John Galt was born in 1779 and, like his contemporary Walter Scott, was heavily influenced by the ideals and aspirations of the Scottish Enlightenment. His contributions to literature range from poetry and plays to travel books, biographies and journalism, but he is best known as a novelist - the creator of Ringan Gilhaize, The Provost, and The Entail. In his descriptions of everyday domestic life, shrewd observations of character, pungent dialogue in Scots and ironic self-revelation, Galt was continuously entertaining and often comic, but he was not afraid of pathos. In this study P H Scott concentrates on his thirteen most famous novels for it is on these that Galt's claim to be regarded as an important writer must rest.

The essays in this volume revalue the work of the Romantic-era Scottish writer John Galt, connecting his methods and goals with Scottish Enlightenment "conjectural" historiography and with later social theorizing. Emphasizing the construction, representation and use of social knowledge, the essays find new meaning in Galt's perceptions of the Atlantic and Mediterranean worlds in which he traveled, his attitudes toward community building and progress, and his innovations in fiction, drama, journalism and biography.

Scott's Shadow is the first comprehensive account of the flowering of Scottish fiction between 1802 and 1832, when post-Enlightenment Edinburgh rivaled London as a center for literary and cultural innovation. Ian Duncan shows how Walter Scott became the central figure in these developments, and how he helped redefine the novel as the principal modern genre for the representation of national historical life. Duncan traces the rise of a cultural nationalist ideology and the ascendancy of Scott's Waverley novels in the years after Waterloo. He argues that the key to Scott's achievement and its unprecedented impact was the actualization of a realist aesthetic of fiction, one that offered a socializing model of the imagination as first theorized by Scottish philosopher and historian David Hume. This aesthetic, Duncan contends, provides a powerful novelistic alternative to the Kantian-Coleridgean account of the imagination that has been taken as normative for British Romanticism since the early twentieth century. Duncan goes on to examine in detail how other Scottish writers inspired by Scott's innovations--James Hogg and John Galt in particular--produced in their own novels and tales rival accounts of regional, national, and imperial history. Scott's Shadow illuminates a major but neglected episode of British Romanticism as well as a pivotal moment in the history and development of the novel.