And if thou saidst, I am not peer
To any lord in Scotland here,
Lowland or Highland, far or near,
Lord Angus, thou hast lied!"—
On the Earl's cheek the flush of rage
O'ercame the ashen hue of age:

Fierce he broke forth,-" And darest thou then
To beard the lion in his den,

The Douglas in his hall?

And hopest thou hence unscathed to go?—
No, by Saint Bride of Bothwell, no!

Up drawbridge, grooms,-what, Warder, ho!
Let the portcullis fall."-

Lord Marmion turn'd-well was his need,
And dash'd the rowels in his steed,
Like arrow through the archway sprung,
The ponderous grate behind him rung:
To pass there was such scanty room,
The bars, descending, razed his plume.

-Sir Walter Scott.

II. Theme:-THE TRAITOR'S DETECTION.

During the crusade of Richard Cœur de Lion the royal standard of England, while under the charge of Sir Kenneth and his stag-hound, Roswal, is stolen. Sir Kenneth is condemned to death, but his life is granted as a boon to a Saracen physician who has cured the King of fever. The physician, really Saladin, the Moslem king, sends Sir Kenneth back to King Richard, disguised as an Ethiopian slave and accompanied by the hound. The slave offers to detect the criminal if all the crusaders are passed in review before him and his dog.

Cœur de Lion (cur del è ong') stood on Saint George's Mount with the banner of England by his side. Meanwhile, the powers of the various Crusading princes, arrayed under their royal and princely leaders, swept in long order around the base of the little mound, and as those of each different country passed by, their com

manders made a step or two up the hill, and made a signal of courtesy to Richard and to the Standard of England, “in sign of regard and amity," as the protocol of the ceremony heedfully expressed it, "not of subjection and vassalage.”

The good King was seated on horseback about half way up the Mount, a morion' on his head, surmounted by a crown, which left his manly features exposed to public view, as, with cool and considerate eye, he perused each rank as it passed him and returned the salutation of the leaders. By his side stood the seeming Ethiopian slave, holding the noble dog in a leash. Over the King's head streamed the large folds of the banner, and as he looked at it from time to time, he seemed to regard a ceremony, indifferent to himself personally, as important, when considered as atoning an indignity offered to the kingdom which he ruled. Ever and anon his eyes were turned on the Nubian and the dog, and only when such leaders approached, as, from circumstances of previous ill-will, he suspected of being accessary to the theft of the standard, or whom he judged capable of a crime so mean.

At last the troops of the Marquis of Montserrat passed in order before the King of England. Before his goodly band came Conrad, garbed in such rich stuff that he seemed to blaze with gold and silver, and the milk-white plume, fastened in his cap by a clasp of diamonds, seemed tall enough to sweep the clouds. By cultivating Richard's humor he had attained a certain degree of favor with him, and no sooner was he come within his Mo'rion, open helmet.

1

ken than the King of England descended a step or two to meet him.

Conrad was commencing his reply with a smile, when Roswal, the noble hound, uttering a furious and savage yell, sprang forward. The Nubian, at the same time, slipped the leash, and the hound, rushing on, leapt upon Conrad's noble charger, and seizing the Marquis by the throat, pulled him down from the saddle. The plumed rider lay rolling on the sand, and the frightened horse fled in wild career through the camp.

"Thy hound hath pulled down the right quarry, I warrant him," said the King to the Nubian, “and I vow to Saint George he is a stag of ten tynes !1—Pluck the dog off, lest he throttle him."

Cries arose of “Cut the slave and his hound to pieces!"

But the voice of Richard, loud and sonorous, was heard clear above all other exclamations-" He dies the death who injures the hound! He hath but done his duty, after the sagacity with which God and nature have endowed the brave animal.-Stand forth for a false traitor, thou Conrad, Marquis of Montserrat! I impeach thee of treason!

-Sir Walter Scott. From "The Talisman."

1 Branches of horns,-figurative, splendid.

III. Principles-Narration.-Study the foregoing narrative. Notice first the sentences that serve as Introduction to the incident, giving the scene and situation; then observe the details of the incident, the order of their occurrence and their coherence; notice the many

details omitted or merely suggested; show that the details adduced are striking and vital, sufficient to account for the outcome; judge thereby if the principles of narration (as specified, p. 157) are illustrated in the

extract.

Further, notice the increasing interest of the detailsfrom the general march of the Crusaders, to the individual troops of Montserrat, to the Marquis himself, the attack of Roswal, the attempt on the dog's life, Richard's splendid impeachment of the traitor. This interest is deepened by various devices: first, the author uses striking situations (point them out) and dramatic language-direct narration in the crisis of the story (point to instances), and dramatic action (illustrate); and, second, all the while that the details are carrying us on to the outcome, we get no certain hint of the issue. Our curiosity is piqued and our imagination aroused as the chain of circumstances is built up; the plot thickens till the conclusion, when at once the issue finally surprises us, and at the same time satisfies all the demands of the plot. From this we may note additional principles of narration:

5. Climax of Interest. The details of the narrative are arranged in the order of their increasing importance, so that the interest becomes definite and deep as the conclusion is reached. As means to increase the plotinterest, striking situation, dramatic language, direct narration, etc., are employed.

6. The Dénouement. The issue of the incident must be to some extent a surprise to the reader. The turn the story takes to set right all that has grown

tangled must be sharp and effective, else the story falls flat. The chief art of story-telling lies in building up the climax of interest and the surprise and effectiveness of the dénouement (day noo' mong).

7. The Conclusion.-The Conclusion states the final adjustment of the struggle between the forces brought into play in the details of the story; it must satisfy the demands of the plot and the curiosity and interest of the reader.

IV. Composition.-I. Tell the story of the "Traitor's Detection," following the plan and method of Scott. 2. Tell the story suggested by this picture.