Walter Scott

Scott's childhood at Sandyknowes, in the shadow of Smailholm Tower, introduced him to the tales and folklore of the Borders.

Walter Scott was born on 15 August 1771. He was the ninth child of Walter Scott, a Writer to the Signet and Anne Rutherford (sister of Daniel Rutherford). His father was a member of a cadet branch of the Scott clan, and his mother descended from both the House of Swinton (one of Britain's oldest aristocratic clans) and the Haliburton family (the descent from whom granted Walter's family the hereditary right of burial in Dryburgh Abbey).[2] Via the Haliburton family, Walter was a cousin of the pre-eminent contemporaneous property developer James Burton, who was a Haliburton who had shortened his surname, and of his son, the architect Decimus Burton.[3] Walter subsequently became a member of the Clarence Club, of which the Burtons were also members.[4][5]

Five of Walter's siblings died in infancy, and a sixth died when he was five months of age. Walter was born in a third-floor flat on College Wynd in the Old Town of Edinburgh, a narrow alleyway leading from the Cowgate to the gates of the University of Edinburgh (Old College).[6] He survived a childhood bout of polio in 1773 that left him lame,[7] a condition that was to have a significant effect on his life and writing.[8] To cure his lameness he was sent in 1773 to live in the rural Scottish Borders at his paternal grandparents' farm at Sandyknowe, adjacent to the ruin of Smailholm Tower, the earlier family home.[9] Here he was taught to read by his aunt Jenny, and learned from her the speech patterns and many of the tales and legends that characterised much of his work. In January 1775 he returned to Edinburgh, and that summer went with his aunt Jenny to take spa treatment at Bath in England, where they lived at 6 South Parade.[10] In the winter of 1776 he went back to Sandyknowe, with another attempt at a water cure at Prestonpans during the following summer.[9]

The Scotts' family home in George Square, Edinburgh

In 1778, Scott returned to Edinburgh for private education to prepare him for school, and joined his family in their new house built as one of the first in George Square.[6] In October 1779 he began at the Royal High School of Edinburgh (in High School Yards). He was now well able to walk and explore the city and the surrounding countryside. His reading included chivalric romances, poems, history and travel books. He was given private tuition by James Mitchell in arithmetic and writing, and learned from him the history of the Church of Scotland with emphasis on the Covenanters. After finishing school he was sent to stay for six months with his aunt Jenny in Kelso, attending the local grammar school where he met James and John Ballantyne, who later became his business partners and printed his books.[11]

Scott began studying classics at the University of Edinburgh in November 1783, at the age of 12, a year or so younger than most of his fellow students. In March 1786 he began an apprenticeship in his father's office to become a Writer to the Signet. Whilst at both high school and university, Scott had become a friend of Adam Ferguson, the son of Professor Adam Ferguson who hosted literary salons.[12] Scott met the blind poet Thomas Blacklock, who lent him books and introduced him to James Macpherson's Ossian cycle of poems. During the winter of 1786–87 the 15-year-old Scott met Robert Burns at one of these salons, for what was to be their only meeting. When Burns noticed a print illustrating the poem "The Justice of the Peace" and asked who had written the poem, only Scott knew that it was by John Langhorne, and was thanked by Burns. Scott describes this event in his memoirs where he whispers the answer to his friend Adam who tells Burns[13] Another version of the event is described in Literary Beginnings[14] When it was decided that he would become a lawyer, he returned to the university to study law, first taking classes in moral philosophy and universal history in 1789–90.[11]

After completing his studies in law, he became a lawyer in Edinburgh. As a lawyer's clerk he made his first visit to the Scottish Highlands directing an eviction. He was admitted to the Faculty of Advocates in 1792. He had an unsuccessful love suit with Williamina Belsches of Fettercairn, who married Scott's friend Sir William Forbes, 7th Baronet. In February 1797, with the threat of a French invasion, Scott along with many of his friends joined the Royal Edinburgh Volunteer Light Dragoons. He was appointed quartermaster and secretary. The daily drill practices that year, starting at 5am before the working day provide an indication of the determination with which this role was undertaken. He served with this volunteer force into the early 1800s.[15]

A copy of Scott's Minstrelsy in the National Museum of Scotland

As a boy, youth, and young man, Scott was fascinated by the oral traditions of the Scottish Borders. He was an obsessive collector of stories, and developed an innovative method of recording what he heard at the feet of local story-tellers using carvings on twigs, to avoid the disapproval of those who believed that such stories were neither for writing down nor for printing.[16] At the age of 25 he began to write professionally, translating works from German,[17] his first publication being rhymed versions of ballads by Gottfried August Bürger in 1796. He then published an idiosyncratic three-volume set of collected ballads of his adopted home region, Minstrelsy of the Scottish Border. This was the first sign from a literary standpoint of his interest in Scottish history.

