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     LEARN ONE THING
     EVERY DAY

     SEPTEMBER 15 1916

     SERIAL NO. 115

     THE
     MENTOR

     WALTER SCOTT

     By HAMILTON W. MABIE
     Author and Editor

     DEPARTMENT OF
     LITERATURE

     VOLUME 4
     NUMBER 15

     FIFTEEN CENTS A COPY




The Wizard of the North


  [Illustration]

The causes of Sir Walter Scott's ascendancy are to be found in the
goodness of his heart, the integrity of his conduct, the romantic
and picturesque accessories and atmosphere of his life, the fertile
brilliancy of his literary execution, the charm that he exercises,
both as man and artist, over the imagination, the serene, tranquilizing
spirit of his works, and, above all, the buoyancy, the happy freedom of
his genius.

  [Illustration]

He was not simply an intellectual power, he was also a human and gentle
comforter. He wielded an immense mental force, but he always wielded it
for good, and always with tenderness. It is impossible to conceive of
his ever having done a wrong act, or of any contact with his influence
that would not inspire the wish to be virtuous and noble. The scope
of his sympathy was as broad as are the weakness and need of the human
race. He understood the hardship in the moral condition of mankind and
he wished and tried to relieve it.

  [Illustration]

His writings are full of sweetness and cheer, and they contain nothing
that is morbid--nothing that tends toward surrender or misery. He
did not sequester himself in mental pride, but simply and sturdily,
through years of conscientious toil, he employed the faculties of a
strong, tender, gracious genius for the good of his fellow-creatures.
The world loves him because he is worthy to be loved, and because
he has lightened the burden of its care and augmented the sum of its
happiness.

From "Over the Border" by William Winter




  [Illustration: FLORA MACIVOR--"WAVERLEY"

   COURTESY, THE PAGE COMPANY
   FROM A DRAWING BY R. W. MACBETH]




Waverley

ONE


"Waverley" is a story of the rebellion of the chevalier Prince Charles
Edward, in Scotland, in 1745.

Edward Waverley, the central figure of the tale, was a captain of
dragoons in the English army. He obtained a leave of absence from
his regiment and went to Scotland for a rest, staying at the home of
Baron Bradwardine. During his stay a band of Highlanders drove off the
Baron's cattle, and Waverley offered his assistance in recovering them.

Fergus MacIvor was the chief of the band which stole the cattle.
Waverley met his sister, Flora, and fell in love with her, but she
discouraged him.

Later Waverley was wounded by a stag; and the rebellion having started
in the meanwhile, one of the Highlanders, assuming Waverley to be a
sympathizer, used his name and seal to start a mutiny in Waverley's
troop. For this reason Waverley was dismissed from his regiment for
desertion and treason. Indignant at this unjust treatment, Waverley
joined the rebellion, first, however, returning home in an attempt
to justify himself. On this trip he was arrested for treason, but was
rescued by the Highlanders when on his way to the dungeon of Stirling
Castle.

Waverley served in the war, and when the rebellion was crushed he
escaped, and later made his way to London. There his name was cleared
from the false charges, and a pardon obtained for both himself and
Baron Bradwardine. Flora's brother was executed, and she herself
retired to a convent at Paris. Waverley married Rose, the beautiful
daughter of Baron Bradwardine.

One of the most charming scenes in the story took place shortly after
Waverley met Flora at the home of her brother. Flora had promised to
sing a Gaelic song for him in one of her favorite haunts. One of the
attendants guided him to a beautiful waterfall in the neighborhood, and
there he saw Flora.

"Here, like one of those lovely forms which decorate the landscapes
of Poussin, Waverley found Flora gazing on the waterfall. Two paces
farther back stood Cathleen, holding a small Scottish harp, the use of
which had been taught to Flora by Rory Dall, one of the last harpers
of the western Highlands. The sun, now stooping in the west, gave a
rich and varied tinge to all the objects which surrounded Waverley,
and seemed to add more than human brilliancy to the full, expressive
darkness of Flora's eye, exalted the richness and purity of her
complexion, and enhanced the dignity and grace of her beautiful form.
Edward thought he had never, even in his wildest dreams, imagined a
figure of such exquisite and interesting loveliness. The wild beauty of
the retreat, bursting upon him as if by magic, augmented the mingled
feelings of delight and awe with which he approached her, like a fair
enchantress of Boiardo or Ariosto, by whose nod the scenery around
seemed to have been created--an Eden in the wilderness.

