The narrator of Ivanhoe is consistent, to say the least. They remain the same throughout the novel, omnisciently observing the actions of characters and regularly providing their opinion on those behaviors. They occasionally directly intervene, interrupting the novel's chronological flow to speak “to” the reader and provide context in the form of flashbacks. The narrator’s voice has a highly specific pro-Saxon and pro-Richard the Lionheart bent, often using ethos to make readers believe in their moral pronouncements about Normans, Templars, and Prince John. Their narrative tone varies from solemn to playful as the story does. This tonal variation keeps the reader engaged with the events of the plot, and consistently redirects their attention to the values of chivalry and the moral choices behind each character’s actions. Their tone is always celebratory of heroism and unequivocally critical of injustice.
As the plot advances through tense interactions punctuated by long, descriptive interludes, the narrator’s approach to storytelling remains consistently aligned with its events. During scenes of high excitement or action like battles or sieges, the narrator sounds exhilarated and energized. This excitement is contagious, drawing the reader into the immediacy and thrill of the narrative. Conversely, in moments where the story investigates the hardships of adhering to a strict moral code in the face of adversity, the tone becomes more serious and somber. The narrator is sympathetic to the struggles of “good” characters like Rebecca, even if morally upright characters don’t always act perfectly. They are far less sympathetic to those of “bad” or unethical characters like Lucas de Beaumanoir and Prince John, who have the freedom to act benevolently but choose not to.
Scott’s tone in the historical and expository sections of the novel becomes more didactic and restrained. Although the narrator seemingly cannot help but romanticize the English landscape, their descriptions of the lives of peasants and the limitations placed on women are grim and matter-of-fact. They speak idealistically and poetically when they discuss the laws of chivalry, and more matter-of-factly when discussing matters of “fact” in Scott’s fictional England.
