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SEP 18 1900 
 
 The Study of Ivanhoe, 
 
 BY 
 
 H. A. DAVIDSON. 
 
 Topics and References 
 
 Arranged for 
 
 Teachers, Classes, and Literary Circles. 
 

 80176 
 
 Copj^rigM 1900, by 
 MRS. H. A. DAVIDSON, 
 
 49136 
 
 I.ibP«ry of Congress 
 
 ''WO Copies Received 
 SEP 18 1300 
 
 Copyright entry 
 
 sa:oNr> copy. 
 
 Ut'ivfcfarf to 
 
 Ot^GtK DIVISION, 
 
 SEP 24 1900 
 
 No. I, Sprague Place, 
 Albany, N. Y. 
 
 Author of "The Study of Romola," "The Study of Henry Esmond," "The 
 
 Study of Silas Marner," in Houghton, Mifflin & Company's Riverside 
 
 edition. "Reference History of the United States," Ginn 
 
 and Company, etc. 
 
Topics and References for the Study of 
 Ivanhoe. 
 
 REFERENCES. 
 Books which should be owned. 
 
 A copy of Ivanhoe which contains the complete text, Scott's 
 introductions and notes. 
 
 A Life of Walter Scott. 
 
 A bound note-book. 
 
 The Crusades, by G. W. Cox, Epoch Series. 
 
 A map of England and Scotland. 
 
 Note. — Several editions of Ivanhoe prepared for school use 
 are incomplete and the parts omitted are essential in a critical 
 study of the romance. Macmillan's Dryburgh edition is com- 
 plete and contains Scott's introductions. Houghton, Mifflin 
 and Company's Riverside edition is complete and contains a 
 map of the Ivanhoe country. 
 
 Books which should be found in school libraries. 
 
 Scott's Life. 
 
 Walter Scott, by G. Saintsbury, Famous Scott Series. 
 
 Sir Walter Scott, by R. H. Hutton, English Men of Letters. 
 
 Life of Sir Walter Scott, by C. D. Yonge, Great Writer 
 
 Series (contains Anderson's bibliography). 
 Memoir of the Early Life of Sir Walter Scott, written by 
 
 himself. Found in volume i. of Lockhart's Life of 
 
 Walter Scott. 
 Life of Walter Scott, by John Gibson Lockhart. 
 Homes and Haunts of the British Poets, vol. ii., by William 
 
 Howitt. 
 Miscellanies : Abbotsford, by Geoffry Crayon (W. Irving). 
 
The Journal of Sir Walter Scott, edited by David Douglas. 
 (Includes only the years 1825-32). 
 
 Familiar Letters of Sir Walter Scott. 
 
 Unpublished Letters of Scott ; in, Selections from the Manu- 
 scripts of Lady Louisa Stewart. 
 
 The Lands of Scott, by J. F. Hunnewell. 
 
 The Waverley Dictionary, by May Rogers. 
 
 Mrs. Oliphant's Literary History of England, vol. ii., 
 especially chapter iii. 
 
 Development of the English Novel, by W. L. Cross, espec- 
 ially chapter iv. 
 
 An Essay on Romance, by Sir Walter Scott, in Prose Works, 
 vol. vi. 
 
 Homes and Haunts of Sir Walter Scott, by G. G. Napier. 
 
 A set of The Waverley Novels. 
 
 Scott's first fiction ; The Writing of Ivanhoe. 
 Lockhart's Life, vol. v., 292-7. 
 Familiar Letters of Scott, vol. ii., year 1818. 
 Lockhart's Life, vol. ii., 17-20; vol. v., 216-17, 292-7, 
 
 chap. 53; vol. viii., 141-2, 271. 
 Walter Scott at Work, Chamber's Journal, vol. 46, p. 741. 
 Descriptive Catalogue of the Writings of Sir Walter Scott, 
 
 by John Thomson. 
 
 Note. — This Catalogue is published as a bulletin by The 
 Free Library of Philadelphia. It contains much rare and valu- 
 able information about the novels of Sir Walter Scott. 
 
 The Age of Richard Coeur de Lion : 
 
 The Crusades, by G. W. Cox, Epoch Series. 
 
 The Crusades, by T. A. Archer; series. The Story of the 
 
 Nations. 
 The Early Plantaganets, by William Stubbs, Epoch Series. 
 The Normans in Europe, by A. H. Johnson, Epoch Series. 
 
The Crusade of Richard I., edited by T. A. Archer; series, 
 English History by Contemporary Writers. 
 
 The Jews of Angevin England, edited by Joseph Jacobs, 
 same series. 
 
 Knight's History of England, vol. i., Chapters 21, 22. 
 
 Bright' s History of England, vol. i., Chapter, Richard I. 
 
 Teachers and special students may also consult History of 
 England in the Middle Ages, by C. H. Pearson, vol. i., 
 Chapter xxxii., and Stubb's Constitutional History of 
 England, vol. i., 433-553- 
 
 These books are especially valuable on such points as Rich- 
 ard's means of raising money, The Jews in England, 
 Richard's ransom, etc. 
 
 Social England, by H. D. Traill. 
 Norman Methods of Warfare, vol. i., p. 229. 
 Social Ivife and Manners, vol. i., p. 371. 
 Richard and John, vol. i., p. 262. 
 
 A History of the Art of War, by C. Oman. 
 The Knight, Book vi.. Chap, ii., A.; Fortifications; Siege- 
 craft, etc.. Chap. viii. 
 
 Hallam's Middle Ages, vol. iv., chap, ix., part ii., topic, 
 
 Chivalry. 
 Scott's Essay on Chivalry, in Prose Works, vol. vi. 
 The topics, Military Orders, Knightly Training, Arms, 
 
 Armour, and Armaments, will be found in The Crusades, 
 
 by T. A. Archer. 
 A History of Chivalry, by C. Mills, vol. i., chapters ii., 
 
 iii., vi., vii. 
 
 Note. — This history was published at about the date of 
 Ivanhoe and perhaps represents the knowledge current then on 
 this subject. 
 
 History of the Crusades, by J. F. Michaud, three volumes. 
 
Antiquities, Castles, Costumes, etc. 
 
 History and Antiquities of Doncaster, edited by K. Miller. 
 
 Contains picture, plan, and description of Coningsburgh 
 
 Castle. 
 The History of Conisborough Castle with Glimpses of 
 
 Ivanhoe Land. Compiled by H. B. Smith — London, 1887. 
 
 Plan of Castle, p. 89, pictures, description, etc. 
 
 Map of Ivanhoe Land, p. 121. 
 The Dress and Habits of the People of England, by Joseph 
 
 Strutt. 
 
 Vol. ii.. Part ii.. Of Saxons before 1066 A. D. 
 
 " ** Part iii.. Of Saxons from 1066 to 1200 A. D. 
 
 " " Part iv., Of Anglo-Normans. 
 
 " *' Part ii., chapter v., Funeral Customs; also 
 
 plate XX ix. 
 Sports and Pastimes, by Joseph Strutt. 
 
 Archery, Book ii.. Chapter i. 
 
 Tilting, Tournaments, Justs, Book iii.. Plates xii-xv. 
 Domestic Manners and Sentiments, by T. Wright. 
 
 An Anglo-Saxon Mansion, plate No. 12. 
 
 An Ancient Manor-House, plate No. 85. 
 
 Early English Houses, chapters vii., viii. 
 
 The Anglo-Norman Period, chapter v. 
 Castles of England, their Story and Structure, by Sir Jas. 
 
 D. Mackenzie; fine illustrations of the typical features 
 
 of castles may be found in these volumes. 
 
 Robin Hood Stories and Ballads : 
 
 Poems, Songs, and Ballads, edited by Joseph Ritson. Re- 
 published with illustrations and an introduction in 1884, 
 by George Routledge and Sou. 
 
 Contains: A True Tale of Robin Hood, Part i., Ballad v.; 
 Robin Hood's Birth, Breeding, etc., Part ii.. Ballad i. ; 
 
Robin Hood and the Curtal Fryer, Part ii., Ballad x. ; 
 
 Robin Hood and Allan-a-Dale, Part ii., Ballad viii. 
 Specimens of Pre-Shakesperian Drama, by J. M. Manley, 
 
 Athenaeum Press Series. Contains three Robin Hood 
 
 Plays : Robin Hood and the Knight, Robin Hood and the 
 
 PVier, Robin Hood and the Potter. 
 Early Popular Poetry, edited by W. Carew Hazlitt, vol. i., 
 
 contains. The Kyng and the Hermyt. 
 IvCtters on Demonology and Witchcraft, by Walter Scott. 
 
 Published in Morley's Universal Library. 
 
 Supplementary Reading: 
 
 Harold, the Last of the Saxon Kings, by Bulwer. 
 Hereward the Wake, by C. Kingsley. 
 
 The Foresters, Robin Hood, and Maid Marian, by Alfred 
 Tennyson. 
 
 Life of Richard Coeur de Lion, by G. P. R. James. 
 Autobiography of Scott. 
 Shakespere's King John. 
 Talisman, by Walter Scott. 
 
 Criticism. 
 
 References for the study of the criticism of Ivanhoe are not 
 included here. The reading of criticism should be deferred 
 until the close of the study of the novel. Students are ear- 
 nestly requested not to read criticisms of Walter Scott as an 
 author, or of Ivanhoe, until they have become thoroughly familiar 
 with the novel, and through the novel, with certain qualities 
 and characteristics of the author. Critical opinions will then 
 serve their true purpose, that of suggesting to one student the 
 conclusions of another with which he may compare his own. 
 The reading of criticisms upon literature of which one is igno- 
 rant is much like reading a guide-book in place of visiting a 
 foreign land. Adapted from The Study of Henry Esmond. 
 
Note-Book Topics for Students. 
 
 Preliminary : 
 
 I. List of the Norman Kings of England, with dates of 
 reigns. 
 II, Geneological Table of the Norman Kings from William 
 I. to John, showing relationship. 
 III. List of Scott's novels in the order of publication. 
 IV. List of Scott's novels in the order of the historical events 
 which form the subjects, with dates showing the 
 period or century. 
 V. Chronology of the Composition of Ivanhoe. 
 VI. A list of the chief Crusades, with dates, and names of 
 leaders. 
 VII. Historical chart showing, for the reigns of Richard and 
 John: 
 
 a. The Rulers in France, Austria, Germany, England. 
 h. The Pope, at that time. 
 
