Editing Walter Scott (section)

==Influence==
{{Toryism |expanded=people}}{{Conservatism UK|Intellectuals}}

Walter Scott had an immense impact throughout Europe. "His historical fiction ... created for the first time a sense of the past as a place where people thought, felt and dressed differently".<ref>{{cite web| url = http://eprints.gla.ac.uk/93115/| title = "Abstract": M. Pittock, ed., ''The Reception of Sir Walter Scott in Europe''. Series: The reception of British and Irish authors in Europe. Bloomsbury: London, 2014. ISBN 9781472535474| date = March 2014}}</ref> His historical romances "influenced [[Balzac]], [[Dostoevsky]], [[Flaubert]], [[Tolstoy]], [[Alexandre Dumas|Dumas]], [[Pushkin]], and many others; and his interpretation of history was seized on by [[Romantic nationalism|Romantic nationalists]], particularly in [[Eastern Europe]]".<ref name="ReferenceA">"Abstract": M. Pittock, ed., ''The Reception of Sir Walter Scott in Europe''.</ref> Also highly influential were the early translations into French by [[Auguste Defauconpret|Defauconpret]].<ref name="ReferenceA"/>

{{Wikisource|Landon in The Literary Gazette 1832/On Walter Scott|'On Walter Scott',<br /> a poem by L. E. L.}}
{{Wikisource|Letitia Elizabeth Landon (L. E. L.) in Fisher's Drawing Room Scrap Book, 1833/Sir Walter Scott|'Sir Walter Scott',<br/>a poetical illustration<br> by L. E. L.}}
[[Letitia Elizabeth Landon]] was a great admirer of Scott and, on his death, she wrote two tributes to him: ''On Walter Scott'' in the Literary Gazette,<ref>{{cite book|last =Landon|first=Letitia Elizabeth|title=Literary Gazette, 1832|url=https://play.google.com/books/reader?id=nlcv5zijS2IC&pg=GBS.PA619|year=1832|pages=619–620|section=Walter Scott|publisher=The Proprietors, Wellington Street, Strand.}}</ref> and ''Sir Walter Scott'' in Fisher's Drawing Room Scrap Book, 1833.<ref>{{cite book|last =Landon|first=Letitia Elizabeth|title=Fisher's Drawing Room Scrap Book, 1833|url=https://digital.tcl.sc.edu/digital/collection/annuals/id/9661|section=poetical illustration|pages=44-46|year=1832|publisher=Fisher, Son & Co.}}{{cite book|last =Landon|first=Letitia Elizabeth|title=Fisher's Drawing Room Scrap Book, 1833|url=https://digital.tcl.sc.edu/digital/collection/annuals/id/9662|section=picture|year=1832|publisher=Fisher, Son & Co.}}</ref> Towards the end of her life she began a series called ''The Female Picture Gallery'' with a series of character analyses based on the women in Scott's works.<ref>{{cite book|last =Blanchard|first=Laman|title=Life and Literary Remains of L. E. L.|url=https://play.google.com/books/reader?id=gTJtmc1Lub8C&pg=GBS.RA1-PA80|year=1841|section=Volume 2|publisher=Henry Colburn.}}</ref>

[[Victor Hugo]], in his 1823 essay, ''Sir Walter Scott: Apropos of Quentin Durward'', writes:
{{Blockquote|
Surely there is something strange and marvelous in the talent of this man who disposes of his reader as the wind disposes of a leaf; who leads him at his will into all places and into all times; unveils for him with ease the most secret recesses of the heart, as well as the most mysterious phenomena of nature, as well as the obscurest pages of history; whose imagination caresses and dominates all other imaginations, clothes with the same astonishing truth the beggar with his rags and the king with his robes, assumes all manners, adopts all garbs, speaks all languages; leaves to the physiognomy of the ages all that is immutable and eternal in their lineaments, traced there by the wisdom of God, and all that is variable and fleeting, planted there by the follies of men; does not force, like certain ignorant romancers, the personages of the past to colour themselves with our brushes and smear themselves with our varnish; but compels, by his magic power, the contemporary reader to imbue himself, at least for some hours, with the spirit of the old times, today so much scorned, like a wise and adroit adviser inviting ungrateful 
children to return to their father.<ref>{{Cite web |url=https://archive.org/details/thingsseenchoses00hugouoft/page/308/mode/2up|title=Things Seen, Essays by Victor Hugo |year=1823| publisher=Victor Hugo| page=309| access-date=1 April 2022}}</ref>
}}

