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Find Out What Scott Really WroteGoing back to the original manuscripts, a team of scholars has uncovered what Scott originally wrote and intended his public to read before errors, misreadings and expurgations crept in during production.The Edinburgh Edition offers you:A clean, corrected textTextual historiesExplanatory notesVerbal changes from the first-edition textFull glossariesTitle DescriptionScott wrote short stories throughout his career, some included within novels, others published separately in periodicals. This collection of the stories from periodicals extends from his earliest published fiction to his last and comprises pieces from The Edinburgh Annual Register (1811), The Sale-Room (1817), Blackwood's Edinburgh Magazine (1817-1818) and The Keepsake (1828-1831). Only three of these stories have been regularly reprinted; the other five are here made readily available for the first time. Publication in periodicals offered Scott new opportunities to explore the potential of the short story form and to demonstrate his enormous versatility as a writer of fiction.

Find Out What Scott Really WroteGoing back to the original manuscripts, a team of scholars has uncovered what Scott originally wrote and intended his public to read before errors, misreadings and expurgations crept in during production.The Edinburgh Edition offers you:A clean, corrected textTextual historiesExplanatory notesVerbal changes from the first-edition textFull glossariesTitle DescriptionCount Robert of Paris, condemned by Scott's printer as ‘altogether a failure', was later prepared for publication by his son-in-law, J. G. Lockhart, and his publisher Robert Cadell. What appeared was a bowdlerised, tamed and tidied version of what Scott had written and dictated. This edition, the first to have returned to the manuscript and to the many surviving proofs, realises Scott's original intentions. Scott's last full novel has many roughnesses, but it also challenges the susceptibilities of his readers more directly than any other and in that lay its fault in the eyes of the lesser men who condemned it.

Find Out What Scott Really WroteGoing back to the original manuscripts, a team of scholars has uncovered what Scott originally wrote and intended his public to read before errors, misreadings and expurgations crept in during production.The Edinburgh Edition offers you:A clean, corrected textTextual historiesExplanatory notesVerbal changes from the first-edition textFull glossariesTitle DescriptionCastle Dangerous is the realisation of a thirty-year old project of Scott's to retell a story found in Barbour's Brus. Set in the early fourteenth century during the Scottish Wars of Independence, an English knight for a love wager commits himself to defend Douglas Castle against Scottish attempts to retake it. The ballad-like story embraces intriguing elements including national rivalry, and the idealisation and betrayal of love. The Douglas area, seen as an almost surrealist landscape of ravines, trenches, and tombs, and in abysmal weather, forms an appropriate setting for an impressively bleak narrative.

Set on the eve of the Protestant Reformation in Scotland, The Monastery is full of supernatural events, theological conflict and humour. Located in the lawless Scottish Borders, the novel depicts the monastery of Kennaquhair (a thinly disguised Melrose Abbey, whose ruins are still to be seen near Scott's own home at Abbotsford) on the verge of dissolution, and the fortunes of two brothers as they respond to a new social and religious order. Highlights of the narrative include a moving encounter between two representatives of opposing sides in the Reformation controversy who had been students together in less troubled times, and the final formal procession of the Kennaquhair monks as the Reformed forces arrive. A talking-point when the work was first published, the mysterious spectral White Lady, guardian of the magical Black Book, still intrigues readers. A strong comic element is provided by Sir Piercie Shafton with his absurd linguistic mannerisms fashionable at the English court. The narrative is preceded by one of Scott's most charming and playful introductory exchanges between the fictional local antiquary Cuthbert Clutterbuck and the Author of Waverley.

Find Out What Scott Really WroteGoing back to the original manuscripts, a team of scholars has uncovered what Scott originally wrote and intended his public to read before errors, misreadings and expurgations crept in during production.The Edinburgh Edition offers you:A clean, corrected textTextual historiesExplanatory notesVerbal changes from the first-edition textFull glossariesTitle DescriptionRob Roy is set in 1715, but it is less concerned with the Jacobite Rising than with the economic and political conditions which brought it about, and the remarkable entrepreneurial spirit of the new Hanoverian capitalists which resisted it. It celebrates the freebooting daring of the hero's father in the City of London and the robust balancing of generosity and selfish calculation which is required in successful enterprise, and which motivates one of Scott's most lively creations, the Glasgow merchant Baillie Nicol Jarvie.Rob Roy is nominally a retrospective autobiography written by Frank Osbaldistone and is suffused with a sense of loss both personal and cultural. The personal is the loss of his wife Diana; the cultural is epitomised in Rob Roy who is the hunted victim of a society richer and more powerful than his own.The text is based upon the first edition, corrected with readings from the manuscript, and is supported by comprehensive historical and explanatory annotation.