 For work tliroughout the course : 
 
 VIII. Chronology of the novel, Ivanhoe. 
 IX. List of characters in Ivanhoe. 
 
 Enter the name, at its first appearance, in the note- 
 book, and star all historical characters. 
 
 Characteristics of the Century: 
 
 X. Mark in the Ivanhoe and keep a list of headings, refer- 
 ences, etc. 
 
 Whatever in dwellings, customs, class distinctions, 
 beliefs, etc. marks that period as different from later 
 centuries belongs here. 
 
History in Ivanhoe: 
 
 XI. A list of historical incidents, etc., employed by Scott, 
 
 with references to histories which are authorities for 
 
 the fact or event. 
 
 Any departure from historical accuracy, either in fact 
 
 or in the presentation of character, should be noted here. 
 
 Plot outlines : 
 
 XII. Those events or facts belong in a plot outline which 
 deter^nine subsequent events. They give, in outline, the 
 effective presentation of the theme and lead inevitably 
 to the climax and conclusion. It is necessary, always, to 
 distinguish carefully between such events or facts as 
 have determining force, and those incidents which are 
 illustrative, or contribute to character building. 
 
 The beginner who is uncertain whether an incident 
 forms part of the plot outline or is only descriptive and 
 illustrative may inquire whether anything results that 
 would have happened differently had this incident been 
 changed. Let him remember that in each chapter all 
 the facts or incidents really essential to the progress of 
 the story belong in the plot outline, and no others. An 
 outline of the plot elements found in chapter v. is 
 given in the directions for note -book work. This will 
 illustrate both a convenient method of making such 
 outlines, and the selection of essential points. Notice 
 the reason for the selection of each point given — that 
 it is, in a vital sense, the explanation, or cause of some- 
 thing that happens thereafter. 
 
 Special character study : 
 
 XIII. Choose one of the characters in Ivanhoe for special 
 study. Mark in your copy of Ivanhoe every item of the 
 
analysis, description, and development of the character 
 chosen, and^inquire about, 
 
 a. Appearance and peculiarities as an individual. 
 
 d. The particulars in which the character represents, 
 typically, life in the 12th century. 
 
 c. Moral qualities. 
 
 d. Intellectual qualities. 
 
 e. Influence of persons and circumstances upon the 
 character. 
 
 y. Influence of the character upon persons and events. 
 
 ^. Weaknesses. 
 
 h. Strength. 
 
 i. Purpose of the character in the development of 
 
 the plot. 
 J. How does Scott present the character ? 
 k. If other novels have been studied, compare Scott's 
 method with that of another writer. 
 Note. — For the use of the material collected in the note- 
 book in character studies and compositions, see pp. 9, 15, 33, 51. 
 
 For Teachers and Special Students : 
 
 XIV. Sources of incidents, characters, descriptions, etc., in 
 the story of Ivanhoe. 
 
 NoTK. — These may be found in Lockhart's Life, in Scott's 
 Journal and Letters, in histories and other books. For the 
 suggestion of the Jew in Ivanhoe, see Lockhart's Life, vol. v., 
 page 295. 
 
 For Norman castles in England, the confiscation of land, 
 the means employed by the Normans for maintaining suprem- 
 acy over the Saxons, see the works of Green, Freeman, Pearson, 
 Stubbs, and other historians. 
 
 XV. Antecedent Material: • 
 
 The beginning of a plot is always found in some inci- 
 
II 
 
 dent, condition, relationship, which inevitably brings on 
 other incidents as a result, thus starting a course of 
 conduct, a series of events, which lead to a climax and 
 conclusion. In many novels, it is necessary to acquaint 
 the reader with incidents belonging to a time preceding 
 the opening of the plot. This information is called 
 antecedent material and is imparted to the reader by 
 various devices, but does not form an integral part of 
 the story. 
 
 XVI. Forecasts: 
 
 These are hints about the future course of the story 
 found in the earlier part of the narrative. 
 
 XVII. Historical accuracy of incidents, customs, etc. 
 
 This topic is for special students. It involves a com- 
 parison of each historical incident, character, etc., with 
 the accounts found in the best histories of the period. 
 In the case of costumes, customs, etc., it is necessary 
 also to inquire whether they properly belong to the period 
 in which Scott has placed them. The question of his- 
 torical accuracy belongs to the consideration of the 
 literary or dramatic qualities of the novel 'only in so far 
 as a faithful presentation of life at the end of the 12th 
 century was an essential part of the author's purpose. 
 
 XVIII. Characteristics of Walter Scott, the author. 
 
 Put here notes of any peculiarity which seems to you 
 to belong to Scott's work or habit of mind, with refer- 
 ences to the illustrations that you have found. Do 
 not look for such characteristics on the first page, or in 
 the first chapter. They are there, but you should be- 
 come familiar with an author before you venture to 
 pronounce the peculiarity you notice a characteristic. 
 
If it be such, other illustrations of it will appear as 
 you go on. 
 
 DIRECTIONS FOR NOTE-BOOK WORK. 
 
 It is not the intention that each student should include all 
 the note-book topics in his study. All the preliminary topics 
 should be prepared and placed in the note-book for reference, 
 in the beginning. Each one should keep The chfvnology of the 
 novel, The list of characters, and the Plot Outlines ; he may 
 choose from the other topics according to time and personal 
 inclination. Each topic has some direct bearing upon the novel 
 as a work of historical fiction. The plot outlines may be 
 marked in the text. 
 
 The suggestions given below for the use of note-books in 
 the study of the text of the novel or of special topics are de- 
 signed especially for members of study clubs, teachers and 
 special students. In the secondary school, the pupil's use of 
 the note-book may wisely be limited to the collection of data 
 on a few clearly-defined topics, to map-drawing, and to his own 
 special character study. The principle that note-books should 
 contain only data really valuable for reference, arranged and 
 indexed in such form as to be accessible without loss of time, 
 should be adhered to. 
 
 Members of classes and reading circles should have two 
 note-books : one for the orderly arrangement of whatever 
 results of study may be worth preserving; the other should 
 serve as a tabula erasa, for the making of notes while reading 
 or listening to lectures. Probably no student will care to take 
 all the note-book topics. Each should select at least two and 
 give to them some special attention throughout the study of the 
 novel. Each is intended, if faithfully used, to furnish the 
 material for some intelligent and critical opinion about the 
 novel. 
 
 Note-book work is of three kinds. First, there is the col- 
 
13 
 
 lection of data about the author aud the particular work 
 studied ; this should be done in the beginning. Secondly, there 
 is the collection of data upon special topics suitable for investi- 
 gation ; such data will serve, later, as a basis of critical inquiry : 
 for instance, if the data of the opening scene of the novel are 
 entered in the note-book under the heading, "Chronology of 
 the story," and each succeeding period of time is noted as the 
 reader finds mention of it, he will know, in the end, the length 
 of time covered by the dramatic action, how many intervals 
 occur, etc. The collection of such data is, of necessity, pre- 
 liminary to any critical comparison of different novelists in 
 regard to the time covered by their plots. It may be seen that 
 the items to be entered under note-book topics iv. to xiv., in- 
 clusive, will be found singly and at intervals throughout the 
 novel. It is convenient to write each topic at the top of a page, 
 with a ruled column at the left for references to the pages of 
 the text where items are found. The reader should keep this 
 note-book always at hand and enter, in the fewest possible 
 words, any item coming under one of his topics. When a page 
 is filled, he should refer at the bottom to the nearest page in 
 the book which happens to be blank, and at the top of that 
 repeat the topic-title, with a reference to the former page. In 
 this manner it is easy to use one note-book for many topics, 
 without confusion. Thirdly, there is note-book work upon 
 the topics of study. Many readers whose mental discipline is 
 not such that they habitually organize the results of study will 
 find the use of the pen a great aid to definiteness of thought. 
 After careful study, it is often profitable to summarize analyti- 
 cally the conclusions reached. 
 
 In note-book work, it is a mistake to write full sentences or 
 paragraphs. The note-book should contain, in outline, such 
 facts, points, or references, as will enable the student to recall 
 instantly his proof, his argument, or his conclusions, or analy- 
 ses. This does not apply to definitions or critical estimates, 
 
14 
 
 which cannot be worded with too great care. — Fi^om " The Study 
 of Romola.'' 
 
 The following outline of the plot elements in chapter v. of 
 Ivanhoe will serve as an illustration of such work. 
 Plot elements in chapter V: 
 
 a. Enter Isaac, the Jew. 
 
 b. The Palmer is kind to Isaac. 
 
 c. The name of Ivanhoe ; 
 
 ( 1 ) The Palmer avoids it. 
 
 (2) The Templar's anger and scorn at sound of it. 
 
 (3) Rowena's championship of the absent knight. 
 
 (4) Cedric's reluctant endorsement. 
 
 d. Antecedent : 
 
 (i) King Richard's tournament in Palestine. 
 (2) The Quarrel between Brian and Ivanhoe. 
 
 e. The Challenge. 
 
 f . The Templar plans, in the hearing of the Palmer, to 
 plunder the Jew. 
 
 Each point here is introduced either to explain some evi- 
 dent fact, feeling, purpose, or to reveal the cause of something 
 that follows. In classes in schools, each student should prepare 
 these outlines independently, finding for himself a reason for 
 each point selected. The value of this work lies in the exercise 
 of the judgment and in the cultivation of an ability to perceive 
 literary qualities, not in the results obtained. 
 THE USE OF THE TEXT. 
 
 It is desirable to use a copy of the text not too valuable for 
 marking. It is often convenient to note a series of facts by 
 marginal references, or words, such as, "Theme," "Plot," etc., 
 and it facilitates later study of the characters to write the ini- 
 tial letter of the name of each leading character in the margin 
 whenever any description, analysis, or other indication of per- 
 sonality, occurs. It will then be possible to trace a given char- 
 acter through the narrative without re-reading. 
 
15 
 
 THE DIVISION INTO SECTIONS. 
 
