{"id":287,"date":"2019-09-04T16:16:08","date_gmt":"2019-09-04T16:16:08","guid":{"rendered":"http:\/\/podcasts.la.utexas.edu\/british-studies-lecture-series\/?post_type=podcast&p=287"},"modified":"2021-01-20T20:55:48","modified_gmt":"2021-01-20T20:55:48","slug":"walter-scott-the-stuarts-and-stewardship","status":"publish","type":"podcast","link":"https:\/\/podcasts.la.utexas.edu\/british-studies-lecture-series\/podcast\/walter-scott-the-stuarts-and-stewardship\/","title":{"rendered":"Walter Scott, the Stuarts, and Stewardship"},"content":{"rendered":"
\n

Speaker – Sam Baker<\/p>\n

Often described as the inventor of the historical novel, the Scottish author Walter Scott (1771-1832) was also a poet, lawyer, pioneering editor, and popular historian. This talk will explore the theme of stewardship in Scott’s fiction\u2014with particular reference to his best remembered work, Ivanhoe, and one of his least remembered, The Fair Maid of Perth\u2014and will connect that theme with the historiography of feudalism that Scott discovered in the writings of early modern antiquaries. Scott turns out to have been fascinated by the idea that aristocrats abandon at their peril their responsibilities as stewards for the people. What if the ultimate story of failed stewardship told by Scott is the story of a storied royal dynasty\u2014the Stuarts themselves? Samuel Baker has been teaching in the English Department at UT Austin since 2001. He has published a book, Written on the Water: British Romanticism and the Maritime Empire of Culture (Virginia, 2010), and essays on eighteenth and nineteenth century authors including Ann Radcliffe, William Wordsworth, Lord Byron, Mary Shelley, and Matthew Arnold. His current interests include media studies, gothic antiquarianism, and, of course, the poetry and fiction of Walter Scott.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"Speaker – Sam Baker Often described as the inventor of the historical novel, the Scottish author Walter Scott (1771-1832) was also a poet, lawyer, pioneering editor, and popular historian. This talk will explore the theme of stewardship in Scott’s fiction\u2014with particular reference to his best remembered work, Ivanhoe, and one of his least remembered, The […]","protected":false},"author":13,"featured_media":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","episode_type":"audio","audio_file":"http:\/\/podcasts.la.utexas.edu\/british-studies-lecture-series\/wp-content\/uploads\/sites\/4\/2019\/09\/19-08-30-British-Studies-Lecture-Series.mp3","podmotor_file_id":"","podmotor_episode_id":"","cover_image":"","cover_image_id":"","duration":"","filesize":"65.6M","filesize_raw":"68789390","date_recorded":"30-08-2019","explicit":"","block":"","itunes_episode_number":"","itunes_title":"","itunes_season_number":"","itunes_episode_type":""},"tags":[232,226,222,53,223,221,219,228,230,229,225,224,220,218,227,231],"categories":[],"series":[2],"class_list":{"0":"post-287","1":"podcast","2":"type-podcast","3":"status-publish","5":"tag-18th-century","6":"tag-ann-radcliffe","7":"tag-author","8":"tag-british-studies","9":"tag-feudalism","10":"tag-fiction","11":"tag-ivanhoe","12":"tag-lord-byron","13":"tag-mary-shelley","14":"tag-matthew-arnold","15":"tag-samuel-baker","16":"tag-scottish","17":"tag-the-fair-maid-of-perth","18":"tag-walter-scott","19":"tag-william-wordsworth","20":"tag-written-on-the-water","21":"series-bsls","22":"entry"},"acf":{"related_episodes":"","hosts":[{"ID":949,"post_author":"10","post_date":"2021-01-20 19:50:06","post_date_gmt":"2021-01-20 19:50:06","post_content":"\n

Wm. Roger Louis is head of the British Studies Lecture Series. He is an American historian and a professor at the University of Texas at Austin<\/a>. Louis is the editor-in-chief of The Oxford History of the British Empire<\/a><\/em>, a former president of the American Historical Association<\/a> (AHA), a former chairman of the U.S. Department of State's Historical Advisory Committee, and a founding director of the AHA's National History Center in Washington, D. C.<\/p>\n","post_title":"Wm. Roger Louis","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"wm-roger-louis","to_ping":"","pinged":"","post_modified":"2021-01-20 19:50:06","post_modified_gmt":"2021-01-20 19:50:06","post_content_filtered":"","post_parent":0,"guid":"http:\/\/podcasts.la.utexas.edu\/british-studies-lecture-series\/?post_type=speaker&p=949","menu_order":0,"post_type":"speaker","post_mime_type":"","comment_count":"0","filter":"raw"}],"guests":[{"ID":811,"post_author":"45","post_date":"2020-06-23 19:28:34","post_date_gmt":"2020-06-23 19:28:34","post_content":"\n

Samuel Baker has been teaching in the English Department at UT Austin since 2001. He has published a book, Written on the Water: British Romanticism and the Maritime Empire of Culture (Virginia, 2010), and essays on eighteenth and nineteenth century authors including Ann Radcliffe, William Wordsworth, Lord Byron, Mary Shelley, and Matthew Arnold. His current interests include media studies, gothic antiquarianism, and, of course, the poetry and fiction of Walter Scott.<\/p>\n","post_title":"Samuel Baker","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"samuel-baker","to_ping":"","pinged":"","post_modified":"2020-06-23 19:28:34","post_modified_gmt":"2020-06-23 19:28:34","post_content_filtered":"","post_parent":0,"guid":"http:\/\/podcasts.la.utexas.edu\/british-studies-lecture-series\/?post_type=speaker&p=811","menu_order":0,"post_type":"speaker","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":965,"post_author":"52","post_date":"2021-01-20 20:55:24","post_date_gmt":"2021-01-20 20:55:24","post_content":"\n

Daniel Birkholz is a Distinguished Teaching Professor<\/strong> and Associate Professor of English<\/strong> at The University of Texas at Austin.<\/p>\n\n\n\n

His essays have appeared in The Journal of Medieval and Early Modern Studies<\/em>, Studies in the Age of Chaucer<\/em>, New Medieval Literatures, Exemplaria: Medieval \/ Early Modern \/ Theory<\/em>, and Imago Mundi<\/em>: The International Journal for the History of Cartography<\/em>, as well as in scholarly collections such as The Post-Historical Middle Ages<\/em> (Palgrave) and Mapping Medieval Geographies <\/em>(Cambridge).<\/p>\n\n\n\n

His first book, The King\u2019s Two Maps: Cartography and Culture in Thirteenth-Century England<\/em> <\/strong>(Routledge, 2004), was awarded The Nebenzahl Prize, by the Newberry Library (Chicago)\u2019s Hermon Dunlap Smith Center for the History of Cartography.<\/p>\n\n\n\n

His second book, Harley Manuscript Geographies: Literary History and the Medieval Miscellany<\/em><\/strong>, was published by Manchester University Press in June 2020. Please see: https:\/\/manchesteruniversitypress.co.uk\/9781526140401\/<\/a><\/p>\n\n\n\n

Prof. Birkholz\u2019s third book, in progress and currently under review, is entitled: Women Who Walk on Maps: Essays in Cartographic Reception and Map-Biography.<\/strong><\/em><\/p>\n\n\n\n