Set at the end of the reign of James VI and I, The Fortunes of Nigel sits among Walter Scott's richest creations in political insight, range of characterisation and linguistic virtuosity.Well versed in the political literature of the period, Scott drew a detailed picture of London in the early 17th century while charting the effects of Scottish influx into the English capital: the ambitions and fears of the incomers and the suspicion they aroused. The complex web of political (and sexual) intrigue, and especially of all-important financial dealings and double-dealings, is traced with a master's hand. No Scott novel has a more memorable cast of characters. King James heads them, with his childish irresponsibility and elusive character: a would-be Solomon and father of his country, theological disputant, prurient bisexual. But not far behind are jeweller George Heriot, clockmaker Davie Ramsay, courtier Sir Mungo Malagrowther, servant Richie Moniplies and many vivid minor characters. Steeped in Jacobean drama, this tale shows Scott revelling in the linguistic riches of the age. Previous editions have obscured his virtuosity (as seen in a dazzlingly proto-Joycean monologue by a Greenwich barber), but painstaking examination of the manuscript and proofs for this new edition allows the full vigour of Scott's achievement to be savoured for the first time.

Chronicles of the Canongate is unique among Scott's works as it is his only collection of shorter fiction. It contains his best-known tales,'The Highland Widow'and'The Two Drovers', and a third, less well known but of startling originality,'The Surgeon's Daughter'. The three are set within the framing narrative of Chrystal Croftangry, an old bankrupt with pretensions to literature, who must inevitably be seen as a portrait of the artist facing up to his own insolvency in 1826.Tales in a framework have a long ancestry in European and Oriental literature, and in Chronicles of the Canongate Scott adapts the genre with consummate skill. Each of the stories and Croftangry's narrative may be read independently, but together they constitute a themed work in which the narrator treats of the cultural conflicts in the new Britain and its growing empire in the thirty years from 1756.This edition of Chronicles of the Canongate recovers a truly inventive work which is here republished in its original form for only the second time since Scott's death in 1832.

The Heart of Mid-Lothian is precisely focused on the trials for murder of John Porteous and of Effie Deans in 1736 and 1737. Yet it is a chronicle – Scott's only chronicle – which spans the eighty years of the life of David Deans, whose death takes place in 1751. The most complex of all Scott's narratives, it is also the most challenging in that it raises in an acute fashion the problem of a judicial system that does not produce justice. Scott places this fundamental issue in its immediate political context, in history as represented by the life of Deans, and alongside the justice of Providence as perceived by his daughter Jeanie, the greatest of Scott's heroines.The Edinburgh Edition of The Heart of Mid-Lothian provides a new text, and in its annotation treats comprehensively the novel's historical, legal, religious and cultural sources.

The Fair Maid of Perth centres on the merchant classes of Perth in the fourteenth century, and their commitment to the pacific values of trade, in a bloody and brutal era in which no right to life is recognised, in which the Scottish nobles fight for control of the weak Scottish monarchy, and clans are prepared to extinguish each other to gain supremacy in the central Highlands. It is a remarkable novel, in part because late in his career Scott has a new subject, and in part because he employs a spare narrative style that is without parallel in the rest of his oeuvre. Far too many critics, from his son-in-law J.G. Lockhart to the present day, have written off late Scott, and seen his last works as evidence of failing powers. Readers of the Edinburgh Edition of The Fair Maid of Perth will see that these critics are mistaken, for in it we witness a luminous creative intelligence working at high pressure to produce a tightly organised and deeply moving novel.

Academic libraries and museums foster many outstanding collaborations supporting teaching, learning, and research within their respective institutions. These collaborations, like other progressive activities, require significant invisible labor, caretaking, and resources that have not always been documented. Cultural Heritage and the Campus Community collects examples of successful academic library-museum collaborations and serves as critical knowledge for the cultural heritage sector. Authors from libraries and museums across the United States demonstrate how to develop and execute partnerships and bring forth new dimensions of transdisciplinary objects-based pedagogy, research, and learning centered on inclusive educational practices. Chapters explore visual thinking strategies and the Framework for Information Literacy in Higher Education in the undergraduate classroom; restoring Indigenous heritage through tribal partnerships; using object-based teaching to motivate student research; and much more. The collaborative approaches highlighted here demonstrate the power of possibility when two collections-centric entities unite to enrich our collective understanding of materiality, instructional approaches, and the importance of provenance. Cultural Heritage and the Campus Community also illustrates why interrogating past practices and value assignments within academic library and museum collections is essential to advancing culturally relevant approaches to knowledge sharing in physical and digital spaces

