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,
And twined in links of silver bright

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.

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 ?
7. Of each stanza of the boat song ?
8. What impression have you now of Malcolm Graeme ?

9. Tell the story of Canto II, in from thirty-five to forty words; of Canto I

CANTO THIRD

LINE 8. Store. Adj., now obsolete. Cf. L. 548
4. Happed. Chanced.
9-10. Connection between these two stanzas.
26. What time. Cf. II. I. 307,
17. Gathering sound. Sound to call the gathering.

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

ho

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.
39. Cushat dove. Ring-dove.

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
Arthur and Sigurd.

104. Fieldfare. A small brownish thrush.
130. Hap. See note to II., 1. 35.
131. MS. “ Till, driven to frenzy, he believed

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.
174. All augured line. Explain.

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.

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,
Like I a summer|-dried fountain

When our need was I the sorast."
384. Flushing. With its full color and beauty.
386. Correi. Hollow frequented by game.
387. Cumber Puzzling difficulty.
393. Study all comparisons in the above song.
394. Stumah. “ Faithful,” the dog.
403. Precipitate. Headlong.
425. Essays. Tries.
439. Hest. Command.

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