 The topics for study are divided into sections with reference 
 to the natural grouping of incidents in the structure of the 
 romance. For high school classes, each section ^should be sub- 
 divided two or three times, according to the maturity of the 
 pupil and the time at disposal. 
 
 COMPOSITION WORK IN CONNECTION WITH THE 
 STUDY OF IVANHOE. 
 
 In the study of a work of fiction, pupils should gain at 
 each step new ideas of the purpose and plan of the author in 
 the particular work read, of his characteristics as a novelist, of 
 the art of fiction. The vocabulary of exact critical expression 
 is difiicult and ideas that the young student clearly perceives 
 under the stimulation of the instructor's presentation soon be- 
 come indefinite through his inability to express them indepen- 
 dently. It is therefore important that written tasks should be 
 associated constantly with the reading and study. The subjects 
 suggested or assigned should seldom involve the reproduction 
 of what Scott has told the reader in the author's own form and 
 arrangement. Young readers have remarkable facility in 
 remembering phraseology and will give a brief repetition of 
 incidents or descriptions with little mental effort or profit. 
 Essay topics should be so selected and guided as to develop {a) 
 the imagination of the pupil ; (<^) his perception of the artistic 
 plan and method of the author; (<:) his power of gaining from 
 a text numerous details of fact or opinion and of organizing 
 them in a new way in support of a thesis of his own. 
 
 At the close of this volume will be found a list of subjects 
 for work in composition, on one of the sections given for study ; 
 they are intended merely as suggestions. It would be extremely 
 unwise to repeat the same topics with succeeding classes. An 
 inventive teacher will be able to devise similar topics in endless 
 variety. 
 
i6 
 AIMS AND METHODS OF INSTRUCTION. 
 
 In the study of Ivanhoe, four subjects are of commanding 
 importance : plot-structure, character-study, the use of incident 
 to further the plot, and the setting or historical background. 
 The most difficult of these is the historical element, since it 
 involves an appreciation of those subtle differences in manner 
 of life and thought, ethical ideas, culture, and degree of civili- 
 zation, that measure the distance between the nineteenth cen- 
 tury and the twelfth. The youth is fond of romantic tales but 
 he is unable to escape his personal experience or the environ- 
 ment of his own life. He transfers the incidents of the story 
 that he reads to the present ; he pictures himself and his com- 
 rades in the greenwood, or riding the lists, and thus fails to 
 broaden his knowledge of men and of lands. By constant com- 
 parison, by many device^^e teacher must aid him in gaining 
 an imaginative realizatidft~bf the life and thought of the men of 
 another age. He must learn that different times bring forth 
 different sorts of men, whose beliefs and morals are shaped 
 according to the light of their own day; thus he must judge 
 them, rather than by standards of the present. 
 
 In teaching a work of fiction, it is most helpful to follow 
 the plan of the author. He had a purpose in telling the tale. 
 The place and time of its opening were chosen carefully and the 
 precise order in which his characters should appear was most 
 exactly determined upon with reference to the plot. The 
 scenes of the novel were to its author a mimic stage and all the 
 world of readers an audience for which he should act as scene- 
 shifter, manager, and interpreter. It is fair, therefore, to seek 
 his plan and question his purpose, step by step, as he interests 
 us more deeply in the fortunes of Ivanhoe, Locksley, Rebecca, 
 Cedric, and the Jew, persons who will be numbered among our 
 familiar friends long after we have forgotten the school-fellows 
 who pored with us over the page. 
 
 First, then, interest the student in the general question of 
 
17 
 
 the number of characters required by an author in the creation 
 of his book-world. How many characters in "Tom Brown's 
 School Days", or in Miss Alcott's "lyittle Women" ? How many 
 did Scott introduce in " The I^ady of the Lake" ? in ** The Talis- 
 man" ? Let each student begin at once to keep a list of all 
 characters that appear in the story of Ivanhoe. Discuss the 
 question of how to determine, in doubtful cases, whether the 
 character mentioned should be included in the list or not. A 
 study of indications in regard to the importance and connection 
 of characters in the future story will prove interesting and 
 fruitful. The student should regard characters at their first 
 introduction as strangers, recently met. He may come to feel 
 the same eager interest in the past life, the same desire to esti- 
 mate traits of character and personality, as in the real world. 
 
 In many novels, a certain number of chapters in the begin- 
 ning are devoted to familiarizing the reader with the conditions 
 under which the action takes place, to the introduction of 
 characters that bear prominent parts, to any antecedent facts 
 essential to an understanding of the narrative ; the beginning, or 
 starting point, of the action is usually given also in connection 
 with this initial and necessary information. The natural point 
 of division in assigning the first section for study is always at 
 the close of these introductory chapters. 
 
 In Ivanhoe, the first natural division includes chapters i-vi. 
 The study should be directed to the main purposes of the 
 author. Let us discuss in some detail the work that a class in 
 the high school should do in this first section. First, inquire 
 where, geographically, and when, historically, the story opens. 
 From the very beginning, accustom the pupil to the use of the 
 map as if he were following the route of an army ; require him 
 to present proof of each statement that he makes, with exact 
 references to his authorities or to the facts on which he bases 
 his inference. 
 
 Secondly, ask where in these chapters the real beginning 
 
i8 
 
 of the story is found. This does not mean merely the opening 
 scene, but the incident, condition, or whatever it maybe, which, 
 as cause, leads to something else that otherwise would not have 
 occurred. This will lead to a discussion of the question 
 whether the opening scene introducing Gurth and Wamba con- 
 tains the real starting point of the action. If not, there must 
 have been other reasons in Scott's mind for opening his story 
 thus. If the true beginning is found in this scene, then it must 
 be shown that to change it essentially would change the course 
 of the story that follows. The student should also note all in- 
 formation given about persons or events before the beginning of 
 the story, and should try to account for its introduction. Why 
 are we told of a wager that had been laid between Prior Aymer 
 and the Templar ? Why is the quarrel between Cedric and his 
 absent son hinted at? What occasioned it? 
 
 After the beginning of the action has been found and the 
 relation to it of all antecedent material has been discussed, there 
 should be made an outline of every incident, fact, or condition, 
 which advances the plot to the close of chapter vi. This should 
 consist of a statement, in sequence, of every step essential to 
 the plot as far as it proceeds in these opening chapters. All 
 incidents, descriptions, etc., not essential to the plot, should be 
 discussed to find the reasons for their introduction ; these may 
 be in the development of the characters ; in the setting ; in the 
 illustration of the times, historically, etc. Some reason for each 
 there must be ; the novelist has too great a task in the presenta- 
 tion of his main purpose to waste time upon incidents, however 
 interesting, that have no vital connection with his narrative. 
 Moreover, the introduction of even the briefest bit of description 
 for its own sake rather than for its relation to the other parts of 
 the story would be a defect in artistic unity. 
 
 Thirdly ; there should be careful study of the characters 
 introduced in this section. How many? Which seem likely to 
 be important? Which attract the reader ? Which repel? Why? 
 
19 
 
 Here, reasons should be given with great care and fullness but 
 without reference to anything contained in the later chapters of 
 the novel. The teacher should direct the attention of the pupil 
 to any significant relationship between characters, if not other- 
 wise brought out, by suggestive, but not leading questions. 
 Each pupil may profitably select one character for special study 
 throughout the book. He may write a description and discus- 
 sion, from the point of view gained by first impressions. If 
 this special character study is undertaken, the essential points 
 are, first, the inclusion of all information really given by Scott ; 
 secondly, the bringing out of all that a fairly intelligent observer 
 of human nature should be able to infer ; thirdly, the organiza- 
 tion and arrangement of this material in literary and original 
 form. This should include some discussion of the effect of one 
 character upon another; for instance, in the later chapters of 
 Ivanhoe, of the effect of Rebecca's character upon Brian de Bois- 
 Gilbert. 
 
 From the first, in the study of Ivanhoe, the teacher must 
 prepare the way for a clear definition and illustration of certain 
 characteristics of the author. For instance, after the student 
 has made an exhaustive list of traits of character, descriptions, 
 etc., given in chapters i-vi., he may be asked which are typical 
 of the class to which the person belongs and which distinguish 
 him as an individual. What parts of the description of Wamba 
 could be applied to some other jester of that period? What 
 qualities and peculiarities individualize him ? This kind of 
 work leads directly, in the end, to the critical appreciation of 
 Scott's characteristics as a novelist. 
 
 Fourthly, there remains the question of the historical ele- 
 ment in chapters i-vi. This is found in the customs, social 
 distinctions, manner of life, of the time, and is brought out 
 chiefly through contrast and description in connection with 
 incidents essential to the plot. The note-book may be an aid in 
 distinguishing the historical elements of the novel. If em- 
 
ployed, the student must be taught at once to enter the charac- 
 teristics merely by the title, with reference to the page whereon 
 the illustration was found. 
 
 For instance : — 
 
 Serfdom, (Gurth), p — 
 The use of the horn, p — 
 
 The mixed Norman and Saxon dialect in use, p — , etc., 
 etc. 
 
 Characteristics peculiar to the Norman period should also 
 be distinguished from those belonging to the entire period of 
 the middle ages, although here the student must depend upon 
 the broader knowledge of the teacher for guidance. Such topics 
 as the following will give definiteness to this part of the work : 
 How many classes of persons have been introduced in these 
 chapters? How did each of these classes regard the Jews? 
 Describe a Norman from a Saxon's point of view; a Saxon from 
 a Norman's point of view, etc. 
 
 In suggesting chapters i-vi., as the first section in the study 
 of Ivanhoe, it is not implied that all the work on them should 
 be done in one lesson. They should be assigned and read at 
 once, since the various topics for study require an intimate 
 knowledge of all. At the close of the study of this section, the 
 teacher should ask each student to prepare a statement of the 
 things he would care most to learn in the succeeding install- 
 ment, were Ivanhoe a serial of which six chapters only had 
 appeared. These statements will usually bring out three lead- 
 ing points of special interest upon which the further develop- 
 ment of the plot depends. 
 
