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Guy Mannering; or, The Astrologer is the second of the Waverley novels by Walter Scott, published anonymously in 1815. According to an introduction that Scott wrote in 1829, he had originally intended to write a story of the supernatural, but changed his mind soon after starting. The book was a huge success, the first edition selling out on the first day of publication.[2]

Key Information

Composition

[edit]

Scott began the composition of Guy Mannering in the last days of 1814, immediately after completing his last long narrative poem The Lord of the Isles. Writing with remarkable speed, he finished it by mid-February 1815.[3] In a letter dated 19 January 1815, Scott writes: "I want to shake myself free of Waverley, and accordingly have made a considerable exertion to finish an odd little tale within such time as will mystify the public... W. Erskine, and Ballantyne, are of opinion that it is much more interesting than Waverley."[4]

Editions

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Guy Mannering appeared in three volumes in Edinburgh, published by Archibald Constable and Co. The print run was 2000, and the selling price one guinea (£1.05). The London publishers were Longman, Hurst, Rees, Orme, and Brown, who had to wait some days before receiving their consignment of 1500 copies by sea, anticipated by copies sent down via the faster road route by Edinburgh publishers.[5] As with all the Waverley novels before 1827, publication was anonymous. The first edition was followed by a further 5,000 copies in March and May, the second and third editions. There is no clear evidence for authorial involvement in these, or in any of the novel's subsequent appearances except for the 18mo Novels and Tales (1823) and the "Magnum" edition. Some of the small changes to the text in 1823 are attributable to Scott, but that edition was a textual dead end. At the beginning of 1828 he provided the novel with an introduction and notes, and revised the text, for the Magnum edition in which it appeared as Volumes 3 and 4 in August and September 1829.

The standard modern edition, by P. D. Garside, was published as Volume 2 of the Edinburgh Edition of the Waverley Novels in 1999: this is based on the first edition; the Magnum material appears in Volume 25a.

Plot background

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Guy Mannering is set in the 1760s to 1780s, mostly in the Galloway area of southwest Scotland, but with episodes in Cumberland, Holland, and India. It tells the story of Henry "Harry" Bertram, the son of the Laird of Ellangowan, who is kidnapped at the age of five by smugglers after witnessing the murder of a customs officer. It follows the fortunes and adventures of Harry and his family in subsequent years, and the struggle over the inheritance of Ellangowan. The novel also depicts the lawlessness that existed at the time, when smugglers operated along the coast and thieves frequented the country roads.

Plot summary

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Black and white image of a gypsy woman cursing a man
Wood-engraving by C. A. Shepperson of a scene from Scott's novel Guy Mannering, University of Edinburgh Collections

Guy Mannering, after leaving Oxford, is travelling alone in southwestern Scotland, on the coast of the Solway Firth. After losing his way at nightfall, he is directed to Ellangowan, the home of Mr Godfrey Bertram. The friendly but incompetent Bertram welcomes him, although his wife is in labour with their first child. As they await news, Mannering meets Dominie Sampson, a learned but socially inept tutor, and Meg Merrilies,[a] a wild-looking, strident Gypsy woman, who has come to tell the child's fortune. The young student, however, offers to do this from the stars, and predicts that three periods of the boy's life will be very hazardous. Not wishing to concern the parents, he leaves his predictions to be opened when the child is five years old. Mannering also meets smuggler Dirk Hatteraick, who captains vessels active off the wild coast by Ellangowan.

The Departure of the Gypsies, illustrated by George Clark Stanton (1892)

However, before his fifth birthday is over, little Harry Bertram disappears while in the care of an excise-man, Kennedy, who is murdered by smugglers. No trace can be found of the child, though Kennedy's body is found at the foot of a cliff. In her distress, his mother goes into labour once again, and after giving birth to a daughter, she dies.

Seventeen years elapse, and Mannering, now a Colonel, returns from India and visits Scotland once again. He arrives at Ellangowan in time to be present at the death of the now destitute Godfrey Bertram. The possessions and home of Bertram and his daughter Lucy are being sold. Mannering attempts to buy the estate, but is called back to England to attend to his own daughter who is reported to have a lover, so misses the sale. The Ellangowan estate is purchased at a reduced rate by the conniving Glossin, whose unscrupulous dealings have been one of the causes of the Bertrams' downfall. The estate is sold on the condition that if the male heir is found, the estate will return to the Bertrams.

Mannering's daughter Julia has in fact been entertaining the affections of Vanbeest Brown, a young cavalry officer from her father's regiment, though she does not admit this to her father. Brown is unsure of his parentage, having been raised in Holland, and told that though born in Scotland, he was rescued at a young age from smugglers. Colonel Mannering in fact believes that he killed Brown in a duel in India, a fact which weighs heavily on his conscience. (Out of concern that Mannering will disapprove of Brown's low status, Mannering's wife had led him to believe that Brown's affectionate visits were to her, not her daughter. Mannering's wife dies before the truth of the matter is explained.)

Mannering brings his daughter with him to Scotland, and rents a house called Woodbourne, not far from Ellangowan. He invites Lucy Bertram to be a companion for his daughter, and Dominie Sampson to be his librarian.

Brown follows Julia Mannering to Scotland, taking a roundabout route to explore some of the wilder parts of his birth country. He dines at an inn called Mump's Hall, where he meets a jolly farmer, Dandie Dinmont. Here he also meets Meg Merrilies, who seems to recognise him. The proprietress of Mump's Hall sends thugs to rob Dinmont on the road, and Brown arrives in time to help fend them off. In gratitude Dinmont invites Brown to stay at his farm with his large family (and their many terriers, all called Mustard or Pepper) for some days. While hunting with his new friend, Brown meets a gamekeeper called Gabriel, who also seems to recognise him.

Meanwhile, at Woodbourne, a group of excise-men seek protection from a gang of smugglers, who outnumber them. Under the superior tactics of Mannering, the smugglers are driven off, and several of their ringleaders killed or mortally wounded.

