had nourished the ambitious desire of composing a tale of chivalry, which was to be in the style of the Castle of Otranto, with plenty of Border characters and supernatural incident. Having found unexpectedly a chapter of this intended work among some old papers, I have subjoined it to this introductory essay, thinking some readers may account as curious the first attempts at romantic composition by an author who has since written so much in that department. [Footnote: See Appendix No I.] And those who complain, not unreasonably, of the profusion of the Tales which have followed Waverley, may bless their stars at the narrow escape they have made, by the commencement of the inundation, which had so nearly taken place in the first year of the century, being postponed for fifteen years later.
This particular subject was never resumed, but I did not abandon the idea of fictitious composition in prose, though I determined to give another turn to the style of the work.
The excerpts from Waverley present a curious mismatch with its catalog subjects. While the record promises a Scottish Jacobite novel set in the 1740s, the surviving text plunges into a medieval adventure: a hunting party, a lady named Emma, a villainous kinsman named Gaston, and a mysterious woodsman who vanishes. The narrative voice is formal, with knights speaking in elaborate courtesy and a jester named Gregory providing comic relief. This suggests that the Project Gutenberg file may contain a different work—perhaps Scott's early fragment Queenhoo-Hall—rather than the complete Waverley as titled.
Catalog vs. Content: A Mismatch in Genre
The catalog classifies Waverley under "Historical fiction" and "Scotland -- History -- 18th century -- Fiction," with the Jacobite Rebellion as a key subject. Yet the excerpts show no sign of the 1745 uprising. Instead, the action revolves around a baronial hunt, a cross-bow attack, and a rescue by a forester. The language is chivalric: characters speak of "knighthood," "pennon," and "cognisance." The setting is a thicket near Queenhoo-Hall, not the Highlands. This discrepancy indicates that the digital text may be mislabeled or composite. Readers expecting a Jacobite tale will find a medieval romance instead.
Voice and Structure: Formal Dialogue and Embedded Narration
The prose is marked by elaborate, courteous speech. Henry Saint Clere recounts his adventure in a single, flowing paragraph: "I had no sooner seen my sister's palfrey, in spite of her endeavours to the contrary, entering with spirit into the chase..." The narrator uses formal titles—"Lord Boteler," "Lady Emma"—and describes actions with precision. The structure includes a chapter heading that promises "Investigation of the Adventure" and a conclusion, suggesting a self-contained episode. This contrasts with the sprawling, multi-plot novel Waverley is known to be. The excerpts feel like a discrete tale, possibly from Scott's unpublished work.
Recurring Details: The Vanishing Forester and the Jester
Two details stand out. First, the forester who rescues Lady Emma disappears: "he will not be found of mortal, unless at his own season," she says, hinting at supernatural or symbolic significance. Second, the jester Gregory is both cowardly and comic—he flees "crying for help" but is later mentioned as a witness. These elements recur in Scott's later novels, but here they are concentrated in a short episode. The forester's elusiveness and the jester's buffoonery add a folkloric layer that the catalog subjects do not capture. The excerpts thus offer a glimpse of Scott's early experimentation with character types.
Readers approaching this text as the canonical Waverley should be aware that the excerpts depict a different narrative world. The medieval setting, formal dialogue, and episodic structure suggest a fragment or a different work entirely. For those interested in Scott's development as a novelist, this material offers a valuable contrast to his later historical fiction. Approach the text with caution regarding its completeness and subject matter.
I’ve always found a peculiar quietness between Waverley and The Memoirs of Sherlock Holmes — Reading Companion. Both are catalogued as adventures, yet each keeps a secret hearth — one for a knight’s impossible loyalty, the other for a detective’s private sorrow. They whisper of duties chosen over ease, and I think that kinship is why I shelve them together, for the long evenings.
Aria King
1 month agoElijah Harris
1 month ago-
Gregory Smith - 1 month ago
Waverley is a significant historical novel that provides a detailed look at a turbulent period in British history. The prose is elegant and the setting is authentic, but the pacing can be slow for modern readers, especially in the early chapters. Still, it offers a rewarding experience for those interested in the era and Scott's literary legacy. -
Christopher Williams - 1 month ago
Waverley is a masterpiece of historical fiction, brilliantly capturing the Jacobite rising of 1745 through the eyes of an English soldier. Scott's vivid descriptions of the Scottish Highlands and his nuanced portrayal of both sides of the conflict make this a compelling and immersive read. The characters are richly drawn, and the plot is both romantic and thrilling. A must-read for any lover of classic literature. -
Julie Smith - 3 weeks ago
Despite its reputation, Waverley feels dated and verbose. The narrative drags with excessive descriptions and the protagonist is passive. The romance is predictable, and the historical context, while interesting, is presented in a way that may alienate casual readers. It's more of a chore to read than a pleasure, though it has some historical value.
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Mia Ramirez
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