Home Literary Studies 29 Sir Walter Scott, Rob Roy (1817; revised 1829–1830)
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29 Sir Walter Scott, Rob Roy (1817; revised 1829–1830)

  • Alan Riach
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Handbook of the British Novel in the Long Eighteenth Century
This chapter is in the book Handbook of the British Novel in the Long Eighteenth Century

Abstract

Rob Roy occupies a central place in the history of the novel, more particularly the historical novel, which Sir Walter Scott is frequently said to have invented. The chapter will look at the larger historical context and what was for Scott the essential question of his era, which also has close application in the novel: that of divided loyalties in times of changing political power. Moreover, it will discuss the novel’s narrative and aesthetic strategies in the context of the distinctively Scottish complexity of the relation between Enlightenment and Romanticism that is interwoven with the extraordinary temporal layers in the novel’s narrative. Rob Roy’s reception is viewed in the context of its publication history, which has informed its critical appreciation, the legacy of the novel, and Scott’s work more generally, in terms of cultural production in various fields (for example, in theatre, music, cinema and TV).

Abstract

Rob Roy occupies a central place in the history of the novel, more particularly the historical novel, which Sir Walter Scott is frequently said to have invented. The chapter will look at the larger historical context and what was for Scott the essential question of his era, which also has close application in the novel: that of divided loyalties in times of changing political power. Moreover, it will discuss the novel’s narrative and aesthetic strategies in the context of the distinctively Scottish complexity of the relation between Enlightenment and Romanticism that is interwoven with the extraordinary temporal layers in the novel’s narrative. Rob Roy’s reception is viewed in the context of its publication history, which has informed its critical appreciation, the legacy of the novel, and Scott’s work more generally, in terms of cultural production in various fields (for example, in theatre, music, cinema and TV).

Chapters in this book

  1. Frontmatter I
  2. Editors’ Preface V
  3. Contents VII
  4. Introduction 1
  5. Part I: Systematic Questions
  6. 1 The Novel and Liberty: Individual Freedom and Civic Order 21
  7. 2 The Novel and Sense(s): Reason, Sentiment, and Subjectivity 41
  8. 3 The Novel and Intimacy: Gender, Sexuality, and Queer Readings 65
  9. 4 The Novel and Cultural Encounters: Colonialism, Cosmopolitanism, and the Other 85
  10. 5 The Novel and the Literary Marketplace: Print Culture, Popular Reading, and an Emerging British Canon 107
  11. 6 The Novel and the Environment: Nature, Cultivation, and Alien Ecologies 123
  12. Part II: Close Readings
  13. 7 Aphra Behn, Oroonoko, or The Royal Slave (1688) 141
  14. 8 Daniel Defoe, Robinson Crusoe Trilogy (1719‒1720) 157
  15. 9 Jonathan Swift, Gulliver’s Travels (1726) 175
  16. 10 Samuel Richardson, Clarissa, or The History of a Young Lady (1747–1748) 193
  17. 11 Henry Fielding, The History of Tom Jones, A Foundling (1749) 211
  18. 12 Eliza Haywood, The History of Miss Betsy Thoughtless (1751) 229
  19. 13 Robert Paltock, The Life and Adventures of Peter Wilkins (1751) 243
  20. 14 Charlotte Lennox, The Female Quixote (1752) 259
  21. 15 Samuel Johnson, The History of Rasselas, Prince of Abissinia (1759) 279
  22. 16 Sarah Scott, Millenium Hall (1762) 295
  23. 17 Laurence Sterne, The Life and Opinions of Tristram Shandy, Gentleman (1759–1767) 311
  24. 18 Frances Brooke, The History of Emily Montague (1769) 327
  25. 19 Henry Mackenzie, The Man of Feeling (1771) 347
  26. 20 Tobias Smollett, The Expedition of Humphry Clinker (1771) 365
  27. 21 Frances Burney, Evelina (1778) 381
  28. 22 Phebe Gibbes, Hartly House, Calcutta (1789) 399
  29. 23 Ann Radcliffe, The Romance of the Forest (1791) 417
  30. 24 Charlotte Smith, Desmond (1792) 435
  31. 25 Mary Wollstonecraft, Maria: or, The Wrongs of Woman (1798) 449
  32. 26 William Earle, Obi; or The History of Three-Fingered Jack (1800) 467
  33. 27 Anonymous, The Woman of Colour; A Tale (1808) 483
  34. 28 Maria Edgeworth, Ormond (1817) 499
  35. 29 Sir Walter Scott, Rob Roy (1817; revised 1829–1830) 519
  36. 30 Mary Shelley, Frankenstein, or The Modern Prometheus (1818) 539
  37. 31 Jane Austen, Persuasion (1818) 557
  38. Index of Names 575
  39. Index of Subjects 583
  40. List of Contributors 595
https://doi.org/10.1515/9783110650440-030

