The Lady of the Lake

Walter Scott, the ninth of a family of twelve children, was born at Edinburgh in August, 1771. His first consciousness of existence dated from the time when he was sent, a lame, delicate child, to Sandyknowe, the residence of his paternal grandfather. Here he “was often carried out and laid down beside the old shepherd among the crags or rocks round which he fed his sheep.” If Scott’s genius was late in flowering, who can say that the budding did not begin in that early, close companionship with the Highland country which he was to reproduce so vividly in his verse and fiction?

With strength increased by open-air life, although still slightly lame, we find him later a sturdy, active, not over-studious boy at school at Edinburgh and Kelso, and at fifteen beginning in his father’s office the legal studies which he continued at the university.

Referring to the time after leaving the high school, when he made the acquaintance of Tasso’s “Jerusalem Delivered,” Percy’s “Reliques,” and the best works of English fiction, Scott says, “To this period I can trace distinctly the awakening of that delightful feeling for the beauties of natural objects which has never deserted me. From this time the love of natural beauty, more especially when combined with ancient ruins or remains of our fathers’ piety or splendor, became within me an insatiable passion, which, if circumstances had permitted, I would willingly have gratified by traveling half over the globe.”

His gigantic memory had always appropriated most eagerly the heroic and romantic elements of verse, tale, and history, from the days when, a child, he read Pope’s translation of Homer aloud to his mother, to the time when he hunted ballads and chased traditions with the keen zest of a scholar and an antiquary.

The first notable outcome of these researches was his “Minstrelsy of the Scottish Border,” published in 1802. To this collection of ancient Border ballads, which he had spent years in collecting, were added some spirited new ones which he had deftly shaped to the old models. This form of poetic expression was especially suited to the genius of Scott, and the class of subjects to which it was usually adapted had long been the object of his enthusiastic study.

The amplification, then, of the ballad to the proportions of the more pretentious metrical romance came by a natural process of crystallization of the elements of a rare power, profound research, and inspiring themes.

The first of the more ambitious efforts of Scott was the “Lay of the Last Minstrel,” which was published in 1805. This became immediately and generally popular, and paved the way for the favorable reception of later productions. In 1808 “Marmion,” the greatest poetical work of Scott, appeared. This was so enthusiastically received, that a certain friend urged him to be satisfied with such unexampled success, and refrain from publishing anything more, lest he impair his prestige. To this he replied, “If I fail, it is a sign that I ought never to have succeeded, and I will write prose for life: you shall see no change in my temper, nor will I eat a single meal the worse. But if I succeed,

In this confident, buoyant spirit he made another venture, “The Lady of the Lake,” published in 1810; and its extraordinary success justified his expectations. How sincere and widespread was the enthusiastic appreciation of this poem may be judged from the following instance, mentioned in Lockhart’s “Life of Scott:” “In the course of the day, when ‘The Lady of the Lake’ first reached Sir Adam Fergusson, he was posted with his company on a point of ground exposed to the enemy’s artillery, somewhere, no doubt, on the lines of Torres Vedras. The men were ordered to lie prostrate on the ground. While they kept that attitude, the captain, kneeling at the head, read aloud the description of the battle in Canto VI., and the listening soldiers only interrupted him by a joyous huzza when the French shot struck the bank close above them.” We are not surprised at the soldierly tribute to the power of a poet “through whose head a regiment of horse had been exercising since he was five years old,” whose sympathies had always been in touch with heroic achievement and chivalrous enterprise, and whose poems rang “with the quick, metrical tramp of his own moss-troopers;” but this was only a fractional though precious part of the applause that greeted him. “The whole country rang with the praises of the poet; crowds set off to view the scenery of Loch Katrine, till then comparatively unknown; and, as the book came out just before the season for excursions, every house and inn in that neighborhood was crammed with a constant succession of visitors.”

Scott, in speaking of this poem, says, “The ancient manners, the habits and customs, of the aboriginal race by whom the Highlands of Scotland were inhabited, had always appeared to me peculiarly adapted to poetry. The change in their manners, too, had taken place almost within my own time, or at least I had learned many particulars concerning the ancient state of the Highlands from the old men of the last generation. I had also read a great deal, seen much, and heard more, of the romantic country where I was in the habit of spending every autumn; and the scenery of Loch Katrine was connected with the recollection of many a dear friend and merry expedition of former days. This poem, the action of which lay among scenes so beautiful, and so deeply imprinted upon my recollections, was a labor of love; and it was no less so to recall the manners and incidents introduced. The frequent custom of James IV., and particularly of James V., of walking through the kingdom in disguise, afforded me the hint of an incident which never fails to be interesting if managed with the slightest address or dexterity.”

