How to explain what the title of a historical novel is about. Essay about the story of Scott Ivanhoe
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Essay about the story of Scott Ivanhoe
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W. Scott Ivanhoe essay. 0. The history of the creation of the novel. In Walter Scott's novel Ivanhoe, the action takes place in recent years Richard's reign Lionheart.
How to explain that the title of a historical novel is dedicated to a fictional character, the crusader knight Ivanhoe? Walter Scott is considered the founder.
New works. Features of the plot in Walter Scott's novel “Ivanhoe”. Ideologically - artistic originality W. Scott's novel "Ivanhoe". The hero of W. Scott's novel "Ivanhoe". The history of England from the eyes of the distinguished novelist Walter Scott.
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Option 1. The topic of the essay is the history of England through the eyes of the outstanding novelist W. Scott. "Ivanhoe" is a novel about the distant past. The author deliberately “mixed truth with fiction,” trying to make his story exciting, but never went beyond
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Roman Ivanhoe. Download the essay. Type: Problem-thematic analysis of the work. The novel "Ivanhoe" was written by the English novelist Walter Scott. Events take place in the 12th century.
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The events of this novel ( Summary Ivanhoe) by Walter Scott, written in 1819, take place one hundred and thirty years after the Norman William. Essay on the painting February Blue. Lermontov and the Caucasus.
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Download Essay about the story by W. Scott Ivanhoe >> http://qak.filezx.ru/download?file=essay+about+story+Wscott+Ivanhoe W. Scott Ivanhoe essay. 0. The history of the creation of the novel. In Walter Scott's novel Ivanhoe, the action takes place during the last years of the reign of Richard the Lionheart. How to explain that the title of a historical novel is dedicated to a fictional character, the crusader knight Ivanhoe? Walter Scott is considered the founder. New works. Features of the plot in Walter Scott's novel “Ivanhoe”. The ideological and artistic originality of W. Scott's novel "Ivanhoe". The hero of W. Scott's novel "Ivanhoe". The history of England from the eyes of the distinguished novelist Walter Scott. Home > Essays on Russian literature > Essay based on the work of W. Scott “Ivanhoe”. The plot and characters of one of the stories by V. M. Shukshin (“Weirdo”). An essay based on the work of W. Scott “Ivanhoe”. The author of this novel is the founder of historical novelism, Walter Scott. "Ivanhoe": summary. This novel is dedicated to the distant past. Excellent essay! Doesn't fit? => use the search in our database of more than 20,000 essays and you will definitely find a suitable essay on the topic of Walter Scott’s novel “Ivanhoe.” Reading room: Reviews and reviews. Review of "Ivanhoe" by W. Scott. With all their souls they wished harm to the treacherous Prince John, and “rooted” for the nice guy Loxley, to whom even separate stories and tales are dedicated. An essay on foreign literature “The courageous heroes of W. Scott - based on the novel “Ivanhoe”. An essay about the collection in English. Father and son in the story by D. Aldridge “The Last Inch”. The life and work of Goethe V.I. Russian works - Scott V. - Ivanhoe - W. Scott's novel "Ivanhoe" in a historical context So, the story is known for certain that Prince John, having imprisoned some rich Jew in one of his castles, ordered his teeth to be pulled out every day. . The theme of the essay is the history of England through the eyes of the outstanding novelist W. Scott. “Ivanhoe” is a novel about the distant past. The author deliberately “mixed truth with fiction,” trying to make his story exciting, but never went beyond All Works > W. Scott. . Walter Scott is considered the founder of the historical novel. Historical prose involves not only a story about the facts of the past, but also a vivid, lively depiction of them. All Works > W. Scott is considered the founder of the historical novel. Historical prose involves not only a story about the facts of the past, but also a bright, living image of them. Roman Ivanhoe. Download the essay. Type: Problem-thematic analysis of the work. The novel "Ivanhoe" was written by the English novelist Walter Scott. Events take place in the 12th century. If you are looking for where to find or download Characteristics of the heroes based on Walter Scott's work "IVENHO" | IVANHOE, then you should definitely come to us! An essay based on a story by M.A. Aldanov “Belvedere Torso” An essay based on a story by M.A. Aldanov "Belvedere Torso". The events of this novel (Summary of Ivanhoe) by Walter Scott, written in 1819, take place one hundred and thirty years after the Norman William. Essay on the painting February Blue. Lermontov and the Caucasus. http://wallinside.com/post-62426596--.html, http://wallinside.com/post-62426236--.html, http://wallinside.com/post-62426390--.html, https: //gist.github.com/1b4c5e4d6b94c7d875555e3e47fb451b, http://lzdvrid.bbtalk.ru/viewtopic.php?id=82
Study of W. Scott's novel "Ivanhoe"Studying W. Scott's novel "Ivanhoe" not only makes it possible to read an interesting adventure novel, but also introduces us to the historical novel as a genre. During the conversation, students must understand the genre features of the historical novel, as well as recall previously received information from the history of the Middle Ages. The material of the novel allows you to integrate two closely located areas such as literature and history, helps to illustrate and consolidate historical knowledge, and expands the horizons and vocabulary of students. The inclusion of folk legends about Robin Hood in the system of studying folk legends about Robin Hood allows us to connect folklore and a literary work, to show the influence of folklore on the novel (the scene “Richard1 and Friar Tuck”), and the use of ballad illustrations by V. Vysotsky for the film “The Legend of the Valiant Knight Ivanhoe” allows us to expand framework of study and reach a philosophical understanding of the problems raised in the novel.
Preliminary work:
Read W. Scott's novel "Ivanhoe"
Highlight portraits of heroes and their characteristics
Individual message about W. Scott (the teacher checks the student’s work in advance, corrects the text of his speech so that his story is concise and interesting. In addition, the student must recite by heart, demonstrating his oratory skills. When speaking, you can use a presentation)
Individual message about the historical setting described in the novel
Pair work “Dialogue of Wamba and Gurt” (expressive reading on the sheet is being prepared)
Remember from history lessons what a medieval castle looks like and what parts it consists of. (You can offer a small project in the form of a presentation or creating a castle model)
Individual message about Richard1 as a historical figure. (the teacher checks the student’s work in advance, corrects the text of his speech so that his story is concise and interesting. In addition, the student must recite it by heart, demonstrating his oratory skills. When speaking, you can use a presentation)
Individual message about raising a knight
Which female character Are you interested? Try to create a portrait of one of the heroines of the novel.
