Scott's Lady of the Lake

Name: Scott's Lady of the Lake
Author: Scott, Walter

Scott, Walter

Lady of the Lake (Legendary character) -- Poetry

1. The coming of the stranger, later supposed by Roderick to
      be a spy of the King.
  2. The return of Douglas, guided by Malcolm, an act which
      brings Malcolm under the displeasure of the King.
  3. 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.
  4. 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.
  5. The preparations for war made by Roderick, including the
      sending of the Fiery Cross, and the Taghairm.

II. The height or climax.

  1. Ellen and Allan-Bane at Coir-Uriskin.
  2. Douglas on his way to give himself up.
  3. Malcolm in prison for aiding Douglas.

III. The turning point in the plot.

  1. The coming of Fitz-James.
  2. The giving of the ring.
  3. The gay music of the harp.

IV. The unraveling of the plot.

  1. The triumph of Fitz-James over Roderick.
  2. The interest reawakened in the King by Douglas's prowess
      and generosity.
  3. The arrival of Ellen at the court.
  4. The battle of Beal 'an Duine.
  5. Roderick's death.
  6. The freeing of Malcolm.
  7. 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.

Public-domain text, read in full here on John Shaqi.

Opening the text

Scott's Lady of the LakeScott, Walter

General

Scott's Lady of the Lake

Scott, Walter

Lady of the Lake (Legendary character) -- Poetry

1. The coming of the stranger, later supposed by Roderick to
      be a spy of the King.
  2. The return of Douglas, guided by Malcolm, an act which
      brings Malcolm under the displeasure of the King.
  3. 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.
  4. 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.
  5. The preparations for war made by Roderick, including the
      sending of the Fiery Cross, and the Taghairm.

II. The height or climax.

  1. Ellen and Allan-Bane at Coir-Uriskin.
  2. Douglas on his way to give himself up.
  3. Malcolm in prison for aiding Douglas.

III. The turning point in the plot.

  1. The coming of Fitz-James.
  2. The giving of the ring.
  3. The gay music of the harp.

IV. The unraveling of the plot.

  1. The triumph of Fitz-James over Roderick.
  2. The interest reawakened in the King by Douglas's prowess
      and generosity.
  3. The arrival of Ellen at the court.
  4. The battle of Beal 'an Duine.
  5. Roderick's death.
  6. The freeing of Malcolm.
  7. 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.

Public-domain text, read in full here on John Shaqi.

Scott's Lady of the Lake

Scott's Lady of the Lake

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