"Flora, like every beautiful woman, was conscious of her own power,
and pleased with its effects, which she could easily discern from
the respectful yet confused address of the young soldier. But as she
possessed excellent sense, she gave the romance of the scene and other
accidental circumstance full weight in appreciating the feelings with
which Waverley seemed obviously to be impressed; and unacquainted with
the fanciful and susceptible peculiarities of his character, considered
his homage as the passing tribute which a woman of even inferior charms
might have expected in such a situation. She therefore quietly led the
way to a spot at such a distance from the cascade that its sound should
rather accompany than interrupt that of her voice and instrument, and
sitting down upon a mossy fragment of rock, she took the harp from
Cathleen."

"Waverley" was the first of the world-famous series of romances
to which it gives the title. It was published anonymously in 1814.
Although the authorship of the series was generally accredited to
Scott, it was never formally acknowledged until business conditions
necessitated it in 1826.




  [Illustration: MEG MERRILIES DIRECTS BERTRAM TO THE CAVE--"GUY
   MANNERING"

   COURTESY, THE PAGE COMPANY
   FROM AN ETCHING BY C. O. MURRAY]




Guy Mannering

TWO


Guy Mannering, a young Englishman traveling through Scotland, stopped
one night at the home of the Laird of Ellangowan. When the Laird
learned that the young man had studied astrology, he begged him to
cast the horoscope of his son, who had been born that night. What was
Mannering's dismay to find that two catastrophes overhung the lad,
one at his fifth, and the other at his twenty-first year! He told the
father, however, that he might be warned; and later went his way.

The fortunes of the Laird of Ellangowan, Godfrey Bertram, waned
rapidly. In addition to this, his son, Harry, at the age of five, was
kidnapped. It was impossible to learn whether the child was alive or
dead. The boy's mother died from the shock; and some years later the
Laird himself followed her, leaving his daughter Lucy penniless.

In the meanwhile, Guy Mannering had become Colonel Mannering. He had
married and had a daughter, Julia. She had fallen in love with a young
officer, named Vanbeest Brown, who had served in India under Colonel
Mannering. The colonel objected to him as a suitor, because of the
obscurity of his birth.

When things were at their worst for Lucy Bertram, Colonel Mannering
returned to England. Accidentally hearing of the straits to which she
had been reduced, he at once invited her and her guardian to make their
home with him and his daughter Julia.

Captain Brown followed the Mannerings to England; and finally he
proved to be the long lost Harry Bertram, brother of Lucy. He had been
abducted with the help of Meg Merrilies, a gypsy, and some smugglers,
at the instigation of a man named Glossin, once agent for the Laird of
Ellangowan, who had hoped to get possession of the Laird's property.
He finally succeeded in this; but, after his crime was discovered, he
died a violent death in prison. Bertram had been kidnapped and taken to
Holland, where the name of Vanbeest Brown had been given him.

Meg Merrilies is regarded as one of the great characters of fiction.

"The fairy bride of Sir Gawaine, while under the influence of the
spell of her wicked stepmother, was more decrepit, probably, and what
is commonly called more ugly, than Meg Merrilies; but I doubt if she
possessed that wild sublimity which an excited imagination communicated
to features marked and expressive in their own peculiar character, and
to the gestures of a form which, her sex considered, might be termed
gigantic. Accordingly, the Knights of the Round Table did not recoil
with more terror from the apparition of the loathly lady placed between
'an oak and a green holly,' than Lucy Bertram and Julia Mannering
did from the appearance of this Galwegian sibyl upon the common of
Ellangowan.

"'For God's sake,' said Julia, pulling her purse, 'give that dreadful
woman something, and bid her go away,'

"'I cannot,' said Bertram: 'I must not offend her.'

"'What keeps you here?' said Meg, exalting the harsh and rough tones
of her hollow voice. 'Why do you not follow? Must your hour call you
twice? Do you remember your oath?--were it at kirk or market, wedding
or burial,'--and she held high her skinny forefinger in a menacing
attitude....