The high-water mark of Scott’s popularity as a poet was reached with “The Lady of the Lake.” In 1813 he published “Rokeby,” and in 1814 “The Lord of the Isles.” In the latter year “Waverley” appeared anonymously; and with this prose romance began Scott’s career as a novelist, which extended through fourteen years. In this period of time he wrote twenty-three novels, besides some other works of minor importance.

“The land of the lakes and the mountains, and of the brave men,” as the old Scots called their country, included the two great divisions, the Highlands and the Borders, which were so much wilder and more barbarous than the others, that they might be said to be altogether without law. Although nominally subject to the King of Scotland, yet they were so untamable that the enforcement of justice was almost as difficult as the subjugation of a foreign people.

The Highlands, rocky and mountainous parts of the country, comprised a large share of the north of Scotland. It was into these pathless wilds that the Romans drove the ancient Britons, and it was from these retreats that the fugitives afterward sallied forth to harass their conquerors.

The language of the Highlands, the Gaelic, was totally different from that of the Lowlands, which resembled English. The dress of the mountaineers also differed from that of the Lowlanders. They wore a plaid or mantle of frieze, or of a striped stuff called tartan, one end of which, being wrapped around the waist, formed a short petticoat, which descended to the knee, while the rest they folded around them like a sort of cloak. Their feet were covered with buskins made of rawhide; and the usual head covering was a cap called a “bonnet.” They went always armed. Their weapons were bows and arrows, large swords, poleaxes, and daggers for close fight. For defense they had a round wooden shield, or target, stuck full of nails, and their great men had shirts of mail composed of links of iron. The common men sometimes wore a jacket of leather, having plates of metal stitched into it, but usually had no armor.

The Highlanders were divided into clans or tribes. All members of a clan supposed themselves to be descended from the same common ancestor, whose name distinguished them from other clans. Thus, one tribe was called MacDonald, which signifies the sons of Donald; another MacGregor, the sons of Gregor; MacNeil, the sons of Neil; and so on. They yielded unquestioning obedience to their chief, even when their submission to his orders implied disloyalty to the King. Each tribe had its own special territory, any invasion of which was punished as severely as though the foe had been of another nationality. Macaulay says of the sentiment that actuated them, “Their intense attachment to their own tribe and to their own patriarch, though politically an evil, partook of the nature of virtue. The sentiment was misdirected and ill-regulated, but still it was heroic. There must be some elevation of soul in a man who loves the society of which he is a member, and the leader whom he follows, with a love stronger than the love of life. It was true that the Highlander had few scruples about shedding the blood of an enemy; but it was not less true that he had high notions of the duty of observing faith to allies, and hospitality to guests.”

The Highlanders were continually at war with the Lowlanders. They did not regard their plundering raids upon the richer grounds of the Lowlands as robbery, but as rightful recovery of possessions which had been wrongfully wrested from their ancestors. The Lowlanders, equal in courage and superior in discipline, could not be easily overcome, and thus there was almost constant war or discord between them.

Some of the more powerful Highland chiefs set themselves up as independent sovereigns, and even made alliances with the English in their own name. Macaulay says that “national enmities have always been fiercest among Borderers; and the enmity between the Highland Borderer and the Lowland Borderer along the whole frontier was the growth of ages, and was kept fresh by constant injuries.” The Borderers were also divided into clans, and their devotion to their chieftain was complete. From their proximity to England, and their frequent incursions into its territory, they added to the perplexities of Scottish rule, which were already great by reason of constant internal dissension.

The Highlanders fought always on foot: the Borderers were all horsemen. The Borderers spoke the same language as the Lowlanders, wore the same sort of dress, and carried the same arms. Being accustomed to fight against the English, they were also much better disciplined than the Highlanders; but, in point of obedience, they were not much different from the clans of the north.

