Imágenes de páginas

638. Storied pane.

Stained glass windows on which scenes

were depicted. Cf. Milton's Il Penseroso, 1. 159,

"And storied windows richly dight,
Casting a dim religious light."

665. Perch and hood.

672. Meet. Fitting.

Confinement from the hunt.

688. Interpret the Lay of the Imprisoned Huntsman. Who was the singer?

712. Stayed. Supported.

740. And Snowdoun's Knight is Scotland's King.. James V. was fond of such incognito escapades. Mary Queen of Scots came by he. waywardness in fair inheritance from this father.

741-742. As wreath


rest. Show force of this simile.

769. Infidel. Unbeliever, distrustful one.

825. Stained. Caused to blush.

832. Who. Antecedent?

837. Warder . . . Graeme. Has the Graeme shown himself worthy of Ellen's love? Is he painted strongly?

842. Harp' of the North, farewell! Go back and read the introduction to Canto I. Compare the two.

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860-868. Follow the exquisitely dying cadences of the harp.


1. Paraphrase the prelude.

How did Ellen secure respect in her unprotected condition ?

Why was it difficult for John of Brent to understand the clan loyalty of the old minstrel ?


4. What does Roderick's death scene tell us of his character more than we already knew?

5. Make a pen picture of this scene.

6. Read the account of the Battle of Flodden Field in Marmion, and compare these two stories.

7. In what ways is the metre varied in this story? Can you see the reason?

8. Interpret the Lay of the Imprisoned Huntsman, explaining the fitness of the imagery.

Has the climax of the story been kept effectually concealed, have you guessed the personality of Snowdoun's Knight? 10. Make an outline of this Canto like that of Canto V.


1. Follow the use of the Harp through the entire poem, from the first prelude to the closing lines.

2. Collate all the songs and discover how the verse movement of each song aids its thought.

3. Find all the passages which show the beautiful relation between Ellen and her father.

4. What use does Scott make of natural scenery in this poem? Is it for the simple beauty of its own description, as a background for human action, or is it something still different?

5. From this poem alone what would be your conception of the character and tastes of its author?

6. What have you learned from this poem ?

7. Have you enjoyed it? If so, collect all the reasons why it produced the pleasure.

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Batten, 192.

Beacon, 170.

Beala-nam-bo, 186.
Beal'maha, 190.

Beamed frontlet, 170.
Beetled, 183.
Bell at heel, 197.
Beltane game, 180.
Benharrow, 185.
Ben Lomond, 182.
Ben-Shie, 186.
Benvenue, 186.
Benvoirlich, 170.
Beshrew, 173.
Bittern, 176.

Bladier, 189.

Bonnet-pieces, 202.
Boon, 172.

Bosky, 187.

Boss, 190.

Bothwell's hall, 178.

Boune, 190.

Bourgeon, 181.

Bourne, 192.

Bower, 172.
Bracken, 188.
Bracklinn, 180.
Braes, 188.

Brand, 176.24
Breadalbane, 181.
Bride of Heaven, 197
Brigg of Turk, 171.
Buccleugh, 181.
Butts, 197.

Cabala, 186.
Cadence, 176.
Cairn, 170.
Caitiff, 200.
Caledon, 169.

Callander, 187.

Cambus-kenneth, 191.

Cardross, 188.

Carpet knight, 196.

Chalice, 185.

Blantyre, 181.

Chiding, 171.

Bleeding Heart, 179, 182.

Claverhouse, 178.

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Fieldfare, 186.

Fiery Cross, the, 184, 187.
Fillan, Saint, 169.

Foxglove, 172.

Franciscan steeple, 197.

Gillie-more, 189.

Glaive, 190.

Glee-maiden, 200.
Glenartney, 169.
Glenfinlas, 182, 187.
Glen Fruin, 181.
Glengyle, 180.
Glen Luss, 181.
Glozing, 182.
Graeme, 178, 203.
Grayfriars' Church, 197.
Grisly, 176.

Guerdon, 179.

Gyve, 200.

Douglas, 176, 178, 179, 182, 198, 201. Halberd, 200.

Doune, 190.

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