"Almost stupefied with surprise and fear, the young ladies watched
with anxious looks the course of Bertram, his companion, and their
extraordinary guide. Her tall figure moved across the wintry heath
with steps so swift, so long, and so steady, that she appeared rather
to glide than to walk. Bertram and Dinmont, both tall men, apparently
scarce equaled her in height, owing to her longer dress and high
headgear. She proceeded straight across the common, without turning
aside to the winding path by which passengers avoided the inequalities
and little rills that traversed it in different directions. Thus the
diminishing figures often disappeared from the eye as they dived into
such broken ground, and again ascended to sight when they were past the
hollow. There was something frightful and unearthly, as it were, in the
rapid and undeviating course which she pursued, undeterred by any of
the impediments which usually incline a traveler from the direct path.
Her way was as straight, and nearly as swift, as that of a bird through
the air. At length they reached those thickets of natural wood which
extended from the skirts of the common towards the glades and brook of
Derneleugh, and were there lost to the view."

"Guy Mannering" was published in 1815, the second of the Waverley
novels to appear. It is said to have been the result of six weeks'
work. There are less than forty characters in the book, and the plot is
not very complicated.




  [Illustration: EFFIE DEANS AND GEORDIE--"HEART OF MIDLOTHIAN"

   COURTESY, THE PAGE COMPANY
   FROM THE PAINTING BY SIR J. E. MILLAIS]




Heart of Midlothian

THREE


In "Heart of Midlothian" Scott set himself to draw his own people
at their best. The real heroine of the book is Jeanie Deans, whose
character was drawn from that of Helen Walker, the daughter of a farmer
in Scotland. With a few variations Jeanie's story was hers.

Effie Deans, the sister of Jeanie, was doomed to death for child
murder. Jeanie might have saved her on the witness stand by lying; but
this she could not do even to save her sister. However, she showed the
depth of her love by going on foot all the way to London and getting a
pardon from the king.

Effie was released; but even before Jeanie reached home, she eloped
with her betrayer, George Staunton, who married her and took her to
London with him. There they lived as Lord and Lady Staunton, for George
succeeded to the title of his father.

Jeanie married a Presbyterian minister, and by a combination of
circumstances, learned that Effie's son had never really been killed,
but had been given to the care of Meg Murdockson, whose daughter Madge
had also been betrayed by Staunton, or Geordie Robertson, as he was
known in Scotland.

When Sir George Staunton learned this, he was anxious to discover the
whereabouts of his son. He traced him to a certain band of vagabonds,
of which Black Donald was the chief. Staunton attempted to arrest the
leader, but in the affray was shot by a young lad called the Whistler.
This lad later proved to be his long lost son.

Effie, who was now Lady Staunton, overcome with grief, attempted to
drown her sorrows in the gayeties of the fashionable world. But this
was in vain. She could not forget her grief, and finally she retired to
a convent in France, where she remained until her death.

Jeanie and her husband were given a good parish by the Duke of Argyle,
and through Effie's influence the children of her sister were helped
greatly.

"Heart of Midlothian" was first published anonymously in 1818. It
takes its name from the Tolbooth, or old jail of Edinburgh, where Scott
imagined Effie to have been in prison. This book has fewer characters
than any other of Scott's novels. It has also a smaller variety of
incidents, and less description of scenery. One of the most touching
scenes in all fiction is that in which Jeanie visits her sister in the
prison under the eyes of the jailor, Ratcliffe.

"Ratcliffe marshalled her the way to the apartment where Effie was
confined.

"Shame, fear, and grief, had contended for mastery in the poor
prisoner's bosom during the whole morning, while she had looked forward
to this meeting; but when the door opened, all gave way to a confused
and strange feeling that had a tinge of joy in it, as, throwing herself
on her sister's neck, she ejaculated: 'My dear Jeanie!--my dear Jeanie!
It's lang since I hae seen ye.' Jeanie returned the embrace with an
earnestness that partook almost of rapture, but it was only a flitting
emotion, like a sunbeam unexpectedly penetrating betwixt the clouds
of a tempest, and obscured almost as soon as visible. The sisters
walked together to the side of the pallet bed, and sat down side by
side, took hold of each other's hands, and looked each other in the
face, but without speaking a word. In this posture they remained for
a minute, while the gleam of joy gradually faded from their features,
and gave way to the most intense expression, first of melancholy, and
then of agony, till, throwing themselves again into each other's arms,
they, to use the language of Scripture, lifted up their voices and wept
bitterly.