 The second natural division of the novel, Ivanhoe, includes 
 chapters vii.-xv., and has for its climax the tournament. The 
 treatment of each section should proceed in the same general 
 manner that has been indicated for the first ; character study, 
 selection of essential plot elements, characteristics of the time, 
 are all topics that should be continued. In addition, the essen- 
 
tial unity of this section as an act in the development of the 
 novel should be brought out. The teacher should determine, 
 in the beginning, all the important objects Scott had in mind in 
 this act, and the means employed in the accomplishment of each ; 
 he should then guide the pupil, through definite, concrete study, 
 to an appreciation of these points. At the close of the section, 
 certain topics designed to bring out the literary and dramatic 
 qualities of these chapters should be assigned to all, as : Which 
 bit of description do you think the finest? Why? Which inci- 
 dent do you think most effective and dramatic? Which do you 
 think most important in the development of the story? What 
 was Scott's idea of a hero? etc. 
 
 Scott has himself chosen the beginning of the seventh 
 chapter as the point for the introduction of some historical 
 information. He wrote for English readers in whom he pre- 
 supposed considerable familiarity with their own history. If 
 English history has been studied by the pupils, previous to the 
 study of Ivanhoe, no special work in it need be undertaken here. 
 If there has been no such collateral study of history, it must be 
 introduced at this point ; it should include a general knowledge 
 of the Norman conquest, and of the reigns of the Norman kings, 
 and a more detailed study of King Richard's reign, including 
 the crusade on which he went, the occasion of Philip's enmity, 
 his imprisonment, etc. 
 
 Care should be taken by the teacher, as the study proceeds, 
 to avoid the repetition of work already well done, and to include 
 the characteristic features of each section, — its relation to the 
 others, purpose, climax, and incomplete threads. There will 
 also arise in the later chapters many questions which could not 
 be discussed until nearly all the material contained in the book 
 was well in hand ; as, a comparison of Rebecca and Rowena ; 
 the question of what Rowena would have done in Rebecca's 
 place, of the number of times that Scott rescues persons by the 
 narrowest chance ; the question of whether the second great 
 
crisis, the trial of Rebecca, is as intense and effective a scene as 
 the first. 
 
 Care should always be taken to provide the students with 
 unmutilated texts. In some cheap editions now on the market, 
 many pages, chiefly of historical material, are omitted, and 
 examination proves that essential steps in the development of 
 the plot are also missing. 
 
23 
 
 Topics for Study. 
 
 SECTION I. THE AUTHOR. 
 
 An inquiry in regard to Scott's natural ability and training 
 for authorship. 
 
 References, see bibliography, Scott's Life, pp. 1-3. 
 
 I. Scott's childhood : 
 
 a. The family, places of residence, the character and 
 occupation of his parents, etc. 
 
 b. Such incidents and facts as reveal influences affect- 
 ing, in any degree, Scott's future life or character. 
 
 II. Chronology of Scott's life up to 1792 : 
 
 a. Where did he live ? 
 
 b. How did he spend his time ? 
 
 III. What education or instruction did Scott receive as 
 a boy? 
 
 Note. — Make a list of the schools attended by the lad, 
 showing the time spent in each, the character of the instruc- 
 tion, the special gain or failure of the student. Add the sub- 
 jects in which he received private instruction and the studies he 
 pursued by himself, for love of the subject. 
 
 IV. What did Scott read in his childhood and youth? 
 NOTK- — The student will find an account of his reading in 
 
 the Autobiography. A list of the books with the age at which 
 they were read will prove instructive. 
 
 V. What friends were intimately associated with Scott 
 
 in his childhood and youth ? Which of these seem to 
 
 you to have influenced most the formation of his 
 
 character ? 
 
 VI. In what respects did Walter Scott differ from other 
 
 boys? How do you explain these differences? 
 VII. Compare Scott's education with that of an American 
 
24 
 
 boy of the present generation for the same number of 
 years, 
 
 a. In time spent in school, 
 
 b. In studies, 
 
 c. In reading. 
 
 Vl!ll. Which of the differences do you consider most im- 
 portant? Why? 
 IX. What writing had Scott done before 1792, (a;) in school, 
 ((^) for himself? 
 X. What was there in Scott's life, education, or training 
 to fit him to write well ? 
 XI. What were Scott's criticisms upon his own education ? 
 NoTK. — See the Autobiography. 
 
 XII. Why did he choose the bar as his profession rather 
 than his father's department of the law? 
 XIII. What course of study did he pursue in preparation for 
 the bar ? What special mental discipline did he gain 
 from it ? 
 XIV. When and why did Walter Scott devote himself to 
 literature as a profession ? 
 XV. What important essays did Scott prepare for The 
 
 Speculative Society ? What did these essays indicate ? 
 See the Autobiography. 
 
 XVI. When did Scott begin to write in verse ? How was 
 his translation of Lefiore published ? 
 XVII. When did Scott publish his first volume? What did 
 it contain ? Did it succeed ? 
 XVIII. What did Scott publish next ? Did this work succeed ? 
 
25 
 SECTION II. THE AUTHOR. 
 
 XIX. How long did Scott practise at the bar? Did he 
 
 succeed ? 
 XX. What offices did Scott hold which brought him an 
 income ? What demand upon his time did these 
 positions make ? 
 XXI. What was the first original long poem published by 
 Scott ? 
 XXII. What other poems followed ? What income did Scott 
 receive from his poetry ? 
 
 XXIII. When did Scott begin to write prose for publication? 
 Why? 
 
 See Ivockhart's Ivife, vol. ii., p. 129; vol. iii., p. 136; vol. 
 iv., pp. 23-34, 174-84. 
 
 XXIV. How came the author to try historical prose ? Why 
 did Scott's friends oppose his writing fiction ? 
 
 Scott's Travels : 
 
 XXV. With what parts of Scotland was Walter Scott per- 
 sonally familiar either by residence or by travel ? 
 
 XXVI. Scott's journeys in England : 
 
 a. Route, dates, length of stay. 
 
 b. Special interest in each journey. 
 
 XXVII. Scott's journeys on the continent : 
 
 a. Routes, dates, length of stay. 
 
 b. Purpose and special interest in each journey. 
 Note. — Use a note-book and maps, and note the length of 
 
 time spent in residence or travel. Reference to this leaf in the 
 note-book will show at once, in case of any novel, whether the 
 author was writing of scenes with which he was himself famil- 
 
26 
 
 iar or whether he depended for information on books or the 
 observations of other travellers. 
 
 XXVIII. How was Scott able to describe places that he had 
 never seen ? 
 Note. — Select from Scott's novels or poetry descriptions of 
 places that he knew well and also descriptions of places he had 
 never seen ; let pupils compare carefully and note differences. 
 In Scott's Life, seek information about the ways in which he 
 gained knowledge, in detail, of scenes he had never visited ; 
 for instance, the manner in which he wrote the descriptions in 
 Quentin Durward is given in chapter Iviii. of vol. vi., Lock- 
 hart's Life of Scott. 
 
 XXIX. Scott's habits of literary work : 
 
 a. Preparation ; gathering material, study, etc. 
 
 b. Time spent in composition and revision. 
 
 c. Regularity in work. 
 
 d. Time spent per day ; other occupations carried 
 on at the same time. 
 
27 
 
 IVANHOE. 
 
 SECTION III. INTRODUCTORY. 
 The Author's Apology for Ivanhoe. 
 
 What was Scott's purpose in undertaking the novel, 
 Ivanhoe ? 
 
 What works of fiction had Scott written before he began 
 Ivanhoe? 
 
 Why did he choose the Scottish scenes and history as the 
 foundation of his first romances ? 
 
 What were the reasons for substituting English scenes 
 and incidents in this novel ? 
 
 Why did he choose the end of the 12th century as the time 
 for this story ? 
 
 What conditions did he think it necessary to meet in 
 selecting a title? Where did he find the title chosen? 
 
 What books and manuscripts were his chief dependence 
 in preparing to write Ivanhoe ? 
 
 8. Did Scott believe that a writer of romance should invent 
 his incidents or should borrow them from old stories ? 
 
 9. Which do you think would be the more difficult ? Why ? 
 
 10. What is a romance, according to Scott's definition ? 
 
 11. How did Hawthorne explain the difference betw^een the 
 romance and the novel ? See Introduction to The House of 
 the Seven Gables. 
 
 12. What was Scott's rule as to the use of antiquated or 
 obsolete forms of expression ? In what did he criticize other 
 writers ? 
 
 13. How do you define an anachronism in historical fiction ? 
 
 Did Scott intend to introduce anachronisms in his novels ? 
 
 Note. — For these topics, Scott's own introductions to Ivan- 
 hoe are the most important sources of information. 
 
28 
 
 SECTION IV. CHAPTERS I— VI. 
 
 14. "Where, geographically, is the first scene in Ivanhoe 
 located ? 
 
 15. When, historically, does the story of Ivanhoe open? 
 
 16. What points did Scott think it necessary to emphasize in 
 the mind of the reader before beginning his tale ? Why ? 
 
 17. Why did Scott begin this novel by describing minutely 
 two servants ? 
 
 18. What would be the reasons for beginning with one of the 
 leading characters ? 
 
 19. Where, in these six chapters, does the plot of Ivanhoe 
 begin ? How do you prove this ? 
 
 NoT:E. — The plot is that thread of action which you follow 
 with interest and which must come to some conclusion before 
 the novel ends. There must be something that is the cause of 
 the quarrels, rivalries, difficulties, incidents, which succeed one 
 another, and this first cause, wherever you find it, is the real 
 beginning of the plot. This beginning may be an incident in 
 the first, second, third, chapter; or it may be a quarrel, or a 
 hatred, the real cause of which is something that happened be- 
 fore the beginning of this story. 
 
 20. How many characters did Scott introduce in chapters 
 i. — vi? 
 
 Note. — In a play, a character is introduced to the audience 
 when the person walks into view. In a novel, a character is 
 introduced when the person really enters and acts or speaks in 
 the scene that the reader imagines. 
 
 21. Which of these characters do you think will play leading 
 parts in the plot ? Give reasons in the case of each, with 
 references to the text in support of your opinion. 
 
