Ivanhoe (Barnes & Noble Classics Series)

The Author of the Waverly Novels had hitherto proceeded in an unabated course of popularity, and might, in his peculiar district of literature, have been termed l’enfant gâté^a of success. It was plain, however, that frequent publication must finally wear out the public favour, unless some mode could be devised to give an appearance of novelty to subsequent productions. Scottish manners, Scottish dialect, and Scottish characters of note, being those with which the Author was most intimately and familiarly acquainted, were the groundwork upon which he had hitherto relied for giving effect to his narrative. It was, however, obvious that this kind of interest must in the end occasion a degree of sameness and repetition, if exclusively resorted to, and that the reader was likely at length to adopt the language of Edwin, in Parnell’s Tale:¹

Nothing can be more dangerous for the fame of a professor of the fine arts than to permit (if he can possibly prevent it) the character of a mannerist to be attached to him, or that he should be supposed capable of success only in a particular and limited style. The public are, in general, very ready to adopt the opinion that he who has pleased them in one peculiar mode of composition is, by means of that very talent, rendered incapable of venturing upon other subjects. The effect of this disinclination, on the part of the public, towards the artificers of their pleasures, when they attempt to enlarge their means of amusing, may be seen in the censures usually passed by vulgar criticism upon actors or artists who venture to change the character of their efforts, that, in so doing, they may enlarge the scale of their art.

There is some justice in this opinion, as there always is in such as attain general currency. It may often happen on the stage that an actor, by possessing in a pre-eminent degree the external qualities necessary to give effect to comedy, may be deprived of the right to aspire to tragic excellence; and in painting or literary composition, an artist or poet may be master exclusively of modes of thought and powers of expression which confine him to a single course of subjects. But much more frequently the same capacity which carries a man to popularity in one department will obtain for him success in another, and that must be more particularly the case in literary composition than either in acting or painting, because the adventurer in that department is not impeded in his exertions by any peculiarity of features, or conformation of person, proper for particular parts, or, by any peculiar mechanical habits of using the pencil, limited to a particular class of subjects.

Whether this reasoning be correct or otherwise, the present Author felt that, in confining himself to subjects purely Scottish, he was not only likely to weary out the indulgence of his readers, but also greatly to limit his own power of affording them pleasure. In a highly polished country, where so much genius is monthly employed in catering for public amusement, a fresh topic, such as he had himself had the happiness to light upon, is the untasted spring of the desert:

If the author, who finds himself limited to a particular class of subjects, endeavours to sustain his reputation by striving to add a novelty of attraction to themes of the same character which have been formerly successful under his management, there are manifest reasons why, after a certain point, he is likely to fail. If the mine be not wrought out, the strength and capacity of the miner become necessarily exhausted. If he closely imitates the narratives which he has before rendered successful, he is doomed to “wonder that they please no more.”³ If he struggles to take a different view of the same class of subjects, he speedily discovers that what is obvious, graceful, and natural has been exhausted ; and, in order to obtain the indispensable charm of novelty, he is forced upon caricature, and, to avoid being trite, must become extravagant.

It is not, perhaps, necessary to enumerate so many reasons why the Author of the Scottish Novels, as they were then exclusively termed, should be desirous to make an experiment on a subject purely English. It was his purpose, at the same time, to have rendered the experiment as complete as possible, by bringing the intended work before the public as the effort of a new candidate for their favour, in order that no degree of prejudice, whether favourable or the reverse, might attach to it, as a new production of the Author of Waverley; but this intention was afterwards departed from, for reasons to be hereafter mentioned.

The period of the narrative adopted was the reign of Richard I., not only as abounding with characters whose very names were sure to attract general attention, but as affording a striking contrast betwixt the Saxons, by whom the soil was cultivated, and the Normans, who still reigned in it as conquerors, reluctant to mix with the vanquished, or acknowledge themselves of the same stock. The idea of this contrast was taken from the ingenious and unfortunate Logan’s tragedy of Runnamede,⁴ in which, about the same period of history, the Author had seen the Saxon and Norman barons opposed to each other on different sides of the stage. He does not recollect that there was any attempt to contrast the two races in their habits and sentiments; and indeed it was obvious that history was violated by introducing the Saxons still existing as a high-minded and martial race of nobles.