As a result of his early polio infection, Scott had a pronounced limp. He was described in 1820 as tall, well formed (except for one ankle and foot which made him walk lamely), neither fat nor thin, with forehead very high, nose short, upper lip long and face rather fleshy, complexion fresh and clear, eyes very blue, shrewd and penetrating, with hair now silvery white.[18] Although a determined walker, on horseback he experienced greater freedom of movement. Unable to consider a military career, Scott enlisted as a volunteer in the 1st Lothian and Border yeomanry.[19]

On a trip to the Lake District with old college friends he met Charlotte Charpentier (or Carpenter), daughter of Jean Charpentier of Lyon in France, and ward of Lord Downshire in Cumberland, an Episcopalian. After three weeks of courtship, Scott proposed and they were married on Christmas Eve 1797 in St Mary's Church, Carlisle (a church set up in the now destroyed nave of Carlisle Cathedral).[20] After renting a house in Edinburgh's George Street, they moved to nearby South Castle Street. They had five children, of whom four survived by the time of Scott's death, most baptised by an Episcopalian clergyman. In 1799 he was appointed Sheriff-Depute of the County of Selkirk, based in the Royal Burgh of Selkirk. In his early married days Scott had a decent living from his earnings at the law, his salary as Sheriff-Depute, his wife's income, some revenue from his writing, and his share of his father's rather meagre estate.

39–43 North Castle Street, Edinburgh

After their third son was born in 1801, they moved to a spacious three-storey house built for Scott at 39 North Castle Street. This remained Scott's base in Edinburgh until 1826, when he could no longer afford two homes. From 1798 Scott had spent the summers in a cottage at Lasswade, where he entertained guests including literary figures, and it was there that his career as an author began. There were nominal residency requirements for his position of Sheriff-Depute, and at first he stayed at a local inn during the circuit. In 1804 he ended his use of the Lasswade cottage and leased the substantial house of Ashestiel, 6 miles (9.7 km) from Selkirk. It was sited on the south bank of the River Tweed, and the building incorporated an old tower house.[6]

Sir Walter Scott, novelist and poet – painted by Sir William Allan

In 1796, Scott's friend James Ballantyne[21] founded a printing press in Kelso, in the Scottish Borders. Through Ballantyne, Scott was able to publish his first work, including "Glenfinlas" and "The Eve of St. John", and his poetry then began to bring him to public attention. In 1805, The Lay of the Last Minstrel captured wide public imagination, and his career as a writer was established in spectacular fashion.

The way was long, the wind was cold,
The Minstrel was infirm and old

— The Lay of the Last Minstrel (first lines)

He published many other poems over the next ten years, including the popular The Lady of the Lake, printed in 1810 and set in the Trossachs. Portions of the German translation of this work were set to music by Franz Schubert. One of these songs, "Ellens dritter Gesang", is popularly labelled as "Schubert's Ave Maria".

Beethoven's opus 108 "Twenty-Five Scottish Songs" includes 3 folk songs whose words are by Walter Scott.

Marmion, published in 1808, produced lines that have become proverbial. Canto VI. Stanza 17 reads:

Yet Clare's sharp questions must I shun
Must separate Constance from the nun
Oh! what a tangled web we weave
When first we practise to deceive!
A Palmer too! No wonder why
I felt rebuked beneath his eye.[22]

In 1809 Scott persuaded James Ballantyne and his brother to move to Edinburgh and to establish their printing press there. He became a partner in their business. As a political conservative,[23] Scott helped to found the Tory Quarterly Review, a review journal to which he made several anonymous contributions. Scott was also a contributor to the Edinburgh Review, which espoused Whig views.

Scott was ordained as an elder in the Presbyterian Duddingston Kirk in 1806,[24] and sat in the General Assembly for a time as representative elder of the burgh of Selkirk.

In 1813 Scott was offered the position of Poet Laureate. He declined, due to concerns that "such an appointment would be a poisoned chalice", as the Laureateship had fallen into disrepute, due to the decline in quality of work suffered by previous title holders, "as a succession of poetasters had churned out conventional and obsequious odes on royal occasions."[25] He sought advice from the 4th Duke of Buccleuch, who counseled him to retain his literary independence, and the position went to Scott's friend, Robert Southey.[26]

