Themes
Key
LitCharts assigns a color and icon to each theme in Ivanhoe, which you can use to track the themes throughout the work.
The Merits of Chivalry
Disguise and Discovery
Inheritance and Displacement
The Vulnerability and Power of Women
History vs. Romance
Summary
Analysis
Now the tale returns to the unfortunate Cedric and his party, whose captors seem so unfamiliar with the countryside that they lose their way until after sunrise. At the head of the group, Sir Brian encourages De Bracy to go change for his role as the rescuing hero, but De Bracy demurs. He wants to escort Rowena all the way to Torquilstone. Sir Brian takes offense at De Bracy’s suspicion that he will harm Rowena. The pair trade increasingly shrill, if politely worded, threats. Finally, Sir Brian exclaims that he prefers Rebecca.
The inability of the Norman “bandits” to make their way through the countryside betrays their identities through their disguises. The conflict between de Bracy and Sir Brian illustrates the often-precarious assurance that espoused chivalric virtues will in any meaningful way curb violence and greed. De Bracy admits that Sir Brian behaves, at least superficially, according to the moral and ethical codes of knighthood and his religious vocation as a Templar—but he doesn’t trust Sir Brian to follow through.
Themes
Elsewhere in the procession, Cedric tries to gain the sympathy he expects in this allegedly English—in other words, Saxon—band of thieves. When he recognizes Torquilstone, the squat and old-fashioned castle currently occupied by Reginald Front-de-Boeuf, he realizes that his captors are disguised Normans. He curses them and begs them to spare Rowena’s honor, but they ignore him. Inside the castle, the “bandits” separate Rowena and Rebecca from the rest of the group.
As soon as Cedric understands that his captors are Normans, not Saxons, he clearly expects them to rape Rowena—appeals for her “honor” refer to her virginity, since in both the medieval setting of the story and the early 19th century in which it was written, society explicitly connected a woman’s virginity and sexual continence to her worth. But the Normans don’t care for honor, and his pleas seem to fall on deaf ears.
Themes
Although Athelstane seems undisturbed by the loss of his freedom, except as far as it keeps him from breakfast, imprisonment in this well-known hall makes Cedric indignant. An important moment in the life of Harold, the last Saxon king, played out here as he threatened his rebellious brother, Tosti, with death. Now, Normans imprison Cedric and his Saxon companions in the same room. Even the stained-glass windows annoy Cedric since they point to the enervating influence of Norman style on the Saxons.
Athelstane again demonstrates his lack of connection to the Saxon cause when he frets more about eating than being imprisoned by Normans. Conversely, to Cedric, everything in the present points to the mistakes of the past. In his mind, the Norman invasion began long before 1066, when the Saxon lords began to adopt Norman habits and fashions. He suggests this compromised the Saxons’ natural, unadorned power.
Themes
Athelstane replies to all of Cedric’s complaints with his own querulous meditations on his empty stomach. Finally, Cedric upbraids him in disgust, bemoaning the fact that such a dull spirit occupies a big, strong body—and that the fate of English independence should hang on Athelstane. Just then, masked stewards bring the prisoners’ breakfast. Cedric demands that Front-de-Boeuf name their ransom and Athelstane issues a challenge of combat to Front-de-Boeuf. Cedric, believing that at last he’s roused Athelstane’s fighting spirit, sits down to a hearty meal. While they eat, they hear several blasts of a horn at the gates, the reason for which they cannot discern.
Although not yet ready to drop his plan, Cedric must increasingly face the reality that Athelstane, despite his royal pedigree, makes a poor candidate for king. But Prince John has already shown that royal blood without personal virtue makes a bad king. Even Athelstane’s challenge points to his shallow virtue since he doesn’t seem to expect Front-de-Bouef to accept it. Stylistically, Volume two follows each of the captives of Torquilstone in sequence even though the events it covers run in parallel. The recurring sound of a commotion at the gates links each narrative in time.
Themes
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