Waverley; or, 'Tis sixty years since — Volume 1 — Reading Notes
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This digital edition of Waverley; or, 'Tis sixty years since — Volume 1 — Reading Notes is described by source-level measurements including 117,445 words, 8 hr 31 min estimated reading time, and 13 detected text sections.
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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.
Walter Scott's Waverley begins not with action but with a deliberate, almost leisurely introduction of its hero, Edward Waverley, whose education and temperament are shaped by a divided family heritage—his father a Whig politician, his uncle a Tory Jacobite sympathizer. The narrative voice is that of a retrospective historian, frequently addressing the reader with phrases like 'the reader may anticipate' and offering explanatory asides on Scottish customs. This measured pace allows Scott to establish a contrast between the ordered, rational world of England and the wild, feudal society of the Highlands, which Edward will soon encounter.
Narrative Voice and Historical Distance
The narrator of Waverley adopts a tone of amused detachment, often interrupting the story to comment on the differences between 1745 and the early nineteenth century. For instance, when describing Edward's journey north, the narrator remarks that 'the reader may be assured' that the hero's romantic notions of Scotland are soon tested by muddy roads and primitive inns. This technique creates a double perspective: the reader observes both Edward's naivety and the narrator's knowing hindsight. Scott also uses footnotes to gloss Gaelic terms and historical references, reinforcing the sense that the novel is a reconstruction of a vanished world. The voice is that of an antiquarian, not a participant, which lends the narrative a scholarly calm even when describing violent events.
Pace and the Slow Accumulation of Detail
The first volume of Waverley proceeds at a deliberate, almost unhurried pace, devoting long passages to landscape description, domestic interiors, and the rituals of Highland hospitality. A key example is the feast at the castle of the chieftain, where Scott meticulously catalogues the seating order, the quality of food and drink, and the reactions of the guests. The prose lingers on the 'huge oaken table' and the 'changeful group of women, ragged boys and girls, beggars' that surround the banquet. This accumulation of concrete detail serves to immerse the reader in the material culture of the Highlands, but it also slows the narrative to a crawl. The effect is to make the eventual outbreak of political conflict feel both inevitable and jarring, as the steady rhythm of daily life is disrupted by the call to arms.
Language and the Representation of Highland Speech
Scott renders Highland speech through a mixture of Scots dialect, Gaelic phrases, and English translation. Characters like the old Highland woman who mutters 'Our fathers' herds did not feed so near together that I should do you this service' speak in a syntax and vocabulary distinct from the narrator's polished English. The narrator often provides a gloss for such utterances, as when he explains the Gaelic proverb 'May the open hand be filled the fullest.' This linguistic layering highlights the cultural gap between Edward and his hosts, and between the reader and the historical setting. Scott does not attempt a full phonetic transcription; instead, he uses selective dialect markers to suggest a different mode of thought and expression, one tied to clan loyalty and oral tradition rather than Enlightenment rationality.
Readers approaching Waverley for the first time should be prepared for a novel that values atmosphere over plot acceleration. The first volume is essentially a long, detailed setup, in which Scott uses Edward's gradual immersion into Highland life to explore themes of loyalty, identity, and historical change. Pay attention to the narrator's asides and footnotes, which often contain clues to the novel's political subtext. The reward for patience is a richly textured portrait of a society on the brink of transformation.
I keep circling back to those first slow chapters of Waverley, the way Scott lets Edward wander through a landscape that hasn't yet decided who he is. That unhurried patience feels like sitting by a fire, watching the smoke drift. It made me want the second volume near me, not for answers but for company. Waverley; or, 'Tis sixty years since — Volume 2 — Inside the Classic waits like a familiar shelf.
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