In the first chapter of Ivanhoe, the narrator employs allusion to outline the historical context of Saxon-Norman hostility in early 12th-century Britain, setting the stage for many of the novel's ensuing conflicts:
A circumstance which greatly tended to enhance the tyranny of the nobility, and the sufferings of the inferior classes, arose from the consequences of the conquest by Duke William of Normandy. Four generations had not sufficed to blend the hostile blood of the Normans and Anglo-Saxons, or to unite, by a common language and mutual interests, two hostile races, one of which still felt the elation of triumph, while the other groaned under all the consequences of defeat.
This allusion to the historical conquest of England by Duke William of Normandy in 1066 provides crucial background for understanding the political tensions of Ivanhoe. The Norman Conquest was a pivotal moment in English history. The defeat of the Saxons by the Normans resulted in the subjugation of the Anglo-Saxon population by their Norman invaders, laying the foundation for centuries of conflict and resentment between these two groups. By referring to this historical event, the narrator does two things. They situate the novel within a specific historical period, and simultaneously point out the enduring impact of the conquest on English society.
The mention of the "hostile blood" of Normans and Anglo-Saxons and the failure to "blend" these races or unite them speaks to Ivanhoe’s broader narrative on nationalism and identity. This division between Saxon and Norman reflects the deep-seated animosity and cultural differences between the conquerors and the conquered, which fuel the novel's conflicts. The Normans' sense of superiority and the Saxons' resentment and suffering under Norman rule are crucial to the book’s exploration of power, justice, and reconciliation on both personal and national scales.
Scott frequently alludes to English writer Geoffrey Chaucer, particularly through Ivanhoe’s epigraphs. In so doing, he imaginatively places his novel’s romantic adventure and chivalry within the context of The Canterbury Tales, a celebrated English work from the late 1300s:
A Monk there was, a fayre for the maistrie,
An outrider that loved venerie;
A manly man, to be an Abbot able,
Full many a daintie horse had he in stable:
And when he rode, men might his bridle hear
Gingeling in a whistling wind as clear,
And eke as loud, as doth the chapell bell,
There as this lord was keeper of the cell.
By referencing Chaucer here, Scott invokes a canonical work of early English literature. The Canterbury Tales is a collection of 24 related stories that Chaucer composed between the years 1387 and 1400. It’s considered particularly important because it was one of the first literary works to use vernacular English consistently. Scott aligns Ivanhoe's exploration of chivalry and adventure with similar narratives from The Canterbury Tales throughout the novel. This allusion not only pays homage to Chaucer's work but also situates Ivanhoe within a broader literary and historical conversation about medieval England. Both Chaucer and Scott pay careful attention to the conventions and idiosyncrasies of the period, focusing on social conventions and moral questions as their stories progress.
The excerpt from Chaucer in this passage is from “The Knight’s Tale,” a story describing a monk who is more interested in hunting and pursuing women—“venerie" means both, here—than in his religious duties. Chaucer’s monk has power and access beyond the scope of his religious calling, which mirrors Ivanhoe's portrayal of priests like the Prior of Jorvaulx. Religious characters like these who stray from their mission represent the real corruption among church officials and nobility that Scott and Chaucer saw. In real life as in The Canterbury Tales and Ivanhoe, priests often prioritized personal pleasure and gain over their moral and spiritual responsibilities. This critique of the church and the aristocracy is a common theme in Scott’s and Chaucer's imaginary medieval societies. It’s also a key part of how both authors depict chivalry, as temptations that lead religious characters astray abound in both works.
As Scott describes Dame Urfried guarding the imprisoned Rebecca in the tower at Torquilstone, he employs allusion and foreshadowing to emphasize the stakes of the perilous position she is in. Rebecca's training to bear fear and master her temper become crucial here, as the narrator tells the reader:
Like Damocles at his celebrated banquet, Rebecca perpetually beheld, amid that gorgeous display, the sword which was suspended over the heads of her people by a single hair.
The allusion refers to the story of Damocles, a courtier who flattered his king by praising his power and influence. The king invited Damocles to sit on his throne for a day, but suspended a large sword above it by a single hair to symbolize the constant threats faced by those in power, thereby teaching the courtier a lesson. By comparing Rebecca to Damocles, Scott highlights the perpetual danger that Rebecca and Jewish people like her lived under. Jewish people in medieval Europe lived under constant threat of persecution and violence. The allusion also underscores Rebecca's awareness of her own vulnerability in Front-de-Boeuf's castle. Unlike Damocles, who was momentarily placed under threat as a lesson by Dionysius, Rebecca's entire life has a “sword” hanging over it. Dame Urfried has explained to her that when the Normans captured her she was beaten and raped: Rebecca knows that a similar fate could await her. However, her constant exposure to danger has taught her to manage fear and maintain composure, which is how she is able to keep a cool head even under these circumstances.
The foreshadowing in this segment anticipates Rebecca's composure in the face of her impending crisis. The reference to her lifelong preparation for dealing with fear suggests that these skills will be vital in her upcoming ordeals. Just as the story of Damocles highlights the ever-present danger that threatens those in positions of authority, Rebecca's response here suggests how her calm and collected nature will help her survive what's to come.