Find Out What Scott Really WroteGoing back to the original manuscripts, a team of scholars has uncovered what Scott originally wrote and intended his public to read before errors, misreadings and expurgations crept in during production.The Edinburgh Edition offers you:A clean, corrected textTextual historiesExplanatory notesVerbal changes from the first-edition textFull glossariesTitle DescriptionSet at the time of the Third Crusade (1189–92), The Betrothed is the first of Scott's Tales of the Crusaders. The betrothed is Eveline, daughter of a Norman noble, who is a victim of the Crusade in that her intended husband is required by the Church to fulfil his vow to join the war and departs for three years. The full horror of an arranged marriage, and of being a possible prize as men seek to gain possession of her is vividly realised: the heroine is never free; her fate is always determined by the agency of men. Set on the Marches of Wales, it is not just men but differing cultures that strive for mastery over her.The Betrothed is a problem novel: as Scott was writing it, he himself was arranging the marriage of his elder son. It is a problem novel too in that it was deeply disliked by Scott's printer and publisher who forced significant changes. What Scott was required to do to meet their objections has been confronted for the first time in this, the first critical edition of the novel.

Find Out What Scott Really WroteGoing back to the original manuscripts, a team of scholars has uncovered what Scott originally wrote and intended his public to read before errors, misreadings and expurgations crept in during production.The Edinburgh Edition offers you:A clean, corrected textTextual historiesExplanatory notesVerbal changes from the first-edition textFull glossariesTitle DescriptionThe second volume in the Tales of the Crusaders, The Talisman is set in Palestine during the Third Crusade (1189–92). Scott constructs a story of chivalric action, apparently adopting a medieval romance view of the similarities in the values of both sides. But disguise is the leading theme of the tale: it is not just that characters frequently wear clothing that conceals their identity, but that professions and cultures hide their true nature. In this novel the Christian leaders are divided by a factious criminality, and are contrasted to the magnanimity and decisiveness of Saladin, the leader of the Moslem armies. In a period when the west was fascinated with the exotic east, Scott represents the Moslem other as more humane than the Christian west.The Talisman is one of Scott's great novels. It is a superb tale. It is also a bold departure as, for the first time, Scott explores not cultural conflict within a country or society but in the opposition of two world religions.

Find Out What Scott Really WroteGoing back to the original manuscripts, a team of scholars has uncovered what Scott originally wrote and intended his public to read before errors, misreadings and expurgations crept in during production.The Edinburgh Edition offers you:A clean, corrected textTextual historiesExplanatory notesVerbal changes from the first-edition textFull glossariesTitle DescriptionWoodstock opens in farce, yet it is one of Scott's darkest novels. It deals with revolution, to Scott the most disturbing of all subjects:'it appears that every step we made towards liberty, has but brought us in view of more terrific perils.'Written during the financial crisis which led to his insolvency in January 1826, the novel, Scott feared,'would not stand the test'. Yet it does: it is set in England in 1651 as Parliamentary forces hunt the fugitive Charles Stewart who days previously had been defeated at Worcester. In the superb portrait of Cromwell we see a self-torturing despot who attempts to be in full control in the name of religion; in the rakish Charles we see a man without self-reflection whose own libertarianism after his restoration to the English throne in 1660 permitted a great burgeoning in scientific enquiry and the arts.This edition of Woodstock is based on the first, but emended in the light of readings in the manuscript and proofs that were misread, and at times deliberately suppressed, as Scott's own handwritten words were turned into a printed book.

La vida del protagonista de esta novela está marcada por las predicciones hechas el día de su nacimiento: un astrólogo le augura que habrá tres momentos fatales en su historia, y el primero ocurriría el día de su quinto cumpleaños, pero también predice que, si logra vencer este, los demás ya no se producirían. Secuestros, aventuras, traiciones y amores rodearán a este personaje hasta su mayoría de edad, instante en que se cumplirá la última etapa de la profecía. En El astrólogo concentra el autor una serie de personajes y hechos que rozan con lo que apenas podemos concebir como real, es una novela llena de misterios, secretos y fantasía.

