" I N T H Y R I G H T F U L G A R B " : R O L E S A N D R E S P O N S I B I L I T I E S IN S C O T T ' S THE A B B O T JANE MILLGATE University of Toronto T -L he Waverley novels could scarcely be described as difficult works. They are rarely complex in either their plotting or their characterisation, nor do they offer anything especially adventurous in the way of philosophy or analysis. That the experience of reading them is nonetheless far richer than such simplic ity and familiarity would suggest can perhaps be attributed to Scott's instinctive feeling for the extension and intensification of meaning attainable through the controlled use of pattern. Underpinning the loose story line of the individual novel is an internal structure of repetition, analogy, variation, and contrast, capable of imposing unity upon seemingly random details of character, setting, and theme. Beyond the individual narrative, and as if framing it, lie patterns of literature, legend, and history, evoked by a whole series of concrete links. In particular, the numerous literary references scattered throughout the Waverley novels - to Shakespeare, Spenser, Milton, Cervantes, and many other writers from the medieval to the modern - are not just outpourings of an overstocked memory but deliberate signals that the world of the particular novel can best, or more fully, be apprehended in terms of the moral and aesthetic shapes embodied in previous literary orderings of human experience. Meaning in the most successful of the Waverley novels emerges not simply from the sequential narrative itself, but also from the perception both of the patterned relationship of separate elements within the novel and of the reverberating associations between this version of pastoral, picaresque, bildungsroman, or romance and those earlier exemplars which the narrative itself has directly or allusively invoked. The Abbot (1820) - one of Scott's finest novels, though one of the least often discussed - provides an especially rich instance of his echoing and re-echoing techniques. The installation of Abbot Ambrosius and his confrontation with the mock Abbot of Unreason sets out in emblematic form some of the book's major oppositions and establishes a pattern which recurs, with significant modifica tions, in two other episodes of confusion and disorder: a visit by the hero, Roland Graeme, to the shores of Lochleven during his service as a page to Queen Mary, and the final battle in which the forces of the Queen are defeated. By juxtaposing these three moments, rich as they are in moral and political English Stud ies in Ca n ad a, h i, 2, Summer 1977 196 implications, it is possible to see how Scott works - through scene, character, emblem, and allusion, through the manipulation of framing perspectives, and through the resonating effects of a method of repetition with variation - to bring larger external patterns actively into the reader's mind and to create the tightly organized structure which underlies the apparent simplicity of the novel's linear design. That design embodies the familiar Scott theme of the progress of a child of unknown parentage from an obscure, headstrong, and, in this case, violent adolescent to the kind of young man who can survive in a world of momentous historical events; its working out depends upon Scott's no less familiar use of the standard Romance plot of the lost heir, and his invocation of the traditional Romance ending of a marriage to symbolise the re-establishment of order and the onward movement of life. Although Roland Graeme - "a bastard from the Debateable Land, without either kith, kin, or ally l" 1 - knows neither who he is or who his father was, his impulse is always towards the assertion and achieve ment of that rank in life which he feels to be rightly his. But he finds himself continually placed in conditions of dependence or tutelage, treated as a child, kept in the dark, and made a virtual prisoner. Although he eventually re nounces his early impulsive violence in favour of more controlled forms of action and becomes increasingly willing to accept the authority...
Read full abstract