Sir Walter Scott, a renowned Scottish poet and novelist of the 19th century, possessed a unique ability to captivate readers with his enchanting storytelling skills. His works, filled with adventure, romance, and historical settings, continue to leave an indelible mark on literature. Scott's magic charm lies in his unparalleled ability to transport readers to distant times and places through his vivid descriptions and meticulous attention to detail. His novels are richly layered with historical context, immersing readers in a world long past. From the medieval castles of Scotland to the battlefields of the Crusades, Scott's novels take readers on a journey through time, igniting their imagination and leaving them yearning for more. Moreover, Scott's characters are deeply human and relatable, making readers feel an emotional connection to their struggles and triumphs.
Cheape, H. (2008). ‘Charms against Witchcraft’: Magic and Mischief in Museum Collections. In: Goodare, J., Martin, L., Miller, J. (eds) Witchcraft and Belief in Early Modern Scotland. Palgrave Historical Studies in Witchcraft and Magic. Palgrave Macmillan, London. https://doi.org/10.1057/9780230591400_11
Adopted by the Lowlands, it became sloggorn, a corrupted form which led Chatterton to include it in his pseudo-antique vocabulary as the name of a trumpet slug-horn , an absurdity copied by Browning. We can be thrilled by the picture of Ivanhoe and the Templar rushing from the opposite ends of the lists with the speed of lightning and meeting with the shock of a thunderbolt, though we know that, in point of fact, they lumbered awkwardly up against each other on dray horses and jabbed away clumsily with their barge-pole implements till one of them overbalanced and rolled off.
Moreover, Scott's characters are deeply human and relatable, making readers feel an emotional connection to their struggles and triumphs. His heroes and heroines possess a sense of honor and nobility that resonates with readers, while his villains are equally compelling in their complexities. Scott's characters come alive on the pages, becoming unforgettable figures in the minds of readers.
Walter Scott and the English Language
THE London Observer of March 15, 1931, propounded, by way of competition, the question, ‘Which of the immortals would you choose as companion for half an hour’s walk?’ The six candidates who headed the poll were Shakespeare, Dr. Johnson, Charles Lamb, Socrates, Sir Walter Scott, Julius Cæsar. If all the competitors, before recording their votes, had reread Washington Irving’s charming description of his visit to Abbotsford and his walks with the ‘Shirra’ in 1817, it is possible that Scott might have headed the list. ‘It was,’ says the American essayist, ‘as if I were admitted to a social communion with Shakespeare, for it was with one of a kindred, if not equal genius. . . . The play of his genius was so easy that he was unconscious of its mighty power. . I do not recollect a sneer throughout his conversation any more than there is throughout his works.’ In fact, to quote the same authority, a ‘golden-hearted man.’
It is rather the fashion just now with the illiterate and the immature to depreciate Scott. He is, says a manufacturer of shockers, unreadable. A contemporary lady novelist records her horror at having been suspected of reading Dickens, explaining that she felt almost as distressed as though she had been accused of reading Scott. It is a pity she did not add Shakespeare, so as to include in one condemnation the three greatest creators of character in English literature, perhaps even in the literature of the world. The result of the Observer election, recording the opinion of the most educated newspaper ‘constituency’ in the British Isles, would seem to indicate that, for the lettered, Scott is far from being a back number.
The recent publication of two new lives of Walter Scott is a reminder that 1932 is the centenary of that great man’s death. We may no doubt look forward to a considerable literary output of Scottiana in the immediate future, but the object of this modest article is to call attention to Scott’s contribution to the vocabulary and phraseology of modern English, and to suggest that some student of language should handle the subject with the fullness for which the present writer has not the necessary leisure. It will, I think, be found that next to Shakespeare, whose influence on English is a phenomenon unique in the history of language, Scott has been our greatest verbal benefactor.