Military officers, called “wardens,” were appointed along the Borders to keep these unruly people in order; but, as these wardens were generally chiefs of clans, they did not do much to mend the evil. The good Lord James of Douglas was intrusted with a great part of the charge of the Borders by Robert the Bruce. He was faithful to his trust, but the clan thus acquired power which was afterward dangerous to the country.

The hostility between the Highlanders and the Lowlanders was only equaled by the hatred both felt toward their Saxon neighbors, and it was not till 1745 that Scotland was subjugated by England. The conquest was so complete that even the national dress was abolished. The old Gaelic institutions and manners were modified, and the power of the clan chieftain was broken. With the last struggle of the exiled Stuart party, which ended in defeat at Culloden, began a new era for Scotland. To the old reign of lawlessness and disorder succeeded measures that were wisely coercive, and which finally secured a unity of Scottish interests, and greatly augmented prosperity in the entire kingdom.

In August, 1502, James IV. of Scotland married Princess Margaret Tudor, sister of Henry VIII. of England. It was hoped that this alliance would be the means of ending the bitter hostility which had existed between Scotland and England since the time of Edward I. A temporary peace ensued, but it was not till a century later that a descendant of the Scottish James sat on the throne of England.

The only son of James IV. and Margaret who survived infancy was James V. (James Fitz-James of the poem). He was born in 1513, and crowned when less than ten years old, his father having been slain at the battle of Flodden Field, which had resulted so disastrously for Scotland.

By the will of James IV., Margaret was to be queen regent as long as she remained a widow. In 1514 she lost the regency and greatly impaired her influence by marrying Archibald Douglas, Earl of Angus. Bitter enmity already existed between the head of the Douglas clan and other Scottish nobles; and, when Angus had the added dignity of being the husband of the queen regent, the jealousy and rivalry were greatly increased.

After losing the regency, Margaret was obliged to surrender the control of her son to Parliament. The Duke of Albany, the younger son of James III., was appointed regent during the minority of the King. Albany, who had spent many years at the luxurious court of France, returned to his native country with no appreciation of its real needs, and little sympathy with the Scotch. He failed to administer the government in a satisfactory manner. Angus plotted to secure control of affairs, and to gain custody of the young King. He assumed all the authority of a regent, without possessing any claim to the title, and kept James under close guard while pretending to govern the realm in his name.

The King was very restive under this irksome and unlawful restraint, and sympathized strongly with efforts which were made for his release. In 1526 two armed attempts were made to liberate him. Both resulted in failure. What could not be accomplished by force was finally secured by a cleverly planned stratagem of the royal captive; and he escaped to Stirling Castle, where devoted adherents awaited him. Two months later, Parliament declared the estates of the Douglases forfeited to the Crown, and there was neither place nor grace left in Scotland for any bearing the obnoxious name.

James even extended his animosity to one Archibald Douglas of Kilspendie (the Douglas of the poem), to whom he had been greatly attached. A touching story is told of the return of the old man, who had grown weary of his exile in England, and longed for a sight of Scotland and the former friendly regard of the King, whom he had never personally offended. He was doomed to undeserved disappointment, however, as James was unrelenting in his resentment, and would not modify any of the harsh conditions of his oath against the hated Douglas clan.

Although one of the most formidable obstacles to the exercise of royal rule disappeared with the crushing of the power of the Douglases, James still met much opposition from the nobility.

There were many abuses connected with the irregular rule exercised during his minority, and portions of the kingdom were in a condition of great lawlessness, which made it necessary for him to resort to severe measures. A five-years’ truce was concluded with England in 1528, which allowed him to devote himself to the internal interests of Scotland. The following year he began to reduce the rebellious Borders to submission. By force and by craft he brought them into his power, putting to death many of the great nobles, and greatly limiting the privileges of those he allowed to live, until some degree of order was established.

After he had subdued the Borders, he proceeded against the Highland chieftains with equal rigor. The insubordination which had prevailed in that part of Scotland yielded to the unsparing severity of James, and life and property became measurably secure.

The King was greatly aided in the execution of his plans by the clergy, whom he favored in many ways, especially by countenancing the repression of heresy,—a course quite contrary to that pursued by his uncle, Henry VIII.