Proceeding on his wintry journey, Brown becomes lost; following a light, he comes to a ruined hut in a ruined hamlet of Dernclough, in which Meg Merillies is tending a dying man (one of the smugglers), singing incantations to free the soul from the body. She hides Brown, saying the dead man's accomplices will kill him. Brown watches from a cramped hiding place under some straw as the thugs empty his portmanteau and dispose of all his papers, weapons and money. In the morning, Meg shows him the road and gives him her well-ladened purse, exacting at the same time a promise that he will come to her immediately whenever she calls him to do so. He continues on his way.

Writing to a friend, Julia makes great fun of the Dominie's peculiarities, and mentions Lucy's discouragement of her suitor, young Hazlewood, because she has no fortune and he is wealthy. Julia then describes with horror the sudden appearance of Brown, who intercepts them on a path through the woods. Hazelwood, nervous from the smugglers' attack, threatens Brown, who tries to disarm him; in the struggle Hazelwood is shot in the shoulder. Brown is now a wanted man and on the run, although Hazelwood acknowledges that the shooting was accidental.

The attorney Glossin, now a justice of the peace, is indefatigable in endeavouring to trace Hazelwood's attacker, in the hope of ingratiating himself to the Hazelwood family. He hears with pleasure that the gaoler McGuffog has a man in custody. However, the man is not Brown but Dirk Hatteraick, a Dutch smuggler, known well to Glossin, who has in the past been his accomplice. Hatteraick warns Glossin that Harry Bertram has been seen in Scotland. Glossin engineers Hatteraick's escape from custody, and meets him in a hidden smuggler's cave, close to where Hatteraick caused the death of Kennedy. It is revealed that Glossin was involved with the smugglers who committed the murder, and gave them the child to dispose of. Hatteraick explains that the child was adopted and educated in Holland, and that he has recently been seen by an ex-smuggler, Gabriel, in the local hills. He also reveals that it was Harry Bertram/Brown who injured Hazelwood. Glossin is determined to kill the young heir.

Meg Merrilies in Dirk Hatteraick's cave, illustrated by Gordon Browne (1897)
At the Kaim of Derncleugh: Guy Mannering Chapter XXVII by N M Price. (c. 1895)

An elderly aunt of Lucy Bertram's dies in Edinburgh, generating hope that her fortune may have been left to Lucy. Mannering, accompanied by the Dominie, travels to Edinburgh to place the matter in the advocate Mr Pleydell's hands. He strikes up a lively friendship with Pleydell, but they find that the old lady has left her estate to the heir of Ellangowan, when he is found. They learn from a serving-maid that Meg Merrilies planted the idea that Harry Bertram is alive in the old lady's head. Dandie Dinmont is also there, and his robust honesty earns Mannering's respect, despite the class divide.

Harry retreats to Cumberland, and writes to his regiment for replacement papers. He also manages to correspond with Julia, whose letter draws him back to Scotland. He is landed at Ellangowan, and he explores the ruined castle beside the modern estate, finding it strangely familiar. There he encounters Glossin, who promptly has him arrested for shooting Hazlewood, and lodges him in the dismal bridewell (small prison) adjoining the custom-house at Portanferry. Here he is visited, unexpectedly, by Dinmont, who has heard from Gabriel of his being in danger. Dinmont manages to convince McGuffog to allow him to stay the night in Harry's cell. (Harry at this stage still believes himself to be Vanbeest Brown.)

Meanwhile, the Colonel has returned from Edinburgh. Meg Merrilies intercepts the Dominie on a ramble, and sends an urgent note by him to Mannering. She also stops young Hazlewood, and tells him to cause the soldiers who have been withdrawn from Portanferry to be sent back there instantly. Glossin has "warned" Hazelwood's father of an attack on his estate, in order that Portanferry is left unguarded, so that Glossin's men can attack and kill Harry Bertram. During the night the custom-house is fired by a gang of ruffians; strangely, however, Bertram and Dinmont are assisted to escape, and led to a carriage. It later emerges that Gypsy relatives of Meg and Gabriel have infiltrated the party.

On the same evening Counsellor Pleydell arrives to visit his new friend Mannering, and Mannering admits that he has sent a carriage to Portanferry on the strength of a note from the old Gypsy woman. They wait impatiently for the arrival of the carriage, unsure whom it will carry. Just as they have given up, the carriage arrives. Mannering is shocked to see Brown, alive; Julia, too, is shocked by her lover's arrival; Lucy is terrified to see the ruffian who injured her lover, Hazelwood, on the road; Sampson thinks he has seen the ghost of Old Bertram. Once things have been explained, Pleydell announces finding that Bertram is heir of tailzie to the estate of Ellangowan.[7] Harry Bertram, now acknowledged as the heir, is tearfully welcomed. Sampson hugs his "little Harry" with delight, and Mannering, his conscience cleared, welcomes the young man. Lucy embraces her long-lost brother, and Julia confesses her love to her father.

However, a legal right to Ellangowan has not been established, and Mannering and Pleydell must organise bail. Meanwhile, Bertram and the two young ladies are walking when Meg Merrilies meets them and demands that Harry come with her. He agrees, and Meg is pleased that Dinmont can accompany him as protector. The women then meet Hazelwood, and send him to follow on horseback. Meg leads the way to the Dernclough hut and arms them, then takes them to the smugglers' cave. Here the three men overcome Hatteraick, but Meg is mortally wounded in the struggle. Hatteraick is imprisoned, and crowds gather at Dernclough, where Meg is dying. They welcome the heir of Ellangowan with delight. Meg's dying revelations, along with testimony from Gabriel, furnish sufficient evidence to arrest Glossin also.

In prison, Glossin bribes McGuffog to obtain access to the smuggler's cell to concoct a defence. In fury, Hatteraick kills Glossin, then hangs himself.

Having recovered the property of his ancestors, Harry Bertram is able to discharge all his father's debts. With the help of Julia's dowry, he builds a new mansion, which includes a snug chamber called "Mr Sampson's apartment," and a separate bungalow for Colonel Mannering. Harry's late aunt's estate has also reverted to him, but he resigns it to his sister on her marriage to Hazelwood.