Other long-term projects include We Have to Invent Him: Harley Lyrics, Hereford Maps, and the Life of Roger de Breynton, c.1290-1351 <\/em><\/strong>(experimental biography meets literary criticism meets the history of cartography), and a related Digital Humanities \/ documentary life-records project: \"Atlas of a Medieval Life: The Itineraries of Roger de Breynton.<\/strong>\" Please see: https:\/\/sites.utexas.edu\/atlasofamedievallife\/<\/a><\/p>\n\n\n\n

As a Provost's Teaching Fellow<\/strong> (2018-2021), Prof. Birkholz (with English Department graduate student Liz Fischer) is currently developing a pilot course building on this material: a Medieval Digital Research Lab<\/strong> that features team-based, project-oriented experiential learning and hands-on new technology exposure, while involving both undergraduate and graduate students in original faculty research. This course will satisfy recently instituted curricular needs in both the English Department's Digital Certificate track and the UT Graduate School's Digital Studies Portfolio.<\/p>\n\n\n\n

In 2020, Professor Birkholz was admitted into UT Austin's Academy of Distinguished Teachers<\/strong>.<\/p>\n\n\n\n

In 2017, Birkholz was recipient of the Al and Judy Shoaf Award<\/strong>, a biennial Best Essay Prize from the journal Exemplaria<\/em>; and also received the English Department's Outstanding Service Award.<\/p>\n\n\n\n

In 2016, Prof. Birkholz received the University of Texas System Regents' Outstanding Teaching Award<\/strong>. He is also a past recipient of the Humanities Research Award<\/strong> (2015-2018) in the College of Liberal Arts.<\/p>\n\n\n\n

In 2015, Birkholz received both the Raymond Dickson Centennial Endowed Teaching Fellowship<\/strong> and the Silver Spurs Centennial Teaching Fellowship<\/strong> from The University of Texas at Austin. In 2008 he was awarded the President\u2019s Associates Teaching Excellence Award<\/strong> by UT-Austin. Before coming to UT, Birkholz was Assistant Professor of English at Pomona College (Claremont, CA), where in 2002 he received the Wig Distinguished Professorship Award<\/strong>, for excellence in teaching and research. <\/p>\n\n\n\n

A 2009-10 Solmsen Fellow<\/strong> at the University of Wisconsin-Madison's Institute for Research in the Humanities<\/strong>, Birkholz's previous fellowships include exchanges at Cambridge University (Downing College, 2002) and the \u00c1rni Magnusson Manuscript Institute in Reykjav\u00edk, Iceland (1994-95), plus grants for archival research at the Beinecke Library, the Newberry Library, the British Library, the Hill Monastic Manuscript Library, and more.<\/p>\n\n\n\n

Prof. Birkholz has also spent two semesters on teaching exchange in France, at the Universit\u00e9 Sorbonne Nouvelle--Paris III (2018) and at the Universit\u00e9 de Paris Ouest Nanterre La D\u00e9fense (2012). In 2019 he served as Co-Director of the UT English Department's Summer Oxford Program, while also teaching a course on Arthurian Literature and Film. Previous service appointments include five years as Director of the English Honors Program and another as Associate Graduate Advisor.<\/p>\n\n\n\n

Birkholz received his Ph.D. from the University of Minnesota in 1999; his M.A. from the University of Toronto in 1991; and his B.A. from Carleton College (Northfield, MN) in 1990. <\/p>\n","post_title":"Daniel Birkholz","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"daniel-birkholz","to_ping":"","pinged":"","post_modified":"2021-01-20 20:55:24","post_modified_gmt":"2021-01-20 20:55:24","post_content_filtered":"","post_parent":0,"guid":"http:\/\/podcasts.la.utexas.edu\/british-studies-lecture-series\/?post_type=speaker&p=965","menu_order":0,"post_type":"speaker","post_mime_type":"","comment_count":"0","filter":"raw"}],"transcript":"

Well, we want to welcome everyone. We have<\/p>\n

special guests here. We have the Churchill scholars,<\/p>\n

one of whom Harvard was just admitted to the Harvard Law School.<\/p>\n

And we also have a group of Tower Fellows. I’m not sure that many of you<\/p>\n

will actually know who and what the tower fellows are.<\/p>\n

There are people who come back to the University of Texas, usually at the close<\/p>\n

of their careers, to take a full course load four classes each<\/p>\n

semester for the whole academic year. Now, if you can imagine this, this<\/p>\n

is quite a quite a challenge for us academics to get back into that.<\/p>\n

That would be quite a job. I’d also like to point out that we are<\/p>\n

on the verge of publishing a new book in the series.<\/p>\n

This is a series that is always based on lectures, Friday afternoon<\/p>\n

lectures to the British studies. And it began in nineteen ninety five with adventures<\/p>\n

to Britannia. We’re to more adventures with Britannia, still more adventures<\/p>\n

with Britannia, yet more adventures with the Ternium penultimate adventures,<\/p>\n

Tarnya ultimate adventures. So at that time we had to rejig<\/p>\n

the Vinals and it became Resurgent Adventures,<\/p>\n

Irrepressible Adventures of Britannia, Lewis Lyndon’s Adventures<\/p>\n

or Britannia, effervescent resource-rich Antonia and<\/p>\n

the Next, the volume to be published in November. Just to give you something to look forward<\/p>\n

to, we’ll be called Serendipitous Adventures Britannia.<\/p>\n

Let’s see. Dan, you’re going to introduce the speaker. Yeah. Yeah, for me,<\/p>\n

Grace. Thank you, Roger. My name is Dan Burkle’s. I’m from the English Department and it is<\/p>\n

my honor and pleasure to introduce my friend and colleague, Sam Baker. For<\/p>\n

you today, Roger, when he asked me to say a few words, stressed the few words part<\/p>\n

so I won’t talk about Sam’s background at Chicago and Columbia, where he got his degrees or<\/p>\n

at Cornell where he was a fellow won’t talk about his monograph written on the Water, British Romanticism<\/p>\n

and the Maritime Empire of Culture from Virginia or his publications in<\/p>\n

really great journals like E.L. H. English Literary History and MLK. Q. Modern<\/p>\n

Language Quarterly won’t get into any of that. The few words that I’m going to stress with Sam<\/p>\n

have to do with other kinds of things. I’ve known Sam since<\/p>\n

before I started here at U.T. and Sam was recruiting me to come to British studies before<\/p>\n

I was here at u._t. And he’s remained in that role for me and<\/p>\n

I think countless others around the department and the university. Sam Baker, when I think<\/p>\n

of him and what he brings, it is unquestionably<\/p>\n

a really rich sense of intellectual collaboration. Sam is the most<\/p>\n

vital mind that I that I know. He he he walks around with it with a buzz<\/p>\n

of vitality and intellectual ism, and he produces that quality in the people around<\/p>\n

him. And so he’s he is an inveterate deliverer of conference<\/p>\n

talks. And even more strangely, he goes to talks on campus all the time. You will<\/p>\n

see him at whatever symposium is going forward because he’s there and he’s he’s he’s<\/p>\n

intellectually a fire. And he brings that quality. He brings those qualities of,<\/p>\n