Chapters in this book

  1. Frontmatter I
  2. Editors’ Preface V
  3. Contents VII
  4. Introduction 1
  5. Part I: Systematic Questions
  6. 1 The Novel and Liberty: Individual Freedom and Civic Order 21
  7. 2 The Novel and Sense(s): Reason, Sentiment, and Subjectivity 41
  8. 3 The Novel and Intimacy: Gender, Sexuality, and Queer Readings 65
  9. 4 The Novel and Cultural Encounters: Colonialism, Cosmopolitanism, and the Other 85
  10. 5 The Novel and the Literary Marketplace: Print Culture, Popular Reading, and an Emerging British Canon 107
  11. 6 The Novel and the Environment: Nature, Cultivation, and Alien Ecologies 123
  12. Part II: Close Readings
  13. 7 Aphra Behn, Oroonoko, or The Royal Slave (1688) 141
  14. 8 Daniel Defoe, Robinson Crusoe Trilogy (1719‒1720) 157
  15. 9 Jonathan Swift, Gulliver’s Travels (1726) 175
  16. 10 Samuel Richardson, Clarissa, or The History of a Young Lady (1747–1748) 193
  17. 11 Henry Fielding, The History of Tom Jones, A Foundling (1749) 211
  18. 12 Eliza Haywood, The History of Miss Betsy Thoughtless (1751) 229
  19. 13 Robert Paltock, The Life and Adventures of Peter Wilkins (1751) 243
  20. 14 Charlotte Lennox, The Female Quixote (1752) 259
  21. 15 Samuel Johnson, The History of Rasselas, Prince of Abissinia (1759) 279
  22. 16 Sarah Scott, Millenium Hall (1762) 295
  23. 17 Laurence Sterne, The Life and Opinions of Tristram Shandy, Gentleman (1759–1767) 311
  24. 18 Frances Brooke, The History of Emily Montague (1769) 327
  25. 19 Henry Mackenzie, The Man of Feeling (1771) 347
  26. 20 Tobias Smollett, The Expedition of Humphry Clinker (1771) 365
  27. 21 Frances Burney, Evelina (1778) 381
  28. 22 Phebe Gibbes, Hartly House, Calcutta (1789) 399
  29. 23 Ann Radcliffe, The Romance of the Forest (1791) 417
  30. 24 Charlotte Smith, Desmond (1792) 435
  31. 25 Mary Wollstonecraft, Maria: or, The Wrongs of Woman (1798) 449
  32. 26 William Earle, Obi; or The History of Three-Fingered Jack (1800) 467
  33. 27 Anonymous, The Woman of Colour; A Tale (1808) 483
  34. 28 Maria Edgeworth, Ormond (1817) 499
  35. 29 Sir Walter Scott, Rob Roy (1817; revised 1829–1830) 519
  36. 30 Mary Shelley, Frankenstein, or The Modern Prometheus (1818) 539
  37. 31 Jane Austen, Persuasion (1818) 557
  38. Index of Names 575
  39. Index of Subjects 583
  40. List of Contributors 595
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