Characters

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Engraving of Sarah Egerton as Meg Merrilies in Guy Mannering (1817)

Principal characters in bold

  • Guy Mannering, afterwards a colonel in the Indian army
  • Sophia Mannering, his wife
  • Julia Mannering, their daughter
  • Archer, a cadet
  • Godfrey Bertram, of Ellangowan
  • Margaret Bertram, his sister
  • Harry Bertram, his son, alias Vanbeest Brown
  • Lucy Bertram, his daughter
  • Mr Charles Hazelwood, her lover
  • Sir Robert Hazelwood, Charles's father
  • Dominie Sampson, a failed minister, and afterwards Harry's tutor
  • Meg Merrilies, a gipsy
  • Gabriel Faa (Tod Gabriel), her nephew
  • Gilbert Glossin, an attorney
  • Scrow, his clerk
  • Dirk Hattaraick, a Dutch smuggler
  • Mr Frank Kennedy, a supervisor of Excise
  • Mr MacMorlan, Sheriff-Substitute of Dumfries
  • Mrs MacMorlan, his wife
  • Mr and Mrs Mervyn, friends of Colonel Mannering
  • Dandie Dinmont, a farmer
  • Mrs MacCandlish, hostess of the Golden Arms at Kippletringan
  • Deacon Bearcliff, a villager
  • Vanbeest Brown, a smuggler
  • Tib Mumps, mistress of a public-house
  • MacGuffog, a constable
  • Paulus Pleydell, an Edinburgh advocate

Chapter summary

[edit]

Volume One

Ch. 1: Guy Mannering loses his way while visiting Dumfriesshire and is conducted to Ellangowan by a local boy.

Ch. 2: Guy meets the decayed laird of Ellangowan and his companion Dominie Sampson, a failed minister.

Ch. 3: The gipsy Meg Merrilees arrives for the birth of Ellangowan's heir, and Guy contemplates the stars prior to drawing up a scheme of nativity for the infant (Harry Bertram), though without himself believing in astrology.

Ch. 4: Guy is surprised that the new scheme is identical with one he had prepared for his wife before their marriage. He comes across Meg spinning and singing a spell, interrupted by the smuggler Dirk Hatteraick seeking her blessing for his boat.

Ch. 5: Ellangowan tells Guy of his unhappiness at being passed over as a justice of the peace; Guy gives him the sealed nativity scheme.

Ch. 6: Four years pass. With the help of his agent Glossin, Ellangowan becomes a Justice of the Peace and exercises his power severely.

Ch. 7: Relations between Ellangowan and the gipsies on his land deterioriate.

Ch. 8: The gipsies are evicted, provoking a dramatic rebuke by Meg.

Ch. 9: Francis Kennedy is killed after interrupting smugglers, and Harry Bertram whom he has taken with him disappears.

Ch. 10: An investigation by the Sheriff-Depute draws a blank.

Ch. 11: Seventeen years pass. At the local inn Guy hears differing versions of Harry's disappearance.

Ch. 12: Guy writes to his friend Arthur Mervyn telling how during his service in India he had shot the cadet Brown [later to be identified as Harry Bertram] in a duel arising from Brown's [apparent] attentions to his wife Sophia. Sophia's poor health was further damaged by this incident and she died leaving Guy a daughter Julia. Guy discusses with the Sheriff-Substitute Mac-Morlan the forthcoming sale of the Ellangowan estate, the likely purchaser being Glossin.

Ch. 13: Ellangowan dies at the sale.

Ch. 14: The sale is suspended for a fortnight, but Guy's written authority to Mac-Morlan to purchase is delayed in transmission and the estate goes to Glossin.

Ch. 15: Sampson accompanies Lucy Bertram to live with the Mac-Morlans, where Mac-Morlan requires him to stop teaching Charles Hazlewood who evidently has an interest in Lucy.

Ch. 16: Mervyn writes to Guy telling how Julia, staying with him in Westmorland, has been serenaded from a boat on the lake.

Ch. 17: In letters to her friend Matilda Marchmont, Julia indicates that her serenader was Brown, whose attentions in India had been directed to her rather than her late mother.

Ch. 18: In further letters Julia tells of repeated visits by Brown, and of her father's decision that she should move with him to a newly-rented house in Scotland.

Ch. 19: Guy completes arrangements for the household at Woodbourne which will include Sampson and Lucy as Julia's companion.

Ch. 20: The household settles in at Woodbourne.

Ch. 21: In a letter to his regimental friend Delasserre, Brown explains his cautious tactics in his pursuit of Julia.


Volume Two

Ch. 1 (22): Brown encounters the farmer Dinmont and Meg at a Cumberland inn, where Dinmont tells of the developments at Ellangowan.

Ch. 2 (23): Brown reminds Meg of Harry in his appearance. On the road he helps Dinmont to repel two highwaymen and they arrive at his farm Charlieshope.

Ch. 3 (24): Brown's reception at Charlieshope.

Ch. 4 (25): At a fox-hunt one of the participants behaves in an oddly shifty way.

Ch. 5 (26): A week's rural sports ensue: Brown enquires about the strange hunter, but ascertains only that he is called Gabriel.

Ch. 6 (27): Resuming his journey Brown loses his way in a snowstorm and finds Meg singing over a dying man [Vanbeest Brown]. She conceals him as five ruffians arrive.

Ch. 7 (28): After hiding overnight Brown loses his money and papers, but receives even more money and treasure (possibly stolen) from Meg and promises to be immediately available when she calls for him.

Ch. 8 (29): In a letter to Matilda, Julia reports on her teasing treatment of Lucy and Hazelwood.

Ch. 9 (30): Julia writes of an attack on Woodbourne by smugglers, repelled by Guy and Hazlewood.

Ch. 10 (31): Julia writes that Brown has appeared suddenly and has accidentally wounded Charles Hazelwood in an ensuing struggle.

Ch. 11 (32): Hoping to improve his standing in the community, the attorney Gilbert Glossin pursues Brown with inquiries.

Ch. 12 (33): The jailor MacGuffog brings Glossin the smuggler Dirk Hattaraick whom he has apprehended. Glossin arranges for him to escape, mindful that he had collaborated with him in abducting Harry, whose return Hattaraick announces.

Ch. 13 (34): In a cave Hattaraick tells Glossin that Gabriel (Meg's nephew) had recognised Harry at the hunting. They discuss the possibility of Hatteraick removing Harry from the country again.

Ch. 14 (35): Glossin tells Guy that Lucy is likely to benefit by the will of her aunt Margaret Bertram.

