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Since the latter part of the nineteenth century, critics have tended to treat Walter Scott’s fiction disparagingly – the tacit assumption often being that it lacks formal sophistication or semantic ‘depth.’ Reading Scott against the grain of this reception, I argue here that  Ivanhoe  (1819/1820) commands an allusive density which complicates such verdicts. Offering a detailed analysis of both the novel’s hermit figure and the cultural geography in which it appears, this essay retraces Scott’s references to eighteenth-century literary, aesthetic, architectural, and horticultural discourses. Acutely aware of drawing from a codified set of readily consumable images, Scott both quotes and subverts the eighteenth-century hermit tradition. Employing an elaborately intertextual strategy to defamiliarize readerly notions of identity and signification, Scott’s writing emerges as somewhat more complex than the history of his critical reception would seem to suggest.

Deceptive Signification: Walter Scott, Ivanhoe , and Eighteenth-Century Hermit Discourse