In this passage, the author employs allusion and metaphor to reveal Bois-Guilbert's possessive, limited view of Rebecca's value. As he reveals himself when he finds her in Castle Torquilstone, he admits to being himself and not an unknown ruffian:
‘And thou, who canst guess so truly,’ said Brian de Bois-Guilbert, dropping the mantle from his face, ‘art no true daughter of Israel, but in all, save youth and beauty, a very witch of Endor. I am not an outlaw, then, fair rose of Sharon. And I am one who will be more prompt to hang thy neck and arms with pearls and diamonds, which so well become them, than to deprive thee of those ornaments.’
Bois-Guilbert is beginning his attempt to woo Rebecca, implying through an allusion that she has bewitched him and promising her treasure and riches. However, by invoking the “witch of Endor,” a Biblical figure known for her supernatural powers and association with King Saul, the author directly ties Rebecca to a legacy of misunderstood and maligned women. In comparing her to this character, Scott is suggesting her perceived unwelcomeness and alienation as a Jew in the England of Ivanhoe. This reference also subtly hints at the societal fears and prejudices that Rebecca navigates, framing her extreme intelligence and independence as sources of suspicion rather than safety.
Bois-Guilbert’s mention of the "rose of Sharon”—an ancient term for a hibiscus, a delicate flower that thrives in the climate of the Middle East—also underscores Rebecca's Jewish identity. In calling her a “Rose of Sharon” Bois-Guilbert is also invoking the resilience that plant biblically symbolizes, as it grows and blooms in harsh conditions. This allusion paints her as an object of both beauty and endurance, while underlining that her Jewishness is still on Bois-Guilbert’s mind.
The metaphor "to hang thy neck and arms with pearls and diamonds" illustrates Bois-Guilbert's possessive and objectifying view of Rebecca. He doesn’t want to give her jewelry, but to “hang” it from her. He is comparing her adornment with jewelry to the decoration of an inanimate object or a piece of property. Through this metaphor, Bois-Guilbert reveals that he sees Rebecca not as a person, but as an object to be displayed.
After hearing all of her reasons for wanting to nurse him herself, Isaac concedes to Rebecca's refusal to let someone else heal Ivanhoe using an idiom and allusion:
‘Thou art speaking but sooth, Rebecca,’ said Isaac, giving way to these weighty arguments – ‘it were an offending of Heaven to betray the secrets of the blessed Miriam; for the good which Heaven giveth us, is not rashly to be squandered upon others, whether it be talents of gold and shekels of silver, or whether it be the secret mysteries of a wise physician.'
The idiom "speaking but sooth" is Isaac's acknowledgment of the truthfulness of Rebecca’s reasoning for wanting to care for Ivanhoe. "Sooth" is an archaic word for "truth." Rebecca knows that Ivanhoe is a favorite of Richard I, and that saving him might redeem the family in the King’s eyes when he returns. She also doesn’t want to share the secrets of her medical preparations with anyone else. By agreeing that Rebecca is "speaking but sooth,” Isaac admits the validity of her argument. Although he is frightened, he understands why she must heal the young knight herself.
The allusion to "the secrets of the blessed Miriam" refers to the healing elixir that Rebecca has prepared for Ivanhoe. By invoking Miriam, sister of Moses in the Bible and revered in Jewish tradition for her wisdom, Isaac acknowledges the sacredness of Rebecca's knowledge and her healing abilities. This allusion suggests that her knowledge is a precious secret which links her to the historical and spiritual legacy of Miriam. Isaac's reluctance to share Rebecca's healing secrets with others is rooted in a deep respect for the sanctity and uniqueness of her skills, and an unwillingness to let her potion pass into non-Jewish hands.
Speaking to Rebecca about his concerns should Richard I return, Isaac references King Richard I's famous moniker “The Lionheart” and the Crusades. He does so to express his fear of meeting King Richard because of his dealings with Prince John, employing allusion and metaphor to emphasize his point:
And him whom the Nazarenes of England call the Lion’s Heart, assuredly it were better for me to fall into the hands of a strong lion of Idumea than into his, if he shall have assurance of my dealing with his brother.
The allusion to Richard I's nickname, "the Lion’s Heart," alludes to his legendary bravery and ferocity, particularly in the context of the Crusades, where he was a leading Christian (referred to here as "Nazarene") figure. Isaac's use of "Nazarenes" to refer to Christians and choosing to use a nickname to refer to Richard signal his discomfort as much as the content of his speech does. He’s concerned about direct contact with Richard, and so even his choice of words distances him from direct confrontation with the King.
The metaphor Isaac uses here only further displays his terror of Richard. He compares the idea of facing Richard I to facing an actual lion from Idumea—a real region in what is now Jordan—historically populated with fierce lions. This comparison vividly illustrates Isaac's terror, as he says he’d rather confront a literal wild lion than Richard "the Lionheart." This metaphor not only highlights Isaac's real and profound fear of retribution from King Richard, but also underscores the high stakes involved in the political and personal loyalties of the time. As a Jew living in England, he’s already always in danger; being associated with a traitor to the throne like Prince John would be very perilous indeed should Richard I return to his throne.