A Legend of Montrose, illustration from the 1872 edition

Although Scott had attained worldwide celebrity through his poetry, he soon tried his hand at documenting his researches into the oral tradition of the Scottish Borders in prose fiction—stories and novels—at the time still considered aesthetically inferior to poetry (above all to such classical genres as the epic or poetic tragedy) as a mimetic vehicle for portraying historical events. In an innovative and astute action, he wrote and published his first novel, Waverley, anonymously in 1814. It was a tale of the Jacobite rising of 1745. Its English protagonist, Edward Waverley, like Don Quixote a great reader of romances, has been brought up by his Tory uncle, who is sympathetic to Jacobitism, although Edward's own father is a Whig. The youthful Waverley obtains a commission in the Whig army and is posted in Dundee. On leave, he meets his uncle's friend, the Jacobite Baron Bradwardine and is attracted to the Baron's daughter Rose. On a visit to the Highlands, Edward overstays his leave and is arrested and charged with desertion but is rescued by the Highland chieftain Fergus MacIvor and his mesmerizing sister Flora, whose devotion to the Stuart cause, "as it exceeded her brother's in fanaticism, excelled it also in purity". Through Flora, Waverley meets Bonnie Prince Charlie, and under her influence goes over to the Jacobite side and takes part in the Battle of Prestonpans. He escapes retribution, however, after saving the life of a Whig colonel during the battle. Waverley (whose surname reflects his divided loyalties) eventually decides to lead a peaceful life of establishment respectability under the House of Hanover rather than live as a proscribed rebel. He marries the beautiful Rose Bradwardine, having been rebuffed by sublime Flora MacIvor, who, after the failure of the '45 rising, retires to a French convent.

There followed a succession of novels over the next five years, each with a Scottish historical setting. Mindful of his reputation as a poet, Scott maintained the anonymity he had begun with Waverley, publishing the novels under the name "Author of Waverley" or as "Tales of..." with no author. Among those familiar with his poetry, his identity became an open secret, but Scott persisted in maintaining the façade, perhaps because he thought his old-fashioned father would disapprove of his engaging in such a trivial pursuit as novel writing. During this time Scott became known by the nickname "The Wizard of the North". In 1815 he was given the honour of dining with George, Prince Regent, who wanted to meet the "Author of Waverley".

"Edgar and Lucie at Mermaiden's well" by Charles Robert Leslie (1886), after Sir Walter Scott's Bride of Lammermoor. Lucie is wearing a full plaid.

Scott's 1819 series Tales of my Landlord is sometimes considered a subset of the Waverley novels and was intended to illustrate aspects of Scottish regional life. Among the best known is The Bride of Lammermoor, a fictionalized version of an actual incident in the history of the Dalrymple family that took place in the Lammermuir Hills in 1669. In the novel, Lucie Ashton and the nobly born but now dispossessed and impoverished Edgar Ravenswood exchange vows. But the Ravenswoods and the wealthy Ashtons, who now own the former Ravenswood lands, are enemies, and Lucie's mother forces her daughter to break her engagement to Edgar and marry the wealthy Sir Arthur Bucklaw. Lucie falls into a depression and on their wedding night stabs the bridegroom, succumbs to insanity, and dies. In 1821, French Romantic painter Eugène Delacroix painted a portrait depicting himself as the melancholy, disinherited Edgar Ravenswood. The prolonged, climactic coloratura mad scene for Lucia in Donizetti's 1835 bel canto opera Lucia di Lammermoor is based on what in the novel were just a few bland sentences.

Tales of my Landlord includes the now highly regarded novel Old Mortality, set in 1679–89 against the backdrop of the ferocious anti-Covenanting campaign of the Tory Graham of Claverhouse, subsequently made Viscount Dundee (called "Bluidy Clavers" by his opponents but later dubbed "Bonnie Dundee" by Scott). The Covenanters were presbyterians who had supported the Restoration of Charles II on promises of a Presbyterian settlement, but he had instead reintroduced Episcopalian church government with draconian penalties for Presbyterian worship. This led to the destitution of around 270 ministers who had refused to take an oath of allegiance and submit themselves to bishops, and who continued to conduct worship among a remnant of their flock in caves and other remote country spots. The relentless persecution of these conventicles and attempts to break them up by military force had led to open revolt. The story is told from the point of view of Henry Morton, a moderate Presbyterian, who is unwittingly drawn into the conflict and barely escapes summary execution. In writing Old Mortality Scott drew upon the knowledge he had acquired from his researches into ballads on the subject for Minstrelsy of the Scottish Border.[27] Scott's background as a lawyer also informed his perspective, for at the time of the novel, which takes place before the Act of Union of 1707, English law did not apply in Scotland, and afterwards Scotland has continued to have its own Scots law as a hybrid legal system. A recent critic, who is a legal as well as a literary scholar, argues that Old Mortality not only reflects the dispute between Stuart's absolute monarchy and the jurisdiction of the courts, but also invokes a foundational moment in British sovereignty, namely, the Habeas Corpus Act (also known as the Great Writ), passed by the English Parliament in 1679.[28] Oblique reference to the origin of Habeas corpus underlies Scott's next novel, Ivanhoe, set during the era of the creation of the Magna Carta, which political conservatives like Walter Scott and Edmund Burke regarded as rooted in immemorial British custom and precedent.

