Abstract
Walter Scott's critical prose does not reveal any concern on Scott's part for organic form in fiction. However, Scott's own practice as a novelist belies what appears to be his cavalier attitude toward the relationship of a work's form to its content. Ivanhoe, for example, appears on first reading to be a straightforward chivalric romance exemplifying the conventions of that form. It utilizes the conventional progression of the romance plot: the conflict between ideal good and evil embodied in the heroes and villains, the perilous journey of the main character, his individual struggle and passage through ritual death, his rescue of the endangered maiden and marriage to her, and the promise of general future happiness in a newly established social order.' However, closer readings reveal that Scott's fidelity to the conventional romance form is tempered by altered conventions and deflations of idealistic imaginative elements-variations which create a more realistic romance. Although the English nation is delivered finally from the power of the usurping Norman rulers by the accession of King Richard in union with the formerly oppressed Saxon people, the conventional romance pattern is much qualified in Ivanhoe: the heroes are not ideal; the maiden's rescue is due more to chance than to valor; the titular hero marries a second, less attractive heroine; and the new social order falls far short of a wish-fulfillment ideal. An investigation of Ivanhoe's romance form reveals how Scott tempers it with the realistic elements of the novel: the synthesis of novel-like, realistic elements within Ivanhoe's conventional romance form mirrors the general thematic synthesis which characterizes Scott's achievement in the content of the Waverley Novels as a whole.
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