Prove that in the novel the image of Loxley is identical to the image of Robin Hood
Follow how Cedric Rotherwood is described, his costume, his home. What details reflect the frankness, simplicity, pride and hot-tempered hatred of the invaders of this wealthy Saxon nobleman?
Individual message "Armor of a medieval knight"
design
integration
conversational
Listening to V. Vysotsky's song "The Ballad of Time"
Why do we turn to legends and stories from thousands of years ago? What values remain eternal for all time?
What literary genre is W. Scott the creator of? (historical novel)
What historical time is W. Scott's novel "Ivanhoe" dedicated to? (The action of the novel "Ivanhoe" takes place in the 12th century. This the reign of Prince John while King Richard 1 was on crusade and in captivity)
Walter Scott's novel Ivanhoe takes us to medieval England. About a hundred years have passed since the Norman knights landed on the island, but the enmity between the indigenous inhabitants - the Anglo-Saxons and the Norman conquerors has not yet subsided. We feel it from the first pages of the novel.
Royal power is still weak. Owners of large and small estates - feudal lords - feel completely independent. Each estate is like a tiny independent state. The feudal lords have their own army, mint their own coins, and administer justice according to their own laws.
The duration of the novel coincides with the inglorious end of the third crusade. The Christian army, having outraged the Muslim population of the south-eastern Mediterranean with cruelty, greed and hypocrisy, suffered a series of defeats. The crusaders, led by the French king Philip II Augustus and the English king Richard I the Lionheart, never managed to capture the rich countries of the Middle East. The hero of the novel, Ivanhoe, also returns to his homeland from this campaign.
What evidence could you provide that this is a historical novel? (The account of 12th century England is based on reliable events: the struggle of the Normans, who seized power, with the Anglo-Saxons, the return of King Richard, the activities of the Order of the Knights of the Temple, the Order of the Templars, feudal struggle. Strife leads to the fact that England is constantly threatened by civil strife, which destroys the life of the country and places a heavy burden on the people. W. Scott writes especially harshly about the Norman feudal lords. The novel shows the era of the reconstruction of England, which was turning from a country of disparate and warring feudal estates into a monolithic kingdom. Typical among other robber knights robbing the English people is the crusader Boisguillebert; his image reflects the features of the activities of the Templars. The feudal church is represented by Abbot Aimer. The Norman nobility is portrayed truthfully. The people’s struggle against feudal tyranny, led by the legendary Robin Hood, also found a place in the narrative.)
How to explain that the title of a historical novel is dedicated to the fictional character Knight Ivanhoe? (Walter Scott is considered the founder of the historical novel. Historical prose involves not only a story about the facts of the past, but also a bright, living depiction of them. In a historical novel, fiction and historical facts, real historical and fictional characters. Writers rely on historical documents they have studied, and the realities of the past arise in the work and are described in detail. folk life and morals. In his novels, V. Scott shows the life of society in a certain era, historical events are recreated through privacy person. In every story, next to the authentic historical events there is a plot thread connected with fate, often fictional character)
Student's message about raising a knight
In the novel, the beginning of the hero's life is not described, because it was probably like two peas in a pod like the biographies of his peers.
Obviously this was the case. Like all boys in noble families of that time, Ivanhoe was first raised under the supervision of his mother. From the age of seven, the boy was placed under male supervision. His father Cedric began teaching the boy horse riding and weaponry. When Ivanhoe was ten years old, his father sent him to one of the famous knights with whom he was related or on friendship. The future knight was almost never raised in his parents' house.
From that day on, the boy became a page. The page had to serve at the table, cover the floor with straw in the winter, and carry out various tasks around the house. For this, the knight for whom the young page served taught him military affairs and the rules of behavior at the tournament and in society. The future knight was not taught literacy, and Ivanhoe hardly knew how to sign his name.
When a page turned fourteen years old, he could be promoted to squire. In the castle, the squire looked after the horses and dogs, managed the cellar, and greeted guests. During the campaign, he carried the armor of a knight, and before the battle he led a war horse behind him. When the hour of battle arrived, the squire dressed his master in armor, quickly connecting their individual parts. It was to arm the knight difficult task which required great skill.
During the battle, the squire was behind the knight in order to provide a spare horse or a new spear at any time.
In order to master heavy weapons, so as not to suffocate and become weak under the weight of armor, constant physical training was needed. The squire had to learn to jump on a horse in full armor without the aid of a stirrup, break a heavy stone with one blow of a hammer, jump over a horse holding the mane with one hand and the saddle with the other, climb a ladder at any height using only his hands, and dance the whole evening without removing the chain mail.
Only at the age of twenty or twenty-two years was the squire knighted.
The young man dressed in white clothes and went to church. There he spent the night near his weapon. The next morning, as a sign that the old life was ending and a new one was beginning, the future knight took a bath, often the first and only one in his life. After this, the priest prayed over the sword and the most noble of the assembled knights struck the young man three times with the flat of his sword on the shoulder. The priest read the laws of chivalry loudly.
Among them were the following: “Let them never use the edge of a sword in tournaments and other pleasure fights”; “Let not the thirst for profit or the love of honor, pride and vengeance guide their actions.”
The knighted person received the right to have his own seal, wear a coat of arms on a shield and depict it on the gate, and decorate the roof with a weather vane. He was given the privilege of wearing a belt and spurs of gold if he was rich, and a privilege that forbade anyone to take away his weapons and horse for debts if he fell into poverty. The knight was exempt from paying taxes and received the right to duty-free passage through the gates of any city or castle.
What is the main conflict of the novel? (The conflict unfolds between two warring camps: the Normans, who conquered England at the end of the 12th century, and the Anglo-Saxons, who had owned it for several centuries and, in turn, ousted the British tribes)
What are the historical and fictional lines of W. Scott's novel "Ivanhoe"? (The historical line concerns the return of Richard1 from captivity, and the fictional one concerns Ivanhoe, Rowena, and Rebecca)
How many plot lines do you see in the novel? Who are their heroes? (The novel has several plot lines: 1) the life and love story of the brave knight Ivanhoe and the beautiful lady Rowena. The heroes of this line are also Cedric - the father of Rowena, a relative of Athelstan, Gurth and Wamba; 2) the history of the relationship between Rebekah and Boisguillebert. Besides them, the heroes of this line are Rebekah's father Isaac, Ivanhoe; 3) events related to the Black Knight - Richard the Lionheart.)