[[Alessandro Manzoni]]'s ''[[The Betrothed (Manzoni novel)|The Betrothed]]'' (1827) has similarities with Walter Scott's historic novel ''[[Ivanhoe]]'', although evidently distinct.<ref>From Georg Lukàcs, "The Historical Novel" (1969): "In Italy Scott found a successor who, though in a single, isolated work, nevertheless broadened his tendencies with superb originality, in some respect surpassing him. We refer, of course, to Manzoni's ''I Promessi Sposi'' (The Betrothed). Scott himself recognized Manzoni's greatness. When in Milan Manzoni told him that he was his pupil, Scott replied that in that case Manzoni's was his best work. It is, however, very characteristic that while Scott was able to write a profusion of novels about English and Scottish society, Manzoni confined himself to this single masterpiece."</ref>

In [[Charles Baudelaire]]'s ''[[La Fanfarlo]]'' (1847), poet Samuel Cramer says of Scott:
{{Blockquote|
Oh that tedious author, a dusty exhumer of chronicles! A fastidious mass of descriptions of bric-a-brac&nbsp;... and castoff things of every sort, armor, tableware, furniture, gothic inns, and melodramatic castles where lifeless mannequins stalk about, dressed in leotards.
}}
In the novella, however, Cramer proves as deluded a romantic as any hero in one of Scott's novels.<ref>{{cite journal|jstor=390170|author= Heck, Francis S. |title=Baudelaire's La Fanfarlo: An Example of Romantic Irony|journal=The French Review|volume=49|issue= 3 |year=1976|pages=328–36}}</ref>

[[Jane Austen]], in a letter to her nephew James Edward Austen on 16 December 1816, writes:
{{Blockquote|
Uncle Henry writes very superior Sermons.– You & I must try to get hold of one or two, & put them into our Novels;– it would be a fine help to a volume; & we could make our Heroine read it aloud of a Sunday Evening, just as well as Isabella Wardour in ''[[the Antiquary]]'', is made to read the History of the Hartz Demon in the ruins of St Ruth– tho' I believe, upon recollection, [[Lord Glenallan|Lovell]] is the Reader.<ref>{{Cite web |url=https://quinn-tessence.com/dear-cassandra/1816-2/16-december-1816-monday-from-chawton-to-james-edward/ |title=16 December 1816 – Monday – from Chawton – to James Edward |year=1816| access-date=25 July 2022}}</ref>
}}

In Jane Austen's ''[[Persuasion (novel)|Persuasion]]'' (1817) Anne Elliot and Captain James Benwick discuss the "richness of the present age" of poetry, and whether ''Marmion'' or ''The Lady of the Lake'' is the more preferred work.

[[Mary Shelley]], while researching for her historical novel ''[[The Fortunes of Perkin Warbeck]]'' (1830), wrote a letter to Walter Scott on 25 May 1829, asking him for information on any works or manuscripts he knew about [[Perkin Warbeck]], she concludes the letter:
{{Blockquote|
I hope you will forgive my troubling you. It is almost impertinent to say how foolish it appears to me that I should intrude on your ground, or to compliment one all the world so highly appreciates. But as every traveller when they visit the Alps endeavours, however imperfectly, to express their admiration in the Inn's album, so it is impossible to address the Author of ''Waverley'' without thanking him for the delight and instruction derived from the inexhaustible source of his genius, and trying to express a part of the enthusiastic admiration his works inspire.<ref>{{Cite web |url=https://archive.org/details/in.ernet.dli.2015.210828/page/n305/mode/2up |title=Sir Walter's Post-Bag |year=1932| publisher=John Murray| page=271| access-date=21 March 2022}}</ref>
}}

In [[Charlotte Brontë]]'s ''[[Jane Eyre]]'' (1847) St. John Rivers gives a copy of ''Marmion'' to Jane to provide her "evening solace" during her stay in her small lodging.