Popular sentiment also supported this “King of the Commons,” as he was called from his habit of mingling with the common people, and taking a practical interest in their welfare. He was accustomed to travel over the kingdom in disguise, that he might learn the true condition of his subjects, and investigate the administration of justice. This custom, added to his fondness for hunting, gave him an intimate acquaintance with his kingdom and his people.

Scott says of him, “He was handsome in his person, and resembled his father in the fondness for military exercises and the spirit of chivalrous honor which James IV. loved to display. He also inherited his father’s love of justice, and his desire to establish and enforce wise and equal laws.... He was a well-educated and accomplished man, and, like his ancestor James I., was a poet and a musician. He had, however, his defects. He avoided his father’s failing of profusion, having no hoarded treasures to employ on pomp and show, but he rather fell into the opposite fault, being of a temper too parsimonious; and, though he loved state and display, he endeavored to gratify that taste as economically as possible, so that he has been censured as rather close and covetous.... It must be added, that, when provoked, he was unrelenting even to cruelty; for which he had some apology, considering the ferocity of the subjects over whom he reigned. But, on the whole, James V. was an amiable man and a good sovereign.”

Henry VIII. endeavored to enlist the aid of James in an organized resistance to the authority of the Church. The Scottish King apparently favored, in a measure, his uncle’s policy; but his alliance with France restored and increased his adherence to papal rule.

The failure of James to keep an appointment made for meeting King Henry at York offended the latter, who accused him of dealing treacherously, and declared war against Scotland. Many of the Scottish nobles were disaffected, and the army was disorganized. At Solway Moss, James was openly defied by his nobility. Scott says regarding this bitter humiliation, “He shut himself up in the palace of Falkland, and refused to listen to any consolation. A burning fever, the consequence of his grief and shame, seized on the unfortunate monarch. They brought him tidings that his wife had given birth to a daughter; but he only replied, ‘Is it so?’ reflecting on the alliance which had placed the Stuart family on the throne. ‘Then God’s will be done. It came with a lass, and it will go with a lass.’ With these words, presaging the extinction of his house, he made a signal of adieu to his courtiers, spoke little more, but turned his face to the wall, and died [1542] of the most melancholy of all diseases, a broken heart.”

The story of “The Lady of the Lake” is briefly as follows:—

Canto First.—A huntsman who has distanced his companions and lost his steed, which, urged beyond endurance, has fallen dead in the Trosachs, has finally wandered over rocky ways to the shore of Loch Katrine. Here he winds his horn, hoping the sounds may reach his comrades. In response, a skiff appears rowed by a maiden, who thinks the blast was from her father’s horn. Although at first startled, she is reassured by the “wildered wanderer’s” explanation, and proffers the hospitality of her father’s dwelling. They row across the lake to the island home, where, in the absence of the chieftain, Ellen, and the mistress of the mansion, the graceful Dame Margaret, dispense true Highland hospitality. He styles himself Knight of Snowdoun, James Fitz-James, but fails to learn the names of his hosts. “The stranger’s bed of heather” was spread for the tired huntsman; but his rest was disturbed by “broken dreams,” in which the exiled Douglases played a prominent part.

Canto Second.—The stranger takes his leave in the early morning. Allan, the old minstrel, tunes his harp to a parting song, and Ellen watches the knight “wind slowly round the hill.” Then, chiding herself for a momentary interest in him, she bids Allan sing in praise of the Græmes, one of whom is her lover. The old man is brooding over the ominous fallen sword, and cannot respond. He foresees the demand of Roderick Dhu, and distrusts the parting guest. Their conversation is interrupted by the music of the pibroch and the boat-song, which precede the landing of her cousin Roderick Dhu and his rough followers. Lady Margaret and her maids come to meet him. Ellen, quite willing to avoid her cousin, eagerly responds to her father’s bugle horn, and hastens to meet him in her skiff. Malcolm Græme accompanies him. Roderick is informed that the King is preparing to deal with the Highland freebooters as severely as he has already done with the Border chieftains, and that the retreat of the outlawed Douglas has been discovered. Douglas is ready to withdraw with his daughter, thus lessening the danger of Roderick. The latter demands his alliance and the hand of his daughter. Both are refused by Douglas. A contest arises between Roderick and Græme, which results in the departure of the latter for the mainland, which he reaches by swimming from the island.