They did, however, survive as a people, and some of the ancient Saxon families possessed wealth and power, although they were exceptions to the humble condition of the race in general. It seemed to the Author that the existence of the two races in the same country, the vanquished distinguished by their plain, homely, blunt manners, and the free spirit infused by their ancient institutions and laws; the victors, by the high spirit of military fame, personal adventure, and whatever could distinguish them as the flower of chivalry, might, intermixed with other characters belonging to the same time and country, interest the reader by the contrast, if the Author should not fail on his part.

Scotland, however, had been of late used so exclusively as the scene of what is called historical romance, that the preliminary letter of Mr. Laurence Templeton became in some measure necessary. To this, as to an Introduction, the reader is referred, as expressing the Author’s purpose and opinions in undertaking this species of composition, under the necessary reservation, that he is far from thinking he has attained the point at which he aimed.

It is scarcely necessary to add, that there was no idea or wish to pass off the supposed Mr. Templeton as a real person. But a kind of continuation of the Tales of my Landlard had been recently attempted by a stranger, and it was supposed this Dedicatory Epistle might pass for some imitation of the same kind, and thus, putting inquirers upon a false scent, induce them to believe they had before them the work of some new candidate for their favour.

After a considerable part of the work had been finished and printed, the publishers, who pretended to discern in it a germ of popularity, remonstrated strenuously against its appearing as an absolutely anonymous production, and contended that it should have the advantage of being announced as by the Author of Waverley. The Author did not make any obstinate opposition, for he began to be of opinion with Dr. Wheeler, in Miss Edgeworth’s excellent tale of Manœuvring, that “trick upon trick”⁵ might be too much for the patience of an indulgent public, and might be reasonably considered as trifling with their favour.

The book, therefore, appeared as an avowed continuation of the Waverley Novels; and it would be ungrateful not to acknowledge that it met with the same favourable reception as its predecessors.

Such annotations as may be useful to assist the reader in comprehending the characters of the Jew, the Templar, the captain of the mercenaries, or Free Companions, as they were called, and others proper to the period, are added, but with a sparing hand, since sufficient information on these subjects is to be found in general history.

An incident in the tale, which had the good fortune to find favour in the eyes of many readers, is more directly borrowed from the stores of old romance. I mean the meeting of the King with Friar Tuck at the cell of that buxom hermit. The general tone of the story belongs to all ranks and all countries, which emulate each other in describing the rambles of a disguised sovereign, who, going in search of information or amusement into the lower ranks of life, meets with adventures diverting to the reader or hearer, from the contrast betwixt the monarch’s outward appearance and his real character. The Eastern tale-teller has for his theme the disguised expeditions of Haroun Alraschid with his faithful attendants, Mesrour and Giafar, through the midnight streets of Bagdad; and Scottish tradition dwells upon the similar exploits of James V., distinguished during such excursions by the travelling name of the Goodman of Ballengeich, as the Commander of the Faithful, when he desired to be incognito, was known by that of II Bondocani.⁶ The French minstrels are not silent on so popular a theme. There must have been a Norman original of the Scottish metrical romance of Rauf Colziar^b in which Charlemagne is introduced as the unknown guest of a charcoal-man. It seems to have been the original of other poems of the kind.

In merry England there is no end of popular ballads on this theme. The poem of John the Reeve, or Steward, mentioned by Bishop Percy, in the Reliques of English Poetry,^c is said to have turned on such an incident; and we have, besides, the King and the Tanner of Tamworth, the King and the Miller of Mansfield, and others on the same topic. But the peculiar tale of this nature to which the Author of Ivanhoe has to acknowledge an obligation is more ancient by two centuries than any of these last mentioned.