I guess, big ideas and collectivism into a field. The humanities,<\/p>\n

which we hear a lot about these days as being something that’s in retreat, that is shrinking, in which we’re all a little<\/p>\n

bit shorter, smaller and more timid than we used to be. And what we might want to be in<\/p>\n

when we’re around, Sam, we forget about that because he inspires us to talk to one another and to remember why<\/p>\n

we got into this again. So whenever I see Sam in the hallway, I come away thinking new thoughts and having<\/p>\n

new books to read. And I don’t say it very often to him. He’s probably blushing right now.<\/p>\n

And so will I. So will I be soon. But really, it is this old style<\/p>\n

intellectual fire that he brings. And so I’m really honored to be able to be the one who brings<\/p>\n

him to share that with you today. He takes those qualities to his university as well.<\/p>\n

He’s been a part of a lot of groups like the Public Feelings Working Group here. Initiatives like this, Good Systems<\/p>\n

Grand Challenge Initiative that’s just recently been ratified by the Howard leadership<\/p>\n

going forward. He’s moved into new media studies and digital humanities from his traditional fields of<\/p>\n

strengthen British romanticism and Scottish literature. Scott and.<\/p>\n

Cliff and folks like that. So he takes the stuff that he’s interested<\/p>\n

in and he makes it a group project. And he makes it an intellectual renewal project. And so that’s why I’m so excited<\/p>\n

to to see what he has to say. One important, if smaller<\/p>\n

group and collaboration that he was a part of many years ago. Now, he and myself and Jerry Woods<\/p>\n

are our companion and colleague in in U.T. English. We had the most<\/p>\n

rewarding writing group that I’ve ever had. I’ve never had a writing group. Since then, I’ve never had one before<\/p>\n

then. But for a period of about five or so years, we met regularly and<\/p>\n

and saw that night. And I think that he naturally produces that stuff. So thank<\/p>\n

you, Sam. I will be quiet now and see what it is that you have to say. But<\/p>\n

please give him your warmest. Welcome, Sam Baker.<\/p>\n

Just a moment, we’ll get to Jack Farell podium.<\/p>\n

Oh, that’s an allegory of all media. New here.<\/p>\n

Thank you so much, Diane. I hope I can live up to that wonderful introduction.<\/p>\n

It’s such an honor to share my research with you today, and I’m really looking forward to the opportunity<\/p>\n

to converse with you all after my talk. So for some time now, I’ve been nursing a<\/p>\n

general interest in the Gothic. Some of you will remember a paper I gave here<\/p>\n

almost exactly 10 years ago on the theme of Wedgwood Gothic. Back then, I was imagining<\/p>\n

I’d undertake a whole panorama of investigations into the Gothic. These studies would span<\/p>\n

the period from the 1756 to 1859. What some of us call the romantic<\/p>\n

century moving from Erasmus, Darwin and other contemporaries of Wedgwood<\/p>\n

forward through romantic period. Writers like Anne Radcliffe, William WORDSWORTH and Walter Scott to arrive<\/p>\n

at Victorian practitioners of Gothic was different from each other as Edgar Allan Poe and<\/p>\n

I’d like to argue. Charles Darwin. I saw this landscape in view<\/p>\n

as I develop across various set projects and I count over them coming to call spectral<\/p>\n

care. My focus now, however, is not so much on this grand but project.<\/p>\n

The working title of which is Spectral Care Gothic Stewardship in the Landscape of British<\/p>\n

Romantic Media. Increasingly, I find them thinking in portrait mode rather than in landscape<\/p>\n

mode and focusing on the somewhat smaller but perhaps even more significant problem<\/p>\n

of what to make of the working life of Sir Walter Scott.<\/p>\n

For practical and professional reasons. But I think also for proper procedural reasons,<\/p>\n

I’m not planning to sit down and write the single author study of Scott. In fact, I’ve begun this monograph<\/p>\n

and I’m sharing the first draft of the first chapter with you all starting now.<\/p>\n

Who was who is Walter Scott and what makes him so important to me anyhow?<\/p>\n

The short answer is that Scott is a once famous Scottish author whose rarely read any more, but who<\/p>\n

exerted a decisive influence on Western letters when he popularized the historical novel<\/p>\n

as a national art form. Without Scott, there’d be no war and peace,<\/p>\n

no gone with the Wind. No Lord of the Rings. Because remember, it’s a book written by<\/p>\n

scali Hobbit’s right after the fact. Right. And no, a long time ago<\/p>\n

in a galaxy far, far away. So that’s the initial argument for Scott significance that I make<\/p>\n

to students when I’m inviting them to read Scott and I stand behind it.<\/p>\n

Still, this argument about Scott’s significance for cultural history invites the further question of what<\/p>\n

ongoing life, if any. Scott’s works have. So who among you’s right? Has Scott? No.<\/p>\n

Who among you has read of Scott novel and you’re under 30.<\/p>\n

George. George, you’re here. But where are your students, George?<\/p>\n

I barely. I only I barely made it to the river under 30. And it’s like it’s lost<\/p>\n

in the over 30 crowd, I think. So it was it Ivanhoe? Did you read some people, people who<\/p>\n

raised your hand? Ivanhoe, one of the novels. Yeah, that’s the main of I’ll be talking about. That’s good.<\/p>\n

The heart of Midlothian. Yes. Excellent. That’s right. See, that’s the greatest<\/p>\n

novel written in English. So you you just. Yeah, that’s that’s brilliant. But there’s still time<\/p>\n

for the rest of you.<\/p>\n

There are other arguments for Scotsmen off against, and I’ve heard many of them voiced in this room, often phrases<\/p>\n

rhetorical questions. Did Scott help inspire the arts and crafts movement?<\/p>\n

Yes, he did. Would Scott Scotsmen, who is also self-consciously a patriot of Britain,<\/p>\n

support Brexit or Scottish independence or both? Whatever the answer<\/p>\n

is, Scott’s thinking about nations and states. The British Isles is a live topic in Scotland now,<\/p>\n

where the culture ministry is avidly funding investigations into what Scottish literature tells<\/p>\n

us about Scottish and British identity. But did the Brontes make of Scott’s<\/p>\n

novels? A great deal and setting Scott can teach us much about literary craft,<\/p>\n

but by how he was imitated and about how later writers chose to abjure his example.<\/p>\n

When he enforced her for, for instance, wrote his how to manual for fiction writers aspects<\/p>\n

of the novel, he made Scott his case study and authorial foolishness.<\/p>\n

So for better or for worse, Scott’s deeply woven into the aesthetic and political fabric of British<\/p>\n

studies, which is why. I keep bringing him up in Q&A sessions here.<\/p>\n

It’s really my habit of doing that. Me feel like I owed you all talk on Scott. So, yes,<\/p>\n

the forms of Scott’s historical fiction, subtrend costume dramas, sci fi epics<\/p>\n

and works and myriad other narrative genres we enjoy. And if we study how Scott formed his<\/p>\n

fiction, we’ll better appreciate how work since has been crafted. But Scott’s importance<\/p>\n

is more than a matter of craft. I want to argue that Scott’s achievement marks an event in the history<\/p>\n

of thought, especially we take his accomplishments in fiction and connect them with the emergence<\/p>\n

of the cultural, political and social institutions that Scott did so much to build.<\/p>\n