Name the most important points storyline, which tells the story of Knight Ivanhoe and Lady Rowena. (In this storyline, we should highlight the knightly tournament, the capture of prisoners, the siege of the castle, the meeting of Rebekah and Lady Rowena.)
What scenes of the story about the knight Briand de Boisguillebert and Rebekah can be considered the climax? (The scenes on the castle wall, the trial of Rebekah, the tournament at which Ivanhoe defended Rebekah’s honor can be considered the culminating scenes.)
What information did V. Scott consider necessary to convey to the reader at the beginning of the novel?
How do you imagine the nature of 12th century England? (The novel depicts dense impenetrable forests in which Robin Hood's men are hiding, and endless valleys surrounding castles English nobility)
Who were the two people who brought to life the picture of a picturesque clearing in the forest? (Slaves Gurth and Wamba)
Why does W. Scott describe in detail the appearance of the two slaves at the beginning of the novel?
What detail in the description of the appearance of Wamba and Gurt indicates their powerless situation?
However, unlike the ancient Roman slave, Gurth could have his own plot of land, his own house, and some utensils. Unlike Roman slave owners, his master Cedric did not have the right to kill or mutilate Gurth. He could not take away his oxen or plow if Gurth had them.
Gurt was not a slave, but a serf, although he was called a slave. In England at that time there were about a dozen different forms serfdom of the peasant from the landowner. Some serfs had to work in the master's field, but at the same time they could have a plot and sow whatever they wanted on it. Others could sow on their plot only what the owner allowed, others could plant only plants determined by custom, and nothing else.
Serfs were obliged to work for their master in different ways: some one day a week, some three, and some all the time. Some serfs could have their own livestock and keep it at home, others could have livestock, but keep it only in the master's yard, and still others were deprived of the right to have at least one sheep or pig.
We do not know whether Gurth had his own plot of land and livestock. He could also be Cedric's servant, that is, a serf without land living in the owner's house. The position of a servant is closest to that of a slave. However, there were few such peasants in England in the 12th century.
Herding the master's pigs, plowing the master's field, mowing the master's meadow was the responsibility of most serfs. In those days, pigs were fed mainly on acorns. That's why Gurth tended his flock in the forest.
In the evening, Gurth drove the herd to the master's yard. But this does not mean that all the pigs belonged to Cedric. Peasants were required to keep their livestock in the landowner's pen so that he would receive more manure to fertilize his fields. In the same way, they were obliged to grind flour only in the master's mill, and bake bread only in their master's oven.
Role-based reading of the dialogue between Wamba and Gurth
What details about the state of affairs in the country did you learn from the conversation between the two slaves?
Which novel characters hide their secrets long enough? real names? (Ivanhoe, Richard the Lionheart, Loxley)
What caused this - the author’s imagination or the customs of the time being described? (For the success of a novel, it is important to arouse the interest of readers, intrigue them, make them believe in the mystery and want to solve it. Some characters in the novel hide their real names for certain reasons. Ivanhoe, who calls himself the Disinherited Knight, is in disgrace: he is slandered, expelled from his home and exposed as a traitor to his ruler Richard. Trying to restore his honor, for the time being he is forced to hide under a code name. Under the name of the Black Knight hides the king of England - Richard the Lionheart. Secretly returning to England, he watches the actions of his brother - the treacherous Prince John, who has seized power - in order to regain his throne and country at the right time. Locksley also needs to hide, because he is a robber)
When and why does the author reveal to us the names of the heroes: the Disinherited Knight, the Black Knight (Black Lazy), Locksley? (The Disinherited Knight's helmet is removed at the tournament, and everyone finds out that this is the king's squire - Ivanhoe. Richard reveals his name Loxley. At the same time, Robin Hood reveals his true name)
Try to explain the pseudonyms used in the novel. (Ivanhoe chooses the name "Disinherited Knight" because he was exiled by his father, Cedric of Rotherwood. The Black Knight has this name because he is powerful, bringing death and retribution to his opponents. The name Loxley reflects the birthplace of Robin Hood)
When Ivanhoe comes to Cedric's house, he does not say his name, does not raise his hood over his face, and yet he is shown hospitality on a par with honored guests. This is explained by the clothes worn by the hero of the novel.
Medieval people were superstitious. To atone for their sins, they traveled to “holy places.” Churches in which the relics of some miracle worker were kept, as well as cities and villages described in the gospel or associated with legends about the lives of famous hermits, were considered holy places. Such a journey was called a pilgrimage.
When setting out on a journey, the pilgrim, if he could, stocked up on gold. The nobleman took it as a mortgage on his estate, and the craftsman took it as a mortgage on his workshop. The money ended up in hospices or similar camps that monasteries set up on busy routes for pilgrims.
For many monasteries, pilgrimage was the main source of wealth. Pilgrims brought enormous income to the clergy, and therefore the church declared that it provided them with special patronage.
From the minute the priest handed the pilgrim a bag, a scarf and a pilgrim's staff, the pilgrim acquired special rights: everyone and everyone should provide him with all possible help and hospitality. The church gave the pilgrim many important benefits: he could not be tried for crimes committed, he could not be demanded to pay debts; the peasant was freed from taxes during the pilgrimage, the artisan was freed from obligations to the guild. The murder of a pilgrim was considered a grave crime before God.
Those who made the pilgrimage to Jerusalem were especially honored. Such pilgrims were called pilgrims. Like all pilgrims, Ivanhoe wore a short cape-like cloak with a hood. The lowered hood covered the entire upper part of the face. Therefore, Ivanhoe remained unrecognized in his home.
How can you explain why in a historical novel, which very vividly depicts the events of the 12th century, there are also special historical information from the author? (He cites memoirs and documentary evidence, names sources, emphasizes the objectivity of what is depicted. For example, in Chapter XXIII, which quotes the “Saxon Chronicle,” the terrible fruits of conquest are described)
Teacher's word: Ethnography reflects the peculiarities of life, customs and culture of the people. The life of the English nobility of the 12th century (knightly tournaments, battles for their possessions), traditions, customs and worldview of people, their relationships, life common people- V. Scott described all this in detail in his novel.
Find ethnographic details that are organically included in the plot of the work.
Questions after watching:
What is the name of the place of the fight (lists)
What are the people called who are heralds at the tournament and its stewards? (heralds)
How should you hold a spear in a tournament and why? (horizontally, the spear must hit the enemy or knock him out of the saddle)
How to understand the phrase: “Fight with blunt weapons”? (this means not to death)
Who is the tournament judge? (Prince John)
What do you know about this historical figure?
