Ivanhoe a Romance

In Ivanhoe, Scott skillfully undermines the alienating characteristics of the medieval gothic while taking advantage of its familiarity to and popularity with nineteenth-century audiences. Although containing elements reminiscent of the earlier gothic, such as the corruption and intrigue of religious orders, the madness of Ulrica and the burning alive of Front-de-Beouf in his castle, it also pokes fun at some of the wilder elements of this genre: the resurrected phantom of Athelstane, for instance, turns out to be quite alive and in search of a decent meal. Scott is clear in his rejection of supernatural devices, and rather than the scenes of emotional breakdown and overwhelming passion common in earlier gothics, his characters by and large behave with the rationality and self-control that would have been regarded as admirable by the author’s contemporaries. Throughout the story, Scott attempts to have his characters behave as modernly as they could without ahistoricism.