Page 1 of 14
Advances in Social Sciences Research Journal – Vol. 8, No. 4
Publication Date: April 25, 2021
DOI:10.14738/assrj.84.10045.
Bies, J. D. (2021). The Historical Novel, Scottish Nationalism and the Good Hero: Jane Porter’s The Scottish Chiefs as Historiography.
Advances in Social Sciences Research Journal, 8(4). 738-751.
Services for Science and Education – United Kingdom
The Historical Novel, Scottish Nationalism and the Good Hero:
Jane Porter’s The Scottish Chiefs as Historiography
John D. Bies
Adjunct Professor of History & Political Science
Department of History, Political Science, Philosophy, & American Studies
University of South Carolina – Upstate
ABSTRACT
This study analyses the relationship between the historical novel and
historiography within the context of the historical evolution of Scottish nationalism
as impacted by the image of the good hero. Specifically, it illustrates how Jane
Porter used the myth of William Wallace to tap into the concept of the Scottish
nationhood and how the country views its hero via her historical novel The Scottish
Chiefs. By analysing her writings, it is argued that the genre of historical fiction can
be used by historical researchers as source material from a historiographical point
of view to understand how her early nineteenth century novel can be used to
understand the concept of Scottish nationhood as viewed in that country during the
eighteenth and nineteenth centuries. Though Jane Porter is often described as a
minor author, she played a significant role in using the historical novel to promote
a heroic Scottish identity. By examining The Scottish Chiefs through historiographic
lenses, it was possible to conjecture it’s contribution to Scotland’s perceptions of its
historical heroes and fight for independence. What made Porter different from
other novelists, such as Sir Walter Scott and Robert Burns was the fact that she
imagines the behaviour of an actual historical figure during the First War of Scottish
Independence between 1296 and 1328.
Key Words: Historical novel, Jane Porter, historiography, The Scottish Chiefs, Scottish hero
and nationalism
When one thinks of Scottish literature and its use in the promotion of historical myths, legends,
and events, names such as Alan Ramsay (1686-1758), Sir Walter Scott (1771-1832), Robert
Burns (1759-1796), and Robert Louis Stevenson (1850-1894) first come to mind. During the
latter part of the Scottish Enlightenment period one of the more popular contemporary writers
of the time was also the first recognised female historical novelist – Jane Porter (1776-1850).
Though Porter was and currently is considered to be a minor author, two of her books not only
made her the first female historical novelist of that genre, but also one of the most widely read
authors of her time: Thaddeus of Warsaw and The Scottish Chiefs.[1] In fact, these two novels
were not only popular throughout Scotland and England, but were also widely read within
continental Europe. Of the two novels, The Scottish Chiefs continued to be widely read in
Scotland well into the late nineteenth and early twentieth centuries. Though she was and
continues to be considered an insignificant author that some of her male contemporaries had
denigrated for producing sub-standard novels, she was well-known and had a large following
during her lifetime: in fact, during her later years while ill, Queen Victoria had made an inquiry
Page 2 of 14
739
Bies, J. D. (2021). The Historical Novel, Scottish Nationalism and the Good Hero: Jane Porter’s The Scottish Chiefs as Historiography. Advances in
Social Sciences Research Journal, 8(4). 738-751.
URL: http://dx.doi.org/10.14738/assrj.84.10045
about her health and well-being. In light of the historical novel’s contributions to history and
the promotion of Scottish nationalism and the idea of a good hero, Porter’s two novels are both
considered to be a ‘masterpiece of English Literature.’[2] The significance of Jane Porter was
the fact that she is considered to be a pioneer of the narrative tools associated with the
development of a national myth via the historical novel that was based upon the exploits of
William Wallace (1270-1305).[3] It is therefore the intent of this article to analyse Porter’s
Scottish Chiefs as an example of how the historical novel can be used by historians to understand
the development and evolution of Scottish nationalism, and its image of what constitutes the
good Scottish hero vis-à-vis Porter’s historical novels. By examining her novel through
historiographic lenses, it is possible to conjecture it’s contribution to Scotland’s perceptions of
this literary genre’s role and importance of nationhood during the nineteenth century and into
current times.
THE HISTORICAL NOVEL AS A RESEARCH TOOL
A central point critical of this study was to answer the following the question: “What is the
historical novel (fiction)?” Rodwell noted that this question can never be adequately answered
for its defining nuances are arbitrary, however ‘To be deemed historical, ...a novel must have
been written at least fifty years after the events described, or have been written by someone
who was not alive at the time of those events....’4[4]– both criteria were met by Porter.
Additionally, an important requirement of these two factors is that the historical novel’s
approach to a story is based upon the research findings into the specific events and/or
personalities upon which a historical novel is based.