How do knights show who they want to fight? (they touch the shield of the tournament instigator with a spear, its blunt or sharp end)
Why do you think the site was chosen for the tournament near Ashby Castle near Sheffield? (The fact is that not only knights came to the tournaments. Itinerant merchants flocked here with their goods. Together with the knights, their relatives and household members came to admire the spectacle and buy the necessary goods. All of them could not fit in tents or tents, and therefore the place for competitions were chosen near a city or castle.)
Teacher's word: Let's turn to history and see how the knights of that time armed themselves.
Student message
In the 12th century, armor was similar to our overalls. They were made of leather or thick canvas, and covered with metal rings or plates on top. The plates were sewn so that the top one was on top of the bottom one. This made the surface of the armor appear scaly. On each row of metal scales, strips of leather were sewn, intertwined with each other. This type of armor was called wicker armor. Sometimes the protective scales were made from horn. Horn armor was lighter than metal, but several times more expensive and not as strong.
Ivanhoe's opponent, Brian Boisguillebert, had armor made of many iron rings. Such armor was called “chain mail”. In the 12th century, chain mail was masterfully made in the East, where Boisguillebert came from, and in Rus'. In the West, they also made ringed armor, which differed from chain mail in the way the rings were connected and were not as durable. Chain mail and armor usually could not be penetrated by an enemy's spear. But from strong blow they pierced the body and caused extremely dangerous wounds. Therefore, a thick quilted shirt was worn under the armor. This made the knight's clothing even heavier.
The knight's head was covered with a thick quilted hat. A scaly or ringed hood was thrown over it.
A helmet was worn over the hood, but only during battle. The helmet was very heavy. During the campaign, he hung from the saddle like a bowler hat. Helmets came in a variety of shapes: in the form of a cauldron, a pot, a barrel, with intricate decorations made of metal, wood or feathers. The helmet saved me from a fractured skull, but could not protect me from a concussion. When hit on the helmet, the rider often lost his balance, and falling from his horse, he became the prey of any infantryman.
The knight's main weapon was a spear. It was made from hard and light ash wood. On foot, the warrior carried a spear on his right shoulder, and on horseback he held it vertically, resting the lower end against the stirrup.
In battle, the knight held a spear for a special interception. It was difficult to hold a four-meter pole suspended with one hand, so a folding metal hook was attached to the armor on the chest - a stop for a spear.
If the spear broke, the knight pulled out a sword from its leather or wooden sheath.
The sword had a straight blade, sharpened on both sides for a slashing blow. The end of the sword was sharpened. In the time of Ivanhoe, they fought with short swords - about a meter long - with which they could not only chop, but also stab. The handle of the sword was separated from the blade by a horizontal crossbar. She protected her hand from the glancing blow of sword on sword. This gave the sword cross shape. He, like the knight, was given a name, and when the knight was buried, the sword was placed in a coffin next to him. During the campaign, the knight prayed to God, sticking a sword in front of him.
Teacher's word: We also see typical castles of that time, for example, in Ashby, Front de Beuf. Scott describes them in detail.
Read one of the descriptions of the castle.
Remember what parts a medieval castle had. Let's think about how historically Scott described them
The medieval castle stood on a steep cliff, on an island or on a cape, surrounded on three sides by water. The area around the castle was cleared of trees, bushes and tall grass so that no one could sneak up to its walls unnoticed. To get closer to the walls, the enemy had to fill up or dam a water barrier - a river or a ditch.
The medieval castle occupied an irregular polygon, with towers at the corners. The towers were higher than the walls in order to hit the enemy from above if he climbed the walls. The battlements that ended the walls and towers looked like toys from below, but in fact they were much taller than human height. The arrows were hiding behind them.
The attackers had to resort to high ladders. The besieged first showered the enemy with a hail of arrows from behind the battlements, not allowing them to approach and bring the stairs to the castle, and if the enemy succeeded, they destroyed the stairs, throwing logs and stones from the wall. The battlements hung over the gate so that during a siege it was possible to pour boiling water, tar, quicklime, and molten lead.
If the enemy did not expect to climb the wall, he tried to bring battering rams to the walls of the castle and break the stonework with them. The defenders from above on ropes lowered mattresses or fences, softening the blow of the ram. If rams did not help, the besiegers failed with mines. A “mine” was a tunnel-like tunnel dug under the wall of a fortress. The tunnel was filled with flammable materials. By setting such a “mine” on fire, it was possible to cause the wall to collapse. The defenders set up special “hearing” wells and used them to monitor whether the enemy was undermining. Opposite the mine they laid a “counter-mine”, that is, another tunnel towards them.
If the enemy captured the outer fortifications, the defenders took refuge in the main tower of the castle - the donjon. The donjon was not connected to the fortress wall and stood somewhat apart from the other buildings, towering above them.
The entrance to the donjon was located high above the ground, often at the level of the roof of a three- or four-story building. The donjon was reached via a drawbridge from the top floor of a neighboring building. Sometimes an extension ladder led to it, which could be quickly pulled up or destroyed.
There were dungeons in the basement of the donjon. Isaac of York was thrown into such a prison, as you remember. Judging by the novel, he was lucky, he got out of it unharmed. Few have succeeded. The cruelty of the feudal lords knew no bounds. The prisoners had their joints twisted, collars put on them, and thrown into wells.
Above the dungeon there were several floors of storage. Food and weapons needed in case of a siege were stored here. Even higher was the hall. In the novel, it was to this hall that the guards took the prisoners of Front de Boeuf. The owner of the castle usually lived here and kept his most valuable property and documents here. There was a fireplace only in this room, so food was prepared here. Almost a whole ox could be roasted in the fireplace.
In the middle of the stone floor of the hall, a hole was usually made in the manner of a well. Through this hole, with the help of a block mounted on the ceiling, food supplies from the pantries located in the lower tiers towers, fuel for the fireplace, weapons for fighters. Windows like slits were pierced in the walls. The windows provided little light and air, but were convenient for archery. The uncomfortable living quarters were located above the hall and were connected to each other by dark passages and spiral staircases laid in the thickness of the walls.
Stairs were also adapted for combat. Some of the steps on the stairs were retractable. If the enemy penetrated the tower, they were removed.