Canto Third.—On the following morning occurs the consecration, with weird ritual, of the Fiery Cross. Roderick sends it forth by his henchman Malise to summon his followers to a gathering in Lanrick mead. It is borne eastward, passing from band to band, stopping for neither bridal nor burial, till the entire clan is summoned to the appointed place. The same morning Douglas departs with his daughter and Allan-Bane to seek refuge in the Goblin-cave on the side of Benvenue. Roderick passes the cavern on his way to the rally in Lanrick mead, and listens, as he lingers, to the sound of Ellen’s voice in a hymn to the Virgin.

Canto Fourth.—The Highland clans have responded to the summons of the Fiery Cross. The Lowlanders are at Doune, ready to advance. Brian, the hermit monk, has tried a strange augury to determine on which side success shall be. He prophesies that that party shall be victorious which first sheds blood. Meantime Douglas has left his cavern retreat on some mission not made known to Ellen and Allan-Bane. They are instructed, however, to meet him at Cambus-kenneth if he does not return by nightfall. Ellen is anxious for her father’s safety, believing he has gone to secure the release of Malcolm Græme. She scarcely heeds the song of Allan-Bane, who endeavors to cheer her. While they are speaking, Fitz-James appears. He declares his love for Ellen, and urges her to escape with him to Stirling. She replies by a frank avowal of her love for Malcolm Græme. The knight’s sympathy is enlisted, and he leaves with her a ring, given him by the King for saving his life. This, he says, if presented to the King, will secure his protection for her and hers. Ellen and Allan-Bane endeavor to warn Fitz-James against the guide who departs with him. Their suspicions are confirmed by Blanche of Devan, a woman who has been half crazed since Roderick Dhu murdered her bridegroom in a wild Lowland raid. Her incoherent song is meant as a warning to the wandering knight in the Lowland dress. He charges Murdoch with treacherous intent. The guide seeks to escape, but not without aiming an arrow at Fitz-James. It grazes his crest, and lodges in the heart of Blanche of Devan. Fitz-James slays Murdoch, and returns to soothe the dying maniac. He promises to avenge her, and fastens to his bonnet a braid of her own and her bridegroom’s hair, which he has dipped in her blood. Continuing his way alone after nightfall, he comes upon the camp fire of a stranger, who gives him shelter till morning, when he promises to lead him on his journey.

Canto Fifth.—After a night’s rest and a hasty “soldier meal” in the morning, the Gael conducts his guest on his way, in accordance with his promise and Highland custom. Fitz-James allays the mountaineer’s apprehension of an attack by the King, but declares his hostility to Roderick Dhu, and avows his eagerness to meet him in combat. The guide is incensed at this, and sounds a signal which brings to sight armed men on every side. He then reveals himself as Roderick Dhu. He is bound by his word to conduct his guest to Coilantogle ford, and therefore dismisses his followers. When this place is reached, Roderick challenges Fitz-James, and a deadly combat ensues. Throwing away his shield, that his arms may not exceed those of his adversary, he trusts to his sword alone. Fitz-James is superior to his enemy through his knowledge of fencing, and finally overpowers him.

Fitz-James winds his horn, which is answered by four mounted attendants. He leaves the wounded man with two of them, with orders to bring him to Stirling, and hastens towards the Castle with the others. As they approach it, they perceive Douglas, who comes to surrender himself to the King, hoping thereby to secure the release of Malcolm Græme and avert the danger that threatens Roderick Dhu. The town is preparing for the burghers’ sports, in which Douglas decides to join in order that he may attract the attention of the King. He surpasses all other competitors, and receives the prize from the King, who does not recognize him. Douglas endures this in silence, but he cannot refrain from resenting a huntsman’s cruelty to Lufra, the hound, Ellen’s companion. This results in his being seized and taken as a prisoner to the Castle. Meantime a messenger brings to the King tidings of the rising of Clan-Alpine. He sends a hasty message to avert an encounter, as Roderick is already his prisoner in Stirling stronghold.