 Note. — No reference to chapters of the novel later than 
 chapter vi. must be admitted here. Reasons for the opinion 
 
29 
 
 presented must be found in hints conveyed by the author, in the 
 care with which he describes persons, in the way in which they 
 are treated, etc. In short, a skillful writer indicates pretty 
 clearly his leading characters by his literary presentation at 
 their introductioh. 
 
 22. Which character do you most dislike? Why? Which 
 do you fear most ? Why ? 
 
 23. Of what do you learn in these chapters that really took 
 place before the beginning of the story of Ivanhoe ? 
 
 24. Why was Rowena treated so differently from any other 
 person in Cedric's household? 
 
 25. Why did Cedric dislike to hear the name of Ivanhoe? 
 
 26. What were the characteristic features of a Saxon dwelling 
 as it is represented in these chapters ? 
 
 27. What marked differences in the dress of Saxons and of 
 Normans do you find noted in Scott's descriptions? 
 
 28. What differences were most marked between the habits 
 and manners of the Saxons and those of the Normans ? 
 
 29. What do you learn from the conversation of Wamba and 
 Gurth about Saxons and Normans? About, the life of a 
 jester? A swineherd? About Cedric ? 
 
 30. Which of these two, Gurth or Wamba, had really the 
 better mind, do you think ? Prove your opinion from the 
 conversation. 
 
 31. Find all the steps in the development of the plot, that is, 
 all the points really essential to the advancement of the 
 story, in chapters v. and vi. 
 
 32. Which one seems to you of chief importance ? Why? 
 
 33. How many groups of persons were wending their way 
 toward the tournament? What was the special object of 
 each in going ? 
 
30 
 SECTION V. HISTORICAL. 
 
 34. Show Richard's descent from William the Conqueror. 
 
 35. During how many years had the Normans ruled over 
 England ? 
 
 36. Did these kings make their home in England or in 
 Normandy ? 
 
 37. How many of these kings had been able to speak Eng- 
 lish? 
 
 38. Show on the map what possessions in France belonged 
 to England at this time, 
 
 39. Which of the Crusades was this on which Richard had 
 gone ? What other great rulers went also on this Crusade ? 
 
 40. What route did the kings and their armies take in going? 
 
 41. Was the Crusade successful in accomplishing the object 
 for which it went out? 
 
 42. By what route did Richard attempt to return ? Why ? 
 
 43. Why did the king of France hate Richard? 
 
 44. What other persons in Europe were interested in Rich- 
 ard' s disappearance ? Why ? 
 
 45. How long had Richard been absent from England at the 
 time of the tournament? 
 
 46. In case of Richard's death, who was next heir to the 
 crown ? Who was likely to become king ? 
 
 47. How did Richard come as a prisoner into the hands of 
 Henry VI. of Germany? 
 
 48. On what charges was he tried ? At what ransom was he 
 held? 
 
 49. How long did Richard remain a prisoner ? When and 
 how did he escape ?' When did he land in England? 
 
31 
 SECTION VI. CHAPTERS VII-XV. 
 The Tournament. 
 
 50. Where was Ashby ? 
 
 Where did the Palmer leave Isaac ? 
 
 51. Make a map of the tourney grounds, indicating on it 
 heralds, lists, tents, etc. 
 
 52. a. What men could become knights? 
 
 b. How were men trained for knighthood ? 
 
 c. How did men become knights ? 
 
 d. The armor and weapons of a knight at the time of 
 Ivanhoe ? 
 
 Note. — Consult encyclopaedias and books of reference 
 under Chivalry, Also Hallam's Middle Ages, vol. iv., chap. 
 ix., part ii. ; The Art of War, by C. Oman, book v., chap. 
 ii., A. ; The Crusades, by T. A. Archer, etc. 
 
 53. What orders of knights are introduced in this novel ? 
 What differences were there between these orders ? Were 
 
 they friendly ? 
 
 Could each order be recognized by the dress or armor of 
 the knights ? If so, how ? 
 
 NoTK. — See Hallam's Middle Ages, vol. iv., chap, ix,, part 
 ii., Chivalry. 
 
 54. How many persons known to the reader were wending 
 their way toward the tournament ? Show the routes on a 
 map of England. 
 
 55. What was necessary in order to enter the tourney ? 
 On what conditions was the prize to be won ? 
 
 56. For how many reasons did Scott begin the story of the 
 tournament with the incident between Prince John and 
 Isaac ? 
 
 57. Do you find any reason for John's dislike of the Disin- 
 herited Knight from the first ? 
 
32 
 
 58. What was it that won the favor of the people at the 
 entrance of this knight ? 
 
 59. Why did Rowena refuse to go to the king's banquet? 
 
 60. Why did Rebecca return the money paid her father ? 
 
 61. What was Gurth's route from his master's tent to the 
 house of Isaac, and on the return ? Consult a map. 
 
 62. Scott found several reasons in the plan of his story for 
 letting Gurth fall into the hands of the outlaws at this 
 time; find, without consulting the novel after chapter xv., 
 what they may have been. 
 
 63. What do you learn from this incident, about the organ- 
 ization of the band of outlaws ? 
 
 64. Did the laws of the tourney on the second day differ 
 from those on the first ? Which day was the more impor- 
 tant ? Why ? 
 
 65. The two parties on the second day : 
 
 a. Who belonged to each party ? 
 
 b. Why did each take the side he chose ? 
 
 66. At what moment in the story does the reader discover 
 the identity of Ivanhoe ? 
 
 67. Had any one beside Gurth suspected who the Disinherited 
 Knight was previous to the unlacing of his helmet ? 
 
 68. How long since Rowena had last seen Ivanhoe? 
 
 69. Did Rowena intend by her words to convey to Ivanhoe 
 a private message ? 
 
 70. Find all the reasons you can for the author's decision 
 that the second important incident of this novel should be 
 a tournament ? 
 
 71. What moment of the tournament was most exciting to 
 the spectators? 
 
 72. What incident in the tournament do you think most 
 important in this story ? Why ? 
 
 73. If this tournament were to be represented on the stage 
 what moment would be most dramatic and splendid ? Why ? 
 
33 
 
 74- How could you distinguish Normaus and Saxons by 
 appearance on the stage ? 
 
 75. What new information about events before the beginning 
 of the story of Ivanhoe can the reader gain from these 
 chapters ? 
 
 76. Why was the incident of the archery introduced ? Has 
 it any connection with the plot ? 
 
 77. Find all the plot elements that are included in the inci- 
 dent of the banquet. 
 
 78. Was Cedric simple-minded or shrewd in his toast to 
 King Richard ? 
 
 79. What points of contrast between Normans and Saxons are 
 emphasized in the account of the banquet ? Why ? 
 
 80. Is the message from the French king to John historical? 
 
 81. Why did John dread Richard's return. 
 
 82. Find every reference in the novel thus far, to King 
 Richard or his friends ; what hints in regard to his character, 
 his friends or enemies, do you gain from these references ? 
 
 83. What classes of persons in England belonged to John's 
 party ? 
 
 84. On what men did John chiefly depend? What was the 
 object of each in serving John ? 
 
 85. Make a character study of Prince John, referring to some 
 incident or description in the novel in proof of each quality 
 of body, disposition, or mind, that you attribute to him. 
 Discuss his ability, his good qualities, his weaknesses. 
 
 86. How many groups of persons in which the reader is 
 interested left the tournament? Whither was each group 
 going? For what purpose? 
 
 87. For what purpose was the meeting at York called ? What 
 was the position and policy of Fitzurse ? 
 
 88. What arguments for supporting John influenced the 
 nobility ? 
 
 Note. — Topic 85 furnishes the teacher an opportunity for 
 
34 
 
 giving practice in the use of scattered material in making 
 character studies. The material should first be collected in the 
 note-book, with references to the text in support of points ; 
 then, the points should all be re-arranged according to some 
 plan so as to form an outline. After this, the outline may 
 form the basis of written work ; in case it is thus used, the 
 student should be taught how to write an introduction suggest- 
 ing either the importance of the character to be described, the 
 interest in the prince himself, the significance of his character 
 as representing the times, or as that of a historical personage, 
 etc. He should also be taught how to use the material gathered 
 from the novel in connection with and in support of his own 
 conclusions, how to make comparisons, introduce his own 
 opinions, and, finally, when the end of the outline has been 
 reached, how to write a conclusion that will sum up the sub- 
 stance of the essay and will be related consistently to the 
 introduction. 
 
 In the course of the study of Ivanhoe, successive character 
 studies of this kind should be made. 
 
 89. At the close of chapter xv., what do you care most to 
 know? 
 
 90. What do you think Scott's main purpose in the plot, — 
 a love story or something else ? 
 
 91. What was Scott's idea of a heroine ? Prove by references 
 to the text. At this point, which of the ladies seems the 
 real heroine of Ivanhoe ? 
 
 92. What characteristics were essential to Scott's idea of a 
 hero? Prove as above. To how many characters in this 
 novel has Scott given some of the qualities belonging to a 
 hero? 
 
 93. Which character do you think most vividly and really 
 presented in chapters i.-xv ? Why ? 
 
 94. a. Which character do you like best ? Why ? 
 b. Which one do you dislike most ? Why ? 
 
35 
 
 c. Whidi character has the finest intellect ? The strongest 
 will ? How do you prove this ? 
 
 95. Which characters seem to you most representative of 
 life in the 12th century ? Why ? 
 
 96. Which conversation in chapters i.-xv. do you think the 
 finest ? Why ? 
 
 97. What description of a place in chapters i.-xv. is finest? 
 
 What tests do you use in comparing descriptions of places ? 
 
 NoTK. — Bach student should select at least three descrip- 
 tions of places for comparison, and decide upon the one of these 
 that seems to him finest. 
 
 98. What characteristics of life in the 12th century as differ- 
 ent from our own have you found thus far? 
 
 NoTK. — This topic should be prepared in the note -book with 
 references to the text, and the characteristics should be classi- 
 fied ; as, those belonging to dwellings and manner of life, 
 amusements, superstitions, etc., etc. 
 
36 
 SECTION VII. CHAPTERS XVI-XXV. 
 
 99. What evidences of the true character and occupation of 
 the hermit do you find in chapters xvi., xvii? 
 
 100. Were there really hermits in England in the 12th 
 century ? Where ? How did they live ? 
 
 See The Hermits, by Charles Kingsley, Encyclopaedias, 
 etc. 
 loi. In what respects did the clerk of Copmanhurst imitate 
 the life of the true hermit ? 
 
