The development of the novel of ideas has at times been closely related to the development of another literary form that emerged out of the social and political transformations of nineteenth-century Britain: the historical novel. With a glance back at a prototype of both forms – the fiction of Sir Walter Scott – this chapter moves on to discuss the work of one of Scott’s unlikeliest yet most significant inheritors, the Scottish socialist and feminist novelist Naomi Mitchison. It argues for Mitchison as one of the foremost twentieth-century practitioners of the historical novel as novel of ideas, focussing on The Bull Calves (1947), which she wrote during the Second World War, and which drew on her own family history as well as the wider history of Scotland’s complicated political status in the aftermath of the 1745 Jacobite rising. Mitchison’s most important contribution to the twentieth-century novel of ideas, the chapter concludes, was to forge a new kind of historical fiction which took seriously the dialectical relationship between conceptual and linguistic change.

Introduction: Walter Scott’s tales of chivalry and adventure inaugurated a masculinized Scottish romance tradition that celebrated a sublime and heroic version of Scotland. Nineteenth-century Scotswomen responded to Scott’s influence by establishing a countertradition of unromantic or even antiromantic representations of Scotland. Their novels challenge the long-standing claim that Scotland lacked any equivalent to the English realist novel. In turning from the past to the present and from the sublimity of Scott’s Highland landscapes to farmhouses, factories, and suburban villas, Scottish women writers brought romance to everyday life, illuminating the magnificence of the mundane. Drawing on the evangelical discourses emerging from the splintering of the Presbyterian Church in 1843, they represented fiction as a form of spiritual comfort, an antidote to the dreary monotony and petty frustrations of daily existence.

The alertness to the languages and literatures of Scotland that marks Seamus Heaney’s work in all its stages is rooted in an awareness of the Scottish derivation of much of the distinctive lexis of his native region. Ignorance of and even antipathy towards Lowland dialect and culture occasionally surfaces in Irish writing in the nineteenth and twentieth centuries, for instance in Carleton and Yeats. Heaney’s enthusiasm for Scotland was in some respects anticipated by James Joyce, another etymologically obsessed Irish writer, though it is notable that, unlike the novelist’s, the poet’s interests included the Highland Gaelic as well as the Lowland English and Scots aspects of Scottish literary achievement. The chapter traces Heaney’s sustained engagement with Scotland in his separate capacities as editor, translator and poet and concludes by examining key intertexts between his poetry and that of Hugh MacDiarmid.