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Anne of Geierstein
First Edition, First Impression:
Anne of Geierstein; or The Maiden of the Mist.
By the Author of "Waverley", &c. In Three Volumes.
Vol. I (II-III). Edinburgh: Printed for Cadell and Co., Edinburgh;
And Simpkin and Marshall, London, 1829.
Composition |
Sources | Synopsis | Reception | Links
Composition
When Scott began work on Anne of Geierstein in March 1828,
the novel had already been gestating in his mind for five years.
Upon completing
Quentin Durward, his tale of fifteenth-century
France, in
May 1823, Scott raised the possibility of a sequel in a letter
to James
Ballantyne. His original idea was to focus once again on the rivalry
between Louis IX of France and
Charles the Bold, Duke of Burgundy. Over time, however, Scott's
imagination came to focus on the disastrous (and ultimately fatal)
campaign waged by Charles the Bold against the Swiss Confederates.
It was
not until
August 1827, when Scott had just completed Chronicles
of the Canongate,
First Series, that Scott's ideas began to take solid form. On 2
August, a letter from his publisher Robert Cadell
urged Scott to attempt a continuation of Quentin Durward, a theme
which 'could not fail to be popular'. Replying on 6 August,
Scott promised that he would give the proposal
'careful consideration'. Well-versed in French and Burgundian history,
Scott was considerably less confident on Swiss ground and asked
Cadell to procure relevant works for him. Cadell promptly did so,
but Scott turned instead to a Second Series
of Chronicles of the Canongate consisting of The
Fair Maid of Perth and
the rejected tales later published as the 'Keepsake Stories'. Upon
completion of the Fair Maid in March 1828, it was agreed that Scott
would now press
on with the Quentin sequel. It was hoped that it would
generate sufficient funds to cover the considerable advances required
for the illustrated 'Magnum Opus' edition of the Waverley Novels,
the publishing scheme by which both Scott and Cadell hoped to repair
their fortunes (see The Fall
of Archibald Constable and Co.).
Scott was unable to start immediately. In April and May he was in London
on business, and in June and July at work on the Second Series
of Tales of a Grandfather.
On 6 July, however, his Journal records that he is reading the
historical and descriptive works on Switzerland sent by Cadell
the previous year. Composition had still not begun by August but
on the 6th of that month,
a letter to Cadell reveals that he is busy working out the plot of
the novel in advance. He tells Cadell of his plan to introduce the
Femgericht or Vehmgericht ('Secret Tribunal') of Medieval Germany,
a theme with which Scott had been familiar since his discovery
of German literature in the 1790s (see Sources).
Scott finally appears to have begun writing in mid-September
but almost immediately encountered stern criticism of the opening
sequences from James Ballantyne. Even before composition began,
Ballantyne had expressed concerns about Scott's ability to evoke
a landscape that he had never visited. Scott had retorted that
'If I have not
seen the Alps I have seen Salva[tore] Rosa's pictures of the Apennines
which will do as well'
(letter of 25 August 1828). Ballantyne felt, however, that the
first proofs bore out his fears. Scott was sufficiently shaken
by his comments to lay aside the narrative for a few days. By 15
October, however, he was back at work, having, once again, persuaded
himself that his lack of first-hand knowledge of Switzerland was
no insurmountable barrier. 'Had I not', he asked John Gibson Lockhart,
'the honour of an intimate personal
acquaintance with every pass in the Highlands; and if that were
not enough had I not seen pictures and prints galore?' (letter
of 16 October). Scott pressed ahead, completing the first volume
by the end of November and making good progress on the second
in December.
In January 1829, however, Scott suffered a bad case of writer's block,
recording, for example, in his Journal for 11
January: 'I did not write above a page yesterday; most weary, stale
and unprofitable have been my labours'. His efforts to breathe
life into his novel were constantly thwarted by 'a perplexing
sinking of the heart which one cannot always overcome'. A breakthrough
finally permitted Scott to complete the second
volume by 5 February, but he felt no 'great confidence that
it will please' (letter to J.B.S. Morritt). Progress was initially
brisk on the third and final volume but by 25 February his
Journal records serious concerns about the novel's ending
which he feared would be marred by an excess of historical
detail. Scott's confidence was further dented by more stinging
criticism from James Ballantyne received by post on 8 March.
Scott once again laid aside his manuscript and threw himself
into a lengthy review of Patrick Fraser Tytler's History of
Scotland for the Quarterly Review. A letter from Robert
Cadell on 19 March reconciled him to his novel. Cadell thought
Ballantyne's criticisms excessive and judged that it would
be sufficient to excise a lengthy digression on troubadours.
Scott re-read the last pages of his manuscript and found it
'not so bad after all though I fear it will not be popular' (Journal,
13 April). He resumed work the next day and by 16 April he
estimated that the novel was within a week of completion. With
typical perversity, he again put it aside until 27 April in order
to write a History
of Scotland. Anne of Geierstein was
finally completed on 29 April 1829. It was published in Edinburgh
on 20 May and in London on 25 May.
