The Saxon spirit had been well nigh subdued by the strict and unjust laws imposed by the Norman kings. For one hundred and thirty years Norman-French had been the language of the court, the language of law, of chivalry and justice. The laws of the chase and the curfew,—and many others unknown to the Saxon constitution,—had been placed upon the necks of the inhabitants of the soil. With few exceptions the race of Saxon princes had been extirpated; and it was not until the reign of Edward III. that England became thoroughly united as one people. The English language at the close of the twelfth century was not yet born. The Saxon mother and Norman father were not yet wedded; the two languages were gradually getting acquainted with each other; or, as Scott has logically expressed it, “the necessary intercourse between the lords of the soil, and those oppressed inferior beings by whom that soil was cultivated, occasioned the formation of a dialect, compounded betwixt the French and the Anglo-Saxon, in which they could render themselves mutually intelligible to each other; and from this necessity arose by degrees the structure of our present English language, in which the speech of the victors and the vanquished has been so happily blended together, and which has since been so richly improved by importations from the classical languages, and from those spoken by the southern nations of Europe.” In the first chapter—and it is always well to read carefully the first chapter of Scott—we are introduced to a swine-herd, born thrall of Cedric of Rotherwood, one of the few powerful Saxon families existing in England at the time of our story. He is attended by a domestic clown, or jester, maintained at that time in the houses of the wealthy. With an art and unity like Shakspere, Scott emphasizes at the very outset the chief historic feature of his story, by putting the following conversation in the mouths of these Saxon menials:
“How call you those grunting brutes running about on their four legs?” demanded Wamba, the jester.
“Swine,” said the herd.
“And swine is good Saxon,” said the jester; “but how call you it when quartered?”
“Pork,” answered the cow-herd.
“And pork,” said Wamba, “is good Norman-French; and so when the brute lives, and is in the charge of a Saxon slave, she goes by her Saxon name; but becomes a Norman, and is called pork, when she is carried to the castle-hall to feast among the nobles. Nay, I can tell you more,” said Wamba, in the same tone, “there is Alderman Ox, who continues to hold his Saxon epithet, while he is under the charge of serfs and bondsmen such as thou, but becomes beef, a fiery French gallant, when he arrives before the worshipful jaws that are destined to consume him. Mynheer Calf, too, becomes Monsieur de Veau in the like manner; he is Saxon when he requires tendance, and takes a Norman name when he becomes matter of enjoyment.”
The third chapter brings together a strange gathering under the roof of the hospitable Cedric: Brian de Bois Gilbert, a haughty Templar; Prior Aymer, of free and jovial character; a poor Palmer, just returned from the Holy Land, and a Jew known as Isaac of York; all journeying on their way to a tournament to be held a few miles distant at Ashby de la Zouche. Lady Rowena, descended from the noble line of Alfred, graced the table with her presence, a ward destined by Cedric, but not by fate, to be the wife of Athelstane,—a Saxon descended from Edward the Confessor: in the furtherance of which idea his only son had been exiled, when it became known that he aspired to the hand of the Saxon beauty.
At the tournament the remaining characters of the drama are introduced: King John, with his retinue; Richard the Lion-Hearted, under the disguise of the “Black Knight;” Rebecca, the Jewess; the proud baron Front de Bœuf; Robin Hood, the brave outlaw, under the name of Loxley; and Ivanhoe, the poor pilgrim, who wins the prize at the tournament and crowns Rowena Queen of Beauty. At the close of the second day’s tournament, in which Ivanhoe is again successful, a letter is handed to King John with the brief sentence, “Take heed to yourself, for the devil is unchained.” It was like the handwriting on the wall of Belshazzar’s palace, and proclaimed the end of his kingdom.
Cedric, Rowena, Isaac, Rebecca, Athelstane and Ivanhoe depart their several ways from the tournament, but are captured and taken to Front de Bœuf’s castle. Cedric escapes in the guise of a monk. The castle is stormed, and now occurs one of the most dramatic pictures in the pages of romantic literature, destined to reveal to all time the undying hate between the Saxon and the Norman. A Saxon woman, by name Ulrica, had lived for years in Front de Bœuf’s castle. She had seen her father and seven brothers killed in defending their home, but she “remained to administer ignominiously to the murderers of her family. She used the seductions of her beauty to arm the son against the father; she heated drunken revelry into murderous broil, and stained with a parricide the banqueting hall of the conquerors.” She had sold body and soul to obtain revenge for Norman cruelties; and now, grown old in servitude, incensed by the contempt of her masters, she determines upon a deed, which will make the ears of men tingle while the name of Saxon is remembered. She fires the castle and appears on a turret in the guise of one of the ancient furies, yelling forth a war-song. “Her long, dishevelled grey hair flows back from her uncovered head; the inebriated delight of gratified vengeance contends in her eyes with the fire of insanity; and she brandishes the distaff which she holds in her hand, as if she were one of the fatal sisters, who spin and abridge the thread of human life. At length, with a terrific crash, the whole turret gives way, and she perishes in the flames which consume her tyrant.”
There is another historic feature of the times emphasized in this romance: the oppression of the Jews in England during these cruel and adventurous times. The character of the race is vividly portrayed in Isaac of York, in which masterly delineation Scott seems truer to nature than Shakspere in the character of Shylock. Rebecca, his noble and beautiful daughter, is the type of all that is pure and womanly. Her words have the eloquence of the poets and prophets of old: “Know proud knight,” she says, “we number names amongst us to which your boasted Northern nobility is as the gourd compared with the cedar—names that ascend far back to those high times when the Divine Presence shook the mercy seat between the cherubim, and which derive their splendor from no earthly prince, but from the awful Voice, which bade their fathers be nearest of the congregation to the vision; such were the princes of the house of Jacob; now such no more. They are trampled down like the shorn grass, and mixed with the mire of the ways; yet there are those among them who shame not such high descent, and of such shall be the daughter of Isaac, the son of Adonikam. Farewell! I envy not thy blood-won honors; I envy not thy barbarous descent from northern heathens; I envy not thy faith, which is ever in thy mouth, but never in thy heart nor in thy practice.”