I've given this four stars because Scott builds a world, and it's immersive. However I found it very hard to read, and think I will enjoy it more on a second read. Scott is the omnipotent narrator, but for me he created a sense of foreboding that made me uncomfortable, I don't really like deaths in novels! The other problem I had was more unique to me, in that I know a little bit about the Dalrymple family history of the 17th/18th century, and I didn't really like the Ashtons, and kept arguing with how they were portrayed, which got in the way. But that's my problem.

There are all the things you'd want from a novel like this, with talk of witches, ghosts, superstition, and the historical context feels convincing. I think I'll be able to immerse myself better in it on a second reading.

This is a full-on tragedy, which is giving nothing away, as the end is relentlessly foreshadowed. Clearly inspired by Macbeth (three witches!) and Romeo and Juliet, as well as by an actual historical event, the plot is the backdrop for a rich portrait of a specific period in Scottish history (rather than the other way around). So much to love about this book! A plethora of secondary characters that are each distinctly drawn, with individual personalities that feel like real people. Full of interesting psychological insights that seem like they might have been written last week instead of 200 years ago. For the life of me, I don't understand why the BBC hasn't given the Waverley novels the big budget mini-series treatment. While I enjoy Outlander, Scott is much better on every possible level. The Bride may not be my favorite of his works, but it's really very good.

Lucy Ashton and the Master of Ravenswood

He then mounted his horse, which at his arrival he had secured to a balustrade in front of the castle, rode very slowly past Bucklaw and Colonel Ashton, raising his hat as he passed each, and looking in their faces steadily while he offered this mute salutation, which was returned by both with the same stern gravity. Ravenswood walked on with equal deliberation until he reached the head of the avenue, as if to show that he rather courted than avoided interruption. When he had passed the upper gate, he turned his horse, and looked at the castle with a fixed eye; then set spurs to his good steed, and departed with the speed of a demon dismissed by the exorcist.

What could have been a cracking good Gothic suffers under Scott's meandering style. And I say that as someone who's read her fair share of meandering 19th century literature. All the elements of horror are present and accounted for, as well as a hilarious and effective running comic subplot about the lengths to which an old retainer will go in order to preserve the "credit of the family," so it's no wonder Donizetti cribbed it for his wonderful opera. It's just the delivery that's lacking. Scott's pretentious frame for the narrative has to be the least effective and most awkward since Wuthering Heights. As a sidenote, the introduction to this Oxford edition? Most boring I've ever waded through, and better than Lunestra, or a blackjack on the back of the head. See Lucia, skip the source material.

Since I enjoy nineteenth century novels with carefully planned plots and colorful characters, I was able to read the entire book. Might be hard for some because not only is the language dense, but the lower class characters speak in dialect. I had to refer to the glossary in the book frequently to understand what they were saying. This is a gothic novel, different from the other novels I've read by the author.

Due famiglie in lotta tra loro, una funesta leggenda, e un amore infelice nato sotto una cattiva stella: descrivendo in tali termini la trama di quest'opera, e considerando che ad essa s'ispirò Donizetti per la sua Lucia di Lammermoor, è facile pensare ad un avvincente romanzo gotico ricco di mistero, romanticismo e tragedia... Bene, se ci si aspetta tutto ciò, è inevitabile restare delusi.
Gli elementi del gotico, in realtà, ci sono tutti, ma Scott sembra essere il primo a non prenderli sul serio, tanto che, non di rado, il romanzo pare sconfinare in una specie di commedia grottesca, dove i presagi funesti, più che suscitare inquietudine, assumono i connotati di ridicoli espedienti comici, probabilmente lontani dall'originario intento del narratore, e senza dubbio sfruttati male nell'economia del romanzo.

Al centro della vicenda c'è il contrasto tra l'antica dinastia dei Ravenswood, rappresentata dall'ultimo erede e superstite Edgar, e quella degli Ashton, da cui i primi sono stati defraudati di ogni bene. Il giovane ed orgoglioso Edgar, che ha solennemente giurato di vendicarsi dei nemici, dopo molti dubbi, rinuncia ai propri propositi per amore di Lucy, figlia di Sir William Ashton, di cui Ravenswood si è nel frattempo invaghito. Sfortunatamente, un oscuro fato aleggia sul futuro dei due innamorati: un'antica profezia, infatti, predice che l'ultimo erede dei Ravenswood, chiederà in sposa una fanciulla morta, e che in seguitò egli perderà la vita inghiottito dalla palude. Edgar non si lascia intimorire dalle superstizioni e dai sinistri avvertimenti del servitore Caleb Balederstone e della sibilla Alice Gray, e si fidanza con Lucy.
Quando però Lady Ashton scopre il legame tra la figlia e il nemico della loro famiglia, spinta dall'orgoglio e dall'ambizione, ella impiega ogni mezzo per distruggere l'amore dei due giovani, e rivolgendosi perfino a una fattucchiera, non esita a tormentare Lucy senza alcuno scrupolo, nella speranza di ridurla completamente in suo potere.