Ch. 15 (36): Guy goes to Edinburgh to attend the reading of the will and finds the lawyer Paulus Pleydell indulging in High Jinks. Pleydell dismisses a trivial territorial dispute of Dinmont's.

Ch. 16 (37): Pleydell takes Guy to Greyfriars Church. Next day Guy attends Miss Bertram's funeral.

Ch. 17 (38): The lawyer Protocol produces Miss Bertram's final will leaving the estate in trust to him for the eventual benefit of Harry on his return to Scotland.

Ch. 18 (39): Pleydell provides Guy with introductions to eminent Edinburghers, of whom he sends brief accounts to Mervyn. Guy's investigations determine that Miss Bertram heard of Harry's survival from Meg.


Volume Three

Ch. 1 (40): After a short stay in Cumberland, Harry is landed at Ellangowan.

Ch. 2 (41): At Ellangowan, Harry encounters Glossin, who has him arrested.

Ch. 3 (42): Glossin arranges for Harry to be examined by Sir Robert Hazelwood.

Ch. 4 (43): Harry is examined.

Ch. 5 (44): Harry is confined in the Portanferry jail.

Ch. 6 (45): Dinmont arrives, hears Harry's story, and stays in the jail to protect him.

Ch. 7 (46): Sampson meets Meg at Derncleugh: she gives him a message for Guy.

Ch. 8 (47): Guy gives orders to his valet on receiving Meg's letter. Meg tells Charles Hazelwood to get the guard sent back from Hazelwood House to Portanferry, but Mac-Morlan actually does this.

Ch. 9 (48): As the custom house and prison are attacked by smugglers two of them help Harry and Dinmont to escape.

Ch. 10 (49): Pleydell arrives at Woodbourne, where Guy tells him he has complied with Meg's instructions to send a carriage to bring people from Portanferry.

Ch. 11 (50): Harry and Sampson arrive at Woodbourne, where matters are clarified.

Ch. 12 (51): Sampson introduces Harry and Lucy to each other as brother and sister. Guy and Julia sort out Guy's confusion about Harry's attentions in India (see Ch. 17).

Ch. 13 (52): Although Pleydell sees difficulties in establishing Harry's identity in law, Sir Robert Hazlewood is persuaded to grant him bail. Observing Ellangowan from a distance, Harry is confronted by Meg.

Ch. 14 (53): Meg leads Harry and Dinmont to the cave.

Ch. 15 (54): Hattaraick is captured, and in the process Meg is shot.

Ch. 16 (55): Meg dies and Harry is acclaimed.

Ch. 17 (56): Pleydell examines Hattaraick and Glossin, resulting in their committal to prison.

Ch. 18 (57): Hattaraick kills Glossin and hangs himself.

Ch. 19 (58): Plans are made for the marriages of Charles and Lucy, and Harry and Julia. Guy will have a bungalow close to a large and splendid new house to be built at Ellangowan.

Places and importance of various characters

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The title character, Guy Mannering, is a relatively minor character in the story, a friend of the family who uses his knowledge of astrology to predict Henry's future on the day of his birth.

The old gypsy woman Meg Merrilies, is evicted from the Bertram lands early in the novel. In spite of this she remains loyal to the Bertram family, and much of the plot is dependent on her actions. She was based on an 18th-century gypsy named Jean Gordon.[8]

A Dandie Dinmont Terrier; the breed's name derives from one of the characters in Guy Mannering who keeps such dogs

Dandie Dinmont is a rough but friendly farmer from the Liddesdale hills, who owns a number of terriers—the Dandie Dinmont Terrier is named after him.[9] An upland sheep-raiser of Scott's acquaintance named Willie Elliot, of Millburnholm, was probably the model for this character.[10]

Dominie Sampson, according to Nuttall, was "a poor, modest, humble scholar, who had won his way through the classics, but fallen to the leeward in the voyage of life". "Dominie" is the Lowland Scots term for a school master.[11]

Tib Mumps was the disreputable landlady of the inn where an important meeting takes place between Meg Merrilies and Bertram. The inn was later revealed by Scott to be based upon Mumps Hall in Gilsland.[12]

Reception

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Although Guy Mannering sold briskly the critical reception was mixed. Most of the reviews were broadly favourable, but they generally had more or less substantial reservations.[13] Positive features mentioned by several reviewers included the energetic and virtuoso writing, the vivid descriptions, the acute knowledge of human nature, and the near-sublime Meg Merrilies with the contrasting Dandie Dinmont. John Wilson Croker in The Quarterly Review was alone in thinking that Meg was given undue importance. There were objections to the inappropriate introduction of astrology, the weak plot, the insipid young ladies and the exaggerated Dominie Sampson (though he was generally appreciated), and the unintelligible Scots speeches.

Adaptations

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Daniel Terry, an English playwright and friend of Scott, wrote an adaptation of the work for the stage for which Henry Bishop provided the music. The musical play was premiered at the Covent Garden Theatre in London on 12 March 1816,[14] with Sarah Egerton in the role of Meg Merrilies.[15] It may have been the first full opera production performed in New Zealand, when it was toured to Dunedin by the Carandini troupe in September 1862.[16][17]

References

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Notes

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Guy Mannering

View on Grokipedia
from Grokipedia
Guy Mannering; or, The Astrologer is a historical by Scottish Sir Walter Scott, first published anonymously in three volumes on February 24, 1815, as the second entry in his influential Waverley series of novels. Set primarily in the region of southwest from the 1760s to the 1780s, the narrative centers on Guy Mannering, an English army officer and amateur astrologer, who visits the estate of Ellangowan and becomes involved in the turbulent fortunes of the Bertram family following his astrological predictions about the birth of their heir, Harry Bertram. The story unfolds through a series of coincidences, mistaken identities, and dramatic revelations, culminating in the restoration of the displaced heir with the aid of the enigmatic gypsy Meg Merrilies. The explores key characters such as Godfrey Bertram, the improvident of Ellangowan; his daughter ; the scheming Gilbert Glossin, who seizes the estate; and romantic interests including Julia Mannering and . Scott weaves in elements of , including gypsy prophecies, , and local ballads, against a backdrop of social and economic changes in 18th-century , highlighting tensions between and . Written in just six weeks during the holidays of 1814, Guy Mannering exemplifies Scott's mastery of blending romance, , and historical detail, contributing to the genre of the historical . Upon publication, Guy Mannering achieved immediate commercial success, selling out its first edition rapidly and establishing Scott as a leading novelist after the triumph of Waverley (1814). It was adapted for the stage shortly thereafter, with Daniel Terry's dramatic version Guy Mannering; or, The Gipsey's Prophecy premiering at the Theatre Royal, Covent Garden in London on 12 March 1816 and enjoying widespread popularity in Britain, influencing theatrical representations of Scott's works. The novel's portrayal of Scottish Lowland life and its integration of mysticism with realism have cemented its place in literary history as a foundational text in Romantic-era fiction.