[[Emily Brontë]]'s ''[[Wuthering Heights]]'' was influenced by the novels of Walter Scott.<ref>[[Elizabeth Gaskell]] ''[[The Life of Charlotte Brontë]]'', London: Smith, Elder & Co., 1857, p.104.</ref> In particular, according to [[Juliet Barker]], ''Rob Roy'' (1817) had a significant influence on Brontë's novel, which, though "regarded as the archetypal Yorkshire novel ... owed as much, if not more, to Walter Scott's Border country". ''Rob Roy'' is set "in the wilds of [[Northumberland]], among the uncouth and quarrelsome squirearchical Osbaldistones", while Cathy Earnshaw "has strong similarities with Diana Vernon, who is equally out of place among her boorish relations" (Barker p.&nbsp;501).<ref>Ian Brinton. ''Bronte's Wuthering Heights Reader's Guides''. London : Continuum. 2010, p. 14. Quoting Barker, ''The Brontes''. London: Weidenfeld and Nicholas, 1994.</ref>

In [[Anne Brontë]]'s ''[[The Tenant of Wildfell Hall]]'' (1848) the narrator, Gilbert Markham, brings an elegantly bound copy of ''Marmion'' as a present to the independent "tenant of Wildfell Hall" (Helen Graham) whom he is courting, and is mortified when she insists on paying for it.

In [[George Eliot]]'s ''[[Middlemarch]]'' (1871), Mr. Trumbull remarks to Mary Garth: 
{{Blockquote|
"You have an interesting work there, I see, Miss Garth," he observed, when Mary re-entered. "It is by the author of ''Waverley'': that is Sir Walter Scott. I have bought one of his works myself—a very nice thing, a very superior publication, entitled ''[[Ivanhoe]]''. You will not get any writer to beat him in a hurry, I think—he will not, in my opinion, be speedily surpassed. I have just been reading a portion at the commencement of ''[[Anne of Geierstein|Anne of Jeersteen]]'' {{sic}}. It commences well."
}}

[[Thomas Hardy]], in his 1888 essay, ''The Profitable Reading of Fiction'', writes:
{{Blockquote|
Tested by such considerations as these there are obviously many volumes of fiction remarkable, and even great, in their character-drawing, their feeling, their philosophy, which are quite second-rate in their structural quality as narratives. Their fewness is remarkable, and bears out the opinion expressed earlier in this essay, that the art of novel-writing is as yet in its tentative stage only.... ''[[The Bride of Lammermoor]]'' is an almost perfect specimen of form, which is the more remarkable in that Scott, as a rule, depends more upon episode, dialogue, and description, for exciting interest, than upon the well-knit interdependence of parts.<ref>{{Cite web |url=https://people.stfx.ca/rnemesva/hardy/profitable%20reading.htm|title=The Profitable Reading of Fiction |year=1888| publisher=Thomas Hardy| pages=57–70| access-date=30 May 2022}}</ref>
}}

The many other British novelists whom Scott influenced included [[Edward Bulwer-Lytton]], [[Charles Kingsley]], and [[Robert Louis Stevenson]]. He also shaped children's writers like [[Charlotte Yonge]] and [[G. A. Henty]].<ref>"Abstract": James Watt, '"Sir Walter Scott and the Medievalist Novel". ''The Oxford Handbook of Victorian Medievalism'', ed. Joanne Parker and Corinna Wagner. Oxford University Press, 2020.</ref>

[[Nathaniel Hawthorne]], in a letter to his sister Elizabeth on 31 October 1820, writes:
{{Blockquote|
I have bought the ''[[The Lord of the Isles|Lord of the Isles]]'' and intend either to send or bring it to you. I like it as well as any of Scott's other poems... I shall read ''[[The Abbot]]'', by the author of Waverley, as soon as I can hire it. I have read all of Scott's novels except that, I wish I had not, that I might have the pleasure of reading them again.<ref>{{Cite book |url=https://books.google.com/books?id=aUatnQEACAAJ|title=The Development of the American Short Story: An Historical Survey |year=1923| publisher=Biblo and Tannen| page=93|isbn=9780819601759 | access-date=27 March 2022}}</ref>
}}

[[Edgar Allan Poe]], an admirer of Scott, was particularly captivated with ''The Bride of Lammermoor'', calling it "that purest, and most enthralling of fictions", and "the master novel of Scott."<ref>{{Cite web |url=https://www.eapoe.org/works/harrison/jah08c47.htm|title=Edgar Allan Poe (ed. J. A. Harrison), "Review of Conti the Discarded," The Complete Works of Edgar Allan Poe |year=1836 | publisher=Edgar Allan Poe| page=233| access-date=30 May 2022}}</ref>