Ivanhoe (1819), set in 12th-century England, marked a move away from Scott's focus on the local history of Scotland. Based partly on Hume's History of England and the ballad cycle of Robin Hood, Ivanhoe was quickly translated into many languages and inspired countless imitations and theatrical adaptations. Ivanhoe depicts the cruel tyranny of the Norman overlords (Norman Yoke) over the impoverished Saxon populace of England, with two of the main characters, Rowena and Locksley (Robin Hood), representing the dispossessed Saxon aristocracy. When the protagonists are captured and imprisoned by a Norman baron, Scott interrupts the story to exclaim:

It is grievous to think that those valiant barons, to whose stand against the crown the liberties of England were indebted for their existence, should themselves have been such dreadful oppressors, and capable of excesses contrary not only to the laws of England, but to those of nature and humanity. But, alas ...fiction itself can hardly reach the dark reality of the horrors of the period. (Chapter 24.33)

The institution of the Magna Carta, which happens outside the time frame of the story, is portrayed as a progressive (incremental) reform, but also as a step towards the recovery of a lost golden age of liberty endemic to England and the English system. Scott puts a derisive prophecy in the mouth of the jester Wamba:

Norman saw on English oak.
On English neck a Norman yoke;
Norman spoon to English dish,
And England ruled as Normans wish;
Blithe world in England never will be more,
Till England's rid of all the four. (Ivanhoe, Ch. xxvii)

Although on the surface an entertaining escapist romance, alert contemporary readers would have quickly recognised the political subtext of Ivanhoe, which appeared immediately after the English Parliament, fearful of French-style revolution in the aftermath of Waterloo, had passed the Habeas Corpus Suspension acts of 1817 and 1818 and other extremely repressive measures, and when traditional English Charter rights versus revolutionary human rights was a topic of discussion.[29] Ivanhoe was also remarkable in its sympathetic portrayal of Jewish characters: Rebecca, considered by many critics the book's real heroine, does not in the end get to marry Ivanhoe, whom she loves, but Scott allows her to remain faithful to her own religion, rather than having her convert to Christianity. Likewise, her father, Isaac of York, a Jewish moneylender, is shown as a victim rather than a villain. In Ivanhoe, which is one of Scott's Waverley novels, religious and sectarian fanatics are the villains, while the eponymous hero is a bystander who must weigh the evidence and decide where to take a stand. Scott's positive portrayal of Judaism, which reflects his humanity and concern for religious toleration, also coincided with a contemporary movement for the Emancipation of the Jews in England.

Scott created Captain Clutterbuck, a fictional editor of some of his novels including The Monastery and The Fortunes of Nigel. The Abbot is dedicated by the "author of Waverley" to Captain Clutterbuck.

George IV landing at Leith in 1822

Scott's fame grew as his explorations and interpretations of Scottish history and society captured popular imagination. Impressed by this, the Prince Regent (the future George IV) gave Scott permission in a Royal Warrant dated 28 October 1817[30] to conduct a search for the Crown Jewels ("Honours of Scotland"). During the years of the Protectorate under Cromwell the Crown Jewels had been hidden away, but had subsequently been used to crown Charles II. They were not used to crown subsequent monarchs, but were regularly taken to sittings of Parliament, to represent the absent monarch, until the Act of Union 1707. Thereafter, the honours were stored in Edinburgh Castle, but the large locked box in which they were stored was not opened for more than 100 years, and stories circulated that they had been "lost" or removed. On 4 February 1818,[31] Scott and a small team of military men opened the box, and "unearthed" the honours from the Crown Room of Edinburgh Castle. On 19 August 1818 through Scott's effort, his friend Adam was appointed Deputy Keeper of the "Scottish Regalia".[32] A grateful Prince Regent granted Scott the title of baronet,[33] and in March 1820 he received the baronetcy in London, becoming Sir Walter Scott, 1st Baronet.[34]

After George's accession to the throne, the city council of Edinburgh invited Scott, at the King's behest, to stage-manage the 1822 visit of King George IV to Scotland.[33] With only three weeks for planning and execution, Scott created a spectacular and comprehensive pageant, designed not only to impress the King, but also in some way to heal the rifts that had destabilised Scots society. He used the event to contribute to the drawing of a line under an old world that pitched his homeland into regular bouts of bloody strife. He, along with his "production team", mounted what in modern days could be termed a PR event, in which the King was dressed in tartan, and was greeted by his people, many of whom were also dressed in similar tartan ceremonial dress. This form of dress, proscribed after the 1745 rebellion against the English, became one of the seminal, potent and ubiquitous symbols of Scottish identity.[35]

In his novel Kenilworth, Elizabeth I is welcomed to the castle of that name by means of an elaborate pageant, the details of which Scott was well qualified to itemize.