Creation and Publication

Composition

Scott began writing Guy Mannering in late December 1814, immediately following the completion of his narrative poem The Lord of the Isles. The novel was composed rapidly over a period of little more than six weeks, reaching completion by mid-February 1815. This accelerated timeline was partly driven by financial imperatives arising from the 1813 collapse of John Ballantyne's publishing business, which placed pressure on Scott to produce marketable work. As the second installment in what would become known as the series, Guy Mannering was published anonymously under the designation "by the Author of Waverley," continuing the veil of secrecy around Scott's identity that had marked his . In composing the work, Scott aimed to build on the success of Waverley (1814) while crafting a narrative distinct in its structure and tone, shifting from the earlier novel's emphasis on major historical upheavals to a more intimate exploration of romance intertwined with everyday Scottish rural life and customs. He initially envisioned a tale centered on the tragic fate of a doomed individual, influenced by astrological and personal agency, but revised this concept during writing to incorporate lighter romantic elements and vivid depictions of local traditions.

Publication History

Guy Mannering; or, The Astrologer was first published on 24 February 1815 by Archibald Constable and Co. in , in collaboration with Longman, Hurst, Rees, Orme, and Brown in , and printed by James Ballantyne and Co.. The initial print run consisted of 2,000 copies, priced at one , which sold out on the day of release, demonstrating the immediate popularity following the success of Scott's Waverley. This rapid sales prompted quick reprints, with second and third editions totaling a further 5,000 copies issued in March and May 1815, respectively. During Scott's lifetime, the novel saw eleven editions in total, reflecting its enduring appeal as part of the Waverley series. A significant revision occurred in the Magnum Opus edition of –1833, where Scott personally oversaw updates to the text, incorporating authorial revisions and adding extensive introductory notes and glossaries to enhance historical and cultural context. This 48-volume collection, published by Robert Cadell, became the standard edition and remained influential for subsequent printings. In the , scholarly attention has focused on restoring the original 1815 text. The definitive critical edition was prepared by P. D. Garside and published in 1999 as volume 2 of the Edinburgh Edition of the Waverley Novels by Edinburgh University Press, providing a corrected text based on the first edition and early proofs, along with detailed emendations and historical apparatus. This edition prioritizes textual accuracy over later revisions, aiding contemporary analysis of Scott's early narrative style.

Context and Plot

Historical Background

Guy Mannering is set in the region of southwestern during the to , a period marked by the lingering socio-economic transformations following the failed Jacobite Rising of 1745. The rising's defeat at Culloden in 1746 prompted a series of British legislative reforms aimed at integrating more fully into the and dismantling traditional clan structures. Key measures included the Heritable Jurisdictions Act of 1747, which abolished hereditary judicial powers held by clan chiefs, and the Act of Proscription of 1746, which banned , weapons, and to suppress cultural distinctiveness. These changes shifted land ownership patterns across , transforming clan chiefs from paternalistic leaders into commercial landlords focused on profit, leading to widespread displacement and the onset of the , though the Lowlands like experienced more gradual economic pressures toward agricultural modernization and commercialization. In , these post-Jacobite dynamics exacerbated existing tensions over land use and illicit trade, particularly , which flourished due to the region's coastal proximity to and the . The Act of Union in 1707 had unified but imposed high duties on imports like —reaching 500-700%—creating incentives for widespread operations that employed local sloops, wherries, and later armed cutters with crews of up to 70. Organized groups in areas like and clashed frequently with authorities, often with armed resistance and community support that thwarted seizures, while some lairds cooperated unevenly with officials amid fears of reprisals. This illicit economy provided vital income for rural laborers and farmers, rivaling legitimate wages, but heightened conflicts between , landowners enforcing laws, and government agents, reflecting broader struggles over authority in the post-rising era. Gypsy communities, known as tinkers or itinerant travelers, were integral to Galloway's rural landscape during this time, navigating the social upheavals of the post-Jacobite period as marginalized outsiders often suspected of and crime. These groups, with roots tracing to Romani arrivals in the late , maintained nomadic lifestyles across the Lowlands, including southwestern , where they engaged in seasonal trades like tinsmithing, horse-dealing, and . The rising's aftermath intensified persecution, as some gypsies had aligned with Jacobites, leading to arrests, floggings, and expulsions under vagrancy laws; for instance, leaders like those in the in the Borders faced trials for and unrest. In , their presence fueled local tensions with settled lairds and authorities, who viewed them as threats to property and order amid the region's economic shifts. Astrology and superstition permeated 18th-century rural life in and the broader west of , blending ancient beliefs with Enlightenment influences and providing a framework for interpreting uncertain times post-1745. Rural folk consulted astrologers for auspicious dates in marriages and undertakings, drawing on traditions of celestial that persisted despite growing . Common practices included warding off the with iron charms or rituals in , and protections against fairies—such as placing cold iron in cradles during births—to prevent changelings, beliefs rooted in that lingered into the late 1700s. These superstitions, intertwined with fears, underscored a where forces explained misfortunes like crop failures or illnesses, coexisting with the era's social changes and offering communal solace in isolated communities.