He is not one of the very quotable poets. Leaving out Shakespeare, who stands alone, it may be said that the greatest poets are often not the most quotable. Each of the immortals has given us a few phrases which have become an integral part of the English vocabulary, but from all the magnificent poetry of the nineteenth century cannot be drawn a supply of quotations to compare with that furnished in the eighteenth century by Pope alone, the neat and sententious. To Scott’s vigorous and galloping verse we owe such effective phrases as ‘Unwept, unhonoured, and unsung,’ ‘Caledonia! stern and wild,’ ‘to beard the lion in his den, ’ ‘ foemen worthy of their steel ’; and, although he was a landsman, he is our first literary authority for the phrase ‘ to nail the colours to the mast,’ which occurs in the Introduction to ‘Marmion,’ an example overlooked by the Oxford Dictionary. This may not seem a very large contribution to English phraseology, but it is probably as great as that of any other nineteenth-century poet. The ‘crowded hour of glorious life,’ which is attributed to him in some anthologies of quotations, is really a quotation from a poem by T. O. Mordaunt, used by Scott as an epigraph to a chapter of Old Mortality.
It is to the prose works that we must go to estimate Scott’s importance as a word maker and phrase maker. The Waverley Novels fall into two groups. We have the romantic mediæval tales that delighted our boyhood, and which the modem consumer of thrillers finds long-winded and dull. Such are Ivanhoe, The Talisman, and Quentin Durward, the greatest of these being Ivanhoe. Then there are the immortal stories dealing with periods not too remote from the author’s own times, with the scene laid upon his ‘native heath’ (his own phrase), the Border country and the Lowlands, regions so rich in that legendary lore which Scott began to absorb in childhood and in which he never ceased to revel. It is to these — Guy Mannering, The Antiquary, The Heart of Midlothian, Rob Roy, and the like — that we turn in our mature years, when the perusal of some ‘courageous’ modern novel impels us to seek the disinfecting society of Dandie Dinmont, Mr. Oldbuck, Davie Deans, Bailie Nicol Jarvie, and the rest of a society of characters and oddities unequaled outside Shakespeare’s works, except perhaps by Dickens. In these two groups of novels Scott speaks two separate languages. In the first group we have the conventional and unreal language of imaginative romance, in the second the natural pithy speech, racy of the soil, which he had heard all his life from the Lowland burgess and peasant.
In addition, Scott's mastery of language and rhythm adds another layer of enchantment to his works. His prose flows with an almost musical quality, drawing readers into the story and holding them captive until the final page. His use of dialects and accents further adds authenticity and depth to his characters and settings. Scott's influence extended beyond his storytelling prowess. He played a pivotal role in reviving interest in Scottish history and culture, helping shape Scotland's national identity. His works inspired a renewed appreciation for Scotland's rich heritage and landscape, sparking a wave of tourism and interest in Scottish literature. In conclusion, Sir Walter Scott's magic charm lies in his ability to transport readers to different worlds and eras. Through his captivating storytelling, vivid descriptions, and relatable characters, Scott continues to enchant readers and leave a lasting impact on literature. His legacy as one of Scotland's greatest writers remains strong, and his works continue to be cherished by readers around the world..
Reviews for "Sir Walter Scott and the Power of the Written Word"
1. Emily - 2/5 stars - I was really excited to read "The Magic Charm of Sir Walter Scott" as I am a big fan of Scott's works. However, I was really disappointed with this book. It felt like a collection of random trivia about Scott, without any depth or analysis of his works. The writing was dry and lacked any real enthusiasm or passion for the subject. I would not recommend this book to anyone looking for a comprehensive study of Scott's writings.
2. David - 1/5 stars - I found "The Magic Charm of Sir Walter Scott" to be incredibly boring and unengaging. It seemed like the author was just going through the motions without really delving into the true magic of Scott's works. The book lacked any fresh insights or interesting anecdotes, making it a tedious read. I would suggest looking for other books or sources if you're interested in learning more about the captivating world of Sir Walter Scott.
3. Sarah - 2/5 stars - I had high hopes for "The Magic Charm of Sir Walter Scott," but unfortunately, it fell short of my expectations. The book lacked the depth and analysis I was looking for, and instead, it felt like a surface-level overview of Scott's life and works. The author barely scratched the surface of Scott's literary contributions, leaving me wanting more. Overall, I found it to be a disappointing read that didn't do justice to the brilliance of Sir Walter Scott.
4. James - 3/5 stars - As a huge fan of Sir Walter Scott, I was really looking forward to reading "The Magic Charm of Sir Walter Scott." While it did provide some interesting insights into Scott's life, I found the overall writing style to be a bit dry and lacking in excitement. The book didn't truly capture the magic and charm of Scott's works, which was a letdown for me. It is an okay read for those seeking a broad overview of Scott's life and works, but it doesn't dive deep enough to satisfy true fans.