Canto Sixth.—“This canto introduces us to the guard room in Stirling Castle, amid the remains of the debauch which has followed the games of the previous day. While the few soldiers who remain awake are finishing their carouse, and talking over the rumors of yesterday’s battle, they are joined by one of their mates, who has been in the field, and brings with him a maiden and a minstrel (Ellen and Allan-Bane). They are at first disposed to treat the maiden roughly; but the sight of her innocent beauty, and her story of misfortune, touch the heart of one of the roughest in the company, who becomes her champion. Presently they are joined by the officer of the guard, who, at first sight of Fitz-James’s ring, commits the lady to proper care, while John of Brent, the guardsman who had interfered, grants Allan’s request to see his master; but, fancying that the minstrel is one of Roderick’s clansmen, he shows him into the wrong cell, where he finds the wounded chief. After anxious inquiries as to the safety of his kindred, Roderick asks anew of the fight; and the minstrel, in spirited verse, sings of the battle of Beal’ an Duine, whose issue was left doubtful by the arrival of a messenger from the King with orders to stay the fight. But before he had finished his song the stern spirit had fled, and the minstrel’s harp changes its tune from battle song to death dirge.

“Meanwhile Ellen waits anxiously and impatiently for her audience with the King. At last Fitz-James appears to escort her to the audience chamber. Faltering, she looks round to find the King, and sees, to her surprise, that her companion alone remains covered, and ‘Snowdoun’s Knight is Scotland’s King.’ He tells her how the feud with Douglas is at an end, and that her father is now to be ‘the friend and bulwark of his throne.’ But she still has the ring, still some boon to ask. She begs for Roderick’s life, but that is past giving; and when she shrinks from further request, the King calls forth Malcolm, and throws over him a golden chain, which he gives to Ellen to keep.”—R. W. Taylor.

THE LADY OF THE LAKE.

THE CHASE.

THE ISLAND.

THE GATHERING.

THE PROPHECY.

THE COMBAT.

THE GUARD ROOM.

Arcade. A series of arches supported by columns or piers, either open or backed by masonry.

Augury. 1. The art or practice of foretelling events. 2. An omen or prediction.

Barret cap. A kind of cap or head gear formerly worn by soldiers.

Battlement. A wall or rampart around the top of a castle, with openings to look through and annoy the enemy.

Black-jack. A capacious drinking cup or can formerly made of waxed leather.

Bracken. Large coarse fern.

Bulwark. A rampart; a fortification.

Carpet knight. A person knighted on some other ground than that of military service; a knight who has not known the hardships of war.

Close. To grapple; to come to close quarters in fight.

Coif. A kind of cap worn by Scottish matrons.

Crest. 1. The plume or decoration on the top of a helmet. 2. The device over a coat of arms. 3. The ridge of the neck of a horse or dog.

Dicer. A gamester.

Drawbridge. A bridge at the entrance of a castle, which, when lowered by chains, gave access across the moat or ditch surrounding the structure.

Embossed. (A technical hunting term.) Flecked or spotted with foam.

Favor. Something which was bestowed as a token of good will or of love, as a glove or a knot of ribbon, to be worn habitually by a knight-errant.

Feint. (A technical fencing term.) A seeming aim at one part when it is intended to strike another.

Feudal. Pertaining to that political form in which there was a chain of persons holding land of one another on condition of performing certain services. Every man in the chain was bound to his immediate superior, held land from him, took oath of allegiance to him, and became his man.

Flourish. A trumpet call; a fanfare or prelude by one or more trumpets performed on the approach of any person of distinction.

Frontlet. The front of a stag’s head; the horns.

Guard. In fencing, a position of passive defense.

Halberd. A long-handled weapon armed with a steel point, and having a crosspiece of steel with a cutting edge.

Henchman. A groom; an attendant or follower.

Jack. An upper garment of leather, worn for defense by common soldiers. It was sometimes strengthened by small pieces of metal stitched into it.

Jennet. A small Spanish horse.

Ken. Sight; knowledge.

Law. “To give law” to a stag is to allow it a start of a certain distance or time before the hounds are slipped, the object being to insure a long chase.

Mew. A cage for hawks while mewing or moulting: hence an inclosure, a place of confinement.

Pass. (A term in fencing.) To thrust with a sword.

Pennon. A swallow-tailed flag or streamer.

Poleax. An ax fixed to a pole or handle. It was formerly used by mounted soldiers.

Prime. In the Roman Catholic Church the first canonical hour of prayer, six o’clock in the morning, generally the first quarter of the day.

