Yet there is in Dugald Dalgetty's professional ethic, his blundering Latin, his loving care of his horse, and his own self-absorption, more genuine humanity than in the political and religious principles of Royalists and Covenanters alike. And the picture which emerges is not of violence imported into Scotland from Germany but of a country destroyed by uncompromising religious hatred, political bigotry, tribal feud and personal enmity.

This large print title is set in Tieras 16pt font as reccomended by the RNIB.

It was during the period of that great and bloody Civil War which agitated Britain during the seventeenth century, that our tale has its commencement. Scotland had as yet remained free from the ravages of intestine war, although its inhabitants were much divided in political opinions; and many of them, tired of the control of the Estates of Parliament, and disapproving of the bold measure which they had adopted, by sending into England a large army to the assistance of the Parliament, were determined on their part to embrace the earliest opportunity of declaring for the King, and making such a diversion as should at least compel the recall of General Leslie's army out of England, if it did not recover a great part of Scotland to the King's allegiance. This plan was chiefly adopted by the northern nobility, who had resisted with great obstinacy the adoption of the Solemn League and Covenant, and by many of the chiefs of the Highland clans, who conceived their interest and authority to be connected with royalty, who had, besides, a decided aversion to the Presbyterian form of religion, and who, finally, were in that half savage state of society, in which war is always more welcome than peace.

John McWilliams has written the first, much needed account of the ways the promise and threat of political revolution have informed masterpieces of the historical novel. The jolting sense of historical change caused by the French Revolution led to an immense readership for a new kind of fiction, centered on revolution, counter-revolution and warfare, which soon came to be called “the historical novel.” During the turbulent wake of The Declaration of the Rights of Man, promptly followed by the phenomenon of Napoleon Bonaparte, the historical novel thus served as a literary hybrid in the most positive sense of that often-dismissive term. It enabled readers to project personal hopes and anxieties about revolutionary change back into national history. While immersed in the fictive lives of genteel, often privileged heroes, readers could measure their own political convictions against the wavering loyalties of their counterparts in a previous but still familiar time. McWilliams provides close readings of some twenty historical novels, from Scott and Cooper through Tolstoy, Zola and Hugo, to Pasternak and Lampedusa, and ultimately to Marquez and Hilary Mantel, but with continuing regard to historical contexts past and present. He traces the transformation of the literary conventions established by Scott’s Waverley novels, showing both the continuities and the changes needed to meet contemporary times and perspectives. Although the progressive hopes imbedded in Scott’s narrative form proved no longer adaptable to twentieth century carnage and the rise of totalitarianism, the meaning of any single novel emerges through comparison to the tradition of its predecessors. A foreword and epilogue explore the indebtedness of McWilliams’s perspective to the Marxist scholarly tradition of Georg Lukacs and Frederic Jameson, while defining his differences from them. This is a scholarly work of no small ambition and achievement.

A Legend of Montrose takes place during the Earl of Montrose's Highland campaign on behalf of King Charles I. The story deals with a love triangle between Allan M'Aulay, his friend the Earl of Menteith, both members of Montrose's army, and Annot Lyle, a young woman who has been brought up by the M'Aulays since being captured as a girl.

A Legend of Montrose is an historical novel by Sir Walter Scott, set in Scotland in the 1640s during the Civil War. It forms, along with The Bride of Lammermoor, the 3rd series of Scott's Tales of My Landlord. The two novels were published together in 1819.

Georg Lukács stands as a towering figure in the areas of critical theory, literary criticism, aesthetics, ethical theory and the philosophy of Marxism and German Idealism. Yet, despite his influence throughout the twentieth century, his contributions to the humanities and theoretical social sciences are marked by neglect. What has been lost is a crucial thinker in the tradition of critical theory, but also, by extension, a crucial set of ideas that can be used to shed new light on the major problems of contemporary society. This book reconsiders Lukács' intellectual contributions in the light of recent intellectual developments in political theory, aesthetics, ethical theory, and social and cultural theory. An international team of contributors contend that Lukács' ideas and theoretical contributions have much to offer the theoretical paucity of the present. Ultimately the book reintegrates Lukács as a central thinker, not only in the tradition of critical theory, but also as a major theorist and critic of modernity, of capitalism, and of new trends in political theory, cultural criticism and legal theory.