"Even the hard-hearted turnkey, who had spent his life in scenes
calculated to stifle both conscience and feeling, could not witness
this scene without a touch of human sympathy. It was shown in a
trifling action, but which had more delicacy in it than seemed to
belong to Ratcliffe's character and station. The unglazed window of the
miserable chamber was open and the beams of a bright sun fell right
upon the bed where the sufferers were seated. With a gentleness that
had something of reverence in it, Ratcliffe partly closed the shutter,
and seemed thus to throw a veil over a scene so sorrowful."




  [Illustration: THE BLACK KNIGHT AT THE HERMITAGE--"IVANHOE"

   COURTESY, THE PAGE COMPANY
   FROM A DRAWING BY AD. LALAUZE]




Ivanhoe

FOUR


Sir Wilfred, Knight of Ivanhoe, a young Saxon knight, brave and
handsome, was disinherited by his father because he loved Rowena, a
Saxon heiress and a ward of his father. He therefore went on a crusade
to Palestine with Richard the Lion Hearted. Returning, under the name
of Desdichado (The Disinherited) he entered the lists of the Ashby
Tournament: and, having won the victory, he was crowned by the Lady
Rowena.

At this tournament there was one knight in particular who aided
Ivanhoe. This was the Black Knight, and his feats of valor set all the
spectators to wondering who he might be. He was in reality Richard the
Lion Hearted, the Crusader, King of England.

Just at this time King Richard's younger brother, John, was conspiring
to take the throne of England from him. One of his fellow conspirators
was Maurice de Bracy, who was in love with Rowena. He captured her as
she was returning from the tournament, and imprisoned her in the Tower
of Torquilstone.

Ivanhoe, who was wounded in the tournament, was cared for by Isaac of
York and his daughter, Rebecca. She fell in love with him, but realized
that she could never marry him; and knowing that Ivanhoe loved Rowena,
she offered to give any sum of money for her release.

This was not effected, however, until Torquilstone had been besieged
by Locksley, who was really Robin Hood, and his men, led by the Black
Knight. The Black Knight had come upon this band in his wanderings
through Sherwood Forest. He ran across the little chapel of the Hermit,
one of Locksley's men, in the the following manner:

"The entrance to this ancient place of devotion was under a very
low round arch, ornamented by several courses that zigzag moulding,
resembling shark's teeth, which appears so often in the more ancient
Saxon architecture. A belfry rose above the porch on four small
pillars, within which hung the green and weatherbeaten bell, the feeble
sounds of which had been some time before heard by the Black Knight.

"The whole peaceful and quiet scene lay glimmering in twilight before
the eyes of the traveler, giving him good assurance of lodging for
the night; since it was a special duty of those hermits who dwelt
in the woods to exercise hospitality towards benighted or bewildered
passengers.

"Accordingly, the knight took no time to consider minutely the
particulars which we have detailed, but thanking Saint Julian (the
patron of travelers), who had sent him good harborage, he leaped from
his horse and assailed the door of the hermitage with the butt of his
lance, in order to arouse attention and gain admittance."

The Hermit who lived there and who gave the Black Knight food and
lodging, was Friar Tuck.

Finally Rowena was rescued and married Ivanhoe. Rebecca was carried
away by the Templar Bois-Guilbert, who was madly and vainly in love
with her, to the Preceptory of Templestowe, and convicted of sorcery.
She was condemned to be burned alive, but was allowed a trial by
combat. Ivanhoe was her champion, and in the contest with the Templar
he was the victor. Rebecca was then pronounced guiltless and freed.

"Ivanhoe" is one of Scott's most famous novels. It was written and
published in 1819. The manuscript is now at Abbotsford.




  [Illustration: VARNEY, LEICESTER AND AMY ROBSART--"KENILWORTH"

   COURTESY, THE PAGE COMPANY
   FROM A DRAWING BY AD. LALAUZE.]