As an artist and public figure. This event in the history of thought can well<\/p>\n

be described, in my view, as the promulgation of a cultural ethos of stewardship, and that<\/p>\n

is why stewardship is my theme. You’ll notice that I’ve been at Walter Scott’s stewardship<\/p>\n

in the stewards and sort of the other way around because I want to dwell a little bit on stewardship and let’s<\/p>\n

pause for a minute to define the term per the OED. The word means<\/p>\n

the Office of Steward and the conduct of the Office of Steward Administration Management<\/p>\n

Control. The idea that stewardship is an office is, I think, crucial. Stewart<\/p>\n

is a social role to which one is appointed. We’re familiar as well with a further<\/p>\n

sense of stewardship as the responsible use of resources. This is a sense, interestingly, which I think the<\/p>\n

OED fails to do justice. Now, the OED does note this normative sense<\/p>\n

of steward and stewardship in plain ecclesiastical contexts, but<\/p>\n

only starting in the twentieth century. Regardless of how one date the origins of such<\/p>\n

a normative sense of stewardship has resonated. I think some time now in the use of stewardship<\/p>\n

for conservation discourse, whether cultural or environmental. And I<\/p>\n

do think, as will become clear, there’s already a normative dimension to Scott’s use of the term.<\/p>\n

Still, fundamentally for Scott, stewardship quite specifically and materially denotes<\/p>\n

the business of a steward in the first place, an official who controls the domestic affairs of a household,<\/p>\n

especially supervising his master’s table. The sense, of course, continues the use of steward,<\/p>\n

do you know, servants of this kind, but concerned as Scott was with affairs of state.<\/p>\n

It matters greatly to him that per the OED after the Norman conquest,<\/p>\n

the title had come to designate an office in a royal household held only by a great noble of<\/p>\n

the realm. The administrator off with merely nominal duties of certain estates<\/p>\n

of the crown. Scotland, particularly a steward, would be a magistrate<\/p>\n

originally appointed by the king to administer the crown lands, but moreover, the term named the magistrate<\/p>\n

to rule them all. Originally, this was the first officer of the Scottish king and early times<\/p>\n

who had control of the royal household, great administrative powers and the privilege of leading the Army into battle.<\/p>\n

This office, the OED goes on to explain, fell into the crown upon the accession of Robert Steward<\/p>\n

as Robert the second whence the name of the heir apparent. So once the name of the Royal<\/p>\n

House of Stuart. All right. So the office fell into the crown upon the accession of Robert<\/p>\n

Stewart as Robert the second whence the name of the Royal House of Stewart, but the title<\/p>\n

was given to the heir apparent until the union Great Steward of Scotland is<\/p>\n

now a title of the Prince of Wales. Now, on the one hand, this idea that the stewards,<\/p>\n

we managers for the realm, not its monarchs, seems to contradict the ethos of absolutism<\/p>\n

which the family would become known centuries later when James Stewart, King James the 6th<\/p>\n

of Scotland became an 2:44 James, the first of England to be succeeded by<\/p>\n

Charles, the first with his personal rule. And after the restoration by Charles,<\/p>\n

the second, who continue to believe he ruled by divine right. On<\/p>\n

the other hand, the idea of the Stewarts as stewards accords with the figurative sense noted by the OED<\/p>\n

of the steward as an administrator and dispenser of wealth favors, etc., especially<\/p>\n

when regarded as a servant of God or the people. Stewart is<\/p>\n

a high office then, but an office redolent of low things. Perhaps this explains why the OED<\/p>\n

suffered the feature, what it also dismisses as a serious Atama allergy. Quote,<\/p>\n

The assumption that Stigwood originally meant Keeper of the pigs dies.<\/p>\n

Just to say, they say, look, here is that apology, which is wrong, but we wanted to print it anyway.<\/p>\n

Go figure. So the story then is an officer of the state who oversees its household resources.<\/p>\n

If not in the broadest sense, managing its economy still at least sustaining its elite.<\/p>\n

Ultimately, for better or worse, Scott, as an author styled himself such as Steward Superintending<\/p>\n

a virtual realm of national culture. Now, I hasten to add, I’m ambivalent about<\/p>\n

the social forum and habit of mind I call stewardship and about the emphasis that Scott places<\/p>\n

on it. Such ambivalence helps explain my interest, and moreover, I would argue<\/p>\n

Scott’s own interest in considering stewardship in relation to the Stewarts family known<\/p>\n

for its absolutist if an absolute miserable failures. Was<\/p>\n

stewardship self-evidently the one job that the stewards had to do? You had one job<\/p>\n

stewards and the job which they failed or is the task of<\/p>\n

stewardship assessed a fee and task at which no one can ever succeed completely?<\/p>\n

Perhaps the role of a steward is ultimately a Gothic curse that inevitably ends in a haunting.<\/p>\n

Maybe every steward is at least to some small extent caretaker of their own personal<\/p>\n

overlook hotel. I thought of a slide for that spirit you slide.<\/p>\n

Maybe stewards are always in danger of killing with their kindnesses. The periphery is Walter<\/p>\n

Sobchak, however. Say what you want about the tenants of stewardship, dude. Least it’s an ethos.<\/p>\n

And personally, well, I try to be humble and self-critical about it. The ethos of stewardship is one that I’m proud to transmit.<\/p>\n

Appointed as I am to work for the state as an educator, minding how my students care for their culture.<\/p>\n

Turning to Scott, what is it about Scott’s life and art beyond his art itself that makes<\/p>\n

him such a significant figure for the history of culture? Understood, as I’m starting to suggest,<\/p>\n

as an ethos of stewardship. Supportand understand, I think the synthetic<\/p>\n

work that Scott did in his life and art to knit together so many strands of contemporary experience.<\/p>\n

He was, as mentioned to Scott and a Briton married to a French woman with a brother,<\/p>\n

emigrated to Canada and children who worked abroad. The Empire. He was a poet, as<\/p>\n

well as a novelist and as a man of letters and man of his times, he had many other roles<\/p>\n

besides. Let’s enumerate some of them, placing them in relation to our theme.<\/p>\n

Well into his thirties. Scott supported himself and his family practicing law, and he<\/p>\n

continued to work as a lawyer long after he’d achieved literary fame. Practicing law<\/p>\n

in early modern Edinboro entailed detailed historical knowledge of Scottish English and British<\/p>\n

legal history and procedure, which helps explain why matters of government at every scale<\/p>\n

figure so significantly in Scots literary works. Scott also hold<\/p>\n

government office as a sheriff, depute for Selkirk Shire from 1799 until his<\/p>\n

death. In Scotland, by that time, a sheriff was not an officer of the<\/p>\n

law in our sense, but a local judge does care for a specific community formed part<\/p>\n

of Scott’s broad range of responsibilities. Concept of an office was central<\/p>\n

to another aspect of Scott’s persona. His little publicized but constant devotion to Episcopalian<\/p>\n

ism. In Scotland, this denotes the minority practice there of adhering<\/p>\n

to the Church of England’s form of ecclesiastical organization with its hierarchy of bishops<\/p>\n

in a land where Presbyterianism worship governed from the pews had long since been settled<\/p>\n

on as a national denomination. Hi, Anglicanism, often to a beyond<\/p>\n

the point of crypto Catholicism was long a faith championed by the Stuarts and<\/p>\n

in politics, Scott said it definitively with the church and state wing of the Whig Party that coalesced<\/p>\n

around William Pitt, the younger. The facts that come to be known first, derisively and then definitively<\/p>\n

in Scott’s time as the Tories. Of the original trees,<\/p>\n

Scott knew much, not just as a legal historian, but as first an amateur and then a professional<\/p>\n

antiquarian and folklorist. This work informed his fiction in ways that I’ll explore.<\/p>\n

