The Project Gutenberg eBook of The Lady of the Lake, by Sir Walter Scott.

I. The complication:
The coming of the stranger, later supposed by Roderick to be a spy of the King.
The return of Douglas, guided by Malcolm, an act which brings Malcolm under the displeasure of the King.
Roderick’s proposal for Ellen’s hand in order to avert the danger threatening
Ellen and Douglas because of the recognition of the latter by the King’s men.
The rejection of the proposal, leading to the withdrawal of Ellen and her father
to Coir-Uriskin and the departure of Douglas to the court to save Roderick and Malcolm.
The preparations for war made by Roderick, including the sending of the Fiery Cross, and the Taghairm.
II. The height or climax.
Ellen and Allan-Bane at Coir-Uriskin.
Douglas on his way to give himself up.
Malcolm in prison for aiding Douglas.
III. The turning point in the plot.
The coming of Fitz-James.
The giving of the ring.
The gay music of the harp.
IV. The unraveling of the plot.
The triumph of Fitz-James over Roderick.
The interest reawakened in the King by Douglas’s prowess and generosity.
The arrival of Ellen at the court.
The battle of Beal ’an Duine.
Roderick’s death.
The freeing of Malcolm.
The restoration of the Douglases.

Scott’s Use of Description.

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 onomatopœia.
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 onomatopœia.
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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Scott’s Use of Description.

Special Studies in the Cantos.

Other Topics.

Other Topics.

Other Topics.

Other Topics.

Topics for Composition.

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