Plot Summary

The novel opens at Ellangowan, the estate of the kindly but improvident Godfrey Bertram, where the English traveler Guy Mannering, an amateur astrologer, arrives on the night of Bertram's son Harry's birth and casts the infant's . Mannering's foretells great fortune for the boy but warns of dire perils at ages five, twenty-one, and another unspecified time, shaping the narrative's fateful undertones. Over the next two decades, Bertram's financial mismanagement leads to the estate's ruin, exacerbated by the scheming lawyer Gilbert Glossin, who manipulates debts to gain control. Five years after his birth, young Harry is kidnapped by the smuggler Hatteraick during a raid, an event tied to local , and presumed dead after Bertram's subsequent in . Glossin seizes Ellangowan, transforming it into a hub for illicit activities. Approximately seventeen years after the , Harry returns to as the enigmatic Vanbeest , a young officer educated in , seeking to reclaim his heritage with Mannering's unwitting aid after encountering him again. falls in love with Mannering's daughter Julia, complicating matters when a erupts between and Julia's suitor . Meanwhile, the gypsy Meg Merrilies, who had been Harry's childhood nurse and witnessed his abduction, recognizes him and vows to protect his identity, drawing on her knowledge of the smugglers' secrets to thwart Glossin and Hatteraick. Subplots interweave with the main intrigue: the shrewd lawyer Paul Pleydell deciphers clues to 's true lineage through legal and astrological insights, while the sturdy farmer Dandie Dinmont provides steadfast support after Brown aids him in a brawl. Meg orchestrates key revelations, leading to a climactic confrontation where Hatteraick confesses under duress before dying, exposing Glossin's crimes. Harry is affirmed as Bertram's heir, recovering Ellangowan; romantic resolutions follow as he weds Julia, and Meg finds a heroic end, her loyalty vindicated.

Characters and Setting

Characters

Guy Mannering serves as the titular , portrayed as a retired British with a fascination for that borders on , yet tempered by rational . His character is driven by a sense of honor and an interest in fate, evolving from an impulsive young man into a more reflective figure who seeks to rectify past misjudgments through acts of benevolence. Henry Bertram, also known as Harry Bertram or Vanbeest Brown, embodies the of the dispossessed heir, a young Scottish aristocrat marked by resilience and innate . His development involves a quest for self-identity and rightful , shaped by his military service in , which instills and while highlighting his romantic . Lucy Bertram, Henry's devoted sister, represents gentle virtue and unwavering loyalty to her family's estate. Orphaned and facing adversity, she demonstrates quiet strength and moral integrity, maintaining poise amid hardship and forming deep emotional bonds that underscore her role as a pillar of familial continuity. Meg Merrilies stands out as an enigmatic gypsy prophetess, characterized by her fierce independence, mystical aura, and unyielding loyalty to the Bertram lineage. Her development reveals a complex blend of cunning intuition and sacrificial devotion, positioning her as a pivotal figure who bridges the and the earthly realms through her prophetic insights and bold actions. Godfrey Bertram, the of Ellangowan, is depicted as an extravagant yet affable whose weaknesses in judgment and finances precipitate his family's decline. His illustrates the perils of aristocratic indulgence, marked by physical frailty and a nostalgic attachment to that ultimately leads to his ruin. Among the supporting characters, Dandie Dinmont emerges as an honest and sturdy , valued for his straightforward integrity, physical prowess, and loyal camaraderie, which provide grounded and practical aid. Paul Pleydell, a witty , contributes sharp intellect and humorous pragmatism, using his legal acumen to navigate complexities with eloquence and strategic insight. Julia Mannering, the colonel's daughter and romantic interest, is lively and affectionate, her development centered on emotional growth through friendships and budding romance that highlight her spirited yet refined nature. The antagonists include Gilbert Glossin, a scheming and ambitious whose cunning deceit and greed drive his manipulative pursuits, and Hatteraick, a brutal Dutch smuggler defined by ruthless aggression and moral depravity.

Setting and Locations

The novel Guy Mannering is primarily set in the late 18th-century Scottish region of , in the southwest near the , evoking a of rural isolation and decayed that underscores the story's themes of heritage and dispossession. The central location, the Ellangowan estate, serves as a symbol of the declining Scottish gentry, with its sprawling grounds and proximity to the sea highlighting the vulnerabilities of traditional landownership amid economic and social changes. This estate, encompassing both the modern New Place and the older, ruined structures, represents a microcosm of rural Scotland's fading grandeur, where isolation amplifies the tensions between old customs and encroaching modernity. The derelict castle ruins at Ellangowan and the nearby smugglers' caves along Warroch Bay embody lawlessness and concealed dangers, drawing on the region's of illicit trade and border instability to create an atmosphere of hidden threats and moral ambiguity. These coastal caverns and cliffs, such as the Gauger's Loup, not only provide secretive refuges but also symbolize the undercurrents of criminality that erode established social orders in remote areas. In contrast, the urban scenes in introduce a legal framework for resolution, depicting courtrooms and professional circles as sites of rational authority that juxtapose the wild peripheries of with the structured heart of Scottish society. Gypsy encampments, particularly the ruined Kaim of Derncleugh near Ellangowan, evoke the nomadic and marginalized lives of Romani communities, portraying them as liminal spaces on the fringes of settled society where ancient prophecies and persist. These roadside and derelict sites, tied to local legends of clans like the Mac-Dingawaies, highlight the cultural otherness of itinerant groups amid Scotland's rural roads and moors. The setting is further grounded by the pervasive use of regional Scottish dialect and customs, such as Lowland farming practices and gypsy traditions, which infuse the narrative with authentic cultural texture and distinguish the provincial from the metropolitan.