In a speech delivered at Salem, Massachusetts, on 6 January 1860, to raise money for the families of the executed abolitionist [[John Brown (abolitionist)|John Brown]] and his followers, [[Ralph Waldo Emerson]] calls Brown an example of true chivalry, which consists not in noble birth but in helping the weak and defenseless and declares that "Walter Scott would have delighted to draw his picture and trace his adventurous career."<ref>{{cite book|last=Sacks|first=Kenneth S.|title=Emerson: Political Writings|url=https://books.google.com/books?id=sQKrBwzSGLYC&pg=PA193|year=2008|publisher=Cambridge University Press|isbn=978-1-139-47269-2|page=193}}</ref>

[[Henry James]], in his 1864 essay, ''Fiction and Sir Walter Scott'', writes:
{{Blockquote|
Scott was a born story-teller: we can give him no higher praise. Surveying his works, his character, his method, as a whole, we can liken him to nothing better than to a strong and kindly elder brother, who gathers his juvenile public about him at eventide, and pours out a stream of wondrous improvisation. Who cannot remember an experience like this? On no occasion are the delights of fiction so intense. Fiction? These are the triumphs of fact. In the richness of his invention and memory, in the infinitude of his knowledge, in his improvidence for the future, in the skill with which he answers, or rather parries, sudden questions, in his low-voiced pathos and his resounding merriment, he is identical with the ideal fireside chronicler. And thoroughly to enjoy him, we must again become as credulous as children at twilight.<ref>{{Cite web |url=https://archive.org/details/notesandreviews01rosegoog/page/n6/mode/2up |title=Notes And Reviews by Henry James |year=1921| publisher=Freeport, N.Y., Books for Libraries Press| page=14| access-date=2 August 2022}}</ref> 
}}

In his 1870 memoir, ''Army Life in a Black Regiment'', New England abolitionist [[Thomas Wentworth Higginson]] (later editor of [[Emily Dickinson]]), described how he wrote down and preserved Negro spirituals or "shouts" while serving as a colonel in the [[First South Carolina Volunteers]], the first authorized Union Army regiment recruited from freedmen during the Civil War. He wrote that he was "a faithful student of the Scottish ballads, and had always envied Sir Walter the delight of tracing them out amid their own heather, and of writing them down piecemeal from the lips of aged crones."

According to Marx's daughter [[Eleanor Marx|Eleanor]], Scott was "an author to whom Karl Marx again and again returned, whom he admired and knew as well as he did Balzac and Fielding."<ref>S. S. Prawer, 1976. ''Karl Marx and World Literature''. Oxford University Press. p. 386. {{ISBN|9780192812483}}</ref>

[[Mark Twain]], in his 1883 ''[[Life on the Mississippi]]'', satirized the impact of Scott's writings, declaring with humorous hyperbole that Scott "had so large a hand in making Southern character, as it existed before the [[American Civil War|[American Civil] war]]" that he is "in great measure responsible for the war."<ref>{{Cite book |url=http://www.gutenberg.org/files/245/245.txt |title=Twain, Mark. "Life on the Mississippi", Chapter 46}}</ref> He goes on to coin the term "Sir Walter Scott disease", describing a respect for aristocracy, a social acceptance of duels and vendettas, and a taste for fantasy and romanticism, which he blames for the South's lack of advancement. Twain also targeted Scott in ''[[Adventures of Huckleberry Finn]]'', where he names a sinking boat the "Walter Scott" (1884); and, in ''[[A Connecticut Yankee in King Arthur's Court]]'' (1889), the main character repeatedly utters "Great Scott!" as an oath; by the end of the book, however, he has become absorbed in the world of knights in armour, reflecting Twain's ambivalence on the topic.

In ''[[Anne of Green Gables]]'' (1908) by [[Lucy Maude Montgomery]], as [[Anne Shirley|Anne]] is bringing in the cows from pasture:
{{Blockquote|
The cows swung placidly down the lane, and Anne followed them dreamily, repeating aloud the battle canto from ''Marmion''—which had also been part of their English course the preceding winter and which Miss Stacy had made them learn off by heart—and exulting in its rushing lines and the clash of spears in its imagery. When she came to the lines

''The stubborn spearsmen still made good<br>
''Their dark impenetrable wood,

she stopped in ecstasy to shut her eyes that she might the better fancy herself one of that heroic ring.
}}

The idyllic Cape Cod retreat of suffragists Verena Tarrant and Olive Chancellor in Henry James's ''[[The Bostonians]]'' (1886) is called Marmion, evoking what James considered the Quixotic idealism of such social reformers.