The flat roof of the donjon served as a watchtower. From here the trumpeter signaled the approach of the enemy. Stone throwing tools were also located here. Contemporaries claim that such weapons were used to hit a needle with a stone. From the top of the dungeon, iron hooks were lowered on ropes, with which one could pick up an individual warrior, and sometimes an entire siege engine.
On the upper platform of the donjon, the feudal lord carried out reprisals against his subjects. To intimidate the surrounding settlements, he crowned his ancestral tower with a gallows, which rose from the crown of battlements and was clearly drawn against the sky.
Let's turn to heroes who have real historical prototypes
Prove that in the novel the image of Loxley is identical to the image of Robin Hood (although this is incorrect, many sources say that Robin’s birthplace is the village of Loxley. Apparently, this is why W. Scott chooses such a fictitious name for his hero. He is a robber, and a noble one, helps the offended and disadvantaged. He can even help noble gentlemen, for example, Cedric, when he undeservedly got into trouble. He is characterized by hatred of Prince John, the Norman conquerors)
What does the “people's king” Richard the Lionheart, who secretly returned from the crusade and captivity, strive for? (having secretly entered the country, he wants to see how his people live, how his brother Prince John rules, tries to understand who is his friend and who is his enemy)
Find and read what he looks like, how he behaves, what he says, what characterization Lady Rowena gives him. (He is most attracted to the life of a simple wandering knight; what is most dear to him is the glory that he wins alone, rather than the glory at the head of a huge army. Rebekah says about him: “He rushes into battle as if to a merry feast. It is not just the strength of his muscles that controls his blows - it seems as if he puts his whole soul into every blow he inflicts on the enemy. This is a terrible and majestic spectacle when the hand and heart of one person defeats hundreds of people.” In W. Scott's novel, he looks like a charming, simple man and a wise warrior, caring for the interests of his people, sincerely loving his subjects.)
Message about Richard the Lionheart
The future king Richard the Lionheart was born in England, in Oxford, in 1157. He received an excellent education, spoke several languages, was a keen connoisseur of music and poetry, was physically very strong, masterfully wielded weapons, was an avid hunter, a man of rare personal courage, generosity and nobility, and at the same time a cruel, treacherous, greedy, reckless adventurer , wanting to perform meaningless feats and win awards and lands. He did not pay attention to the day-to-day affairs of managing his domains, and was incredibly arrogant, ambitious and power-hungry. All these qualities were combined in one person.
In 1169, King Henry II of England made a division of possessions between his sons, according to which Richard received Aquitaine, Poitou and Auvergne.
Subsequently, Richard devoted a lot of energy to organizing a crusade for the liberation of Jerusalem, captured by the troops of the Egyptian ruler Saladin. Richard spent his entire treasury on equipping his troops. “I would sell London if there was a buyer,” he said. While the king was waging a war with Saladin with varying success, a struggle for power began in England, and Richard was forced to sail home, having achieved only minor agreements, leaving his memory in the Arab lands for a long time. On the way home, Richard was captured and imprisoned in a castle on the banks of the Danube, but was later released and even managed to regain power in England.
Richard soon began preparations for war with France, and in 1194 he left England. During the siege of Chalus Castle, the king was wounded and died from gangrene.
Historians have debated the identity of Richard the Lionheart for centuries. Some believe that Richard rushed around the world, forgetting his country and ruining its cities. Others emphasize that Richard was true son of his century - the century of chivalry, and his actions fit well into the knightly ideal. Richard in Europe and Asia sought military glory and immortal exploits and remained in the memory of generations as great hero and an unsuccessful politician.
In the historical, authentic Richard, the features of courtly education were intertwined with the repulsive cruelty and greed of the feudal robber, not inferior to the greed of Front de Boeuf. The history of Richard's wars and raids is full of disgusting facts that strongly contradict the attractive image created by W. Scott. The real Richard the Lionheart was not so close to ordinary people England, did not lead them to attack feudal castles, did not judge so fairly and wisely. The English people freed themselves from the feudal yoke not under the leadership of the English kings, but against their will.
Teacher's word:The artistic image differs from the real one in that the author draws the hero as he imagines him. By creatively recreating reality, the writer reflects his perception, his thoughts about it. Having embellished the historical Richard, V. Scott described him in such a way that the reader believes in the plausibility of the image.
Among the scenes of the novel there is a meeting between the hermit Tuck and the Black Knight, which, as W. Scott writes in the preface to the novel, reproduces the events folk ballads about the meeting of the king with a cheerful hermit monk. How do you explain the author's attention to this episode ( Chapter XVI and XVII)? (W. Scott notes in the preface that the general outline of this story is found in all times and among all peoples. This story tells about the journey of a disguised monarch who, out of curiosity or for the sake of entertainment, appears in the lower strata of society and finds himself in various funny situations. Such plots extremely curious from the point of view of describing the morals of the time. The competition of a cheerful hermit monk (it is worth paying attention to the combination of incompatible words cheerful and hermit), posing as an ascetic and modest servant of the church, and hiding his name as a king, leading to clean water the roguish owner is entertainingly depicted by the writer and reveals the characters of the main characters.)
Follow how Cedric Rotherwood is described, his costume, his home. What details reflect the straightforwardness, simplicity, pride and hot-tempered hatred of the invaders of this wealthy Saxon nobleman?
A 12th-century English fief was called a "manor". It consisted of individual small wedges and resembled a patchwork quilt.
The best parts of the manor were considered the land of the feudal lord. The remaining plots are peasant land. Although Cedric was considered their owner, he nevertheless could not dispose of them: such plots were used by individual peasant families.
The peasants sowed barley, wheat or rye on this land not by choice, but according to a custom that no one dared to violate. Therefore, a barley field usually did not turn into a wheat field, and a wheat field could not be replanted with oats after a few years.
The manor also included areas of pastures and forest felling, which were called “communal”: they could be used by both the peasants and the feudal lord himself.
Which female character interested you? Try to create a portrait of one of the heroines of the novel. (lovely lady Rowena is a typical romantic heroine, for the sake of which the brave knight performs his feats. The beautiful Rebekah is a more complex, bright and interesting image. The girl is active: she heals wounds, heals the sick. She is very smart and courageous: at the moment of greatest danger, she argues with the knight of the Temple Boisguillebert about the role of fate: “People often blame the consequences of their own violent passions on fate.” In a conversation with Ivanhoe, she calls knightly feats a sacrifice to the demon of vanity. Rebekah has a feeling self-esteem, she has her own ideas about honor - she even reproaches Boisguillebert for the fact that for her sake he is ready to betray his faith. The heroine evokes respect, admiration and sympathy. She is not destined to become happy, but she is destined to find peace of mind.)
