Teachers' Outlines for Studies in English Part 5

5. " " " 114-130. To what sense does Scott appeal?

6. " " " 114-130. How does he appeal here to our sympathy?

7. " " " 131-151. How does he make the escape of the stag a surprise?

It is easy to select many good narrative and descriptive topics for oral and written composition, and here, as always, frequent writing is an aid to the understanding of the work of literature under discussion, as well as to the enlargement of the power of expression.

The study of meter ought to offer little difficulty if only a simple, practical knowledge is required, and yet a large number of pupils find it confusing. It may never have occurred to some of them that the great difference in form between prose and poetry is that in the one case the arrangement of accented and unaccented syllables is irregular, and in the other regular. If they are directed to mark a few pa.s.sages after some definite form, as they will easily learn the normal line. They will learn, too, that there are a few common variations. Having learned these, and the names of different feet and meters, the whole subject will seem, as it is, a very simple matter.

~ - ~ - ~ - ~ - The stag at eve had drunk his fill

IV. Study of the Poem as a Whole

SETTING.--When and where did the events of this story take place?

Are we interested in the descriptions because they are beautiful, or because of historical a.s.sociations?

What caused the trouble between the Highlanders and the Lowlanders?

What do you learn from the poem about Highland hospitality? (See Canto I, lines 576-601; II, 585-604, etc.) Customs of dress? (I, 362-372; II, 534-539; III, 478-499, etc.) Devotion to leaders? (III, 410-451; IV, 397-400, etc.) Superst.i.tion of the people? (III, 123-178; IV, 79-99.)

What foundation in fact was there for James's treatment of Douglas (V, 609-631), and for Ellen's visit to court? (VI.) (See Introduction to _The Lady of the Lake,_ pp. 27-31.)

PLOT.--How is the story introduced?

At the end of Canto I what do we think the story is to be?

What is brought into Canto II to complicate the plot or to make it less simple?

How is the main action of Canto III foreshadowed in Canto II?

What is the purpose of Canto III? Would the story be complete without it?

How does the prophecy related in the early part of Canto IV affect our interest in what follows?

What is the purpose of the Blanche of Devan incident?

What is the purpose of Canto IV in the development of the story?

What is the purpose of the dialogue in the early part of Canto V? of the games in the latter part? Show how Canto VI is a fitting conclusion.

Note in how many of the cantos the main action is told in a single scene vividly described.

How does the author r.e.t.a.r.d the movement, keep the story from going too fast, in the most exciting parts?

What is the purpose of the Minstrel in the development of the story?

In what cases does Scott keep the ident.i.ty of characters unknown to the reader for a time? for what purpose?

Are we more interested in the fortunes of Roderick or in those of Ellen?

CHARACTERS.--What characters are historical?

Are the others true to life? Are they too good, or too bad, too brave, or too foolish?

Is there a hero? a heroine?

Compare Malcolm and Roderick. Which makes the stronger appeal to your interest? Why?

How did the clansmen regard Roderick? Why? Name some of his virtues.

In the struggle between James and Roderick, which one do you wish to be successful? Why?

What qualities do you admire in Ellen?

INTERPRETATION.--Was Scott's purpose merely to tell an interesting story, or to present a period of history, or to teach some ethical truth, or to present high ideals of character, or all of these combined?

Give your reasons carefully.

METHOD OF NARRATION.--Who tells the story?

Suggest some of the changes that would have been necessary if the author had made Ellen or Douglas tell it.

By what device does Scott tell us the story of the battle?

How does he acquaint us with the characters: by what he says, by what they say, or by what others say of them?

FORM.--What is a canto? Is it merely a form division, or is it also a thought division?

Can you discover any plan in the division of the canto into stanzas?

Mark the scansion of stanza 34, Canto II.

What is the meter of the normal line?

What variations are there in the kind of feet?

Mark the scansion of stanzas 2 and 3 of the ballad in Canto IV.

What is the meter of lines 1 and 3? of lines 2 and 4? what variations are there in the kind of feet?

Find the meter of one or two of the songs.

Does the author use language of a time other than his own?

Does he use dialect? Compare in this respect with some of his Scotch stories in prose.

Do the characters all talk alike, or as we should expect of persons differing in birth and education?