In ''[[To the Lighthouse]]'' by [[Virginia Woolf]], Mrs. Ramsey glances at her husband:
{{Blockquote|He was reading something that moved him very much&nbsp;... He was tossing the pages over. He was acting it – perhaps he was thinking himself the person in the book. She wondered what book it was. Oh, it was one of old Sir Walter's she saw, adjusting the shade of her lamp so that the light fell on her knitting. For Charles Tansley had been saying (she looked up as if she expected to hear the crash of books on the floor above) – had been saying that people don't read Scott any more. Then her husband thought, "That's what they'll say of me;" so he went and got one of those books?&nbsp;... It fortified him. He clean forgot all the little rubs and digs of the evening... and his being so irritable with his wife and so touchy and minding when they passed his books over as if they didn't exist at all&nbsp;...[Scott's] feeling for straight forward simple things, these fishermen, the poor old crazed creature in [[Saunders Mucklebackit|Mucklebackit]]'s cottage [in ''[[The Antiquary]]''] made him feel so vigorous, so relieved of something that he felt roused and triumphant and could not choke back his tears. Raising the book a little to hide his face he let them fall and shook his head from side to side and forgot himself completely (but not one or two reflections about morality and French novels and English novels and Scott's hands being tied but his view perhaps being as true as the other view), forgot his own bothers and failures completely in poor Steenie's drowning and Mucklebackit's sorrow (that was Scott at his best) and the astonishing delight and feeling of vigor that it gave him. 
Well, let them improve upon that, he thought as he finished the chapter&nbsp;... The whole of life did not consist in going to bed with a woman, he thought, returning to Scott and Balzac, to the English novel and the French novel.}}

[[Virginia Woolf]], in a letter to [[Hugh Walpole]] on 12 September 1932, writes:
{{Blockquote|
I don't know him [Scott] accurately and minutely as you do, but only in a warm, scattered, amorous way. Now you have put an edge on my love, and if it weren't that I must read MSS—how they flock! I should plunge—you urge me almost beyond endurance to plunge once more—yes, I say to myself, I shall read the ''[[The Monastery|Monastery]]'' again and then I shall go back to [The Heart of] ''[[The Heart of Midlothian|Midlothian]]''. I cant read the ''Bride'' [of Lammermoor], because I know it almost by heart: also the ''Antiquary'' (I think those two, as a whole, are my favourites). Well—to inspire a harassed hack to this wish to kick up her heels—what greater proof could there be of your powers of persuasion and illumination? My only complaint is that you pay too much attention to the arid gulls who can't open their beaks wide enough to swallow Sir Walter. One of the things I want to write about one day is the Shakespearean talk in Scott: the dialogues: surely that is the last appearance in England of the blank verse of [[John Falstaff|Falstaff]] and so on! We have lost the art of the poetic speech.<ref>{{Cite web |url=https://archive.org/details/lettersofvirgini05wool |title=The letters of Virginia Woolf, Volume 5, 1932–1935 |year=1975| publisher=New York: Harcourt Brace Jovanovich| page=104| access-date=1 August 2022}}</ref>
}}

[[John Cowper Powys]] described Walter Scott's romances as "by far the most powerful literary influence of my life".<ref>''Autobiography'' (1934). London: Macdonald, 1967, p. 66.</ref> This can be seen particularly in his two historical novels, ''[[Porius: A Romance of the Dark Ages]]'', set during the end of [[Roman Britain#End of Roman rule|Roman rule in Britain]], and ''[[Owen Glendower (novel)|Owen Glendower]]''.<ref>W. J. Keith, ''Aspects of John Cowper Powys's Owen Glendower'', pp. 20–21</ref>

In 1951, science-fiction author [[Isaac Asimov]] wrote "[[Breeds There a Man...?]]", a short story with a title alluding vividly to Scott's ''[[The Lay of the Last Minstrel]]'' (1805). In Harper Lee's ''[[To Kill a Mockingbird]]'' (1960), the protagonist's brother is made to read Walter Scott's book ''Ivanhoe'' to the ailing Mrs. Henry Lafayette Dubose. In ''[[Mother Night]]'' (1961) by [[Kurt Vonnegut]] Jr., memoirist and playwright Howard W. Campbell Jr. prefaces his text with the six lines beginning "Breathes there the man..." In ''Knights of the Sea'' (2010) by Canadian author [[Paul Marlowe]], there are several references to ''Marmion'', as well as an inn named after ''Ivanhoe'', and a fictitious Scott novel entitled ''The Beastmen of Glen Glammoch''.