Kenilworth

FIVE


The central figure in "Kenilworth" is that of Queen Elizabeth of
England, but the real heroine is Amy Robsart. She was the daughter
of Sir Hugh Robsart. The Earl of Leicester, infatuated by her charms,
married her secretly. He then established her at Cumnor Place, a lonely
manor house. There she lived alone with one or two attendants. But she
bore her solitude with pleasure as long as she was sure that Leicester
loved her.

However, Leicester and the Earl of Surrey were rivals for the favor
of Queen Elizabeth. In fact, each hoped that he might wed her; and,
therefore, Leicester did not want his marriage to Amy made public.

Edmund Tressilian, who had been engaged to Amy, discovered her
hiding place, and, not knowing that she was married, tried in vain to
induce her to return home. Then he appealed to the queen; and when a
disclosure of the truth seemed inevitable, Richard Varney, Leicester's
closest friend, affirmed that Amy was his wife. Varney was then ordered
to appear with her at the approaching revels at Kenilworth Castle,
which belonged to the Earl of Leicester.

Leicester and Varney went to Amy and endeavored to persuade her to pose
for a short time as Varney's wife.

"'How, my Lord of Leicester,' said the lady, disengaging herself from
his embraces, 'is it to your wife you give the dishonourable counsel to
acknowledge herself the bride of another--and of all men, the bride of
that Varney?'

"'Madam, I speak it in earnest--Varney is my true and faithful servant,
trusted in my deepest secrets. I had better lose my right hand than his
service at this moment. You have no cause to scorn him as you do.'

"'I could assign one, my Lord,' replied the Countess; 'and I see he
shakes even under that assured look of his. But he that is necessary
as your right hand to your safety, is free from any accusation of mine.
May he be true to you; and that he may be true, trust him not too much
or too far. But it is enough to say, that I will not go with him unless
by violence, nor would I acknowledge him as my husband, were all--'

"'It is a temporary deception, madam,' said Leicester, irritated by her
opposition, 'necessary for both our safeties, endangered by you through
female caprice, or the premature desire to seize on a rank to which
I gave you title only under condition that our marriage, for a time,
should continue secret. If my proposal disgust you, it is yourself has
brought it on both of us. There is no other remedy--you must do what
your own impatient folly hath rendered necessary--I command you.'

"'I cannot put your commands, my Lord,' said Amy, 'in balance with
those of honor and conscience. I will _not_, in this instance, obey
you. You may achieve your own dishonor, to which these crooked policies
naturally tend, but I will do naught that can blemish mine. How could
you again, my Lord, acknowledge me as a pure and chaste matron, worthy
to share your fortunes, when, holding that high character, I had
strolled the country the acknowledged wife of such a profligate fellow
as your servant Varney?'"

Later Varney attempted to drug her; and in fear of her life she escaped
and made her way to Kenilworth. She could not get to her husband,
however; and she was discovered and misjudged by Tressilian. Queen
Elizabeth found her half fainting in a grotto, but Varney kept her from
learning the truth by persuading the queen that Amy was insane. He also
made Leicester believe that she was false and really loved Tressilian,
a thing which was not true.

For this reason Leicester gave him his signet ring and authority to act
for him. Amy was hurriedly taken back to Cumnor Place.

In the meanwhile Leicester, who really loved Amy, and soon discovered
the injustice of his suspicions, confessed everything to Queen
Elizabeth. The queen, feeling herself insulted, treated him with scorn
and contempt; but she immediately dispatched Tressilian and Sir Walter
Raleigh to bring Amy back to Kenilworth. They arrived just too late.
Amy, decoyed from her room, stepped on a trap-door prepared by Varney,
and plunged to her death. After her tragic taking off, Tressilian fell
into profound melancholy and died soon after, "young in years, but old
in grief."

"Kenilworth" appeared in 1819. It was the second of Scott's great
romances drawn from English history, and is regarded as one of the most
delightful of English historical romances.




  [Illustration: LUCY AND THE MASTER--"THE BRIDE OF LAMMERMOOR"

   COURTESY, THE PAGE COMPANY
   FROM THE PAINTING BY SIR J. E. MILLAIS]




The Bride of Lammermoor

SIX


Edgar, Master of Ravenswood, was the son of Allan, Lord Ravenswood.
His father had fought in the Revolution of 1688, and his side had been
vanquished. For this his title had been abolished and his estate taken
from him. He had fought hard for his rights in the courts, but in
vain, and at length he died breathing curses on Sir William Ashton, who
became owner of the estates.