Quarterstaff. A stout staff used as a weapon of defense. In using it, one hand was placed in the middle, and the other halfway between the middle and the end.

Signet. 1. A seal. 2. A ring containing a signet or private seal.

Slip. To let slip; to loose hands from the noose; to be sent in pursuit of game.

Squire. An attendant upon a knight.

Stirrup cup. A cup of wine drunk on parting from a friend on horseback.

Store. (An obsolete adjective.) Accumulated; stored up.

Strath. A valley of considerable size, through which a river flows.

Targe. Target-shield.

Tine-man. An officer of the forest, who had the nocturnal care of vert and venison.

Troll. 1. A song the parts of which are sung in succession; a round. 2. To sing in the manner of a catch or round, also in a full, jovial voice.

Vair. The skin of the squirrel, much used in the fourteenth century as fur for garments.

Vantage coign. A position of advantage for observing or operating.

Ward. A guarding or defensive position or motion in fencing.

Warder. One who wards or keeps.

Whinyard. A short sword or knife.

The Lady of the Lake is usually read in the first year of the high school course, and it is with this fact in mind that the following suggestions have been made. It is an excellent book with which to begin the study of the ordinary forms of poetry, of plot structure, and the simpler problems of description. For this reason in the exercises that follow the emphasis has been placed on these topics.

The Lady of the Lake is an excellent example of the minor epic. Corresponding to the “Arms and the man I sing,” of the Æneid, and the invocation to the Muse, are the statement of the theme, “Knighthood’s dauntless deed and Beauty’s matchless eye,” and the invocation to the Harp of the North, in the opening stanzas. For the heroes, descendants of the gods, of the great epic, we have a king, the chieftain of a great clan, an outlaw earl and his daughter, characters less elevated than those of the great epic, but still important. The element of the supernatural brought in by the gods and goddesses of the epic is here supplied by the minstrel, Brian the priest, and the harp. The interest of the poem lies in the incidents as with the epic. The romantic story of Ellen and Malcolm, however, lies quite outside the realm of the great epic, which is concerned with the fate of a state or body of people rather than with that of an individual.

There are two threads to the story, one concerned with the love story of Ellen and Malcolm, the main plot; and one with Roderick and his clan against the King, the minor plot. The connection between them is very slight, the story of Ellen could have been told almost without the other, but the struggle of the Clan makes a fine background for the love story of Ellen and Malcolm. The plot is an excellent one for the beginner to study as the structure is so evident. The following is a simple outline of the main incidents of the story.

All of Scott’s works afford excellent models of description for the beginner in this very difficult form of composition. He deals with the problems of description in a simple and evident manner. In most cases he begins his description with the point of view, and chooses the details in accordance with that point of view. The principle of order used in the arrangement of the details is usually easy to find and follow, and the beauty of his contrasts, the vanity and vividness of his diction can be in a measure appreciated even by boys and girls in the first year of the high school. If properly taught a pupil must leave the study of the poem with a new sense of the power of words. In his description of character Scott deals with the most simple and elemental emotions and is therefore fairly easy to imitate. In the special topics under each canto special emphasis has been laid upon description because of the adaptability of his description to the needs of the student.

 1. Customs of the Highlanders.
 2. Two Ideas of Hospitality.
 3. The Knight of Romance.
 4. The Lady of Romance.
 5. The Heroine of To-day.
 6. The Modern Knight.
 7. Methods of Highland Warfare.
 8. Roderick Dhu as a General.
 9. The Scottish Minstrel.
10. Was James a Good King?
11. Dramatization of a Scene from The Lady of the Lake.
12. The Kind of Man Scott Admired.
13. Dreams That Came True.
14. Superstitions.

WEBSTER’S SECONDARY
SCHOOL DICTIONARY

Full buckram, 8vo, 864 pages. Containing over 70,000 words, with 1000 illustrations.

This new dictionary is based on Webster’s New International Dictionary and therefore conforms to the best present usage. It presents the largest number of words and phrases ever included in a school dictionary—all those, however new, likely to be needed by any pupil. It is a reference book for the reader and a guide in the use of English, both oral and written. It fills every requirement that can be expected of a dictionary of moderate size.

¶ This new book gives the preference to forms of spelling now current in the United States. In the matter of pronunciation such alternatives are included as are in very common use. Each definition is in the form of a specific statement accompanied by one or more synonyms, between which careful discrimination is made.