Una trama potenzialmente interessante, ma sviluppata in modo davvero poco convincente sotto ogni aspetto: dai protagonisti ai colpi di scena, dalla componente gotica all'epilogo, tutto in quest'opera dà la sensazione di un'occasione sprecata.
Un racconto che sembrerebbe concepito più per dar vita a un testo teatrale che a un romanzo, a metà tra Romeo e Giulietta e Macbeth, dove Scott strizza l'occhio a Shakespeare senza però possederne la levatura.
Scott inizia la narrazione annunciando che quanto si appresta a raccontare è una storia realmente accaduta in Scozia, ma l'espediente del racconto nel racconto, ottimamente sfruttato da molti altri scrittori, in questo romanzo si trasforma in un'introduzione tanto lunga quanto tediosa, ed anche lo stile dell'autore risulta estremamente lento, non particolarmente brillante, e decisamente poco coinvolgente.
Scott dà ampio spazio alle vicende storico-politiche della Scozia, ma di tutto ciò spiega ben poco; interminabili capitoli sono dedicati alle vicende marginali dei vari personaggi secondari, ed ogni evento viene presentato e sviluppato in modo alquanto approssimativo e superficiale.

Tra i più evidenti punti deboli vi sono certamente i personaggi: essi non sono altro che figure piatte e stereotipate, perfettamente inquadrabili all'interno dei più noti clichè del genere. Abbiamo la virtuosa fanciulla candida e remissiva; l'impavido eroe maschile pronto a tutto per difendere l'onore della famiglia, ma ancor più disposto a rinunciare alla vendetta per amore; lo strambo domestico tanto fedele quanto insopportabile; la classica veggente cieca... Su tutti, forse, l'unica a restare impressa è la perfida Lady Ashton: una sorta di sorella minore di Lady Macbeth, talmente insensibile e priva di scrupoli da suscitare, se non altro, un inevitabile disprezzo.
Dell'intero racconto, salverei probabilmente giusto lo humour nero di cui sono intrise le parti relative alle profezie nefaste sul destino di Ravenswood (profezie che, peraltro, lasciano molto perplessi) e agli scambi di battute tra le vecchie megere del villaggio (in un certo senso, quasi delle Weird Sisters in versione provinciale).

L'epilogo, deludente al pari dell'intera vicenda, ha in sè un solo elemento curioso, vale a dire il fatto che, sotto alcuni aspetti, pare anticipare, di circa settant'anni, la conclusione di Tess dei d'Urberville di Thomas Hardy (ma il confronto tra i due, sia ben chiaro, inizia e finisce qui!).
Un romanzo, insomma, che richiama alla mente una leggenda raccontata frettolosamente, sicuramente validissimo dal punto di vista della scrittura, ma davvero insoddisfacente nella sua complessività. Peccato!

There is something inevitably transfixing about sir Walter Scott's novel. Laden with rich descriptions and elaborate insights into the Scottish way of life, the historical novel tinged with Gothic elements is an interesting and fascinating read. Immersive and engaging, this tragic tale is a testament to Scott's reputation as "Wizard of the North" who weaves wondrous stories.

Ähem, mir hat das Buch nicht gefallen. Das liegt eher an meiner persönlichen Abneigung gegen Sir Walter Scott als an allem anderen. Schon mit Ivanhoe hatte ich meine Probleme. Für mich sind Scotts Helden immer ein bisschen zu weich und ab und zu auch zu wankelmütig und auch bei diesem Buch habe ich das dringende Bedürfnis verspürt den einen oder anderen zu schütteln. Die Handlung war mir auch zu langatmig. Der einzige Lichtblick war die herrliche Sprache Scotts (ich habe das Buch auf englisch gelesen).

All'inizio ho fatto un pò fatica ad entrare nella storia, non so se per la scrittura o per il caldo

I enjoyed it a lot, and will be reading other novels by him. His voice comes through, there is some humor in it, some of the characters are very believable, and yes it is melodramatic, to present-day thinking, but I was grateful to the author for writing it.

Bride of Lammermoor is alright. I read it as part of a reading group, and I don't think I would've read it otherwise. It's a mash-up of genres including historical fiction, tragedy, gothic fiction, comedy, and romance. You could make the argument that the book's primary genre is historical fiction. The book includes a central plot that fictionalizes a true story in Scottish history, political drama that is mostly true to history, and several shorter short anecdotes and/or stories sprinkled in that are drawn from history. But you could also make the argument that the book's primary genre is tragedy. The central story follows a doomed romance between young lovers from families that are bitter archrivals. The narrative is replete with prophecies, symbols, and omens that let the reader know this romance will not end happily. Further, Scott's writing is inspired by just about every one of Shakespeare's tragedies although Romeo & Juliet might be most applicable. Side note: I think I would've appreciated this book more if I was more familiar with Shakespeare's work.

I don't think you could make the case that this book is primarily a comedy, but there is a copious amount of really good humor in this book - especially through the actions and dialogue of the lower class. However, at time there is too much humor such that it is jarring when juxtaposed with the tragic elements of the story. I also don't think you could make the case that the book is primarily romantic fiction especially since Scott very much does not enjoy writing romance and quickly skips over scenes in which romance between the two young lovers is most prominent. I think he even gives a nod to the reader that we are likely not interested in hearing the romance described. Ann Radcliffe, he is not.

In the end, Bride of Lammermoor uses a mashup of genres to tell a mostly interesting story. As a whole, I don't think this book worked for me and I would've preferred if Scott had chosen a genre or two and stuck with it. I have Ivanhoe unread on my bookshelf and - while I'm still interested to one day read it - I won't be racing to do so.

class book chill tho