Sir Walter Scott introduced the modern novel to the Western world with his publication of Waverley (1814) and invented the subgenre of historical fiction known as the historical novel, which, in the words of David Daiches, would “show history and society in motion: old ways of life being challenged by new; traditions being assailed by counter-statements.”

Scott did so by focusing on place to bring unity to action, and often that place was his beloved Scotland. Eventually concluding that certain historical truths belonged in fiction, Scott adopted true events and people to frame fiction that delivered a message contemporary to his own times. He would use characters from The Monastery in a later sequel of sorts, The Abbot, both published in 1820, to make clear his message regarding the importance, not only of power, but also of how one goes about gaining that power.

Scott chose a monastery of Kennaquhair for the setting of The Monastery, basing that edifice on the real-life Montrose Abbey, supposedly existent during the reign of Queen Elizabeth I. The locale offered a Gothic backdrop to his tale, allowing him to incorporate mysterious elements without offering a purely Gothic novel.

The story begins with the egoistic English aristocrat Sir Percie Shafton’s escape to Scotland due to his Catholic sympathies. There he stays with the abbot of Kennaquhair’s tenant, Simon Glendinning. Simon also hosts an orphan named Mary Avenel, and a love triangle develops as both of his sons fall in love with her. The young men represent foils, with Edward being quiet and bookish, while Halbert remains the more active gallant, attracting Mary with his high spirits.

Halbert duels with Sir Percie following what he feels to have been an insult and believes he has killed Percie. At that point, Scott introduces the White Lady of Avenel, a ghost character later readers felt weakened his plot. She magically “heals” Percie, restoring him to life. The novel ends on a divisive note, with Edward choosing life at the monastery, a fate predicted by the White Lady. Halbert serves the Earl of Murray and becomes successful and wealthy, enabling him to marry Mary.

Scott bases the pretentious Sir Percie on John Lyly’s Euphues: The Anatomy of Wit (1578) and Euphues and His England (1580), as well as on works by Shakespeare and Ben Jonson. For the White Lady, he turned to a German tale featuring a water nymph named Undine, written by Freidrich de La Motte Fonqué, adding details from various Celtic myths. Neither of those two characters proved popular with readers, perhaps because the audience sought a more promising conclusion than either characters allowed to the novel.

As it closes, Edward has reluctantly accepted his fate in the monastery, thanks to the help of the able and kindly Abbot, and he seeks the spirit for a final meeting. He finds her singing a sorrowful song of farewell. She “seemed to weep while she sung; and the words impressed on Edward a melancholy belief, that the alliance of Mary with his brother might be fatal to them both.” His words predict the weakening relationship between Halbert Glendenning, who must defend his title against those who believe he received it unjustly, and Mary Avenel, featured in Scott’s next novel.

Bibliography

Daiches, David. Foreword. The Monastery by Sir Walter Scott. Edinburgh: Edinburgh University Press, 2000.
Scott, Paul Henderson. Walter Scott and Scotland. Edinburgh: Saltire Society, 1994.

Categories: British Literature, Literature, Novel Analysis

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