Much of Scott's autograph work shows an almost stream-of-consciousness approach to writing. He included little in the way of punctuation in his drafts, leaving such details to the printers to supply.[36] He eventually acknowledged in 1827 that he was the author of the Waverley Novels.[35]

In 1825, a UK-wide banking crisis resulted in the collapse of the Ballantyne printing business, of which Scott was the only partner with a financial interest; the company's debts of £130,000 (equivalent to £10,700,000 in 2019) caused his very public ruin.[37] Rather than declare himself bankrupt, or to accept any kind of financial support from his many supporters and admirers (including the king himself), he placed his house and income in a trust belonging to his creditors, and determined to write his way out of debt. To add to his burdens, his wife Charlotte died in 1826.

Whether in spite of these events, or because of them, Scott kept up his prodigious output. Between 1826 and 1832 he produced six novels, two short stories and two plays, eleven works or volumes of non-fiction, and a journal, in addition to several unfinished works. The nonfiction works included the Life of Napoleon Buonaparte in 1827, two volumes of the History of Scotland in 1829 and 1830, four installments of the series entitled Tales of a Grandfather – Being Stories Taken From Scottish History, written one per year over the period 1828–1831, and Essays on Ballad Poetry in 1830, among several others. Finally, Scott had recently been inspired by the diaries of Samuel Pepys and Lord Byron, and he began keeping a journal over the period, which, however, would not be published until 1890, as The Journal of Sir Walter Scott.

Sir Walter Scott's grave at Dryburgh Abbey – the largest tomb is that of Sir Walter and Lady Scott. The engraved slab covers the grave of their son, Lt Col Sir Walter Scott. On the right is their son-in-law and biographer, John Gibson Lockhart

By then Scott's health was failing, but he nevertheless undertook a grand tour of Europe, and was welcomed and celebrated wherever he went. He returned to Scotland, but in an epidemic of typhus, became ill. At Abbotsford, Scotland, the now grand home he had first built as a cottage, he died on 21 September 1832.[38]

Lady Scott had been buried as an Episcopalian; two Presbyterian ministers and one Episcopalian officiated at his funeral.[39] Scott was buried in Dryburgh Abbey, where his wife had earlier been interred. Nearby is a large statue of William Wallace, one of Scotland's many romanticised historical figures.[40]

Although Scott died owing money, his novels continued to sell, and the debts encumbering his estate were discharged shortly after his death.[37]

Sketch of Scott c.1800 by an unknown artist

Although he continued to be extremely popular and widely read, both at home and abroad,[56] Scott's critical reputation declined in the last half of the 19th century as serious writers turned from romanticism to realism, and Scott began to be regarded as an author suitable for children. This trend accelerated in the 20th century. For example, in his classic study Aspects of the Novel (1927), E. M. Forster harshly criticized Scott's clumsy and slapdash writing style, "flat" characters, and thin plots. In contrast, the novels of Scott's contemporary Jane Austen, once appreciated only by the discerning few (including, as it happened, Scott himself) rose steadily in critical esteem, though Austen, as a female writer, was still faulted for her narrow ("feminine") choice of subject matter, which, unlike Scott, avoided the grand historical themes traditionally viewed as masculine.

Nevertheless, Scott's importance as an innovator continued to be recognized. He was acclaimed as the inventor of the genre of the modern historical novel (which others trace to Jane Porter, whose work in the genre predates Scott's) and the inspiration for enormous numbers of imitators and genre writers both in Britain and on the European continent. In the cultural sphere, Scott's Waverley novels played a significant part in the movement (begun with James Macpherson's Ossian cycle) in rehabilitating the public perception of the Scottish Highlands and its culture, which had been formerly suppressed as barbaric, and viewed in the southern mind as a breeding ground of hill bandits, religious fanaticism, and Jacobite rebellions. Scott served as chairman of the Royal Society of Edinburgh and was also a member of the Royal Celtic Society. His own contribution to the reinvention of Scottish culture was enormous, even though his re-creations of the customs of the Highlands were fanciful at times, despite his extensive travels around his native country. It is a testament to Scott's contribution in creating a unified identity for Scotland that Edinburgh's central railway station, opened in 1854 by the North British Railway, is called Waverley. The fact that Scott was a Lowland Presbyterian, rather than a Gaelic-speaking Catholic Highlander, made him more acceptable to a conservative English reading public. Scott's novels were certainly influential in the making of the Victorian craze for all things Scottish among British royalty, who were anxious to claim legitimacy through their rather attenuated historical connection with the royal house of Stuart.