Which scene in the novel do you think is most important for the development of the action? (It is often argued that this is God's judgment, although there are readers for whom the climax is the battle for the castle of de Boeuf.)
What does this historical adventure novel teach?
Homework
An essay on one of the topics:
“The image of Richard the Lionheart in W. Scott’s novel “Ivanhoe””;
“Firmness of morals, habit of surprises, readiness to defend one’s life among the Saxons”;
“The courage, determination and integrity of the nature of the Norman knights”;
"Walter Scott's Ivanhoe - Portrait of an Ideal Knight."
Mikhail Bulgakov's novel is a truly amazing and brilliant work of its time. For many years it was not published because of its acute sociality. Many characters in "The Master and Margarita" are copied from real people, prominent figures Soviet Union and the close circle of the writer himself, because of whom he was constantly on the verge of arrest. Bulgakov endowed most of the heroes with human traits that he hated.
The history of the novel
The exact date of work on the novel is unknown. In some of Bulgakov's drafts the year 1928 is indicated, in others - 1929. It is absolutely certain that in March 1930 the writer burned the first edition of the work. This happened due to the ban on the play “The Cabal of the Holy One.”
The current title of the novel appeared only in 1937; before that, Bulgakov called his work “Fantastic Novel” (second edition) and “Prince of Darkness” (third edition).
The novel was completely written in the early summer of 1938, but Mikhail Bulgakov made edits to it until his death. In total, work on the main work in my life took more than ten years.
Unfortunately, the writer never managed to see his work published. The first publication of the novel took place in 1966 in one of literary magazines. The work was significantly trimmed, but thanks to Bulgakov’s wife, the creation of “The Master and Margarita” nevertheless became world famous. The novel-testament of the great writer has gained immortality.
The main characters of "The Master and Margarita"
The writer himself, after destroying the first edition of the book, indicated that he had burned a novel about the devil. Woland, in fact, is the main driving force works. He is without a doubt an important character.
Along with Satan, the main characters of the novel are the Master and Margarita, despite the fact that they do not appear from the very beginning of the book. The master appears only in chapter 12, Margarita even further - in the nineteenth.
There are many hypotheses in the philological world regarding who the leading character is. Based on the title of the work and the positioning of Woland’s image in the book, we will highlight only three dominant figures.
Woland
The reader first meets Woland at the very beginning of the book. And immediately his image creates an ambiguous impression. His character traits, which can be deduced from his actions, completely coincide with his external features. He himself is a dual figure, hence the eyes different colors, and eyebrows of different heights. Cynical and cunning, he is both generous and noble.
It is not surprising that Berlioz and Ivan, who were the first to see Professor Woland, were confused and confused in their conflicting feelings. The stories that this strange citizen tells do not find rational explanations among the listeners.
But Woland did not come to Moscow at all in order to lead the story. He has a very definite goal, which his devilish retinue helps him achieve. They are causing real chaos in the capital. The Variety Theater became a place for black magic sessions. The ladies were promised new dresses, but in the end they ran away in their underwear. The untold riches falling from the ceiling then turned into priceless pieces of paper.
The purpose of arriving on a sinful earth was considered to be punishment for failure to fulfill biblical commandments. In general, this is probably the first image of the devil in literature, striving to balance good and evil, light and darkness.
Messire told other characters that he had come to Moscow to study recently found manuscripts, conduct a session of black magic and a ball.
It is at the ball that Woland reveals his true face. Satan himself appears before the reader. Taking his henchmen, he hides in the afterlife the next day.
Woland's origins are not immediately clear. The poet Bezdomny wonders if his new acquaintance is a foreigner, since everything about the professor betrays him as a foreigner: his image, his manner of speaking, his actions.
Mikhail Bulgakov borrowed the name of the main character from Goethe's poem "Faust". Woland, or Faland, is one of the names of the devil. Many researchers agree that the prototype of Satan was the leader of nations himself - I.V. Stalin, in whom, just like in Woland, a tyrant and a good man coexisted.
The retinue of the prince of darkness calls him nothing more than “sir” and “master”, so the reader does not immediately recognize the name Woland.
Master
The master is a certified historian who has always dreamed of studying writing activity. After winning the lottery, he had this opportunity. He became the creator of a novel about Pontius Pilate and Yeshua, interpreting the gospel events in his own way, but he almost went crazy after his work was criticized to smithereens.
The hero's name is not mentioned in Bulgakov's book. The nickname "Master" was given to him by Margarita, his beloved. However, he was embarrassed by such treatment. He always avoided situations where he had to identify himself. He declares to the poet that he has no first and last name at all.
The character has no external features. It is obvious that he is attractive, but the melancholy in his eyes erases all the outer luster. He is about forty years old, dark-haired and always clean-shaven, even in the hospital.
The reader will also understand the fact that the Master is based on Bulgakov himself, and his relationship with Margarita is very similar to his life with his third wife, Elena Sergeevna. The master, like Mikhail Bulgakov, burns his novel, and Margarita, like Elena Shilovskaya, saves its remains.
The ages of the two creators and their relationships with literary critics also coincide, because Bulgakov himself was more than once subjected to ridicule and persecution for his works.
The novel does not describe exactly how the Master ends up in a psychiatric hospital. Some literary scholars believe that these are shortcomings in the latest edition of the novel, others insist that the writer is thus making a reference to the repressions of the 30s, when a person could disappear forever.
Margarita
Margarita Nikolaevna is the Master's friend, separated from her beloved. She happily agrees to Woland's offer to become queen at the ball, since he promised to fulfill one of her wishes. Margarita passionately dreamed of reuniting with the Master, which ultimately happened thanks to Satan.
The reader does not know until the middle of the novel that the Master is hiding his beloved.
Margarita is a collective image that has absorbed a lot from Gretchen and the writer’s wife Elena Shilovskaya. In particular, the described meeting between the Master and Margarita is an exact copy of Bulgakov’s acquaintance with his wife.
Some researchers see in Margarita the features of French queens (Margarita de Valois and Margot of Navarre), and in the text itself there is a reference to their similarity (Koroviev’s phrase about the heroine’s kinship with the French royal court).
Margarita is depicted in the novel as a beautiful but bored wife of a wealthy man, who finds the meaning of life after meeting the Master.
N.A. Bulgakov made his main character a symbol of love and sacrifice, a muse and support for the writer, ready to give her life for her lover.
