SUGGESTIONS FOR STUDY.

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Walter Scott

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 Poem.

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.

The Plot.

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.

Special Studies in the Cantos.

CANTO I.
I. Poetic forms.
1. The Spenserian Stanza.
2. Meter of the poem.
3. Meter and stanza of “Soldier, rest.”
II. Description. Stanzas XI to XVI.
1. Use of significant words: strong, harsh words to describe a wild and rugged scene, thunder-splintered, huge, etc.; vivid and color words to describe glowing beauty, gleaming, living gold, etc.
2. Use of onomatopoeia.
3. Order in arrangement of details. Stanza XI, etc.
4. Use of contrast. Stanzas XI, XII, XV, etc.
5. Variety of expression. Note synonymous expressions for grew, Stanza XII.
6. Unity with point of view. Stanza XXVI.
III. Plot structure.
1. Events of first canto.
IV. Character study.
1. Ellen: Fitz-James.
a. Characteristics given by Scott.
b. Characteristics displayed in action.

Other Topics.

V. Means of suggesting the mystery which usually accompanies romance.
1. The scene.
a. “So wondrous wild....
The scenery of a fairy dream.”
b. “Nor think you unexpected come,” etc.
c. The falling sword.
d. The dream.
VI. Means used to excite interest.
1. Concealment of Ellen’s and Lady Margaret’s identity.
2. The dream.
3. The Douglas?
CANTO II.
I. Verse forms.
1. Meter of the songs in the canto.
II. Plot structure.
1. Method of telling what is necessary for reader to know of preceding events, or exposition.
a. Story of the Douglases.
b. Story of Roderick Dhu.
2. Introduction of minor plot.
3. Events in main plot.
4. Connection between the two plots.
III. Character study.
1. Characteristics of Ellen not seen in Canto I.
2. Allan-Bane.
3. Malcolm, the typical young knight of romance.
a. Justification of Scott’s characterization of Malcolm by his actions in this canto.
4. Douglas.
5. Roderick Dhu.
CANTO III.
I. Verse forms.
1. Meter and stanza of songs in the canto.
II. Description.
1. Of morning.
a. Impression given by description.
2. Of the Goblin-cave.
a. Means used to give effect of gruesomeness.
III. Plot structure.
1. Events of main plot.
2. Events of minor plot.
3. Connection between the two plots.

Other Topics.

IV. Means used to make the ceremonial of the Fiery Cross “fraught with deep and deathful meaning.”
1. Materials used.
a. For the fire.
b. For the cross.
2. Brian.
a. Appearance.
b. Parentage.
c. Mode of life.
d. Supernatural powers.
3. The curses.
4. Responses to the curses.
a. On part of people.
b. On part of nature.
V. Means used to give the impression of swiftness in Malise’s race.
CANTO IV.
I. Verse forms.
1. The Ballad.
a. Stanza and meter.
b. Subject.
II. Plot structure.
1. The climax; the height of Ellen’s misfortunes.
2. Hints of a fortunate outcome for Ellen.
3. Introduction of means for unraveling the plot.
a. The gift of the ring.
4. Hints of an unfortunate outcome for Roderick.
5. Use of the Taghairm in the story.
6. Part played by Blanche of Devon.
III. Character study.
1. Roderick as “father of the clan.”
2. Justification of characterization of Fitz-James in Canto I by events of Canto IV.

Other Topics.

V. The hospitality of the Highlanders.
CANTO V.
I. Plot structure.
1. Events of main plot.
2. Events of minor plot.
3. Connection between the two.
II. Character study.
1. Roderick.
2. The King.
3. Douglas.
4. The mob.
a. The King’s characterization.

Other Topics.

III. Justice of Roderick’s justification of himself to Fitz-James.
IV. Means used to give the impression of speed in Fitz-James’s ride.
V. Exemplification in this canto of the line, “Shine martial Faith, and Courtesy’s bright star!”
CANTO VI.
I. Description.
1. Morning.
a. Contrast between this and that in Canto III.
b. Reason for difference.
2. The guard room.
a. Point of view.
b. Choice of details.
3. The dungeon of romance.
4. The battle.
a. Use of contrast.
b. Use of onomatopoeia.
c. Picturesque incidents.
d. Advantage of description by an onlooker.
II. Plot structure.
1. The surprise.
a. Previous hints as to the identity of James.
2. The happy ending.
a. Justification.
III. Character study.
1. Ellen in the guard room.
2. The King.

Topics for Composition.

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.

                                                                                                                                                                                                                                                                                                           

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