First time up, perhaps more spectacularly, it informed his poetry.<\/p>\n

After publishing miscellaneous translations, mostly from the German and ballads, German and Scottish.<\/p>\n

In the 1790s, Scott’s initial major literary success was an extraordinarily<\/p>\n

ambitious undertaking, a two volume compendium of the minstrelsy of the Scottish border.<\/p>\n

You followed up this collection of actual ballads with a supercharged, imaginative pastiche,<\/p>\n

a hybrid ballad romance called. The late last minstrel,<\/p>\n

which created a sensation in Scotland, England and America, making Scott a literary superstar.<\/p>\n

That’s why I appreciate the feedback from the microphones. The talk started would’ve been good if I’d<\/p>\n

been reading the live less minstrel, which I will do a little bit of right now. This poem contains Scott’s most<\/p>\n

famous lines, which are worth glancing at for an idea of his strong commitment to a poetry that would<\/p>\n

sustain national culture in the ACT romantic mode of blood and soil.<\/p>\n

You know it’s coming right? Breathes there the man with soul so dead, who never to himself have said,<\/p>\n

This is my own, my native land. Scott. Scott.<\/p>\n

Meanwhile, wherever the nation is, the state is never far behind is equally<\/p>\n

popular. Follow a poem. 6:42 Marmion opens with twin eulogies for two<\/p>\n

recently deceased former prime ministers, Pitt. And although we did not employ his<\/p>\n

office quite as Scott had wished he would. Also the wig. Charles James Fox.<\/p>\n

A couple of quick asides about this. Fox’s father was an old Tory, something of a Jacobite,<\/p>\n

hence Fox’s Stewart names Charles James Fox, which would become<\/p>\n

a kind of historical irony, like a conservative talk show host named Kennedy. Also,<\/p>\n

speaking of Marmion, it is this poem that features Scott’s other most famous lines, often attributed<\/p>\n

to Shakespeare. Scott,<\/p>\n

even while he was achieving fame as a poet, Scott saw his true calling as a man of letters to be the antiquarian<\/p>\n

preservation of literature of the past. In that vein, he added crucial<\/p>\n

editions of the works of Jonathan Swift, John Dryden, Dan Riffaut and the C-word,<\/p>\n

and our friend and colleague Lisa Moore, as recently published edition of C-word is the first in Scott’s edition of I think<\/p>\n

penned by Scott. And Scott was no less attentive to documents of politics and statecraft.<\/p>\n

And Scott fell behind a competitor in the race to edit the Harley manuscripts, an important cache of literary<\/p>\n

other documents in which Dan buchholtz is a resident expert. He abandoned an effort to focus his attention<\/p>\n

on bringing out a new edition with updated head notes of the papers and state of affairs known as the summer’s<\/p>\n

tracts. I had a for a<\/p>\n

kind librarian Scotland bring me out the full set of the Summers tracts and Scott really did,<\/p>\n

you know, work through all these volumes of material and write new head notes for all these pieces. It’s<\/p>\n

extraordinary, the productivity of writers and the age before television and<\/p>\n

smartphones. All told, Scott did more than perhaps even Samuel Johnson to<\/p>\n

invent the modern role of the editor as curator. Learning as he did so much about both the old<\/p>\n

Government Office of Stewardship and its modern cultural practice.<\/p>\n

Scott was an innovator in business as well, vertically integrating his activities by investing in this publisher,<\/p>\n

an initiative that would eventually bring about his financial ruin. Not adverse to conflicts<\/p>\n

of interest, Scott published frequently as a critic and helped found one of the main critical organs of the day,<\/p>\n

the quarterly review. 1814 Scott published his debut novel,<\/p>\n

Waverly Anonymously, and many of its reviews surmised that he was the author, but he used<\/p>\n

his presence in the critical arena to disavow his responsibility for a work in a genre<\/p>\n

considered somewhat beneath a gentleman. At the same time, as a novelist, Scott<\/p>\n

surpassed himself, intensifying at once as he did so fiction’s quotient of<\/p>\n

realism and romance. It was his fiction that would secure his reputation as<\/p>\n

a romantic genius, especially as other authors primarily Lord Byron eclipsed him<\/p>\n

as Britain’s leading poet and SC. fiction and consideration of stewardship in the Stuarts<\/p>\n

that I want to consider today in relation to Scott’s antiquarian editorial work in the time<\/p>\n

that remains to be.<\/p>\n

So. Here’s a picture of the twenty six novels, more or less that because<\/p>\n

they’re for the most part published anonymously attributed to the author of really became known<\/p>\n

as the Waverley Novels. I like to take this opportunity to thank Roger Lewis in British studies<\/p>\n

for the grant that enabled me a while ago now to purchase the superb Edinburgh edition<\/p>\n

of Scots Fiction. At a time when, having written an essay for Edinburgh University Press Vol.,<\/p>\n

I had a window on which I could get these at a 40 percent discount, said Roger. I need help. I need to<\/p>\n

make this happen. Actually, only the novels really made a huge difference to me personally and professionally. I’d<\/p>\n

always be grateful for this resource. The novels first appeared in waves<\/p>\n

made 14 until Scott’s death in early 1832. There are, of course,<\/p>\n

all works of historical fiction, although a few of them are set during Scott’s lifetime and a few<\/p>\n

of them, especially the medieval novels Scott wrote. Layton’s life strayed so far<\/p>\n

from history as the verge on romance fantasy. More than half<\/p>\n

of Scott’s novels are set in Stuart realms or involves Stewart’s or their political enthusiasts<\/p>\n

known as Jacobites as characters. Those are the<\/p>\n

novels highlighted in right here. These are the good you call the Stewart novels, although<\/p>\n

perhaps because of Ivanhoe, we think of Scott as a chronicler<\/p>\n

of the Middle Ages. Only four of his novels are set in medieval Britain is other medieval novels are<\/p>\n

set in the continent, and only Ivanhoe in the same mistaken depicts England in<\/p>\n

medieval times. So before I began trying to substantiate my argument,<\/p>\n

I mean, we said it once more and it’s strong for him in his novels, Walter Scott Droz and his antiquarian<\/p>\n

studies propose an ethos of stewardship for artists and statesmen. Thus, Justice<\/p>\n

