time far different from our own. Investigate in this connection such things as descriptions of buildings (Torquilstone, Coningsburgh, Rotherwood); interiors (Cedric's dining hall, Rowena's room, the turret chamber, Isaac's dungeon, the interior of Isaac's home); ejaculations, salutations, Saints invoked, turns of speech, allusions; classes of society (nobility, knights, outlaws, jesters, peasants, serfs, etc.); dress (Rowena, Rebecca, Cedric, Wamba, Gurth, etc.); modes of travel; amusements; outlaws; treatment of Jews; arms and armor; superstitions; drinking and eating; jesters; pilgrims; secret societies; corruptions; chivalry; feudal system; knights and combats; education; castles; heralds; laws and punishments.

13. Make a list of the word pictures of places, people, and scenes which would make effective tableaux.

14. Characterize the following, using phrases from the book which reveal appearance and character:

Show how each is introduced into the story; how dismissed; how revealed. Are they remarkable as human portraits or as figures in a bright colored tapestry of events? (Explain) Which are most romantically appealing? Which are representative of a class? Which one is most human?

15. Show that the attention is not divided evenly among the three groups of characters—that is, that some are more interesting than others even though their part in the story does not warrant such interest.

16. Are the three main episodes of equal interest or are they arranged in the order of climax? What effect does this have on the structure of the book?

17. Is Ivanhoe interesting mainly for its story, for its setting, for its characters, or for its panorama of history?

18. How much time is consumed in the action of the story?

19. How are the characters and events made to seem part of a canvas on which great events are painted-events which make up the whole history of Europe of that time? What great ambitions, ideals, changes, wars, political plottings, institutions and orders of men, and classes of society exist in the background of Ivanhoe so

that the story seems a part of the background rather than a projection from it?

20. Examine Scott's style for signs of haste and carelessness; for lack of finish and delicacy; for theatricality of dialogue; for ability to make descriptions bring out the salient features of a scene; for detail in description; for long sentences.

21. Compare Ivanhoe with The Rise of Silas Lapham or Silas Marner to illustrate the difference between the romantic and the realistic point of view.

D. Quentin Durward, by Sir Walter Scott

The following questions under Kidnapped and Ivanhoe may be adapted to Quentin Durward:

a. Under Ivanhoe: 4, 6, 7, 8, 10, 11, 12 (with changes of illustrations), 13, 14 (with changes of characters), 17, 18, 20.

b. Under Kidnapped: 1, 2, 4, 7, 9, 12.

In addition to these the following may prove useful:

1. Use Quentin Durward as an illustration for the following terms: a. plot d. dénouement g. principal and subordinate characters b. episode e. sub-plot h. static and kinetic characters

c. incident f. climax

i. motives and reactions of characters

2. Quentin Durward is a twofold story—that is, it develops two plots, one about Louis, the other about Quentin. Show how the two are united, at what points they diverge, at what points we leave one to take up the other, and at what points they converge again. What percentage of the book is given to each story? Is the interest in one greater than in the other? Do we ever feel that we are dropping one story to read another as we go from one to the other or is the interest in each inseparably associated? Are the plot-elements as successfully combined as they are in Ivanhoe? Is the transfer of interest from one story to the other detrimental to the interest in the story as a whole?

3. In this story which characters seem more real, the historical or the imaginary? Which individuals seem to you best delineated? Are the men or the women more truly drawn?

4. Which characters should you most like to meet in real life? Explain your answer.

5. Are Scott's characters superficially or profoundly true to life?

6. Use examples from this book to illustrate an essay on Scott's descriptive method.

7. What are Scott's favorite methods of revealing character?

8. Do you consider the method of narration of this book completely successful?

9. Discuss the title of the book.

10. Which scenes or characters should you like to know more about? Which scenes could you well spare? Are there any scenes omitted which you should like to have included?

11. What is the effect of having many chapters given over to interviews?

12. What can you learn from the book about the history of France in the fifteenth century?

13. About what characters in history does this book make you wish to know more?

14. In what particulars and by what means does this book-or any other historical novel by Scott-recreate the past for us?