Edgar, the son, penniless and proud, had vowed vengeance on the family
of Sir William Ashton. However, in spite of this, he fell in love with
Lucy, Sir William's daughter. They became engaged secretly.

"Ravenswood found Lucy seated alone by the ruin....

"'I like this spot,' said Lucy at length, as if she had found the
silence embarrassing: 'the bubbling murmur of the clear fountain, the
waving of the trees, the profusion of grass and wild-flowers, that rise
among the ruins, make it like a scene in romance. I think, too, I have
heard it is a spot connected with the legendary lore which I love so
well.'

"'It has been thought,' answered Ravenswood, 'a fatal spot to my
family; and I have some reason to term it so, for it was here I first
saw Miss Ashton--and it is here I must take my leave of her for ever.'

"'To take leave of us, Master!' she exclaimed; 'what can have happened
to hurry you away?--I know Alice hates--I mean dislikes, my father--and
I hardly understood her humor to-day, it was so mysterious. But I
am certain my father is sincerely grateful for the high service you
rendered us. Let us hope that having won your friendship hardly, we
shall not lose it lightly.'

"'Lose it, Miss Ashton?' said the Master of Ravenswood. 'No--wherever
my fortune calls me--whatever she inflicts upon me--it is your
friend--your sincere friend, who acts or suffers. But there is a fate
on me, and I must go, or I shall add the ruin of others to my own.'

"'Yet do not go from us. Master,' said Lucy; and she laid her hand,
in all simplicity and kindness, upon the skirt of his cloak, as if to
detain him. 'You shall not part from us. My father is powerful, he has
friends that are more so than himself--do not go till you see what his
gratitude will do for you. Believe me, he is already laboring in your
behalf with the Council.'

"'It may be so,' said the Master proudly; 'yet it is not to your
father, Miss Ashton, but to my own exertions, that I ought to owe
success in the career on which I am about to enter. My preparations are
already made--a sword and a cloak, and a bold heart and a determined
hand.'

"Lucy covered her face with her hands, and the tears, in spite of her,
forced their way between her fingers. 'Forgive me,' said Ravenswood,
taking her right hand, which, after slight resistance, she yielded
to him, still continuing to shade her face with the left. 'I am too
rude--too rough--too intractable to deal with any being so soft and
gentle as you are. Forget that so stern a vision has crossed your
path of life--and let me pursue mine, sure that I can meet no worse
misfortune after the moment it divides me from your side.'

"Lucy wept on, but her tears were less bitter. Each attempt which
the Master made to explain his purpose of departure only proved a new
evidence of his desire to stay; until, at length, instead of bidding
her farewell, he gave his faith to her for ever, and received her troth
in return. The whole passed so suddenly, and arose so much out of the
immediate impulse of the moment, that ere the Master of Ravenswood
could reflect upon the consequences of the step which he had taken,
their lips, as well as their hands, had pledged the sincerity of their
affection."

But Lucy's mother, the ambitious Lady Ashton, endeavored to force
her daughter to marry another. Lady Ashton was proud and vindictive,
and she hated the Ravenswood family with such intensity that she
did not scruple at any means to deceive Lucy into believing her love
unfaithful. Lucy, on the other hand, was gentle and timid. Her mother
called her, in derision, the "Lammermoor Shepherdess," to show that she
considered Lucy plebeian in her tastes.

In the struggle, Lucy went mad. Ravenswood, thinking himself rejected,
came to an untimely end.

"The Bride of Lammermoor" is in that group of the Waverley novels
called "Tales of My Landlord." The plot was suggested by an incident in
the family of the Earls of Stair. The scene is laid on the east coast
of Scotland, in the year 1700. Though somber and depressing, "The Bride
of Lammermoor" was very popular. The plot was used by Donizetti, the
Italian composer, for his opera Lucia di Lammermoor.




