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El grupo de buenos de la historia está liderado por Ivanhoe que viene a ser un hijo despreciado en la sociedad sajona quien luego de acompañar con entusiasmo al rey Ricardo vuelve a limpiar su honor. Tiene la misteriosa ayuda del Caballero negro cuya identidad será algo que llama mucho en la trama y me resulta muy bien manejado.
Sir Walter Scott, Rob Roy - The British Library Sir Walter Scott, Rob Roy - The British Library
The part that we have let go of is the Saxon-Norman rivalry which Scott layers into the mix. I'm sure that such discords existed at some point in history, but Scott was apparently trying to make a point about such prejudices to his contemporaries. Nowadays it doesn't hurt the story, but it doesn't really help it much either. Took me one month+19 days to read this (audio) book. I would have read it faster if it had been more compelling. but Ivanhoe is not an easy book to read, the olde English dialogue takes getting used to, and while some of it is quite entertaining it often drags, especially when that damned de Bois-Guilbert is delivering his interminable gabble. As a modern reader, I could say that this is a mixture of The Merchant of Venice, A Game of Thrones (without the dragons, the sex and the gore, lol, but nevertheless there is the struggle for power) and the movie A Knight's Tale and Robin Hood (the Errol Flynn version).
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Moreover, despite Disney’s insistence, the Waverley Rob Roy was not in fact altogether overlooked as a source for the film. The legendary history of Red Robert Macgregor is told at some length in the novel, or at least in the “Author’s Introduction” to the novel, which, like the many other paratextual elements in the Waverley novels (prefaces, footnotes, appendices and so on), is vital to its overall meaning. [43] Scott’s central interest lies in the figure of Rob Roy only in so far as his activities affect the fortunes of the fictional Osbaldistone family during the period leading up to the 1715 rebellion. Yet the Times reviewer, writing on the film’s release in October 1953, would have none of the Disney publicity, quoting at length the passage early in Scott’s “Introduction” in which he describes Rob Roy’s fame as being attributable in great measure to his residing on the very verge of the Highlands, and playing such pranks in the beginning of the 18th century, as are usually ascribed to Robin Hood in the middle ages—and that within forty miles of Glasgow, a great commercial city, the seat of a learned university. Thus a character like his, blending the wild virtues, the subtle policy, and unrestrained licence of an American Indian, was flourishing in Scotland during the Augustan age of Queen Anne and George I. [44]
Ivanhoe’ and ‘Rob Roy’ Sir Walter Scott – Author of ‘Ivanhoe’ and ‘Rob Roy’
No soy de los que reclaman demasiado con "lo correcto" de nuestra época actual o algo muy evidente que quizás antes no se consideraba, pero debo decir que me sorprendió en este libro la cantidad de veces que le dan con palo a los judíos, me refiero hablando mal de ellos pero hasta por gusto.What happened to Scott’s idea of history in the course of that century? Kailyard transfers into comedy that “tragic sense” in Scott that is effectively unfilmable: that sense “of the inevitability of drab but necessary progress, a sense of the impotence of the traditional kind of heroism, a passionately regretful awareness of the fact that the Good Old Cause was lost forever and the glory of Scotland must give way to her interest.” [66] Scott was, as David Daiches argued, both “prudent Briton and passionate Scot,” [67] whose plots, as Lukács found, invariably end in “English compromise.” It has been argued that historical romance is “a field in which perceived contradictions in history can be recreated and resolved.” [68] Yet in the case of Scott, a Tory in post-Revolutionary Europe, it might be truer to say that the function of his historical romance is to offer an evidentiary history of the efficacy of resolution and accommodation: of the historical processes of treaty and its compromises, in the overriding interests of social harmony. Scott’s reinvention of Rob Roy as a highland Robin Hood conveniently supplied Disney with a link between the Jacobite setting of the novel and the more congenial medieval Scott of Ivanhoe, The Talisman, and Quentin Durward. [45] Conscious of the catastrophe of Alexander Korda’s Bonnie Prince Charlie in 1948, Hollywood studios were anxious to find ways of exploiting the magnificent Scottish scenery and the action, colour, and revelry of Scots “tartanry” without having to deal with the dramatically unpromising facts of the failed rebellions of 1715 and 1745 and the integration of Scotland into the United Kingdom. The Highland Rogue therefore belongs more compellingly with other chivalric romances coming out of the British-American co-productions of the period, such as another Jacobite makeover of 1953, Warners’ film of Robert Louis Stevenson’s The Master of Ballantrae, in which the presence of Errol Flynn inevitably calls up Robin Hood. [46]
Ivanhoe - Walter Scott - Google Books Ivanhoe - Walter Scott - Google Books
Obviously, this novel won't be every reader's cup of tea: the author's 19th-century diction will be too much of a hurdle for some, those who define novels of action and adventure as shallow will consider it beneath them, and those who want non- stop action will be bored by Scott's serious effort to depict the life and culture of his medieval setting. But those who appreciate adventure and romance in a well-realized setting, and aren't put off by big words and involved syntax, will find this a genuinely rewarding read.Here's the test for whether you'll like it: have you ever liked any story - even just one story - with a knight in it? If you're not totally immune to knights clanking about flinging gauntlets at each other, you should like Ivanhoe. It's the apotheosis of knight-bashing. There are: Sir Walter Scott is well known for his poetry and historical novels, such as Ivanhoe and Rob Roy. His presence is everywhere, and although he was made a baronet, it seems he is the unofficial King of Scotland. We are so apt, in our engrossing egotism, to consider all those accessories which are drawn around us by prosperity, as pertaining and belonging to our own persons, that the discovery of our unimportance, when left to our own proper resources, becomes inexpressibly mortifying.
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