 102. What can you infer of the history and character of the 
 Black Knight from these chapters ? 
 
 103. Why did the Black Knight refuse to fight with the clerk? 
 
 104. Why was the clerk so unwilling to trust the Knight ? 
 
 105. What customs belonging especially to mediaeval times 
 are illustrated in these two chapters ? 
 
 106. Where did Scott get the story of the clerk and the 
 Knight ? 
 
 See Introduction to Ivanhoe. 
 
 107. Why did the author of Ivanhoe like this story and 
 especially wish to use it ? 
 
 108. Could this story be left out of the novel without spoiling 
 the main plot of Ivanhoe ? 
 
 Note. — The author of a novel has a right, sometimes, to 
 introduce interesting incidents which do not really belong to 
 the plot for the purpose of exhibiting the characters of the 
 story, of illustrating the customs of the times, or for other 
 similar reasons. An incident belongs to the plot only in case 
 it cannot be left out without changing the course of the 
 story. The student will be able to prove easily whether other 
 parts of Ivanhoe depend upon this incident, and, if so, to tell 
 what they are. 
 
 109. Has Scott used a hermit as a character in any other of 
 his works. 
 
37 
 
 no. What was Cedric's route on the way from Ashby? How 
 long a journey had he to go ? 
 
 111. How did women travel in England at this time? How 
 was baggage carried ? Where did people usually put up for 
 the night? 
 
 112. How many persons and animals, according to your esti- 
 mate, were travelling in Cedric's company? 
 
 113. How many times has Fangs been introduced before? 
 For what reason, each time? For what special reasons is 
 the dog brought in again at this point ? 
 
 114. A character study of Cedric up to this point. See the 
 previous note on the writing of character studies, pp. 9, 33, 51. 
 
 11$. a. In what characteristics did Scott intend that Cedric 
 should represent the Saxon race ? 
 
 b. What were Cedric's personal peculiarities? 
 
 c. Was Athelstane a true Saxon ? 
 
 116. On what plan had Cedric set his heart? What difficulties 
 were in the way of its fulfilment ? 
 
 117. Show in how many ways Scott planned beforehand for 
 the events of chapter xix. 
 
 118. How many incidents essential to the story of Ivanhoe 
 do you find in chapter xix ? Which one is most important 
 of all ? Why ? 
 
 119. What happened that De Bracy had not anticipated or 
 planned for ? 
 
 120. Can you prove whether either De Bracy or Bois-Guilbert 
 expected to find the Jew and his daughter in the company 
 of Cedric ? 
 
 121. The character of Gurth illustrates one of the occupations 
 of serfs and also their position in the 12th century ; is it 
 essential to the plot, that is, to the progress of the story up 
 to the close of chapter xx ? 
 
 122. What orders had Locksley given the different members 
 of his company immediately after the tourney ? 
 
38 
 
 123- How did he happen to be so near Cedric's party at the 
 time of the surprise ? 
 
 124. Why did Ivocksley wish the clerk of Copmanhurst to 
 live as a hermit ? 
 
 125. Make out the directions or rules for the regulation of 
 his life that you suppose Ivocksley gave the clerk, and ex- 
 plain the reason for each. 
 
 126. Why did Locksley judge the knight a true Knglishman ? 
 
 127. What do you consider the most important thing in 
 chapter xx ? 
 
 128. How many and what incidents in the previous story were 
 necessary to bring this important thing to pass ? 
 
 129. How many of the incidents narrated in these chapters 
 were going on at the same time ? 
 
 130. How does Scott get the reader from one to the other ? 
 Why did Scott introduce the story of the Black Knight and 
 the Clerk before telling us what became of Ivanhoe and 
 where Cedric's party went? 
 
 131. Make a plan of the castle and defences of Torquilstone 
 that will satisfy all the conditions of the description of 
 the castle and siege contained in these chapters. 
 
 NoTK. — Consult Encyclopaedias, English Histories, etc. 
 Plans will be found under heading. Castles. For location see 
 map, especially map of Ivanhoe lyand, references. 
 
 132. lyocate on your plan, each one of the prisoners. 
 
 133. Why did Scott introduce the long story of Torquil 
 Wolfganger in this chapter? Could it be left out? 
 
 134. Who did Cedric think had captured his party ? How 
 did he expect to get away ? 
 
 135. What characteristics of the Saxon race are illustrated in 
 this chapter? 
 
 136. How long after this time were the Jews expelled from 
 England ? When were they re-admitted ? 
 
39 
 
 137- Were the Jews really treated at this time as Scott repre- 
 sents in Ivanhoe ? 
 
 Note. — The student can only establish Scott's accuracy by 
 bringing references to historians of authority, giving instances, 
 etc, 
 
 138. Show why Scott has told what happened to Cedric first, 
 to Isaac second, to Rowena third, to Rebecca fourth ; why 
 did he not place the scene in Rebecca's chamber after that 
 in the dungeon, or use some other order in his narration ? 
 
 139. How does Scott account for Rowena's lack of courage 
 and fortitude ? 
 
 140. Would Rowena have consented to De Bracy's plan had 
 no interruption from without the castle occurred? What 
 reasons would have influenced her to yield? What were the 
 reasons in her mind for not yielding ? 
 
 141. In what respects was Rebecca's case more desperate than 
 that of Rowena ? 
 
 142. Compare Rebecca and Rowena in respect to : 
 
 a. Treatment in the Castle, 
 
 b. Motives that might impel either girl to yield to her 
 fate, 
 
 c. Reasons, in the case of each, for opposing fate, 
 
 d. Resources and means of escape or of modifying the 
 threatened danger, 
 
 e. Character. 
 
 143. W^hich do 3'ou most admire? Which would have done 
 most for Ivanhoe ? 
 
 144. How many scenes did Scott close with the winding of 
 the horn ? Why did he use the horn in this way ? 
 
 145. Would such a combination of circumstances be probable 
 in real life ? 
 
 146. In case no rescue from without had appeared, forecast 
 the result for each character within the castle? 
 
 147. Which is the better, to lead up to the siege, or rescue, if 
 
40 
 
 there is to be one, from within the castle, or from without ? 
 Discuss the sources of interest, the means of making all 
 the details clear to the reader, and the advantages of each 
 method ? 
 
 148. Can you explain Scott's reasons for choosing to describe 
 this siege from within the castle ? 
 
 149. Compare Front de Boeuf, De Bracy, Brian Bois-Guilbert, 
 Waldemar Fitzurse : 
 
 a. What qualities, if any, belonged to all these men ? 
 In what qualities did they differ? 
 
 b. Which one of them represents most typically Scott's 
 idea of a Norman ? 
 
 150. Can you prove from the challenge which one of the 
 persons signing the paper composed it ? Who wrote it out ? 
 
 151. What was the result of the challenge? 
 
 152. Why did those within the castle wish a priest sent in ? 
 153- Why did those without wish to send one in ? 
 
 154. What were Scott's reasons for employing this device in 
 telling the story of the siege ? 
 
 155. How many points in the development of the plot are 
 connected with this device? 
 
 156. To what is the special interest and anxiety of the reader 
 during Cedric's progress from his room to the postern due? 
 
 157. What conditions did Front-de-Bceuf propose exacting 
 from his prisoners ? 
 
 158. What was the plan of defense? 
 
 159. What was the plan of attack? 
 
 160. Was it possible to take such a castle as Torquilstone 
 except by siege? 
 
 Note;. — Refer to the plan of the castle, inquire about the 
 usual breadth and depth of moats, the thickness and height of 
 walls, the means of assault, etc. See references under Castles. 
 
 161. Why did Scott bring Brother Ambrose into the Castle? 
 
 162. In the conversation between Ivanhoe and Rebecca, 
 
41 
 
 a. What did Ivanhoe mean by the term ** Chivalry " ? 
 
 b. What was the difference between Ivanhoe's idea of 
 bravery and nobility of character and Rebecca's con- 
 ception of the same qualities ? 
 
 c. Which view was nearer the modern opinion ? 
 
 163. Trace every step in the series of incidents that brought 
 about the imprisonment of Ivanhoe in the Castle of Torquil- 
 stone, and made Rebecca his attendant there. 
 
 164. How had Rebecca acquired her knowledge of the healing 
 art ? Was there anything mysterious in her skill ? 
 
 Was the time proposed for the healing of Ivanhoe's 
 wound reasonable ? 
 
 165. How had Rebecca persuaded Isaac to care for Ivanhoe? 
 
 166. What motives determined De Bracy's treatment of 
 Ivanhoe ? 
 
 167. Did Rowena suspect who was carried in the litter of 
 Rebecca ? 
 
 168. If Scott had wished to introduce this account of what 
 became of Ivanhoe before the story of the capture, at what 
 point in the narrative would it have come in best ? 
 
 Why did he give these incidents after the story of the 
 capture ? 
 
 169. Why did Scott write note 16 in regard to the device on 
 the Black Knight's shield? 
 
 170. If you regard the siege of Torquilstone as a separate 
 incident, show, 
 
 a. Where and in what is the beginning? 
 
 b. What steps lead to the climax ? 
 
 c. When and in what is the climax ? 
 
 d. Where is the conclusion ? 
 
 e. How does Scott give unity to this description ? 
 
 171. In what parts of the siege does the author place the 
 reader within the castle ? Why ? 
 
 In what parts without the castle ? Why ? 
 
42 
 
 172. Which parts of this description appeal most vividly to 
 the imagination ? 
 
 Which parts appeal most keenly to the sympathy ? 
 
 173. For what reason does this scene excite intense interest? 
 
 174. In closing this incident what unfinished threads of plot 
 did Scott leave ? Why ? 
 
 175. This is the second time in the novel that Brian and 
 Ivanhoe exchange words of defiance ; what is the result of 
 this encounter? 
 