It was first communicated to the public in that curious record of ancient literature which has been accumulated by the combined exertions of Sir Egerton Brydges and Mr. Hazlewood, in the periodical work entitled the British Bibliographer. From thence it has been transferred by the Reverend Charles Henry Hartshorne, M.A., editor of a very curious volume, entitled Ancient Metrical Tales, printed chiefly from Original Sources, 1829. Mr. Hartshorne gives no other authority for the present fragment, except the article in the Bibliographer, where it is entitled the Kyng and the Her-mite. A short abstract of its contents will show its similarity to the meeting of King Richard and Friar Tuck.

King Edward (we are not told which among the monarchs of that name, but, from his temper and habits, we may suppose Edward IV) sets forth with his court to a gallant hunting-match in Sherwood Forest, in which, as is not unusual for princes in romance, he falls in with a deer of extraordinary size and swiftness, and pursues it closely, till he has outstripped his whole retinue, tired out hounds and horse, and finds himself alone under the gloom of an extensive forest, upon which night is descending. Under the apprehensions natural to a situation so uncomfortable, the king recollects that he has heard how poor men, when apprehensive of a bad night’s lodging, pray to St. Julian, who, in the Romish calendar, stands quarter-master-general to all forlorn travellers that render him due homage. Edward puts up his orisons accordingly, and by the guidance, doubtless, of the good saint, reaches a small path, conducting him to a chapel in the forest, having a hermit’s cell in its close vicinity. The king hears the reverend man, with a companion of his solitude, telling his beads within, and meekly requests of him quarters for the night. “I have no accommodation for such a lord as ye be,” said the hermit. “I live here in the wilderness upon roots and rinds, and may not receive into my dwelling even the poorest wretch that lives, unless it were to save his life.” The king inquires the way to the next town, and, understanding it is by a road which he cannot find without difficulty, even if he had daylight to befriend him, he declares that, with or without the hermit’s consent, he is determined to be his guest that night. He is admitted accordingly, not without a hint from the recluse that, were he himself out of his priestly weeds, he would care little for his threats of using violence, and that he gives way to him not out of intimidation, but simply to avoid scandal.

The king is admitted into the cell; two bundles of straw are shaken down for his accommodation, and he comforts himself that he is now under shelter, and that

Other wants, however, arise. The guest becomes clamorous for supper, observing,

But this indication of his taste for good cheer, joined to the annunciation of his being a follower of the court, who had lost himself at the great hunting-match, cannot induce the niggard hermit to produce better fare than bread and cheese, for which his guest showed little appetite, and “thin drink,” which was even less acceptable. At length the king presses his host on a point to which he had more than once alluded, without obtaining a satisfactory reply:

The hermit, in return, expresses his apprehension that his guest means to drag him into some confession of offense against the forest laws, which, being betrayed to the King, might cost him his life. Edward answers by fresh assurances of secrecy, and again urges on him the necessity of procuring some venison. The hermit replies, by once more insisting on the duties incumbent upon him as a churchman, and continues to affirm himself free from all such breaches of order:

It would seem that the manuscript is here imperfect, for we do not find the reasons which finally induce the curtal friar to amend the king’s cheer. But, acknowledging his guest to be such a “good fellow” as has seldom graced his board, the holy man at length produces the best his cell affords. Two candles are placed on a table, white bread and baked pasties are displayed by the light, besides choice of venison, both salt and fresh, from which they select collops. “I might have eaten my bread dry,” said the king, “had I not pressed thee on the score of archery, but now have I dined like a prince—if we had but drink enow.”