As he describes the care Rebecca provides for the injured Ivanhoe, Scott alludes to the medieval Romance genre's trope of the gentle, healing female lover:
The youngest reader of romances and romantic ballads, must recollect how often the females, during the dark ages as they are called, were initiated into the mysteries of surgery, and how frequently the gallant knight submitted the wounds of his person to her cure, whose eyes had yet more deeply penetrated his heart.
The allusion to the "Gentle Nurse" trope refers to one of the traditional roles young unmarried women play in medieval Romance literature. Beautiful, sometimes magically gifted female characters often heal the wounds of injured knights in these stories. This imagery evokes traditional genre-specific ideas of love and chivalry; in a more general sense, it reinforces traditional gender roles by showing women as caregivers to embattled men. By referencing this trope, Scott connects the story to other versions of the same events in 12th- and 13th-century romances.
The metaphor Scott employs here—comparing the act of meeting the gaze of a lover to stabbing or “penetrating” the physical body—suggests that compassion from an attractive female source is as powerful as a sword or a lance. The metaphor emphasizes the narrative that women play a crucial role in healing not just physical wounds, but emotional ones as well. Ivanhoe has just been literally stabbed in the chest, but the author suggests that he actually feels more deeply “penetrated” by Rebecca’s gaze here.
As Isaac nervously speaks to Nathan Ben Samuel about visting the Preceptory of Templestowe, home of the Grand Master of the Knights Templar, Scott uses allusion and an idiom to convey the fearsome reputation Lucas de Beaumanoir commands:
‘It is well known unto me,’ answered Isaac; ‘the Gentiles deliver this Lucas Beaumanoir as a man zealous to slaying for every point of the Nazarene law; and our brethren have termed him a cruel destroyer of the Saracens, and a cruel tyrant to the Children of the Promise.’
Isaac is terrified of meeting de Beaumanoir because he has a reputation for violence and zealotry. He sees non-Christians as subhuman infidels and has killed or subjugated thousands in the Templars' name. The idiom "Children of the Promise" as Isaac uses it here is an old-fashioned term for Jews, deriving from the Biblical “promises” made to Abraham and his descendants. Although Christianity and Judaism are both Abrahamic religions, the enforcement of “Nazarene law” is a terrifying prospect for the Jewish characters in Ivanhoe.
The allusion to "Nazarene law" points to the historical animosity and persecution faced by Jews (and Muslims, whom Scott's characters call "Saracens") under Christian rule, particularly during the Crusades. "Nazarene" or Christian law refers to Nazareth, the Biblical birthplace of Jesus Christ. By characterizing Beaumanoir as someone who zealously enforces Christian laws to the detriment of Jews and Muslims, Isaac highlights the threat posed by zealots like de Beaumanoir to non-Christian communities. The reference he makes to "Nazarene law" as a justification for being a “cruel destroyer” points to the intense and wide-reaching power of the Christian church at the time. It also points to the precarious position Jewish people occupied in the Middle Ages, as a group who were often caught between conflicting powers and subjected to legal and social oppression wherever they went.
In Ivanhoe Scott draws a parallel between the return of King Richard I from his captivity in Europe to the emergence of Daniel from the den of lions in the Bible. This allusion serves as an allegory for Richard's journey and his influence, as Nathan Ben Samuel says to Isaac:
Go thou [...] and be wise, for wisdom availed Daniel, even in the den of lions into which he was cast; and may it go well with thee, even as thy heart wisheth.
When Nathan delivers this advice he's telling Isaac that he should go and beg Bois-Guilbert to release Rebecca. Isaac is worried about doing this because the Knights Templar are allied with Prince John, and he is frightened of angering Richard I when he returns. By invoking the Biblical story of Daniel, who was thrown into the lions' den by his jealous rivals but emerged unscathed due to divine providence, Nathan here suggests that wisdom and righteousness are protective forces. The allusion to Daniel being thrown to the lions by jealous rivals directly mirrors the trajectory of Richard I, whom everyone believes to still be imprisoned. Like Daniel, Richard faces betrayal and danger during his imprisonment. His incarceration was a direct result of the envy and machinations of those around him, including his brother Prince John. The reference to Daniel's wisdom in the face of seemingly insurmountable odds reflects the narrator’s view of Richard's own situation. Despite being held captive and facing the treachery of his brother, Richard's return is marked by a sense of rightful leadership being restored.
The allegory extends further, with Daniel's eventual return from the lion's den allegorizing Richard I's return to England as Isaac and Nathan imagine it. This parallels the Biblical story's themes of divine favor and the eventual triumph of good over evil, suggesting that Richard's leadership and presence are good and righteous. It reinforces a central idea in Ivanhoe that Richard's rule was not only legitimate but also divinely favored.