Demonic characters
Woland and his retinue are often not themselves the driving force behind all the unrest occurring in Moscow. Sometimes they act simply as observers. There are only five henchmen of Satan in the city. Everyone has their own mission, their own task.
Koroviev-Fagot plays the role of conductor and interpreter, he is the equivalent of his master's right hand. His name consists of two parts. Koroviev is a derivative of the surname of the hero of the story “The Village of Stepanchikovo and its Inhabitants.” Bulgakov's Koroviev has a dozen of the traits of Dostoevsky's Korovkin. The second part of the name is based on the name of the musical instrument. Here the writer was guided by the external characteristics of the hero, since, like the bassoon, Bulgakov’s demon is thin, tall and can fold into three to carry out the master’s instructions.
Koroviev-Fagot appears to the characters in the book either as a translator, or as a regent, or as a skilled swindler. His true identity, a demon and a trait, is not revealed immediately. But an attentive reader will pay attention to how the hero appears in the story. It literally emerges from the hot Moscow air (according to legend, terrible heat is a harbinger of the arrival of evil forces).
Cat Behemoth is a hero who can take on any form. This character, symbolizing debauchery and gluttony, is at the same time Woland’s favorite pastime, his jester.
Bulgakov introduced this character solely for a satirical and humorous note, woven into the complex philosophical and moral meaning of the novel. This is evidenced by all the actions that Behemoth the Cat committed (a shootout with detectives, a chess game with Messire, a shooting competition with Azazello).
Gella is a character who can complete any assignment. The vampire woman is Woland's irreplaceable servant. In the novel, she is depicted as a green-eyed girl with long red hair who moves freely through the air. This gives her a special resemblance to a witch. Introducing his servant Margarita, Woland points out her efficiency, helpfulness and understanding.
It is assumed that Bulgakov spied many of Gella’s vampire traits in the story “The Ghoul” by A. Tolstoy. From there, the smacking and clicking of teeth, the devilish kiss, because of which Varenukha stopped casting a shadow and became a vampire. Gella is the only character from Woland’s entire retinue who did not participate in the scene of the last flight.
Azazello acts as a link, a recruiter for the messir’s dirty affairs. A completely unattractive character, short in stature, with reddish hair sticking out in different sides, hair, protruding fang. Patent leather shoes, a bowler hat on the head and a striped Azazello suit complete the look. And Margarita, who saw him for the first time, calls the hero a robber’s face.
Abaddon exists somewhere in the background and differs from the rest in his sympathetic attitude towards both the world of evil and the world of good.
Biblical characters
The biblical part of the novel "The Master and Margarita" was written by Bulgakov based on the Gospel of Matthew, but he uses Aramaic names, which he considers historically accurate (Yeshua instead of Jesus).
The biblical story is divided into three parts in the writer's novel. The first is told by Woland, the second is dreamed of by the poet Bezdomny, the third is read by Margarita. The biblical chapters contain many references to the Soviet system of power and administration.
The characters in "The Master and Margarita" are Afranius (chief of Pilate's secret police), Judas (a resident of Yershalaim who betrayed Yeshua), Joseph Caiaphas (the priest who sent Yeshua to execution), Matthew Levi (Yeshua's disciple who took him down from the cross), and Yeshua, as well as several other heroes.
Pontius Pilate
The Procurator of Judea is called upon to determine the fate of Yeshua Ha-Nozri, doomed to execution. A tough and powerful man, he decides to interrogate the accused. During this dialogue, Pontius Pilate was completely fascinated by Yeshua, but despite the miracles shown to him (Ha-Nozri cured the procurator’s migraine), death penalty was confirmed.
Because of his sympathy for Yeshua, Pilate decides to take revenge. He orders to kill the man who exposed Ha-Nozri to the Sanhedrin.
Pontius Pilate and Yeshua developed inexplicable feelings for each other, because of which the former suffered for the rest of his life. He understood that he had personally signed the verdict of a real miracle. Therefore, his entire physical and unconscious life was imprisoned in a prison that he created for himself. During Satan's last flight, Woland asked his opponent to grant Pilate freedom, which he did.
Yeshua Ha-Nozri
The biblical story in the novel differs from the Gospel in many aspects that Bulgakov did not take into account. Yeshua is depicted an ordinary person, with the gift of an empath, who is pursued by crowds of fanatics and followers. Actually, because of their incorrect interpretation of Yeshua’s sermons, the latter found himself on the verge of death. Yeshua tells Pontius Pilate about one particularly obsessive persecutor who distorted his words. His name is Levi Matvey. The Master and Margarita eventually received long-awaited peace thanks to him.
Most literary scholars characterize Yeshua as the antipode of Woland. However, there is another, more interesting version. Jesus is not at all the prototype of Yeshua. Bulgakov's hero is the embodiment of acting, a mask put on by a spirit with different guises. Perhaps this version was born due to the religious preferences of the writer. He was not an ardent atheist, but he did not adhere to church rules either.
Yeshua is different from Gospel Jesus details of birth and life, as well as worldview. He positions himself as a philosopher, although this is not specifically indicated in the novel. Yeshua claims that all Jesus says in the Gospel is that good and evil exist together in the human heart.
Moscow characters
The characters of "The Master and Margarita" are mostly copied from reality. existing people, and in some cases are sharp parodies of them. For example, the prototype of Archibald Archibaldovich was Yakov Rosenthal, manager of the restaurant at Herzen's house (the restaurant at Griboedov's house appears in the novel).
In the novel, the reader sees a parody of the Moscow Art Theater director Nemirovich-Danchenko in the person of Bengalsky, whose fate is the personification of the writer’s hatred of cynical political “suck-ups” (he was beheaded).
The writer didn’t even bother to change the names of some of the characters. For example, in Annushka you can recognize Bulgakov’s neighbor, and Dr. Kuzmin was in fact his doctor.
Bulgakov also uses telling surnames (Likhodeev, Bogokhulsky, Bosoy), which acts as a direct description of the characters. “The Master and Margarita” is not the writer’s first novel in which he uses prototypes. For example, in “The White Guard” he copied the image of Nikolka Turbin from his brother.
Mikhail Bulgakov - amazing writer, capable in one work of singing a beautiful love story, the theme of freedom, answering troubling philosophical questions and subtly, literally with just hints, drawing satirical scenes, the heroes of which were people intolerant of him.