Samuel Taylor Coleridge was urging in his late sermons that literary authors constitute a classy<\/p>\n

that’s kolaches term. A body of traditional spiritual leaders. But working late feels<\/p>\n

like literature. Scott, writing his novels, was assuming the mantle of a purveyor<\/p>\n

of what I call spectral care. Scott ruud’s culture in the state<\/p>\n

narrating the history of Scotland, England. Britain has a series of lessons in political theology<\/p>\n

at the center of which lie the ultimately tragic, if entertainingly gothic failures of the Stewart<\/p>\n

monarchs. The Stuart the Nation. Now,<\/p>\n

the very best evidence I have this argument comes from two quite obscure Scott novels, The Fair Made of Perth,<\/p>\n

set in medieval Stuart Scotland and Woodstock, a tale that represents the Stuarts in hiding<\/p>\n

during the Commonwealth. Talk briefly about Woodstock and the fair fermata of Perth and talk<\/p>\n

for longer. But Ivano novel that more of you will know why. I also think we can see<\/p>\n

stewardship and even the Stuarts Pines on Scott’s mind.<\/p>\n

Woodstock, which appeared in 1826, is named after the Royal Hunting Lodge outside<\/p>\n

Oxford, where Scott sets his narrative, a sprawling Norman Castle, well known<\/p>\n

as the site of Henry the second’s intrigue with his mistress, Rosemonde. Woodstock<\/p>\n

lodge was ruined in the civil war and torn down in the 18th century. In the course of the landscaping of Blanton<\/p>\n

Palace, I don’t know if we’ve ever tried to do this, but I wandered around the grounds of Blenheim<\/p>\n

looking for traces. Woodstock Lodge. So 200-year tradition.<\/p>\n

Now Scott frames his novel with a preface, claiming it’s been redacted from the papers of a high<\/p>\n

church minister, royalist agent and antiquity named Rowcliffe. Supposed<\/p>\n

to have had the living in Woodstock of the Charles the first and again after the restoration, to have witnessed<\/p>\n

a celebrated series of incidents of ghostly haunting that occurred at Woodstock Lodge in the Commonwealth<\/p>\n

interregnum and actually were documented. There are articles about the ghosts of Woodstock<\/p>\n

in the popular press. The ghost, it turns out, was Prescott,<\/p>\n

actually Charles, the second in hiding. The novel NEARY told her Charles the second escapes<\/p>\n

the clutches of Oliver Cornwell, affording both historical figures, sympathetic portraits, while<\/p>\n

showing the both learning lessons in there is back due to ancient properties like Woodstock Lodge.<\/p>\n

Once Craughwell is appointed stewards of the Woodstock estate or chased off Charles, the second<\/p>\n

in hiding, there becomes after a fashion the estate steward. This finding,<\/p>\n

if only ever innocently the mode of kingship, stewardship over sacred antiquity<\/p>\n

property him has a steward. Meanwhile, the steward<\/p>\n

off their antiquity within Scott’s novel, Rowcliffe, the Royalist Divine, is literally at the center<\/p>\n

of Woodstock. A secret agent spinning his webs of intrigue from a hideout accessible<\/p>\n

through a trap door, hidden in a portrait that lies secreted deep within the lodge’s labyrinth. Its awesome<\/p>\n

novel, The Portrait that Hides, which depicts or Henry’s ancestor Vernon Lee, notable<\/p>\n

as a D spoiler of monastery’s, a legacy that various characters Riley ionize<\/p>\n

upon. Now that Woodstock is threatened in its turn with the solution. Remembering that Sir<\/p>\n

Vernon was said to have brought a malediction on his house through his pension for sacrilege.<\/p>\n

But the cleric hidden behind subversions portrait works busily to counteract this legacy. If he<\/p>\n

can hope to rescue the building itself, at least he may prove able to translate its legacy into a new<\/p>\n

era. Roach clips, medium as they’re written messages he sends<\/p>\n

and receives more study that being described as both an army and a library has to be imagined as the<\/p>\n

emblem of Scott’s own state of Abbotsford at the time, undergoing a siege of a different kind.<\/p>\n

So much golf is kind of a virus figure if you know a Game of Thrones. Also,<\/p>\n

this figure of him is a web weaver is Scott’s fear, not mine. He’s repeatedly described<\/p>\n

a spider like until I read Woodstock. I had long wondered why George Eliot and the chapters<\/p>\n

of Middlemarch concerned with Fred Vinci is somewhat unfortunate. Infatuation with the Waverley novels. No, he spends<\/p>\n

all his time reading Scots part of his problem.<\/p>\n

In those chapters, Elliot likens Scott to a spider. It’s a beautiful epigraph, but Scott<\/p>\n

Webb, as he weaves right, which I think is an allusion to the web as we we first<\/p>\n

we practice to deceive, but also to this idea, this character Rowcliffe,<\/p>\n

especially since Rowcliffe is not only modeled on antiquity agents such as Scott studied, but<\/p>\n

it’s clearly meant as an avatar of the novelist himself. Just finally on Woodstock.<\/p>\n

This is actually a portrait of Walter Scott’s dog, but he writes his dog and the Woodstock’s, if you like, dogs<\/p>\n

and literature. Woodstock’s Anello for you. And if you win, we go back to the slide<\/p>\n

of Scott with his dog, right. Is this her famous pose of Scott and his dog?<\/p>\n

Which individual illustrations of Woodstock? Right. They would have trolls the second<\/p>\n

sitting there with his dog in the same pose. It’s kind of a kind of a rhyme between the two of them.<\/p>\n

All right. So in the fermata of Perth, which I’m just going to touch on quickly,<\/p>\n

we find what we might call Scottish Gothic hair articulated through a patient exploration<\/p>\n

of the difficulties of Stuart stewardship in medieval court in a Catholic epoch<\/p>\n

facing the difficulties of managing the clans of Scotland. The Stuarts frame the dilemmas<\/p>\n

as problems and stewardship. Are we both not sons of the same Stuart<\/p>\n

of Scotland? Says one of the store, a princess to the other as they<\/p>\n

think about their. The problems that<\/p>\n

beset them. In 14th century Scotland, unmanageable<\/p>\n

profits or close to it. I could go on expounding on this little red medieval<\/p>\n

novel, but for the rest of my time today, I want to focus on a more familiar text<\/p>\n

legend. On then to Ivanhoe, a romance by the author<\/p>\n

of Waverley, etc., published by Scott in 1820 at the height of his popularity and powers.<\/p>\n

Ivanhoe is set in the East Midlands, somewhat north of the environs of Nottingham. We’ve come to look<\/p>\n

at our idea of Sherwood Forest. Novel is set<\/p>\n

in 11 94 after the third crusade in England, where Normans and Saxons<\/p>\n

are still not quite reconciled. And I’ve got a little handout here, just a bit<\/p>\n

of a bit about Ivanhoe. So I don’t have to.<\/p>\n

I’ll have to. You’d have to get out your phones and look up the plots of reviving home while<\/p>\n

you listen to me. Whenever I take out my phone in British studies, by the way, I’m always looking up pertinent information. Now as<\/p>\n

background the talk. But I wanted to keep you from having to do that.<\/p>\n

So novels set in 11:34 after the third crusade in England were Normans and Saxons are still not quite<\/p>\n

reconciled. The cast of characters includes the Saxon thayne Cedrik, his Ward Rowena,<\/p>\n

his son Wilfred of Ivanhoe Strange from him because he followed Engrish the Lionheart to the Crusade,<\/p>\n

King Richard Prince, John Fryer Talk and Robin of Locksley, the whole Robin Hood crew and the Robin<\/p>\n