Themes and Analysis

Key Themes

Guy Mannering prominently features and as mechanisms to explore and irony, with the titular character's casting for the newborn heir of Ellangowan setting a fateful tone that influences the narrative's unfolding events. Mannering's astrological predictions, made during his visit to the Bertram estate, foretell a turbulent life for the child, blending ancient beliefs with ironic outcomes where supposed destiny aligns coincidentally with human actions, such as the subsequent . This motif underscores a tension between celestial and personal agency, as the novel's prophecies, including those from the gypsy Meg Merrilies, prove prescient yet open to interpretation through irony when legal and social forces intervene. The novel critiques and through the decline of the aristocratic Bertram family and the ascent of merit-based figures in a shifting society. The Ellangowan estate, symbolizing fading , falls into disrepair due to Godfrey Bertram's extravagance and mismanagement, allowing opportunistic characters like the Gilbert Glossin to seize control through commercial exploitation. Harry Bertram's quest to reclaim his highlights the transition from hereditary privilege to a system where legal acumen and alliances determine status, as seen in the estate's near-auction and eventual restoration via evidence of lineage. Scottish identity emerges through the tension between traditional elements like gypsy communities and lairds, and encroaching represented by law and commerce. The gypsies at Derncleugh, portrayed as longstanding tenants tied to the land and lairdly authority, embody cultural preservation through and loyalty to the Bertrams, yet face that mirrors broader societal displacements. In contrast, modern forces such as revenue laws and economic pressures disrupt these traditions, with sites like Gauger's Loup illustrating conflicts between smuggling customs and official commerce, ultimately favoring legal resolution over feudal ties. Gender roles are depicted through contrasting portrayals of female agency, with Meg Merrilies exemplifying active intervention against more passive heroines like Bertram. Meg, as a commanding gypsy matriarch, drives key plot actions by protecting the young heir and invoking prophecies to restore the Bertram line, challenging stereotypes of marginalized women through her knowledge and defiance. , however, remains reliant on male guardians and for security, her role limited to domestic virtue and romantic entanglement, highlighting the novel's exploration of limited agency within conventional societal expectations. Forgiveness and redemption permeate the narrative via family reunions and the pursuit of legal , culminating in reconciliations that heal personal and social rifts. Harry Bertram's return facilitates among characters like Guy Mannering, who atones for past errors by aiding the heir's claim, and the Hazlewood family, who overcome class prejudices through Bertram's honorable actions. Meg Merrilies' sacrificial role in exposing the enables her own redemption, as her to the Bertrams transcends her earlier complicity, leading to a harmonious restoration of familial bonds and estate rights.

Critical Perspectives

Scholars have analyzed the narrative structure of Guy Mannering as a pivotal evolution in Walter Scott's , blending elements of romance, mystery, and realism to explore Enlightenment themes of agency and historical progress. The novel juxtaposes the romantic plot of and identity restoration with realistic depictions of social and legal constraints, creating a disjunctive structure that maximizes tension between past superstitions and modern rationality. This fusion allows Scott to mediate between the chaotic individualism of romance and the ordered realism of post-Union Britain, as seen in the temporal gaps and shifts that drive the plot forward. The symbolism of gypsies in Guy Mannering, particularly through Meg Merrilies, embodies a dual portrayal of romanticization and marginalization in Scott's work. Merrilies is romanticized as an exotic, androgynous prophetess offering escape from societal norms, her towering stature and masculine attire evoking a transgressive allure that challenges conventional gender boundaries and connects to ancient, tribal freedoms. Yet, she is simultaneously marginalized as a vagrant threat to property and order, her tribe depicted as anarchic outsiders evicted from settled society, reflecting 19th-century anxieties over nomadism and cultural otherness. This ambivalence underscores the gypsies' role as a "people without history," symbolizing both nostalgic romance and enforced exclusion in the narrative's resolution. Scott's antiquarianism profoundly shapes Guy Mannering, infusing the text with historical details drawn from Roman vestiges like to evoke Scotland's layered past, yet it often prioritizes romantic evocation over strict accuracy. Characters encounter these relics as symbols of imperial legacy and , but Scott satirizes overly fanciful interpretations, as in the novel's blend of authentic with imagined ancient camps that serve rather than factual precision. This approach reflects Scott's broader antiquarian method, where historical authenticity is subordinated to a patchwork of and antiquity, critiquing naive excess while romanticizing Scotland's vestigial heritage. In 19th-century readings, gender and power dynamics in Guy Mannering highlight tensions between patriarchal authority and liminal female agency, particularly through figures like Meg Merrilies, whose prophetic power disrupts male-dominated inheritance plots yet remains confined by social marginalization. Merrilies' androgynous portrayal—combining masculine physicality with feminine intuition—challenges rigid gender roles, positioning her as a subversive force in a narrative governed by colonial and class-based hierarchies. Critics note that such dynamics reflect the era's post-Union Scottish context, where women's influence is mediated through prophecy or domesticity, underscoring power imbalances tied to land, law, and imperial masculinity. Postcolonial interpretations of Guy Mannering examine the novel's entanglement with , foregrounding Mannering's Indian background as an embodiment of the "Indian uncle" trope that links personal fortune to colonial exploitation in . This figure illustrates Scotland's complicit role in , benefiting from the Company's economic networks while navigating its peripheral status within the British state. The Scottish setting further amplifies these views, portraying the region as a transperipheral space where internal mirrors overseas empire, with gypsy marginalization echoing racial hierarchies and the novel's resolution reinforcing Anglo-British unity at the expense of indigenous otherness.

Reception and Legacy

Contemporary Reception

Guy Mannering; or, The Astrologer, published anonymously on 24 February as "by the Author of Waverley", achieved immediate commercial success, with the first edition of 2,000 copies selling out in on the day of release. A second edition followed in March and a third in May, bringing total sales to 5,000 copies within three months, reflecting high demand among Regency-era readers eager for more tales in the style of Scott's breakthrough novel. Contemporary reviewers praised the novel's vivid characters, particularly the gypsy Meg Merrilies, the robust farmer Dandie Dinmont, and the villainous smuggler Dirk Hatteraick, which one early correspondent described as "original as true to nature." The British Critic in 1815 acknowledged the work's brilliance and descriptive power, highlighting Scott's evocative portrayal of Scottish rural life and customs. Despite the anonymity, the novel was quickly attributed to by literary circles, owing to unmistakable stylistic similarities with Waverley, such as the blend of historical detail and romantic adventure. Critics, however, voiced significant reservations about the plot's contrivances and the prominent role of , which the Quarterly Review deemed vulgar, absurd, and overly influenced by , though it conceded the story's amusing qualities. The Critical Review similarly faulted the excessive use of Scots dialect as unintelligible to English readers and lamented sentimental elements like the improbable family reunions, while the British Critic noted signs of hasty composition that undermined the narrative's coherence. These mixed responses underscored the novel's polarizing blend of innovative character depth and melodramatic plotting, yet its popularity endured, cementing the Waverley series' appeal.