15. Which scenes in this book should you most like to see illustrated?

16. Using Ivanhoe, Quentin Durward, The Talisman, and Kenilworth as examples write an essay on one of the following topics:

a. The variety and richness of the Waverley Novels.

b. Scott's ability to recreate the past.

c. What to expect in a novel by Scott.

d. Historical characters I have come to know through Scott. e. Adventure in Scott's novels.

f. The objectivity of Scott's characters.

g. Outdoor life in Scott.

h. Trial scenes, battles, interviews, climaxes in Scott.

i. Picturesque characters in Scott.

17. How does this book illustrate the theory that "Romance is not to have something happen every moment, but to make you think that something is going to happen"?

18. Discuss the following critical opinions of Quentin Durward:

a. "It has the merit of telling a thoroughly entertaining story, and the characters of Louis XI and Charles are drawn with great insight and power." W. H. Hudson.

b. "In a sense it is perhaps the best of the Waverley Novels. It is far beyond them all in construction. In it, all hastens to the

conclusion through scenes, gorgeous, stimulating, and in
accord with historical truth of manners and event."
Lang.

Andrew c. "Quentin's meeting with the king and his rescue from Tristan; the interview between Louis and Crèvecoeur, Louis and the Astrologer; the journey; the sack of Schonwaldt, and the feast of the Boar of Ardennes; Louis in the lion's den at Peronne, those are things that are simply of the first order." George Saintsbury.

19. For Ivanhoe, Quentin Durward, Kidnapped, Treasure Island, or any historical novel, pictures from illustrated editions, photographs and drawings of costumes, scenery, places, or people described in the story are useful teaching material. It is sometimes possible to have the class make a scrapbook of all such material available.

E. Silas Marner, by George Eliot

1. Write an essay on the element of character in Silas Marner, discussing such details as the division between principal and subordinate characters, the use of subordinate characters, the motives and reactions of Silas, Godfrey, and Nancy, the methods of character portrayal, examples of static and kinetic characters, the extent to which the story hinges on character.

2. Write an essay on problems of human life as presented in Silas Marner. In it you might discuss such subjects as the novelist's reasons for trying to present such problems; the specific problems of faith, of attempted evasion of moral responsibility, of the influence of human beings on one another (all these problems are presented in this story); and the ethical significance of the novel as a presentation of these problems.

3. Write an essay on the interaction of plot, character, and setting in Silas Marner. Comment on the nature of these elements in any novel before you proceed to a specific discussion of the influence of plot on character, of setting on plot, of setting on character, and of character on plot in this story.

4. Write an essay on the influence of chance and character in Silas Marner. Discuss the part played by chance in stories and in real life; the reasons why the best stories grow out of character; the influence of chance and character in this particular story.

5. Discuss the style of Silas Marner.

Notice George Eliot's fondness for abstract comment, her tendency to heaviness of language and sentence structure, her humor, her power of creating emotion, her descriptive method, her restraint and simplicity at crises, her sincerity, her use of figurative language, etc.

6. Discuss George Eliot's point of view and her personality as revealed in this story. Find examples of her sympathy with human weakness and inconsistency combined with her stern and clearsighted recognition of moral responsibility, of her interest in man's inward life; of her interest in people of simple birth and humble surroundings; of her fondness for children and her understanding of them; of her humor; of her interest in moral difficulties.

7. What can you learn from Silas Marner of the technique of plot construction? How does the book begin? Is the method necessary and effective? What is the antecedent action? Is it important for what follows? How is suspense secured? Which are the obligatory scenes? What is the climax? How does the author work to and from the climax? How is the subplot interwoven with the main plot? Is the ending to each logical and satisfactory? How does the author prepare the reader for the final outcome?

8. Write an essay on the element of setting in Silas Marner. Discuss its importance; show how it is revealed; discuss the use of description and the influence of setting on character and plot.

9. How should you arrange Silas Marner for production as a moving picture? Which scenes should you include? Which scenes should you omit? Explain. Where should you place dramatic moments and how should you work to and from them? What changes in sequence or emphasis should you make? Why? To which characters should you give most emphasis? How should you do this? With which settings should you take most pains? What details of grouping and lighting should you try to make most effective? How should you do this?

10. Write an essay on the theme of the Silas plot and the theme of the Godfrey plot, showing how the story illustrates the theme. 11. What is the philosophy of life taught by this story?

12. Discuss in detail George Eliot's observation of human nature, particularly in minor matters, stating at each point whether or not her observation coincides with your own.

13. Write a brief essay explaining how the threads of the story are interwoven.

14. Discuss the humor of Silas Marner.