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638. Streight. Strait, difficulty. 559. Bleeding Heart. The Douglas clan, by metonymy. 678. Links of Forth. Its windings near Stirling. Cf. The Lord the Isles, VI. xix.
“Old Stirling's towers arose in light,
Her winding river lay.”
679. Porch. Gate. Derivation ? 690-691. Till ...
again. Precise meaning of these lipes ? 892. There are who have. An ellipsis. 894. Beetled. Overhung. Cf. "a beetling brow." 702, Battled. Battlemented, 708. Astound. The contracted participle. 713. Explain the details of the sustained figure in this stanza 718. Hectic. Unhealthfully excited. 731. Level. Aim. 932–737. Twas I . slanderous tongues. Note the pathos. 747. Nighted. Beurighted. 757. Checkered shroud. His plaid.
773. Mirian. (French, mignon.) Originally a loved one later, as here, a servile fawning favorite.
801. Pity 'twere. The Highlander's contempt for any approach: to effeminacy.
805. Lackey. Verb.
809. Henchman. A sort of secretary, expected to be ready tk give his life for his master. Therefore he used to stand behind his naster's seat at drinking-bouts, to resent any offensive speech.
829. On the morn. Modifies 66 should circle.” 831. Fiery Cross. See next Canto
899. Rolied. Grammatical construction ? 846. Point. Appoint or point out.
Canto I ended with morning. This one ends with evening and moonlight. Is there any artistic reason ?
GENERAL QUESTIONS ON CANTO SECOND 1. What element enters largely into Canto II. that appeared but Bittle in Canto I. ?
2. What will be the difference in the tone of two cantos, one of which is full of nature, the other of human life and emotions ?
3. Mention the human passions displayed in Canto II. and prove your list by quotations.
4. Which Canto has the more movement ?
5. What is the effect of minute detail in description ? Show this in “ The return of Clan Alpine"; the description in Canto L of the Lodge.
6. What is the spirit of the introduction to Canto IL ?
9. Tell the story of Canto II, in from thirty-five to forty words; of Canto I
LINE 8. Store. Adj., now obsolete. Cf. L. 548
18. The Fiery Cross. Scott says: “When a chieftain designed 20 summon his clan, upon any sudden or important emergency, siew a goat, and, making a cross of any light wood, seared the
extremities in the fire, and extinguished them in the blood of the animal. This was called the Fiery Cross, also Crean Tarigh, or the Cross of Shame, because disobedience to what the symbol implied, inferred infanıy." This was carried by relays of swift. messengers, and every able-bodied man, between sixteen years and sixty, on: sight of it was obliged to hasten to the meeting-place. 3* During the civil war of 1745–46, the Fiery Cross often made ita circuit; and upon one occasion it passed through the district of Breadalbane, a tract of thirty-two miles, in three hours."
19-40. The Summer dawn's ... love. Why is this peaceful picture introduced here?
30. Chalice, Cup.
40. In speaking of Scott's use of color, Ruskin quotes the above passage, which he says “has no forn in it at all except in one word (chalice), but wholly composes its imagery either of color, or of that delicate half-believed life which we have seen to be so important an element in modern iandscape." What does he mean by "half-believed life"?
46. Impatient blade. Transferred epithet. 17. Vassals. Dependents of a feudal lord. 51. Preface meet. Fitting preparation. 67. Sails. What is meant ? Cf. Deut. xxxli 11. . 62. Rowan. Mountain ash. 63. Shivers. Slivers. 89–70. His . . . bore. Explain. 74. Benharrow. Mountain at head of Lock I.omond. 76. Druid. See early British history. 81. Hallowed. Christian. 87. Strath. A broad river valley. Watch for its compounds. 01. This legend was borrowed by Scott from some old tales
Mediæval heroes were apt to have supernatural origins, as King
104. Fieldfare. A small brownish thrush.
The legend of his birth received." 138. Sable-lettered. Black-lettered, like all old English books. 142. Cabala. Mysteries. 162. Disembodied world. World bereft of human beings.
168. Ben-Shie. Cf. Irish Banshee. A domestic spirit whose wailings foreboded death.
171. Shingly. Pebbly.
188-189. Crosslet cubit's. Little cross, in length the dis. tance from the elbow to the tip of the forefinger.
191. Inch-Cailliach. " Isle of Nuns” in Loch Lomond.
199–281. Make a study of the different curses and responses, the means by which the weird effect is produced, the climax ox each curse, and see which is the most terrible.
200. Sepulchral yew. Because common in graveyards. 212. Strook. Old past of strike.
213-217. And first hoarse. See how the sound, including alliteration, carries out the sense.
220–221. Joyous, exulting. At the thought of prey.
255. Be a-nam-bo. Pass the other side of Benvenue fror Goblin's Cave.
278. Grace. Forgiveness. 279. This sign. Sign of the cross. 286. Lanrick Mead. At northwestern end of Lock Vennachar
288 et seq. Make especial study of Malise's run. It is one of the finest things in the poem. Note the various touches by which the feeling of breathless speed is produced.
300. Dun deer's hide. A sort of buskin or moccasın. 304. Steepy. Steep; poetic.
310. Scaur. Cliff. Same as scar. Cf. Scarborough, and Ten. ayson's Bugle Song, “O sweet and far, from cliff and scar.' 322-347. Fast ...
loud. Note details. 332. Cheer. Look. 344. Bosky. Woody. 349. Duncraggan. Near Brigg of Turk.
369. Coronach. A funeral lamentation, mingled with praise of the dead. What is the effect of the amphibrachic movement ?
“ He / is gone on the mountain,
He I is lost to l the forest,
When our need was I the sorast."
How do we know that Duncan was Roderick's right-hand man! What makes the pathos of this description, farther than that there was a death?
453. Scott summarizes this imaginary passage of the Fiery