Modern Interpretations

In the late 20th and early 21st centuries, Guy Mannering has experienced a revival within Scottish studies, particularly for its exploration of regional identity in the context of post-Union . Scholars highlight the novel's portrayal of and as emblematic of the tensions between traditional Highland and Lowland cultures amid Anglo-British integration, where characters navigate fractured identities and the erosion of local autonomy following the 1707 Act of Union. For instance, the abduction and return of Harry Bertram symbolize the displacement and reclamation of Scottish heritage in a modernizing landscape dominated by English influences. This reassessment positions the novel as a for understanding the socio-political dynamics of unionism and cultural survival. Feminist critiques have focused on the novel's female characters, particularly the gypsy figure Meg Merrilies, whose independence, courage, and prophetic role challenge patriarchal norms while embodying exoticized stereotypes of Romani women. Critics argue that Meg's marginalization reflects Scott's ambivalence toward female agency in a male-dominated society, yet her pivotal influence on the plot underscores a subversive potential in her sibylline authority. These readings also interrogate the romanticization of gypsy life as a form of othering, linking it to broader 19th-century that romanticizes yet subordinates nomadic communities. Such analyses draw on the novel's depiction of women like Lucy Bertram and Julia Mannering to critique limited gender roles within estate and familial structures. Environmental readings of Guy Mannering have emerged in ecocritical , interpreting the themes of land loss and estate management through contemporary ecological lenses, such as the impacts of on rural landscapes. The novel's of the Bertram estate's decline and the displacement of gypsy communities evokes protoecological concerns about , river depletion, and unsustainable , mirroring modern anxieties over in post-industrial . Recent , such as Vijea's 2025 analysis, further explores protoecological views in Guy Mannering alongside Waverley and , connecting war-induced trauma to and land displacement themes. These interpretations emphasize Scott's attention to the interplay between human actions and natural settings, positioning the work as an early commentary on ecological imbalance. Within Scott's oeuvre, Guy Mannering serves as a transitional work bridging his earlier poetic phase and mature prose novels, composed rapidly after his final long narrative poem, The Lord of the Isles, and building on the experimental structure of Waverley. This positioning highlights Scott's shift toward prosaic realism while retaining romantic elements from his poetry, such as folklore and supernatural motifs. The novel's limited but noted influence on later Gothic and historical fiction lies in its blend of astrology, coincidence, and historical detail, which informed subsequent works by authors like Charles Maturin and James Fenimore Cooper in exploring identity and the uncanny in national narratives.

Adaptations

Theatrical Adaptations

The first theatrical adaptation of Guy Mannering was Guy Mannering; or, The Gipsey's Prophecy, a musical play in three acts written by Daniel Terry, a close friend of Sir Walter Scott, with music composed by Henry Rowley Bishop. It premiered on 12 March 1816 at the Covent Garden Theatre in London, marking the inaugural stage version of any Waverley novel. Terry's adaptation condensed the novel's narrative while amplifying elements suited to the stage, including elaborate scenic spectacles depicting Scottish landscapes and a heightened emphasis on music through inserted songs and ballads, such as Lucy Bertram's lament in Act 3. The character of Meg Merrilies was elevated to a prophetic and heroic centerpiece, culminating in her dramatic death to save Harry Bertram, which underscored the subtitle's focus on her gipsy prophecy and added emotional intensity through visual and auditory drama. The production received enthusiastic acclaim from contemporary reviewers, who praised its faithful yet theatrical rendering of the novel's "terrific and affecting" incidents, blending with to captivate audiences. It enjoyed a successful initial run followed by revivals totaling at least 93 showings at through 1823–24, demonstrating sustained popularity. This success significantly amplified the novel's reach, drawing larger crowds to the theater—estimated at over 250,000 attendees across runs—and enhancing public familiarity with its characters and plot, thereby mutually elevating the book's and cultural prominence in the Romantic era. Terry's version quickly spread to other UK venues, including the Theatre Royal, , and the Haymarket Theatre, where it was restaged with new scenery and casts as early as 1820, maintaining its appeal through regional tours across and . By the mid-19th century, productions continued in provincial theaters. Overseas, a notable performance occurred in September 1862 in , New Zealand, by the touring Carandini opera company at the Princess Theatre, announced as an "operatic drama" that may represent one of the earliest full operatic stagings in the colony.

Other Media

Despite its dramatic elements involving , gypsy lore, and Scottish adventure, Guy Mannering has seen limited adaptations beyond the stage, with no major feature-length films or television series produced. The sole known screen adaptation is a silent produced by the Reliance Film Company, which condenses the novel's plot around the birth of Harry Bertram, his kidnapping by smugglers, and the gypsy Meg Merrilies' prophetic , running approximately 10 minutes across two reels and praised for its fidelity to the source material in contemporary reviews. Radio dramatizations are limited; a four-part serial adaptation by Moray McLaren aired on Scottish Home Service in February 1948. Audiobook versions have sustained the novel's accessibility in the audio format, beginning with public-domain recordings such as the 2019 production narrated by a volunteer ensemble over 18 hours, available for free download. Commercial editions include an unabridged narration by Edwin Jones. Digital reprints have proliferated in modern collections, with the full text hosted on since 2004 in multiple formats including and , facilitating global access to the 1815 original. Scholarly editions, such as the 1999 Edinburgh University Press version edited by P. D. Garside, restore textual variants and include historical notes, appearing in e-book formats through platforms like since 2012. The novel exerts indirect influence in Scottish media through references in contemporary literature exploring themes of dispossession and cultural identity, such as Suhayl Saadi's discussions of gypsy portrayals in Scott's work as a lens for modern Scottish narratives of marginalization. Academic analyses, like those in Walt Whitman Review (2013), highlight its impact on depictions of Romani communities amid the Highland Clearances, informing ongoing Scottish cultural discourse. Local theater revivals in Scotland occasionally nod to its motifs, though these remain tied to broader Scott heritage events rather than direct productions. Renewed interest in Scott's oeuvre, evidenced by the 2025 Walter Scott Prize for Historical Fiction awarded to Andrew Miller's The Land in Winter and new educational initiatives like the University of Aberdeen's online resources for schoolchildren, suggests potential for future non-theatrical adaptations amid growing appreciation for 19th-century Scottish classics.

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