At the time Scott wrote, Scotland was poised to move away from an era of socially divisive clan warfare to a modern world of literacy and industrial capitalism. Through the medium of Scott's novels, the violent religious and political conflicts of the country's recent past could be seen as belonging to history—which Scott defined, as the subtitle of Waverley ("'Tis Sixty Years Since") indicates, as something that happened at least 60 years ago. Scott's advocacy of objectivity and moderation and his strong repudiation of political violence on either side also had a strong, though unspoken, contemporary resonance in an era when many conservative English speakers lived in mortal fear of a revolution in the French style on British soil. Scott's orchestration of King George IV's visit to Scotland, in 1822, was a pivotal event intended to inspire a view of his home country that, in his view, accentuated the positive aspects of the past while allowing the age of quasi-medieval blood-letting to be put to rest, while envisioning a more useful, peaceful future.

After Scott's work had been essentially unstudied for many decades, a revival of critical interest began from the 1960s. Postmodern tastes favoured discontinuous narratives and the introduction of the "first person", yet they were more favourable to Scott's work than Modernist tastes. While F. R. Leavis had disdained Scott, seeing him as a thoroughly bad novelist and a thoroughly bad influence (The Great Tradition [1948]), György Lukács (The Historical Novel [1937, trans. 1962]) and David Daiches (Scott's Achievement as a Novelist [1951]) offered a Marxian political reading of Scott's fiction that generated a great deal of genuine interest in his work. Scott is now seen as an important innovator and a key figure in the development of Scottish and world literature, and particularly as the principal inventor of the historical novel.[57]

The Scott Monument on Edinburgh's Princes Street

Statue by Sir John Steell on the Scott Monument in Edinburgh

Scott Monument in Glasgow's George Square

Statue on the Glasgow monument

During his lifetime, Scott's portrait was painted by Sir Edwin Landseer and fellow Scots Sir Henry Raeburn and James Eckford Lauder. In Edinburgh, the 61.1-metre-tall Victorian Gothic spire of the Scott Monument was designed by George Meikle Kemp. It was completed in 1844, 12 years after Scott's death, and dominates the south side of Princes Street. Scott is also commemorated on a stone slab in Makars' Court, outside The Writers' Museum, Lawnmarket, Edinburgh, along with other prominent Scottish writers; quotes from his work are also visible on the Canongate Wall of the Scottish Parliament building in Holyrood. There is a tower dedicated to his memory on Corstorphine Hill in the west of the city and, as mentioned, Edinburgh's Waverley railway station takes its name from one of his novels.

In Glasgow, Walter Scott's Monument dominates the centre of George Square, the main public square in the city. Designed by David Rhind in 1838, the monument features a large column topped by a statue of Scott.[58] There is a statue of Scott in New York City's Central Park.[59]

Numerous Masonic Lodges have been named after him and his novels. For example: Lodge Sir Walter Scott, No. 859 (Perth, Australia) and Lodge Waverley, No. 597, (Edinburgh, Scotland).[60]

The annual Walter Scott Prize for Historical Fiction was created in 2010 by the Duke and Duchess of Buccleuch, whose ancestors were closely linked to Sir Walter Scott. At £25,000, it is one of the largest prizes in British literature. The award has been presented at Scott's historic home, Abbotsford House.

Scott has been credited with rescuing the Scottish banknote. In 1826, there was outrage in Scotland at the attempt of Parliament to prevent the production of banknotes of less than five pounds. Scott wrote a series of letters to the Edinburgh Weekly Journal under the pseudonym "Malachi Malagrowther" for retaining the right of Scottish banks to issue their own banknotes. This provoked such a response that the Government was forced to relent and allow the Scottish banks to continue printing pound notes. This campaign is commemorated by his continued appearance on the front of all notes issued by the Bank of Scotland. The image on the 2007 series of banknotes is based on the portrait by Henry Raeburn.[61]

During and immediately after World War I there was a movement spearheaded by President Wilson and other eminent people to inculcate patriotism in American school children, especially immigrants, and to stress the American connection with the literature and institutions of the "mother country" of Great Britain, using selected readings in middle school textbooks.[62] Scott's Ivanhoe continued to be required reading for many American high school students until the end of the 1950s.

A bust of Scott is in the Hall of Heroes of the National Wallace Monument in Stirling. Twelve streets in Vancouver, British Columbia are named after Scott's books or characters.[63]

Wikisource has original text related to this article: 'On Walter Scott', a poem by L. E. L.

Wikisource has original text related to this article: 'Sir Walter Scott', a poem by L. E. L.

Letitia Elizabeth Landon was a great admirer of Scott and, on his death, she wrote two tributes to him: On Walter Scott in the Literary Gazette, and Sir Walter Scott in Fisher's Drawing Room Scrap Book, 1833. Towards the end of her life she began a series called The Female Picture Gallery with a series of character analyses based on the women in Scott's works.