Scott also features as a character in two of [[Sara Sheridan]]'s novels ''The Fair Botanists'' (2021) and The Jewel Keepers (2026)

===The other arts===
{{Further|Opera in Scotland#Operas inspired by Walter Scott}}
Although Scott's own appreciation of music was basic, to say the least, he had a considerable influence on composers. Some 90 operas based to some extent on his poems and novels have been traced, the most celebrated being [[Gioachino Rossini|Rossini]]'s ''[[La donna del lago]]'' (1819, based on ''[[The Lady of the Lake]]'') and [[Gaetano Donizetti|Donizetti]]'s ''[[Lucia di Lammermoor]]'' (1835, based on ''[[The Bride of Lammermoor]]'').<ref>Mitchell, Jerome (1977) ''Walter Scott Operas''. University, Alabama.</ref><ref>Mitchell, Jerome (1996) ''More Scott Operas''. Lanham, Maryland.</ref> Others include Donizetti's 1829 opera ''[[Il castello di Kenilworth]]'' based on ''[[Kenilworth (novel)|Kenilworth]]'', [[Georges Bizet]]'s [[La jolie fille de Perth]] (1867, based on ''[[The Fair Maid of Perth]]''), and [[Arthur Sullivan]]'s ''[[Ivanhoe (opera)|Ivanhoe]]'' (1891).

Many of Scott's songs were set to music by composers throughout the 19th century.<ref>Bibliography in Yonge, C. D. (1888) ''Life of Sir Walter Scott''. London. pp. xxxiv‒xxxviii.</ref> Seven from ''The Lady of the Lake'' were set in German translations by [[Franz Schubert|Schubert]], one of them being '[[Ellens dritter Gesang]]' popularly known as 'Schubert's ''Ave Maria'''. Three lyrics, also in translation, appear from [[Ludwig van Beethoven|Beethoven]] in his ''[[Twenty-Five Scottish Songs (Beethoven)|Twenty-Five Scottish Songs]]'', Op. 108. Other notable musical responses include three overtures: ''Waverley'' (1828) and ''Rob Roy'' (1831) by [[Hector Berlioz|Berlioz]], and ''The Land of the Mountain and the Flood'' (1887, alluding to ''The Lay of the Last Minstrel'') by [[Hamish MacCunn]]. "Hail to the Chief" from "The Lady of the Lake" was set to music around 1812 by the songwriter James Sanderson ({{circa|1769}} – {{circa|1841}}). See the Wikipedia article "Hail to the Chief."

The Waverley Novels are full of eminently paintable scenes and many 19th-century artists responded to them. Among the outstanding paintings of Scott subjects are: [[Richard Parkes Bonington]]'s ''Amy Robsart and the Earl of Leicester'' (''c.'' 1827) from ''[[Kenilworth]]'' in the [[Ashmolean Museum]], Oxford;<ref>{{Cite web |url=https://collections.ashmolean.org/collection/search/per_page/25/offset/0/sort_by/date/object/46921 |title=Ashmolean Museum |access-date=8 June 2020}}</ref> [[Eugène Delacroix|Delacroix]]'s ''L'Enlèvement de Rebecca'' (1846) from ''[[Ivanhoe]]'' in the [[Metropolitan Museum of Art]], New York;<ref>{{Cite web |url=https://www.metmuseum.org/art/collection/search/438814?searchField=ArtistCulture&amp;sortBy=Relevance&amp;when=A.D.+1800-1900&amp;ft=eugene+delacroix&amp;offset=0&amp;rpp=20&amp;pos=2 |title=Metropolitan Museum of Art |access-date=8 June 2020}}</ref> and [[John Everett Millais|Millais]]'s ''[[The Bride of Lammermoor]]'' (1878) in Bristol Museum and Art Gallery.<ref>{{Cite web |url=https://artuk.org/discover/artworks/the-bride-of-lammermoor-188794 |title=Bristol Museum and Art Gallery |access-date=8 June 2020}}</ref>

Walter Scott features as a character in [[Sara Sheridan]]'s novel ''The Fair Botanists'' (2021).<ref>Sheridan, Sara (2021), ''The Fair Botanists'', [[Hodder & Stoughton]], {{ISBN|9781529336207}}</ref>