The effect of stepping back in time is also demonstrated through the differences between the novel’s two romantic love interests. Rose is introduced by her full title of “Miss Rose Bradwardine” (Scott 41) whereas Flora is “The Chieftain’s Sister” equating her to the old highland traditions. Time is malleable and something Waverley moves backwards and forwards through; this equates with the narrator of the novel and Scott himself, describing class issues and political rebellions and fights for independence in 1745 against the backdrop of the Napoleonic wars. Sir Walter Scott started the novel in 1805 only to lay it aside and resume writing it in 1810 followed by another gap before its conclusion and publication in 1814. The social and political changes in Britain over this decade of writing cannot be overstated. The events of turmoil, young revolutionary fervour and thought, and ultimate punishment and end of the fight for independence are echoed and countered in the British Romantic’s engagement with different independence and revolutionary narratives. Scott is looking back on the 1745 Hanoverian uprising with the knowledge of the successful American War of Independence and the devastating Terror that evolved from the French Revolution: Waverley is thus keenly aware of historical facts of the eighteenth century but also of all the events that have happened in those sixty years since. John Sutherland claims that categorising Scott as even ‘the greatest historical novelist’ “does him disservice. Like Austen, he transcends the genres that he habitually draws on. But unlike her, he is the spawner of innumerable sub-genres.” – (HERE John Sutherland 342) In light of Scott’s time transitions and careful balance of fiction and history it truly seems trivial to bracket Scott as simply an historical novelist even in Waverley. This is not one genre expounded to different effects, but rather a new genre where the characters are confined to historical events, but the narrative as a whole is aware of the expanse of time since and before the particular historical moment when the novel is set. Even within the narrative, the changes since 1745 are outlined in the novel’s final chapter, aptly if oxymoronically named: “A Postscript, which should have been a Preface”, Scott satirising states that: This should have been a prefatory chapter, but for two reasons: First, that most novel readers [….] [are] guilty of the sin of omission respecting that same matter of prefaces. Secondly, that it is a general custom of that class of students, to begin with the last chapter of a work; so that, after all, these remarks, being introduced last in order, have still the best chance to be read in their proper place. Waverley, Scott 339-40 Waverley also draws on conventions of the National tale, a growing genre at the time and thus has a broader scope and more allegorical characters and romances than most of the historical novels that followed in its wake . Flora and Rose are idealised allegories of the two paths Waverley can choose, either to brave, traditional revolutionary fever, or to civilised piety, respectability and, despite still being Scottish, more Britishness [quote here?]. The allegorical, stock nature of both women is heightened through the commonplace femininity of both of them having simple flower names. Scott does not give way to humour often in the narrative, but Waverley does edge towards satire, and thus of course, acceptability must prevail and Waverley therefore chooses the literal English Rose. Clearly, another genre which Scott takes conventions from to form his generic individuality in Waverley is thus the romance although in a humorous and almost parodied manner. [here satire spelling] Waverley’s passionate reading of old romances and stories in the opening chapters of the novel satirises
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Ironically, when Byron insults “the four first rhymes” and begs “take them not for mine” he is disparaging the rhymes of his own stanza as well. The Ottava Rima is consequently an expectation and a denial of the content contained within a signal form. This combination of two vastly different types of content, the lyrical beginning, and the punchy concluding rhyming couplet, demonstrates Byron’s use of different conventions and his combination of genres to his own egotistical, burlesque
Ironically, when Byron insults “the four first rhymes” and begs “take them not for mine” he is disparaging the rhymes of his own stanza as well. The Ottava Rima is consequently an expectation and a denial of the content contained within a signal form. This combination of two vastly different types of content, the lyrical beginning, and the punchy concluding rhyming couplet, demonstrates Byron’s use of different conventions and his combination of genres to his own egotistical, burlesque