Needless to say, the historical novel is not history per se, but can be an effective and important
research tool in telling us about past events, and perhaps more importantly, what society and
cultural groups collectively considered to be important and in this case representative of how
the Scottish Chiefs can be used to delineate what it meant to be a member of the Scottish nation
and in turn to be a Scott. Within this genre of literature, there have been four sub-categories of
historical novels identified by the Historical Novel Society: alternative histories, pseudo- histories, time-slip novels, historical fantasies, and multiple-time novels.[5] To be considered a
historical novel, a book must simply be set in the past,[6] however, as pointed out by Rodwell,
novels can also be considered historical when they are ‘wholly or partly about public events’,
where attempts are made to recreate past personalities and events. Comparatively, Dalton[7]
argued for other attributes that included challenges faced by historical figures, historical figures
faced with fictional situations, fictional characters in historical situations, or fictional situations
and characters within historical periods or events, in this sense ‘(H)istorians write within their
discipline while historical novelists are not so bound.’[8] In either case, it is the chore of both
historians and historical novelists to clear all obfuscated perceptions and describe what
actually happened and to whom as best they can.
THE NOVEL AS HISTORIOGRAPHY
From a scholarly perspective of literature, the novels reflection of history have been regrettably
minimised by historical researchers, for they ‘...have neglected several fundamental issues
common to historiography and historical fiction.’[9] To be considered a historiographically
important tool, the historical narrative should be an attempt to truthfully describe or
reconstruct a real historical event or character as accurately as possible, in other words an
epistemological approach to writing. Ontologically, the novel should also describe past
Page 3 of 14
740
Advances in Social Sciences Research Journal (ASSRJ) Vol. 8, Issue 4, April-2021
Services for Science and Education – United Kingdom
memories and show how they led to a contemporary perspective of history, even though past
events and personalities are almost always viewed through biased lenses.
When discussing the historical novel, Koselleck refers to the concept of the ‘present past’.[10]
What he is referring to is the historiographic concept of writing about the past from a
contemporary or current perspective. This is what Robinson describes as ‘...the point which
the future becomes the past.’[11] Therefore, the writer of a historical novel becomes a person
who has reconstructed the past within the context of their own personal life experiences and
education that is formulated from a future (present-day) perspective of history.
It is interesting to note that ‘(t)he historical novel is a genre that is increasingly studied in
university curricula and discussed at (the) research level; it is also an immensely popular form
(of reading), with global audience reach.’[12]. Beginning in the seventeenth and early
eighteenth centuries the historical novel was often used to convey the idea of nationhood that
employed various settings that included romance, thriller, horror, gothic, fantasy, and epics.
‘Indeed, the intergeneric hybridity and flexibility of historical fiction have long been one of its
defining characteristics.’[13]. Within the context of this study, the historical novel was
considered as a vehicle for identifying the character of Scottish nationhood through its heroes.
In historical writings we find both commonalities and difference between fact and fiction. Here,
historians seek to explain the adaptation of understanding the past with concepts and ideas
familiar to present-day moralities and standards, while novelists not only attempt to explore
these factors but also attempt to expand the historical metaphor to make history something
richer and more complete.[14]
Few if any academics are of the opinion that historical novels should be used as replacements
for historical textbooks and traditional source materials. However, It is interesting to note that
some ‘(r)esearchers (have often) espous(ed) the benefits of trade books [historical fiction] due
to the limitations of (historical) texts...’[15] By reading historical novels addressing Scotland,
the idea of historical truths may still be extricated from the story line. Though the novel often
contains fictional accounts that can be misleading, outdated, or simply wrong, it was also
pointed out by Rodwell that in some cases the quality of well researched and written historical
fiction are improvements over the often biased points of views imbedded within school history
textbooks. One can then argue that the novel may serve as an effective and beneficial
supplement to the study of history even when used in conjunction with some history books
written with a particular politically bent or hidden agenda. What then can the historical novel
accomplish in historical studies as compared to traditional books and resource materials?
‘...historical novels build empathy in students for individuals or groups in history...(that are)
often... associated with very sensitive issues....’[16]
Of all Scottish historical novelists, Sir Walter Scott has been described as ‘...the first and
arguably the greatest historical novelist in the modern sense...’[17] even though it has been
argued that he had a somewhat limited understanding of the politics and societal perceptions
of the time, his successes as an author were not necessarily based upon the retelling of actual
historical events and figures, but by the use of fictitious personalities that were placed within
real historical circumstances. Though Scott’s novels cannot be considered to be historically
accurate they do represent what society collectively held important during his time that
provides a historiographical view of history during the Scottish Enlightenment period.