The fifth chapter explores how concepts of caricature interacted with historical romance in the critical reception and writing of Walter Scott’s characters. I explore Scott’s association of pictorial caricature with accuracy, particularity and referentiality, looking in particular at The Heart of Mid-Lothian and Guy Mannering, and suggesting the implications of John Kay’s caricatures for Scott’s ’compendious realism’. Scott’s defences of historical ’caricature’ – in his essay on Tobias Smollett and in the Magnum Opus edition of The Monastery – are a counterpoint to the anti-caricature rhetoric used to disparage his novels. Returning to the realist device of the ’explained caricature’, I differentiate national caricatures of the Scots and Jewish ’body-corporate’ in Rob Roy, The Heart of Mid-Lothian and Ivanhoe.

This concluding chapter ‘History in Print from Caxton to 1543’ examines the various forms in which historical writing was represented in early print. It begins by considering William Caxton’s various contributions and their places in his larger publishing strategies. It examines those works that he published that reflect earlier, manuscript traditions of historical writing, including the prose Brut and the Polychronicon, and the ways in which these were modified as they developed a new print tradition. The chapter goes on to assess the emergence of new forms of history that began to be developed by print in the early sixteenth century, including the emergence of print as a means for swift response to contemporary events and finally the appearance, in 1543, the first appearance in print of John Hardyng’s fifteenth-century verse chronicle, the publication of which was combined with contemporary prose historical writings.