¶ In addition, this dictionary includes an unusual amount of supplementary information of value to students: the etymology, syllabication and capitalization of words; many proper names from folklore, mythology, and the Bible; a list of prefixes and suffixes; all irregularly inflected forms; rules for spelling; 2329 lists of synonyms, in which 3518 words are carefully discriminated; answers to many questions on the use of correct English constantly asked by pupils; a guide to pronunciation; abbreviations used in writing and printing; a list of 1200 foreign words and phrases; a dictionary of 5400 proper names of persons and places, etc.

AMERICAN BOOK COMPANY

(S.105)

TEACHERS’ OUTLINES
FOR STUDIES IN ENGLISH

Based on the Requirements for Admission to College

By GILBERT SYKES BLAKELY, A.M., Instructor in English in the Morris High School, New York City.

This little book is intended to present to teachers plans for the study of the English texts required for admission to college. These Outlines are full of inspiration and suggestion, and will be welcomed by every live teacher who hitherto, in order to avoid ruts, has been obliged to compare notes with other teachers, visit classes, and note methods. The volume aims not at a discussion of the principles of teaching, but at an application of certain principles to the teaching of some of the books most generally read in schools.

¶ The references by page and line to the book under discussion are to the texts of the Gateway Series; but the Outlines can be used with any series of English classics.

¶ Certain brief plans of study are developed for the general teaching of the novel, narrative poetry, lyric poetry, the drama, and the essay. The suggestions are those of a practical teacher, and follow a definite scheme in each work to be studied. There are discussions of methods, topics for compositions, and questions for review. The lists of questions are by no means exhaustive, but those that are given are suggestive and typical.

¶ The appendix contains twenty examinations in English, for admission to college, recently set by different colleges in both the East and the West.

AMERICAN BOOK COMPANY

(S.87)

HALLECK’S NEW
ENGLISH LITERATURE

By REUBEN POST HALLECK, M. A., LL. D. author of History of English Literature, and History of American Literature.

This New English Literature preserves the qualities which have caused the author’s former History of English Literature to be so widely used; namely, suggestiveness, clearness, organic unity, interest, and power to awaken thought and to stimulate the student to further reading.

¶ Here are presented the new facts which have recently been brought to light, and the new points of view which have been adopted. More attention is paid to recent writers. The present critical point of view concerning authors, which has been brought about by the new social spirit, is reflected. Many new and important facts concerning the Elizabethan theater and the drama of Shakespeare’s time are incorporated.

¶ Other special features are the unusually detailed Suggested Readings that follow each chapter, suggestions and references for a literary trip to England, historical introductions to the chapters, careful treatment of the modern drama, and a new and up-to-date bibliography.

¶ Over 200 pictures selected for their pedagogical value and their unusual character appear in their appropriate places in connection with the text. The frontispiece, in colors, shows the performance of an Elizabethan play in the Fortune Theater.

AMERICAN BOOK COMPANY

(S.90)

A HISTORY OF AMERICAN
LITERATURE

By REUBEN POST HALLECK, M.A., Principal, Male High School, Louisville, Ky.

A companion volume to the author’s History of English Literature. It describes the greatest achievements in American literature from colonial times to the present, placing emphasis not only upon men, but also upon literary movements, the causes of which are thoroughly investigated. Further, the relation of each period of American literature to the corresponding epoch of English literature has been carefully brought out—and each period is illuminated by a brief survey of its history.

¶ The seven chapters of the book treat in succession of Colonial Literature, The Emergence of a Nation (1754-1809), the New York Group, The New England Group, Southern Literature, Western Literature, and the Eastern Realists. To these are added a supplementary list of less important authors and their chief works, as well as A Glance Backward, which emphasizes in brief compass the most important truths taught by American literature.

¶ At the end of each chapter is a summary which helps to fix the period in mind by briefly reviewing the most significant achievements. This is followed by extensive historical and literary references for further study, by a very helpful list of suggested readings, and by questions and suggestions, designed to stimulate the student’s interest and enthusiasm, and to lead him to study and investigate further for himself the remarkable literary record of American aspiration and accomplishment.

AMERICAN BOOK COMPANY

(S.318)