 176. Is the reader more interested in the fate of Rowena or of 
 Rebecca? Why? 
 
 177. Are any persons unaccounted for at the close of chapter 
 xxxi? 
 
 178. Are there any whose fate is doubtful ? 
 
 179. How many of the characters of the novel enter in 
 chapter xxxii ? 
 
 180. How many different incidents find a conclusion in chap- 
 ter xxxii? 
 
 181. Make out the rules that you imagine l/ocksley gave to 
 his company in regard to spoils and violence? 
 
 182. What was the outlaw's plan in the scenes in chapters 
 xxxii. and xxxiii? 
 
 183. What struck the Black Knight most in the scenes he 
 witnessed ? 
 
 184. What was lyocksley's real purpose in the management 
 of his band ? 
 
 How had he secured the obedience of so many wild and 
 lawless men ? 
 
 185. a. Give, in order of importance, the terms of settlement 
 decreed by Locksley for each one before the Sylvan Court ? 
 
 b. What was his own share of the spoils? 
 
 c. What do you learn of Ivocksley's past life and conduct 
 from this scene? 
 
 186. Which incidents of this scene in the wood suggest to 
 
43 
 
 you that the future course of the story may depend upon 
 them? 
 
 187. Did the Black Knight act wisely in letting De Bracy go? 
 What reasons for doing otherwise do you find ? 
 
 188. If you were to represent the sylvan court by tableaux, 
 what scenes would you choose? Which would be prettiest ? 
 Which would be most interesting ? 
 
 189. If these scenes were to be acted by amateurs, the con- 
 versation being given, which scene would be most interest- 
 ing and effective ? 
 
 190. Tell whither each group at the sylvan court went when 
 all scattered. 
 
44 
 SECTION VIII. CHAPTERS XXXIV-XXXIX. 
 
 191. What characteristics of Prince John are shown in 
 chapter xxxiv? 
 
 192. a. What dangers threatened John ? 
 
 b. Wherein lay his strength? 
 
 c. Wherein lay the weakness of his party ? 
 
 d. What was John's real plan ? 
 
 e. Did John fear De Bracy or Fitzurse the more ? Why ? 
 
 193. What three plans were open to De Bracy? 
 What were the arguments in his mind for each ? 
 
 194. What was the plan for attacking Richard ? 
 
 195. How many preceptories of the order of the Temple 
 existed in England at this date ? Where were they ? 
 
 196. How old was the order of the Temple at this time? By 
 whom was it founded ? For what purpose ? 
 
 197. What were the ideals and rules of the order of the 
 Templars in the beginning, according to the grand master ? 
 
 198. What was the purpose of I^ucas Beaumanoir's life? 
 What motives do you suppose impelled him ? 
 
 In what respects is this character typical ? 
 
 199. Why is he introduced just at this point in the story of 
 Ivanhoe ? 
 
 200. How many different persons wished the downfall of 
 Brian Bois-Guilbert? 
 
 Show the reason in each case. 
 
 201. Had he friends who really cared for him? How do you 
 decide ? 
 
 202. What chain of circumstances has prepared the way for a 
 charge of witchcraft against Rebecca ? 
 
 Note. — In answer to this topic, the student should "find 
 the earliest evidence in the novel that Scott had this charge in 
 mind, and trace the preparation for it up to the trial. 
 
45 
 
 203. Why was the grand master eager to prosecute Rebecca 
 on the charge of witchcraft ? 
 
 204. What was the punishment of witchcraft in the laws 
 of Moses? 
 
 205. What was the penalty of witchcraft in England at this 
 time ? 
 
 206. How is witchcraft proven ? 
 
 Compare with the testimony in the trials at Salem; 
 see American history. 
 
 207. Who brought the charge in this trial? 
 
 Who decided whether the prisoner was guilty ? 
 
 208. What means of defense, in the trial, were furnished 
 Rebecca ? 
 
 209. What effect did Scott wish to produce by his description 
 of the hall and the trial scene, in chapter xxxvii? Why? 
 
 210. What were the special charges against Rebecca? 
 
 211. Find all the evidence that weighed against her ? 
 
 212. How did Rebecca answer the accusations against her? 
 
 213. What did Scott intend to show the reader by her words ? 
 
 214. What means did Scott employ to increase the sympathy 
 of the reader in behalf of Rebecca ? 
 
 215. Why did Rebecca appeal to Brian ? 
 
 216. Upon what did her chance of life depend ? 
 
 217. What was Herman's object in suggesting that Rebecca's 
 gage be given to Brian ? 
 
 218. Did Ivucas Beaumanoir believe in witchcraft? 
 
 219. In how many points did Rebecca's letter to her father 
 differ from one that Rowena might have written ? 
 
 220. In what respects are Brian and Rebecca placed in con- 
 trast in the conversation in chapter xlv ? 
 
 221. What had been Brian's plan for the defense of Rebecca ? 
 
 222. What was his main purpose in this conversation ? 
 
 223. Do you see any change in Brian's regard for Rebecca 
 since his first conversation with her ? In what do you find 
 proof of your opinion ? 
 
46 
 
 224- Did Rebecca feel any admiration for Brian ? Any sym- 
 pathy ? 
 225. The struggle in Brian's mind on the eve of the trial : 
 
 a. The plans open to him. 
 
 d. The motives that impelled him to each. 
 
 c. The motives that withheld him from each. 
 
 d. What means were taken in Templestowe to pre- 
 vent the Templar from changing his mind ? 
 
 e. Why were the grand master and Malvoisin so 
 anxious to compel him to fight against Rebecca ? 
 
47 
 SECTION IX. CHAPTERS XL-XLIV. 
 
 226. Was Ivanhoe's desire to follow Ricliard superstitious? 
 Is it an element of the plot necessary to the progress of the 
 story ? How do you prove it a part of the plot or not? 
 
 227. How far back did Scott begin to prepare for the scenes 
 in chapter xl ? 
 
 Upon what did Richard's rescue depend? 
 
 228. What was Richard's reason for bidding Fitzurse not to 
 mention John's name in connection with his treason ? 
 
 229. What is the most critical moment in this chapter? 
 
 230. There are in chapter xl. at least twelve or fifteen items 
 necessary in the plot. Make a list of these and explain, in 
 the case of each, why it could not be omitted without chang- 
 ing the course of the story. 
 
 NoTK. — Let each pupil in the class prepare this list without 
 consultation with others ; in the recitation, see who has the most 
 complete list and allow the members of the class to challenge 
 any item that does not seem essential to the story ? 
 
 231. What was Richard's plan for regaining his crown? 
 What indication of this plan has the reader previously had ? 
 
 232. a. What characteristics of King Richard appear in chapters 
 xl. and xli? 
 
 b. What is the relation of these characteristics to the plot? 
 
 c. Is this representation of King Richard historical? 
 Bring evidence from other sources than Ivanhoe ? 
 
 233. Give an account of the manner in which funerals were 
 celebrated among the Saxons, according to Scott. 
 
 Can you prove whether this representation is accurate and 
 complete ? 
 
 234. How did the castle of Coningsburgh differ from that of 
 Torquil stone? 
 
 See Scott's note, History of Conisborough Castle, etc. 
 
 235. Find all the reasons, in Scott's mind, for the death and 
 
48 
 
 reappearance of Athelstane. Why did Scott write note 28 
 on this subject ? 
 '236. Why is the conversation in which Alan-a-dale figures 
 introduced ? 
 
 237. What are the elements of suspense in the scene of the 
 combat ? 
 
 238. Why did not Scott choose that Ivanhoe should kill 
 Brian, his bitter enemy ? 
 
 239. a. Could the author* have made it possible that Brian 
 should live ? 
 
 b. What would have become of him had he lived ? 
 
 c. Would the novel have ended at this point had he lived ? 
 
 240. Give reasons drawn from Scott's narrative for your 
 opinion. 
 
49 
 SECTION X. GENERAIv TOPICS. 
 
 241. How many times, in this novel, has Scott saved his plot 
 at the last gasp, by improbable means? 
 
 What is the effect upon the reader ? 
 
 242. How many separate stories, each about a group of charac- 
 ters, do you find in Ivanhoe? 
 
 243. In case of each of these separate stories, find : 
 
 a. The beginning of the story. 
 
 b. The number of characters belonging to it. 
 
 c. The most important moment of the story. 
 
 d. The conclusion of the story. 
 
 e. The points where the subordinate story fits into and is 
 essential to the main story. 
 
 r. Do any of the characters belong in more than one group ? 
 If so, does it add to the interest or is it confusing, to find 
 the same person in different groups ? Why ? 
 
 The Theme. 
 
 In every story, there should be a purpose, beyond the narra- 
 tion of interesting incidents, called a theme, for which it is 
 told. In Ivanhoe, three possible themes are to be considered : 
 
 a. A love story, of which Wilfred is the hero and Rowena 
 the heroine. 
 
 b. The rivalry and enmity of Ivanhoe and the Templar, 
 Brian Bois-Guilbert ; as, long ago. Homer sang the 
 wrath of Achilles. 
 
 c. The return of Richard, the King, the overthrow of 
 his enemies, and his re-establishment on the throne of 
 England. 
 
 244. Questions : 
 
 I. If a is the true theme, where is the beginning of 
 the story ? The most important moment, or turn- 
 ing point ? The end of the story ? 
 
50 
 
 2. li d is the true subject of the story, what incident 
 forms the beginning ? When is the most important 
 moment ? What incident is the end of the story ? 
 ' 3. Ji c is the theme of Ivanhoe, where do you find 
 the beginning ? The most important moment ? 
 The end? 
 
 245. Which do you think the true theme of Ivanhoe? 
 
 Note. — If there is difference of opinion on this topic, let 
 students choose which theme each will defend and argue the 
 case, bringing proofs from the story. There are reasons worth 
 finding in support of each theme, though Scott must have 
 chosen one and kept it definitely in mind. 
 
 246. At how many points does the plot of Ivanhoe depend 
 upon accident or on chance occurrences ? 
 
 247. How many times does the plot of Ivanhoe depend upon 
 the character of some person ? 
 
 248. How many times, in Ivanhoe, did the author lead up to 
 a moment of intense interest and then change the scene ? 
 Why did he do this ? 
 
 249. How many times did he gather almost all the characters 
 of the novel into one spot and then scatter them ? 
 
 250. a. Why did he like this plan ? 
 
 d. Do you know any other story in which this has 
 been done? 
 