W. Scott (eng. Walter Scott; August 15, 1771, Edinburgh - September 21, 1832, Abbotsford, buried in Dryburgh) - world famous British writer, poet, historian, collector of antiquities, Scots by birth, lawyer. For the Scots he is more than a writer. He revived historical memory people, he opened Scotland to the rest of the world and primarily to England. He is considered the founder of the historical novel genre. He had a phenomenal memory.
Born in Edinburgh in the family of lawyer Walter Scott (1729-1799) and Anne Rutherford (1739-1819), daughter of a professor of medicine at the University of Edinburgh. Walter was the ninth child in the family, but when he was six months old, only three were left alive. In a family of 13 children, six survived. IN early age suffered from infantile paralysis, which led to atrophy of the muscles of his right leg and lifelong lameness. Despite physical handicap, already at an early age he amazed those around him with his lively mind and phenomenal memory. Scott's childhood was closely associated with the Scottish Borders, where he spent time on his grandfather's farm in Sandinow, as well as at his uncle's house near Kelso.
In college, Scott became interested in mountaineering, became physically stronger, and gained popularity among his peers as an excellent storyteller. He read a lot, including ancient authors, was fond of novels and poetry, and especially emphasized the traditional ballads and tales of Scotland. In 1786, Walter Scott entered his father's office as an apprentice, and from 1789 to 1792. studied law in preparation to become a lawyer. Together with his friends, he organized a “Poetry Society” in college, studied German and became acquainted with the work of German poets.
In the first years of independent legal practice, Walter Scott traveled around the country, along the way collecting folk legends and ballads about Scottish heroes of the past. He became interested in translations German poetry, anonymously published his translations of Bürger's ballad "Lenora". In 1791, he met his first love, Williamina Belches, the daughter of an Edinburgh lawyer. Scott tried for five years to achieve Williamina's reciprocity, but the girl kept him in uncertainty and in the end chose William Forbes, the son of a wealthy banker, whom she married in 1796. Unrequited love has become young man with a strong blow; Particles of Villamina’s image subsequently appeared more than once in the heroines of the writer’s novels.
Walter Scott started his creative path from poetry. The entire reading public in Great Britain was most captivated not by his poems, which were innovative for those times, or even by his poems, but first of all by the world's first novel in verse, “Marmion.” (In Russian first appeared in 2000 in the publication " Literary monuments") The prose of the then-famous poet began with the novel "Waverley".
Scott's novels fall into two main groups. The first is devoted to the recent past of Scotland, the period civil war: from the Puritan revolution of the 16th century. before the defeat of the mountain clans in mid-18th century, - and partly at a later time, “Waverley” (1814), “Guy Mannering” (1815), “Edinburgh Gaol” (1818), “The Scottish Puritans” (1816), “The Bride of Lamermoor” (1819), “Rob Roy” (1817), "Monastery" (1820). “The Abbot” (1820), “The Waters of Saint-Ronan” (1823), “The Antiquary” (1816), etc. In these novels Scott develops an unusually rich realistic type. This is a whole gallery of Scottish types of the most diverse social strata, but mainly types of the petty bourgeoisie, peasantry and declassed poor. Brightly specific, speaking rich and varied vernacular, they form a background that can only be compared with Shakespeare's “Falstaffian background.” In this background there is a lot of bright comedy, but next to the comic figures, many plebeian characters are artistically equal with heroes from the upper classes. In some novels they are the main characters; in Edinburgh Prison the heroine is the daughter of a small peasant tenant. Scott compared to the “sentimental” literature of the 18th century. takes a further step towards democratizing the novel and at the same time provides more vivid images. But more often than not, the main characters are conventionally idealized young people from the upper classes, devoid of much vitality.
Scott's second main group of novels deals with the past of England and continental countries, mainly the Middle Ages and the 16th century. (novel) Ivanhoe" (1819), "Quentin Dorwar" (1823), "Kenilworth", (1821), "Anna of Geierstein" (1829), etc. There is no that intimate, almost personal acquaintance with a still living legend, a realistic background not so rich. But it is here that Scott especially develops his exceptional flair for past eras, which forced Auguste Thierry to call him “ the greatest master historical divination of all times." Scott's historicism is, first of all, external historicism, the resurrection of the atmosphere and color of the era. This side, based on solid knowledge, especially amazed Scott’s contemporaries, who were not accustomed to anything like this. The painting he gave of the “classical” Middle Ages, “Ivanhoe” (1819), is now very outdated. But such a picture, at the same time thoroughly plausible and revealing a reality so different from modern times, has never existed in literature. This was a real discovery of a new world. But Scott's historicism is not limited to this external, sensory side. Each of his novels is based on a certain concept of the historical process in given time. Thus, “Quentin Dorward” gives not only a bright artistic image Louis XI and his entourage, but reveals the essence of his policy as a stage in the struggle of the bourgeoisie against feudalism. The Ivanhoe concept, where the central fact for England late XII V. The national struggle of the Saxons with the Normans was put forward, which turned out to be unusually fruitful for the science of history - it was the impetus for the famous French historian Auguste Thierry. When assessing Scott, we must remember that his novels generally preceded the works of many historians of his time. In 1830 he suffered his first stroke of apoplexy, which paralyzed him. right hand. And in 1832, unable to recover from the fourth blow, Walter Scott died.
Currently, Scott's Abbotsford estate houses a museum for the famous writer.
The main works of the writer.
Abbot (1820) Ivanhoe (1819) Anne of Geyerstein (1829)
Antiquarian (1816) The Highlander's Widow (1827)
Woodstock, or the Cavalier (1826) Guy Mannering, or the Astrologer (1815)
Count Robert of Paris (1832) Two drovers (1827)
The Maiden of the Lake (1810) Grandfather's stories. History of Scotland (1828)
Life of Napoleon (1832) Aunt Margaret's Mirror
Quentin Dorward (1823) Kenilworth (1821)
Room with tapestries, or Lady in an ancient dress
The Bride of Lammermoor (1819) The Legend of Montrose
Marmion (1808) Monastery (1820)
Peveril Peake (1822) The Beauty of Perth, or Valentine's Day (1828)
The Song of the Last Minstrel (1805) The Pirate (1822)
Waterloo Field (1815) Nigel's Adventures (1822)
Puritans (1816) Rob Roy (1818)
St. Ronan's Waters Death of Lord Byron
Talisman 1825 Waverley, or Sixty Years Ago (1814)
The Black Dwarf (1816) Edinburgh Dungeon (1818)