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Sources
Anne of Geierstein begins in autumn 1474 and ends
in January 1477 with the defeat of Charles the Bold, Duke of Burgundy
at the
Battle of Nancy. Quentin Durward had dramatized the conflict
between Louis XI of France and Charles the Bold, the former intent
on centralizing power, the latter a representative of the old
feudal system where lords essentially wielded independent power
over their dominions. Set in 1468, it had left the conflict largely
unresolved. Now, in Anne of Geierstein, Scott concentrated on Charles's
downfall
and the contribution of
the Swiss Confederates to his
defeat. Louis XI remains in the background manipulating events.
As with Quentin Durward, Scott's most important historical
source was the Mémoires of
Philippe de Commynes who acted as a councillor
to both Louis and Charles. For basic information on Swiss history and
society Scott drew on four works sent to him by Cadell :
Grattan's The History of Switzerland: From the Conquests
of Caesar to the Abdication of Buonaparte (1825; largely an abridgement
of Joseph Planta's The History of the Helvetic Confederacy),
Louis Simond's Switzerland, or, A Journal of a Tour and Residence
in that Country, in the Years 1817,1818, and 1819, a French translation
of Johannes von Müller's
Die Geschichten der Schweizer (1780),
and A. Yosy's Switzerland (1815). He may also have consulted a
French translation of Johann Heinrich Daniel Zschokke's Geschichte
vom Kamp und Untergang der schweizerischen Berg- und Waldkantone (1801).
For
Provence, Scott used Jean-Pierre Papon's Histoire générale
de Provence (1777-86) and Anne Plumptre’s Narrative of a
Three Years’ Residence
in France (1810). For Burgundy, he may have consulted Barante's recent Histoire
des Ducs de Bourgogne (1824-28).
For the French scenes, Scott also drew freely on the travel
journals and water-colour sketches of his close friend James Skene
of Rubislaw. Skene was a source too for Scott's depiction of the
Vehmgericht via a paper he had read to the Society of Antiquaries
of Scotland in 1824. Scott asked Skene for a copy of his paper
and was obviously struck by Skene's (contentious) description of
the Tribunal's underground chambers at Baden and the shaft down
which the accused were lowered for trial. Scott, though, had first
read of the Vehmgericht in the 1790s where it featured prominently
in a number of the new German works of literature which so excited
Scott and his friends. These included Goethe's
Götz von Berlichingen which Scott translated
in 1799 (see Literary
Beginnings) and Christiane Benedicte Eugenie Naubert's Hermann von
Unna and Alf von Dulemen (both translated into English
in 1794). Scott himself had sought to contribute to the popularity
of the theme
with his 1797 drama The House
of Aspen (loosely based on Veit Weber's
Die Heilige Vehme) but it remained unperformed and unpublished
until 1830. While working on Anne of Geierstein, Scott updated
his knowledge of the Vehmgericht with solid historical reading
including Carl Philipp Kopp's Über
die Verfassung der heimlichen Gerichte in Westphalen (1794), François
Adolphe Loève-Veimars's Précis de l’histoire des
tribunaux secrets, dans le nord de l’Allemagne (1824), and Paul
Wigand's Das Femgericht Westphalens (1825).
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Synopsis
The novel is set shortly after the battle of Tewkesbury (1471),
in which the Yorkist king Edward IV had finally defeated the
Lancastrian party. Two exiled Lancastrians, John de Vere, the Earl
of Oxford and his son, Arthur, are travelling through Switzerland
disguised as merchants and under the assumed name of Philipson.
Carrying the diamond necklace of Margaret of Anjou, they are on
a mission to
convert Charles the Bold, Duke of Burgundy, to the Lancastrian
cause. Caught by a storm in the mountains, they find refuge in
the home of Arnold Biederman, chief magistrate of Unterwalden.
Biederman
has relinquished his hereditary title of Count of Geierstein in
favour of his brother Albert. His niece, the young Countess Anne,
lives under his protection, and rescues Arthur from death when
attacked
by vertigo on an Alpine ledge. She and Arthur fall in love but,
fearing family opposition, Anne treats him with reserve. Biederman
too has business with Charles the Bold as part of a delegation
sent to protest against the treatment the Swiss have received at
his hands. The Philipsons and Biederman set out in company but
are seized and imprisoned by Archibald of Hagenbach, employed by
Charles
the Bold as governor of the citadel of Brisach. They are saved
from
death only when the citizens of Brisach rebel against their oppressor
and de Hagenbach is executed by order of the Vehmgericht (Secret
Tribunal). After the party finally reaches the Duke's court,
the plot chiefly concerns the Earl of Oxford's efforts to win Charles
the Bold's support for Margaret of Anjou and Lancaster. The negotiations
are interrupted by the Duke's disastrous military campaign against
the Swiss (whose overtures he has rejected) and his eventual
death and defeat at the battle of Nancy. The Philipsons/de Veres
return
to Geierstein, where marriage is celebrated between Arthur and
Anne.
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Reception
Both Ballantyne and Scott had serious doubts about Anne of Geierstein
and were therefore pleasantly surprised to find that the novel sold
well especially in England. Along with The
Fair Maid of Perth, Anne of Geierstein was Scott's
most commercially successful novel after 1825. The reviews too were,
on the whole, highly favourable but some journals (notably the Edinburgh
Literary Gazette, the Examiner, and the Westminster
Review) felt that the factual elements of the plot were much
more interesting than the purely fictional, and that the attempt
to blend romance and history was, in this case, unsuccessful.
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Links
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Last updated: 19-Dec-2011
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