In Charles Baudelaire's La Fanfarlo (1847), poet Samuel Cramer says of Scott:

Oh that tedious author, a dusty exhumer of chronicles! A fastidious mass of descriptions of bric-a-brac ... and castoff things of every sort, armor, tableware, furniture, gothic inns, and melodramatic castles where lifeless mannequins stalk about, dressed in leotards.

In the novella, however, Cramer proves as deluded a romantic as any hero in one of Scott's novels.[64]

In Anne Brontë's The Tenant of Wildfell Hall (1848) the narrator, Gilbert Markham, brings an elegantly bound copy of Marmion as a present to the independent "tenant of Wildfell Hall" (Helen Graham) whom he is courting, and is mortified when she insists on paying for it.

In a speech delivered at Salem, Massachusetts, on 6 January 1860, to raise money for the families of the executed abolitionist John Brown and his followers, Ralph Waldo Emerson calls Brown an example of true chivalry, which consists not in noble birth but in helping the weak and defenseless and declares that "Walter Scott would have delighted to draw his picture and trace his adventurous career".[65]

In his 1870 memoir, Army Life in a Black Regiment, New England abolitionist Thomas Wentworth Higginson (later editor of Emily Dickinson), described how he wrote down and preserved Negro spirituals or "shouts" while serving as a colonel in the First South Carolina Volunteers, the first authorized Union Army regiment recruited from freedmen during the Civil War. He wrote that he was "a faithful student of the Scottish ballads, and had always envied Sir Walter the delight of tracing them out amid their own heather, and of writing them down piecemeal from the lips of aged crones".

According to his daughter Eleanor, Scott was "an author to whom Karl Marx again and again returned, whom he admired and knew as well as he did Balzac and Fielding".[66]

In his 1883 Life on the Mississippi, Mark Twain satirized the impact of Scott's writings, declaring (with humorous hyperbole) that Scott "had so large a hand in making Southern character, as it existed before the [American Civil] war", that he is "in great measure responsible for the war".[67] He goes on to coin the term "Sir Walter Scott disease", which he blames for the South's lack of advancement. Twain also targeted Scott in Adventures of Huckleberry Finn, where he names a sinking boat the "Walter Scott" (1884); and, in A Connecticut Yankee in King Arthur's Court (1889), the main character repeatedly utters "great Scott" as an oath; by the end of the book, however, he has become absorbed in the world of knights in armor, reflecting Twain's ambivalence on the topic.

The idyllic Cape Cod retreat of suffragists Verena Tarrant and Olive Chancellor in Henry James' The Bostonians (1886) is called Marmion, evoking what James considered the Quixotic idealism of these social reformers.

In To the Lighthouse by Virginia Woolf, Mrs. Ramsey glances at her husband:

He was reading something that moved him very much ... He was tossing the pages over. He was acting it – perhaps he was thinking himself the person in the book. She wondered what book it was. Oh, it was one of old Sir Walter's she saw, adjusting the shade of her lamp so that the light fell on her knitting. For Charles Tansley had been saying (she looked up as if she expected to hear the crash of books on the floor above) – had been saying that people don’t read Scott any more. Then her husband thought, "That's what they’ll say of me;" so he went and got one of those books ... It fortified him. He clean forgot all the little rubs and digs of the evening... and his being so irritable with his wife and so touchy and minding when they passed his books over as if they didn’t exist at all ...[Scott's] feeling for straight forward simple things, these fishermen, the poor old crazed creature in Mucklebackit's cottage [in The Antiquary] made him feel so vigorous, so relieved of something that he felt roused and triumphant and could not choke back his tears. Raising the book a little to hide his face he let them fall and shook his head from side to side and forgot himself completely (but not one or two reflections about morality and French novels and English novels and Scott's hands being tied but his view perhaps being as true as the other view), forgot his own bothers and failures completely in poor Steenie's drowning and Mucklebackit's sorrow (that was Scott at his best) and the astonishing delight and feeling of vigor that it gave him. Well, let them improve upon that, he thought as he finished the chapter ... The whole of life did not consist in going to bed with a woman, he thought, returning to Scott and Balzac, to the English novel and the French novel.

In 1951, science-fiction author Isaac Asimov wrote Breeds There a Man...?, a short story with a title alluding vividly to Scott's The Lay of the Last Minstrel (1805).

In To Kill a Mockingbird (1960), the protagonist's brother is made to read Walter Scott's book Ivanhoe to the ailing Mrs. Henry Lafayette Dubose.

In Mother Night (1961) by Kurt Vonnegut Jr., memoirist and playwright Howard W. Campbell Jr. prefaces his text with the six lines beginning "Breathes there the man..."

In Knights of the Sea (2010) by Canadian author Paul Marlowe, there are several quotes from and references to Marmion, as well as an inn named after Ivanhoe, and a fictitious Scott novel entitled The Beastmen of Glen Glammoch.