 251. What effect did Scott care most for in the scenes of the 
 novel ? 
 
 Select two scenes that you think finest and show, in 
 each, how he produces this effect ? 
 
 252. Which do you think the most dramatic scene in the 
 novel ? Why ? 
 
 253. Which do you think the most pathetic scene? Why? 
 
 254. Which scene do you think the hardest to describe well ? 
 Why? . 
 
51 
 
 255- See Rebecca and Rowena, by W. M. Thackeray. 
 
 From this continuation of Ivanhoe the reader may 
 infer Mr. Thackeray's criticism of the romance. 
 What were his criticisms upon, 
 
 a. The plot, 
 
 b. The characters, 
 
 c. The adventures. 
 
 The Presentation and Criticism of Character Studies : 
 
 256. Some of the points that should be included in the pre- 
 sentation are : 
 
 a. The character as an individual. 
 
 b. The importance of the character in the novel. 
 
 c. The relation of the character to other characters in 
 the novel. 
 
 d. The question whether the character is a true repre- 
 sentation of human nature, and of acts and motives and 
 principles common in the 12th century. 
 
 e. The skill of the author in representing the character ; 
 was the task difl&cult? Is the character best in action? 
 in conversation ? etc. 
 
 257. What is Scott's plan of presenting characters to the 
 reader ? 
 
 Note. — Some writers describe the person of a character 
 fully on the first introduction and explain the qualities of mind 
 and heart; then, afterwards, they strive to make the character 
 act in accordance with this introduction. Other writers intro- 
 duce a new character by describing much the same things that 
 would be noticed at a first meeting with a stranger, and each 
 time that this person appears afterwards, the writer adds some 
 new feature, or explains some characteristic so that the reader 
 gradually becomes familiar with him and understands his 
 character in the manner in which he makes a new acquaintance 
 in real life. A few writers do not follow either plan consistently 
 
52 
 
 but seem to depend upon showing the reader continually how 
 a variety of other persons regard the character, so that from 
 their opinion, corrected by the reader's understanding of the 
 words and acts of the person himself, a full conception of the 
 personality is finally reached. A novelist may employ one of 
 these methods, or mingle them, or lack skill in the presenta- 
 tion of character. Topic 355 should be answered by taking one 
 character in Ivanhoe, trying to determine which method was 
 Scott's and then proving the conclusion by illustrations. 
 
 In the note-book topics, each pupil was advised to choose, 
 early in the study of Ivanhoe, one character for special study. 
 He should, at the close, have collected material for a special 
 character study. Suggestions for the arrangement, and presen- 
 tation of this material have been given on pp. 9, 33. 
 
 258. In which of the elements involved in character study is 
 Scott strongest? In which weakest? 
 
 259. Which character in Ivanhoe interests the reader most 
 deeply? Why? 
 
 Did Scott intend that this should be so ? 
 
 260. How many characters are there in the novel Ivanhoe ? 
 See note -book topic ix. 
 
 Can you give the number of characters in any other novel 
 for comparison ? 
 
 261. How long a time elapsed between the beginning of the 
 story of Ivanhoe and its conclusion, according to the chron- 
 ology of the novel ? 
 
 See note-book topic viii. 
 
 262. Upon what, chiefly, does the interest depend in the 
 novel, Ivanhoe? 
 
 a. Upon the plot? 
 
 b. Upon the characters ? 
 
 c. Upon the setting ? 
 
 263. In a second reading of Ivanhoe, what will interest readers 
 most ? 
 
53 
 
 264. Characteristics of the 12th Century : 
 
 Note;. — The material for' the discussion of this topic should 
 be found in the note-books, or marked in the text. In a large 
 class, it will be convenient to let each pupil take one charac- 
 teristic of the century from his list, collect illustrations of it 
 throughout the novel, and compare Scott's representation with 
 information obtained from other sources. For instance, the life, 
 occupations, and treatment of serfs; the differences between 
 Saxons and Normans ; medicine and the care of the sick ; super- 
 stitions; the treatment of the Jews, etc., etc. 
 
 265. Characteristics of Scott as a novelist: 
 
 NoTK. — Even young students, with careful guidance may 
 do a little real critical work here. Each should be able, by the 
 time the study of the novel is completed, to notice for himself 
 one or more devices, or characteristics peculiar to this author in 
 the telling of stories, and to find illustrations in the text. For 
 instance, Scott's love of fine horsemanship ; or, his habit of 
 bringing characters into dreadful peril and then of providing 
 rescue. 
 
 Skillful teaching will be manifest in leading the student to 
 make distinctions up to the full level of his development and 
 ability, and also in the avoidance of those characteristics of the 
 novelist an appreciation of which must be reached by aesthetic 
 analysis or psychological distinctions requiring maturity and 
 training beyond that of the high school pupil. 
 
54 
 APPENDIX. 
 A suggestion of topics for cofnpositions in connection with 
 the study of the sixth section, chapters vii.-xv., of Ivanhoe. 
 I. Let Wamba tell the story of Rowena's preparation for 
 the tournament, and of her journey. 
 II. Imagine yourself in Reuben's place, listening behind a 
 curtain when Isaac enters the room where he finds 
 Rebecca on his return from the journey with the 
 palmer, and tells her all that has happened. Be 
 especially careful in describing the persons that Isaac 
 had met as they would have appeared to him. Repre- 
 sent Rebecca as asking questions and Isaac as express- 
 ing his own opinions freely. 
 
 III. Tell how Ivanhoe presented his letter to Kirjath Jairam, 
 
 in Leicester, and how he chose a horse. Tell also 
 where and how Gurth found him, and give the first 
 conversation between them. Did Gurth know how to 
 care for a Knight's horse and armor, do you suppose.? 
 
 IV. Write a letter from Rebecca to a kinswoman in Spain, 
 
 describing the tournament and her own feelings as 
 it went on. 
 
 a. On the first day, 
 
 b. On the second day. 
 
 V. Write another letter, later, as above, describing the 
 return of the money, the rescue of Ivanhoe, and what 
 happened on the following day. 
 VI. Write an account of the contest in archery by means of 
 a conversation among a group of yeomen, on the 
 following evening, Hubert being the chief speaker. 
 VII. Let the Lady Alicia give an account of the choosing of 
 the queen of love and beauty and describe her rivals 
 to the ladies at court, after all was over. Show 
 whether she admires Prince John and flirts with him 
 or dislikes him and secretly favors some one else. 
 
55 
 
 VIII. Describe Locksley's home and life before he became an 
 outlaw. 
 IX. Describe the incident that made lyocksley an outlaw. 
 Note. — Compare the story of Robin Hood, in The Foresters, 
 by Tennyson. 
 
 X. Tell of some brother, cousin, or comrade for whom 
 Locksley cared who did not become an outlaw. Did 
 Ivocksley visit this comrade ? How did he communi- 
 cate with him ? What did the comrade do for him ? 
 XI. Make a set of rules such as you suppose that Locksley 
 gave to his band. 
 XII. Tell the story of Locksley's first acquaintance with the 
 
 Clerk of Copmanhurst. 
 XIII. Describe a meeting of the outlaws and a feast a few days 
 before the tournament. 
 
 L-flfC 
 
56 
 CRITICISM. 
 
 A few references to essays and critical reviews on Ivanhoe, 
 or on the style and characteristics of Walter Scott. 
 
 Essays on Fiction, by N. W. Senior, pp. 38-53. 
 
 Introduction, to Ivanhoe in Border edition, by A. Lang. 
 
 The editor summarizes several of the most important criti- 
 cisms of Ivanhoe and discusses at length the adverse criticism of 
 Freeman upon the historical accuracy of Ivanhoe. 
 
 Contributions to the Edinburgh Review, by F. Jeffrey, vol. 
 iii., part v.. Novels, Tales, and Prose works. 
 
 English I^iterature, by H. A. Taine, book iv., in chap. i. 
 
 Fiction Fair and Foul, by John Ruskin, Nineteenth Century, 
 vol. 7, p. 941. 
 
 Walter Scott — Has History gained by his writings .'' Fraser's 
 Magazine, vol. 36. 
 
 Eclectic Review, vol. 31, p. 526; an adverse criticism on 
 Scott's success in the English field. Finest scenes are quoted. 
 
 London Magazine, vol. i., p. 11; on the authorship of the 
 Scotch novels. 
 
 Blackwood's Magazine, vol. v., p. 262, year 1819 ; vol. viii., 
 p. 355; vol. xxii., p. 541- 
 
 Rebecca and Rowena, A Romance on Romance, by W. M. 
 Thackeray, in Christmas Books. 
 
 British Novelists and their Style, by D. Masson. 
 
 THE END. 
 
THE STUDY-GUIDE SERIES 
 
 For the Critical Study of Literature. 
 
 Each study contains the bibliography essential to a knowledge 
 of the author's training in literary art, theories of art, methods of 
 work, etc. ; topics for study designed to aid the student in the critical 
 appreciation of plot structure ; and many suggestions and explana- 
 tions relative to the study of fiction, note-book work, etc. It is the 
 purpose of the author in these studies to aid readers and students in 
 arriving at opinions of their own by original study of the text. 
 
 The Study of Romola. 
 
 Arranged in fifteen sections especially for study clubs and classes. 
 The topics for discussion are a guide to an understanding of the art 
 of fiction and present questions on which honest differences of 
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 also suggests topics for the systematic study of the complex historical 
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 in the English language. 
 
 The Study of Henry Esmond. 
 
 Arranged in the same manner as the study of Romola, with 
 special reference to Thackeray's theories of historical fiction, 
 characteristics as an author, etc. A careful study of Henry Esmond 
 according to the plan indicated will give the student a more intimate 
 acquaintance with this author than the rapid reading of many of 
 his novels. 
 
 The Story of Ivanhoe. 
 
 Arranged primarily for students of secondary schools. Includes 
 anessay on Aims and Methods of Instruction; suggestive topics 
 for class-room study; suggestions for composition work in connec- 
 tion with the text ; a bibliography on the historical background, the 
 customs, manners, etc. of the times ; and a picture of Conisborough 
 Castle. 
 
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