El Pirata presenta una historia de misterio y aventura con la aparición de un barco muy especial. Novela escrita por Walter Scott en 1822 y ambientada en la isla de Mainland, en las islas Shetland, Escocia, que Scott visitó en la primavera de 1814. Murdaunt, el único hijo que tiene Mertoun, se embarca rumbo a la isla de Mainland, para tener una nueva vida. Al llegar a la isla, se estaciona en Bourg-Westra, donde se queda unos días en la posada de la población, llegando a conocer a las hermanas Troil, hijas del encargado de la posada, mientras, descubre que su padre es conocido como capitán diablo.

Ivanhoe es hijo de sir Cedric, un caudillo sajón cuyo deseo es restaurar el trono de Inglaterra en la estirpe sajona. Cedric cree que logrará su objetivo casando a su pupila, lady Rowena con Athelstane, el último sajón de sangre real. En ese momento, Inglaterra está dominada por los normandos. El deseo general es que Ricardo Corazón de León reúna para siempre a los normandos y sajones en un mismo reino. Pero esto se complica porque el rey ha sido hecho prisionero por el archiduque de Austria cuando volvía de las cruzadas. Además, hay una gran rivalidad entre los normandos y sajones.

Noch bis zum Anfange des verwichenen Jahrhunderts war es Brauch, auf diesem Platze die Verbrecher vom Leben zum Tode zu bringen. Zum Zeichen, daß wieder solch verhängnisvoller Tag sich nahte, wurde am östlichen Ende des Platzes ein großer, schwarzer Galgen aufgeschlagen. Rings um diesen grausigen Apparat herum lief das Schafott, zu dem eine Doppelleiter emporführte, bestimmt für Delinquenten und Henker. Errichtet wurde der Galgen immer vor Tagesanbruch, und so konnte man recht wohl meinen, er sei im Laufe der Nacht aus der Erde herausgewachsen, als Werk irgend eines bösen Geistes. Kann ich mich doch aus meiner Kinderzeit noch recht gut des Grausens erinnern, mit welchem wir Jungen den schrecklichen Vorbereitungen zu solch schrecklichem Tode zuschauten. In der auf die Hinrichtung folgenden Nacht verschwand der Galgen ebenso spurlos wieder in einem düsteren Gewölbe im Erdgeschoß des Parlamentsgebäudes. Um 7. September des Jahres 1786 tauchte auf eben beschriebenem Platze das unheimliche Gerüst wieder auf, und von aller Frühe an drängten sich Menschengruppen an seinem Fuße, begierig auf das Schauspiel, das ihnen winkte. In der Regel vergißt das Volk in seiner Gutmütigkeit die Missetaten, die den Delinquenten zu solcher Richtstatt führen, und gedenkt nur noch seines Jammers und Elends. An jenem Tage aber sah man nur finstere, rachsüchtige Mienen; denn der Delinquent, der heute die steile Leiter hinaufsteigen sollte, um gehenkt zu werden, war eines Verbrechens überführt worden, das jegliche Milde und Schonung ausschloß...

Als er näher kam, sah die Dame, daß er ein rüstiger, kräftiger Mann war, über die mittleren Jahre schon hinaus, mit Spuren des nahenden Greisentums, aber noch immer mit mannbarem, trutzigem Zug auf dem Antlitz, das manchen Sturm bestanden hatte, und noch immer mit Augen so scharf, daß man es ihnen auf den ersten Blick ansah, welch scharfe Wache sie zu halten gewohnt seit Jugend waren. Auch Verdruß zeigten sie noch, diese Züge: Verdruß über den schmucken Jüngling, der ihm zur Seite schritt und dessen Gesicht deutliche Kunde gab, daß es keine sanften Äußerungen gewesen sein mochten, durch die sich des Vaters Grimm gegen ihn Luft gemacht hatte. »Gedenkt Ihr denn meiner nicht mehr, Tom,« hub Bertram an, als beide nahe genug beieinander standen, um ein Gespräch zu beginnen – »oder haben zwanzig Jahre, die über unsere Köpfe gezogen, alle Erinnerung an Bertram, den englischen Spielmann und Sänger, mit sich genommen?« »Nun, nun,« versetzte der Schotte, »an Landsleuten von Euch fehlt es ja nicht bei uns, die einem die Erinnerung an Euch wachhalten. Aber wir sind nun doch mal so ungehobelt, daß man das Gesicht eines alten Freundes vergißt und kaum von weitem erkennt. Es hat aber in jüngster Zeit viel Unruhe hier gesetzt. Oben in dem schlimmen Schlosse Douglas halten tausend Landsleute von Euch Besatzung, und an anderen Plätzen im Tale auch: das ist kein lustiger Anblick für einen Schotten! Sogar in meinem armen Hause ist ein Schwerbewaffneter mit ein paar Bogenschützen quartiert worden...