This too is afforded by the hospitable anchorite, who despatches an assistant to fetch a pot of four gallons from a secret corner near his bed, and the whole three set in to serious drinking. This amusement is superintended by the friar, according to the recurrence of certain fustian words, to be repeated by every compotator in turn before he drank—a species of high jinks, as it were, by which they regulated their potations, as toasts were given in latter times. The one toper says “Fusty bandias,” to which the other is obliged to reply, “Strike pantnere,” and the friar passes many jests on the king’s want of memory, who sometimes forgets the words of action. The night is spent in this jolly pastime. Before his departure in the morning, the king invites his reverend host to court, promises, at least, to requite his hospitality, and expresses himself much pleased with his entertainment. The jolly hermit at length agrees to venture thither, and to inquire for Jack Fletcher, which is the name assumed by the king. After the hermit has shown Edward some feats of archery, the joyous pair separate. The king rides home, and rejoins his retinue. As the romance is imperfect, we are not acquainted how the discovery takes place; but it is probably much in the same manner as in other narratives turning on the same subject, where the host, apprehensive of death for having trespassed on the respect due to his sovereign, while incognito, is agreeably surprised by receiving honours and reward.

In Mr. Hartshorne’s collection, there is a romance on the same foundation, called King Edward and the Shepherd,^d which, considered as illustrating manners, is still more curious than The King and the Hermit; but it is foreign to the present purpose. The reader has here the original legend from which the incident in the romance is derived; and the identifying the irregular eremite with the Friar Tuck of Robin Hood’s story was an obvious expedient.

The name of Ivanhoe was suggested by an old rhyme. All novelists have had occasion at some time or other to wish with Falstaff that they knew where a commodity of good names was to be had. On such an occasion the Author chanced to call to memory a rhyme recording three names of the manors forfeited by the ancestor of the celebrated Hampden, for striking the Black Prince a blow with his racket, when they quarrelled at tennis:

The word suited the Author’s purpose in two material respects—for, first, it had an ancient English sound; and secondly, it conveyed no indication whatever of the nature of the story. He presumes to hold this last quality to be of no small importance. What is called a taking title serves the direct interest of the book-seller or publisher, who by this means sometimes sells an edition while it is yet passing the press. But if the author permits an over degree of attention to be drawn to his work ere it has appeared, he places himself in the embarrassing condition of having excited a degree of expectation which, if he proves unable to satisfy, is an error fatal to his literary reputation. Besides, when we meet such a title as the Gunpowder Plot, or any other connected with general history, each reader, before he has seen the book, has formed to himself some particular idea of the sort of manner in which the story is to be conducted, and the nature of the amusement which he is to derive from it. In this he is probably disappointed, and in that case may be naturally disposed to visit upon the author or the work the unpleasant feelings thus excited. In such a case the literary adventurer is censured, not for having missed the mark at which he himself aimed, but for not having shot off his shaft in a direction he never thought of.

On the footing of unreserved communication which the Author has established with the reader, he may here add the trifling circumstance, that a roll of Norman warriors, occurring in the Auchinleck MS., gave him the formidable name of Front-de-Bœuf.

Ivanhoe was highly successful upon its appearance, and may be said to have procured for its Author the freedom of the rules, ⁸ since he has ever since been permitted to exercise his powers of fictitious composition in England as well as Scotland.

The character of the fair Jewess found so much favour in the eyes of some fair readers, that the writer was censured because, when arranging the fates of the characters of the drama, he had not assigned the hand of Wilfred to Rebecca, rather than the less interesting Rowena. But, not to mention that the prejudices of the age rendered such an union almost impossible, the Author may, in passing, observe, that he thinks a character of a highly virtuous and lofty stamp is degraded rather than exalted by an attempt to reward virtue with temporal prosperity. Such is not the recompense which Providence has deemed worthy of suffering merit, and it is a dangerous and fatal doctrine to teach young persons, the most common readers of romance, that rectitude of conduct and of principle are either naturally allied with or adequately rewarded by the gratification of our passions, or attainment of our wishes. In a word, if a virtuous and self-denied character is dismissed with temporal wealth, greatness, rank, or the indulgence of such a rashly-formed or ill-assorted passion as that of Rebecca for Ivanhoe, the reader will be apt to say, “Verily virtue has had its reward.” But a glance on the great picture of life will show that the duties of self-denial, and the sacrifice of passion to principle, are seldom thus remunerated; and that the internal consciousness of their high-minded discharge of duty produces on their own reflections a more adequate recompense, in the form of that peace which the world cannot give or take away.