Hood movies. Pecoraro FLine movie, you know, fairly close to Ivanhoe in plot almost<\/p>\n

no maid. Marian and Ivanhoe is abrasive, evil churchmen, various Knights<\/p>\n

Templar and otherwise Isaac, the Jew of York, and his daughter Rebecca, and from Cedric’s<\/p>\n

household girth, the swineherd Wamba, the Gesture and Oz while the cupper<\/p>\n

and to save time. I’ve put the whirlwind plot summary on my next few slides on that handout that I’ve given<\/p>\n

you, and join you all to burn the hand out after reading it so as not<\/p>\n

to spoil one of history’s great plots for any student, you might find it discarded and accidentally proves its<\/p>\n

contents. I’m an obvious problem for us today as you look to Ivanhoe<\/p>\n

is the question of. Where are the stewards and for that matter, where in 11 ninety<\/p>\n

four in England are the stewards? So let’s start our search. The novels<\/p>\n

are very beginning. What do we find?<\/p>\n

We just that the very first chapter commences with an epigraph in which pigs<\/p>\n

are compelled, reluctant to the several STI’s. Here and Alexander<\/p>\n

Pope’s translations of Homer literature’s greatest skyward Ulysses faithful<\/p>\n

servant UMass proves himself able also to be the only if account worthy of the office<\/p>\n

of Steward. Upon the return of the disguised Ulysses, you may as unknowingly buy perspicacious<\/p>\n

Lee sets a table for the king whose cleansing of the realm he will soon help to effect.<\/p>\n

The immediate reference is to the first chapter set piece with Gerth, Cedrik swineherd<\/p>\n

and the Fool Wamba. More broadly, however, Scott is indicating a theme of the proper stewardship<\/p>\n

of a singlets realm. Each their own way, characters from Fire talk to Robin Hood<\/p>\n

to Cedric Rebekka and Ivanhoe will prove their worth by carrying out offices of care<\/p>\n

without knowing that in so doing, they’re restoring the state to its proper balance.<\/p>\n

So I think the OED have put the etymology in there. I need to do my research into this, but I think that<\/p>\n

there may have been the traditional MLG of Stewards stye ward<\/p>\n

that is playing with with the, you know, the pig imagery in Ivanhoe.<\/p>\n

Think for a moment. Who is the king’s attorneys long for in modern British consciousness? After<\/p>\n

Ivanhoe that iconic can be on the water becomes Richard the Lionheart. But before Ivanhoe,<\/p>\n

it had been King James, the old steward pretender whose own return in 1715<\/p>\n

failed spectacularly, and whose son Bonnie Prince. Charlie’s tragic 1745 adventure in British<\/p>\n

soil furnish the topic that, as the subject of his first novel, made the very name<\/p>\n

of the author of Waverley, which appears and knows title page.<\/p>\n

Where is restoration in this novel in Ivanhoe taking place?<\/p>\n

In that pleasant district of Mary England, which is water by the river, Don. All right.<\/p>\n

Right about here. And more particularly in extensive would.<\/p>\n

Scott tells us the remains of which are still to be seen. The noble seats of Wentworth<\/p>\n

of One Cliffe Park and around Rotherham. So where are we?<\/p>\n

Looking back at the text, one top in which is also a family name, should jump out<\/p>\n

to scholars and friends of British studies. Anybody see it? This name,<\/p>\n

the subject of lectures in this very room by Michael Charlesworth and Janine Barcus is Wentworth.<\/p>\n

And note that Scott quite deliberately makes reference not just to work with Woodhouse<\/p>\n

or to the work with families, one corporate body, but quite particularly to the noble seats of Wentworth.<\/p>\n

This is because, as those who have heard or read, Michael or geneen and the Wentworth’s know,<\/p>\n

the family underwent a spectacular Scism act. The Glorious Revolution, which saw one of its palaces<\/p>\n

with Woodhouse become a center of Whig power, the base of the Rockingham WIG’s,<\/p>\n

while another newly styled Wentworth Castle would be the site for a pseudo sex and follies<\/p>\n

that Michael has convincingly argued were formative experiences for Horace Walpole, helping catalyze<\/p>\n

the emergence of a Gothic aesthetic in 18th century brick.<\/p>\n

Here’s a map that shows the propinquity of rent with Woodhouse, with Kassell<\/p>\n

to each other and the kind Weisburd Castle on which Torkel Stone and Ivanhoe is modeled.<\/p>\n

All three lying at some distance from Ashby Diller’s hootch, which is where Scott sets the novel’s<\/p>\n

famous tournament sequence. So there was Ashby down there. Sure. Forest<\/p>\n

is right here. Of course, you’re on Nottingham, right? Plus, the action. The novel is up here<\/p>\n

in this zone where you went with Castle with House, kind of Sobero Castle in Doncaster.<\/p>\n

So with a subtle twist of syntax, Scott sets Ivanhoe across the contested historical political terrain<\/p>\n

in which the fate of the Stuarts would be settled. A reference to the seat of Wentworth<\/p>\n

or to the noble seats of Wentworth one Clift Park, and rather him would simply have ambiguous<\/p>\n

reference. Pluralized concedes that adding additional prepositions, however,<\/p>\n

Scott makes it clear these invoking both went with Holmes. And note that long<\/p>\n

before Scott wrote Ivanhoe, the Jacobite Tory branch of the Strafford family, Ensconce,<\/p>\n

worked with Castle, had chosen Densify Saxon England in particular with legitimacy,<\/p>\n

it invested in the Stewart cause. And this to illustrate this from<\/p>\n

Go and beautifully published article<\/p>\n

of Michael’s. Here’s a photograph from what we counsel with the moon, the moon,<\/p>\n

the daylight. Right. The kind of particular Saxon architecture that<\/p>\n

went with Family Prize, their adult, Moora, the Tory family, that is.<\/p>\n

Despite my slide show, I have a number of slides that explain how Scott uses the contents of Saxon’s and Norman’s<\/p>\n

as it plays out imaginatively in Ivanhoe to work through problems of legitimacy,<\/p>\n

spiritual practice and romance. I’m not going to go through<\/p>\n

all of this. I received wisdom about Ivanhoe for you. Let’s<\/p>\n

just say that, Scott. Has long been said to raise<\/p>\n

these problems intentionally with solutions and view what solutions he<\/p>\n

advances, however, remains in dispute. What we might call rival Weygand<\/p>\n

Tory theories being advanced of Scott’s intentions.<\/p>\n

Some say Scott Nereus emergence of liberal McGarrity. Others say he glorifies a cruel, reactionary<\/p>\n

nationalism. Some say that Scott Champion’s tolerance has with<\/p>\n

what’s seem like a sensitive treatment of Rebecca. Others say he’s secular as his religion only a<\/p>\n

sublimated into an evangelical imperialism to which Rebecca consigned<\/p>\n

to pre inquisition. Spain may be thought of sacrifice. And, you know, you can also think of Rebecca’s<\/p>\n

all the attempted rape scenes ever back in the novel as being a creepy, spectacular ization<\/p>\n

of of otherness in Scott’s time.<\/p>\n

Some experienced Scott as a psychological realist and, you know, actually, I’ll say that I do.<\/p>\n

Others, notably Mark Twain, have charged him with the looting whole populations into patriarchal war.<\/p>\n