The Waverley Novels is the title given to the long series of Scott novels released from 1814 to 1832 which takes its name from the first novel, Waverley. The following is a chronological list of the entire series:

• 1814: Waverley
• 1815: Guy Mannering
• 1816: The Antiquary
• 1816: The Black Dwarf and The Tale of Old Mortality – the 1st instalment from the subset series, Tales of My Landlord
• 1817: Rob Roy
• 1818: The Heart of Midlothian – the 2nd instalment from the subset series, Tales of My Landlord
• 1819: The Bride of Lammermoor and A Legend of Montrose – the 3rd instalment from the subset series, Tales of My Landlord
• 1820: Ivanhoe
• 1820: The Monastery and The Abbot – from the subset series, Tales from Benedictine Sources
• 1821: Kenilworth
• 1822: The Pirate
• 1822: The Fortunes of Nigel
• 1822: Peveril of the Peak
• 1823: Quentin Durward
• 1824: St. Ronan's Well
• 1824: Redgauntlet
• 1825: The Betrothed and The Talisman – from the subset series, Tales of the Crusaders
• 1826: Woodstock
• 1828: The Fair Maid of Perth – the 2nd instalment from the subset series, Chronicles of the Canongate (sometimes not considered as part of the Waverley Novels series)
• 1829: Anne of Geierstein
• 1832: Count Robert of Paris and Castle Dangerous – the 4th instalment from the subset series, Tales of My Landlord

Other novels:

• 1831–1832: The Siege of Malta – a finished novel published posthumously in 2008
• 1832: Bizarro – an unfinished novel (or novella) published posthumously in 2008

Many of the short poems or songs released by Scott (or later anthologized) were originally not separate pieces but parts of longer poems interspersed throughout his novels, tales, and dramas.

• 1796: "The Chase" – an English-language translation of the German-language poem by Gottfried August Bürger entitled "Der Wilde Jäger" (or, "The Wild Huntsmen", its more common English translation), first of the translations and imitations from German ballads by Scott
• 1802–1803: Minstrelsy of the Scottish Border
• 1805: The Lay of the Last Minstrel
• 1806: Ballads and Lyrical Pieces
• 1808: Marmion
• 1810: The Lady of the Lake
• 1811: The Vision of Don Roderick
• 1813: The Bridal of Triermain
• 1813: Rokeby
• 1815: The Field of Waterloo
• 1815: The Lord of the Isles
• 1817: Harold the Dauntless

• 1827: "The Highland Widow", "The Two Drovers", and "The Surgeon's Daughter" – the 1st instalment from the series Chronicles of the Canongate
• 1828: "My Aunt Margaret's Mirror", "The Tapestried Chamber", and "Death of the Laird's Jock" – from the series The Keepsake Stories

• 1799: Goetz of Berlichingen, with the Iron Hand: A Tragedy – an English-language translation of the 1773 German-language play by Johann Wolfgang von Goethe entitled Götz von Berlichingen
• 1822: Halidon Hill
• 1823: MacDuff's Cross
• 1830: The Doom of Devorgoil
• 1830: Auchindrane

• 1796 Translations & imitations of German Ballads] "Translations & Imitations of German Ballads". LibriVox. Retrieved 26 August 2019.
• 1814–1817: The Border Antiquities of England and Scotland – a work co-authored by Luke Clennell and John Greig with Scott's contribution consisting of the substantial introductory essay, originally published in 2 volumes from 1814 to 1817
• 1815–1824: Essays on Chivalry, Romance, and Drama – a supplement to the 1815–1824 editions of the Encyclopædia Britannica
• 1816: Paul's Letters to his Kinsfolk
• 1819–1826: Provincial Antiquities of Scotland
• 1821–1824: Lives of the Novelists
• 1825–1832: The Journal of Sir Walter Scott
• 1826: The Letters of Malachi Malagrowther
• 1827: The Life of Napoleon Buonaparte
• 1828: Religious Discourses
• 1828: Tales of a Grandfather; Being Stories Taken from Scottish History – the 1st instalment from the series, Tales of a Grandfather
• 1829: The History of Scotland: Volume I
• 1829: Tales of a Grandfather; Being Stories Taken from Scottish History – the 2nd instalment from the series, Tales of a Grandfather
• 1830: Essays on Ballad Poetry
• 1830: The History of Scotland: Volume II
• 1830: Tales of a Grandfather; Being Stories Taken from Scottish History – the 3rd instalment from the series, Tales of a Grandfather
• 1830: Letters on Demonology and Witchcraft
• 1831: Tales of a Grandfather; Being Stories Taken from the History of France – the 4th instalment from the series, Tales of a Grandfather
• 1893: Manners, customs and history of the Highlanders of Scotland ; Historical account of the clan MacGregor, Glasgow.