This is the famous argument that Twain makes in life in Mississippi, that it was reading Scott and reading Ivano<\/p>\n

in particular that gave rise to the ethos of chivalry and the old self<\/p>\n

that brought on the civil war. I rushed to these debates because<\/p>\n

while they’re fascinating, my aim is to move beyond them by discerning a different principle at work<\/p>\n

in Scots art. Arguments in Scott run athwart these old lines of battle.<\/p>\n

Scott may inherit both Scottish Labor ministerial theory and Burkey and skepticism about<\/p>\n

the human capacity to manage change, but does he transmit to us something besides conservatism<\/p>\n

and progressivism? I’ve been suggesting that for Scott, the idea of<\/p>\n

culture furnishing a vehicle for conceptualizing self-organizing change at multiple scales of government.<\/p>\n

The idea that we might think of as homologous with the theory of evolution developed by Charles Darwin, who<\/p>\n

as a student of Edinburgh University likewise inheritable SCADDEN Enlightenment said your theory and<\/p>\n

burkey and skepticism, but even capacity to manage change. For<\/p>\n

once, however, did Scott develop his idea of culture? What stakes the<\/p>\n

interest did he understand the story? The story of prophy of the Saxon’s and the Norman Yok<\/p>\n

to have had the fortunes of those later dynasties. The Stuarts and the head of Variance.<\/p>\n

To what extent was his interest in historiography essentially political? To what extent<\/p>\n

was that driven by cultural or even theological motives, which, while they may have had political ramifications,<\/p>\n

were understood by Scott to be more elemental? So my last couple paragraphs<\/p>\n

here, I want to give my tentative answers to these questions, which involve research I’m conducting<\/p>\n

into Scott’s affinity for the 17th century antiquity. Henry Stollman.<\/p>\n

This edition of The Soldiers Tracked Scott reprinted an essay attributed to Henry Spellman, whom he tells is<\/p>\n

famous for his learned researches. Spellman’s, Scott writes, was well known by<\/p>\n

his works upon the antics. Sorry. Spellman’s, Scott writes, was well known by his works<\/p>\n

upon the antiquities of the English law. His history of English councils. And<\/p>\n

very significantly, I think his Saxon glossary Spellman’s and the great saxophonists<\/p>\n

of the 17th century. So it was a man of high church principles,<\/p>\n

most notoriously on display in his the history and fate of sacrilege. The beginning of<\/p>\n

the world continually to this day written into Charles the first.<\/p>\n

This track was not published till the end of the 17th century, and then only quietly,<\/p>\n

notably in eighty nine. Scott would write to his publisher. He was contemplating an addition of spelman’s the<\/p>\n

history and fate of sacrilege in its own right. This book was Spellman’s is well known to a<\/p>\n

certain stripe of scholars of the Gothic. In it, Spellman catalogs all of the major instances<\/p>\n

in English history of the despoil ization of churches of any church, Catholic<\/p>\n

or Protestant. Although he writes as an Anglican and the putative unfortunate<\/p>\n

consequences of the sacrilege for its perpetrators. Spellman lingers<\/p>\n

first and William the Conqueror is desecration of Saxon churches and the disaster that that brought<\/p>\n

on Williams family. And then, of course, moves to the depredations of Henry<\/p>\n

the eighth before some gleefully cataloging the evils that befall the families involved in such<\/p>\n

desperation under a harbor many generations at least until those families repent of this act<\/p>\n

religious activities and take up the mantle of the pastoral care of the<\/p>\n

people that once had been the office of the churchmen and the displaced.<\/p>\n

Now, Ivanhoe has a project in and about the conservation of sinks and linguistic and cultural heritage<\/p>\n

not only aligns itself with Spellman’s recuperative project. It also dramatizes it<\/p>\n

with its plot full of exactly corrupt churchmen being displaced by political leaders and common<\/p>\n

people allying as stewards for the people here. Right. The<\/p>\n

scene of hospitality where the Lionheart and fire truck fire, fire<\/p>\n

truck drink together. Right. Could be seen as emblematic of this alliance of common<\/p>\n

outlaws, renegade churchmen and political leaders against.<\/p>\n

Both the old corrupt church and the corrupt leaders who would despoil it and neglect<\/p>\n

the people. Rowcliffe, the antiquarian author Stuart Figure<\/p>\n

at the heart of Woodstock. Also, I think seems model on Spillman antiquities of his stripe.<\/p>\n

To this day, Spelman remains an important figure for intellectual historians, less because of his obviously<\/p>\n

eccentric views. The culpability of sacked religious aristocracy then because of his central role<\/p>\n

in the formulation of the idea of feudalism as a distinct historical epoch.<\/p>\n

JJ Praecox first book, An Investigation of Ideas of England’s Ancient Constitution, published<\/p>\n

in some eight in 1957, features extensive discussions of Spelman is a legal theorist<\/p>\n

champion feudal relations as an alternative to the common law theory of ancient<\/p>\n

rites that would have to Coke and others achieve Germany<\/p>\n

with the Whigs. Real interests of civilians work for Scott Scholars.<\/p>\n

Perhaps lies in the way that’s antiquarian form suggests the afterlife for that third lost strand<\/p>\n

of English jurisprudence canon law. Sullivan’s whole antiquity enterprise is devoted,<\/p>\n

after all, to charging property persons. However, Martin the data their possessions<\/p>\n

with ancient spiritual responsibilities. Last paragraph,<\/p>\n

let me say one thing more to the appropriate areas of churches that happily they hitherto have not dreamed of.<\/p>\n

Right. SPELLMAN And one of his tracts. And that is that by having these procedures,<\/p>\n

they are charged with the cure of souls and make themselves subject<\/p>\n

to the burden that lies so heavily upon the head of every minister to see the service of God performed,<\/p>\n

the people instructed and the poor believed. It is this<\/p>\n

charge of spectral care, this idea of Gothic stewardship, as I believe that Scots are bound up<\/p>\n

with the fate of the stewards of his own role as a steward of national culture for the 19th century<\/p>\n

and beyond. Perhaps even to Britain today, where just yesterday,<\/p>\n

The Guardian quoted the former head of the civil service as saying that<\/p>\n

we are reaching the point where the civil service must consider putting<\/p>\n

its stewardship of the country ahead of service to the government of the day.<\/p>\n

Could this be the true revolution in which Scott, my dream. Thank you.<\/p>\n"},"episode_featured_image":false,"episode_player_image":"https:\/\/podcasts.la.utexas.edu\/british-studies-lecture-series\/wp-content\/uploads\/sites\/4\/2017\/09\/british-studies.png","download_link":"https:\/\/podcasts.la.utexas.edu\/british-studies-lecture-series\/podcast-download\/287\/walter-scott-the-stuarts-and-stewardship.mp3","player_link":"https:\/\/podcasts.la.utexas.edu\/british-studies-lecture-series\/podcast-player\/287\/walter-scott-the-stuarts-and-stewardship.mp3","audio_player":"https:\/\/podcasts.la.utexas.edu\/british-studies-lecture-series\/podcast-player\/287\/walter-scott-the-stuarts-and-stewardship.mp3<\/a><\/audio>","episode_data":{"playerMode":"dark","subscribeUrls":[],"rssFeedUrl":"https:\/\/podcasts.la.utexas.edu\/british-studies-lecture-series\/feed\/podcast\/bsls","embedCode":"

Walter Scott, the Stuarts, and Stewardship<\/a><\/blockquote>