WALTER SCOTT

By HAMILTON W. MABIE

_Author and Editor_


_MENTOR GRAVURES_

     LUCY AND THE MASTER
       "_The Bride of Lammermoor_"

     THE BLACK KNIGHT AT THE HERMITAGE
       "_Ivanhoe_"

     VARNEY, LEICESTER AND AMY ROBSART
       "_Kenilworth_"

     FLORA MacIVOR
       "_Waverley_"

     MEG MERRILIES DIRECTS BERTRAM TO THE CAVE
       "_Guy Mannering_"

     EFFIE DEANS AND GEORDIE
       "_Heart of Midlothian_"

Entered as second-class matter March 10, 1913, at the postoffice at New
York, N. Y., under the act of March 3, 1879. Copyright, 1916, by The
Mentor Association, Inc.

  [Illustration: Bust of Sir Walter Scott
   By Sir Francis Chantrey]


                 THE MENTOR · DEPARTMENT OF LITERATURE
                           SEPTEMBER 15, 1916


A noted English critic said that he never sat down to write about
Sir Walter Scott without a sense of elation and happiness; and he
might have added without a sense of satisfaction. For the author of
the Waverley Novels was a clean, wholesome, loyal human soul. The
out-of-door vigor of the Highlands found in him not only a chronicler
but an incarnation. At the end, when his strength was failing, his
brain becoming darkened, the battle apparently going against him, his
struggle against disaster became a moral victory and his character took
on heroic proportions. At a time when so much writing is impaired by
egotism, and mental and moral disease give prose and verse the odor of
the hospitals, Scott brings a tonic atmosphere with him.

He was a fortunate man; he was born in a country which he understood,
at a time when the men, women, and events he wrote about were in the
past but not too far in the past; and he was well born in the best
sense. He came at the right time, in the right place, and of the right
ancestry. In a word, he was in harmony with the conditions of his life,
and he was spared the antagonism which often bends and sometimes breaks
a promising talent and distorts a wholesome nature. Like Goethe he had
a methodical father, of orderly habit, and a mother of generous heart,
a vivid memory and the gift of pictorial talk. He said of her that if
he had been able to paint past times it was largely because of "the
studies with which she presented me." She had talked with a man who
remembered the battle of Dunbar; and the day before her last illness
she told, with great accuracy of detail, the real story of the Bride
of Lammermoor, and indicated the points in which it differed from her
son's famous novel. To his father Scott owed his steadiness of aim and
his indomitable industry; to his mother he owed his vivid energy of
mind, his tireless curiosity.

  [Illustration: PORTRAIT OF SCOTT
   By Sir Henry Raeburn]

To Scotland his debt was even greater. Born in Edinburgh in 1771, four
years before the beginning of the American Revolution, an illness in
his second year sent him to reside with his grandfather in a country
of crags and in the neighborhood of a ruined tower. In fine weather
the shepherd took him to the places where the sheep were grazing
and laid him on the ground among them. He was forgotten one day, and
a thunderstorm broke on him. When he was found he was calling out,
"bonny! bonny!" at each flash of lightning. His illness made him lame
for life, but he was a boy of sweet temper and a winning disposition.
Lameness did not daunt him; he learned to climb with great agility
and to keep his saddle with the best of them. At the age of six he
was reciting ballads with zest and fire, and he showed very early the
spirit which made him a story-teller and a man of dauntless courage.


The Boyhood of Scott

At school he was noted as a daring climber, a pertinacious fighter,
an irregular student, and a teller of fascinating tales. In the High
School he was "more distinguished in the yards than in the class." In
1783 he entered the Humanity and Greek classes in the University of
Edinburgh, but his education was directed by his genius rather than by
the school and college curriculum. He began on his grandfather's farm,
Sandy-Knowe, in a landscape that runs to the Cheviot Hills and the
slopes of Lammermoor, where he lay, a "puir lame laddie," on the turf
among the sheep. Out of a volume of Ramsay's "Tea Table Miscellany" he
was taught "Hardy Knute," long before he could read the ballad. "It was
the first poem I ever learned," he wrote years afterwards, "the last
I shall ever forget." His grandmother knew all the wild and romantic
stories of the Border and the eager boy listened with his heart and
imagination. He had only to look across the countryside to see many
of the places where these moving events had happened: the peaks of
Peebleshire, the crags of Hume, the landmarks of Ettrick and Yarrow;
the Brethren Stanes were among the objects that "painted the earliest
images on the eye of the last and greatest of the Border Minstrels."

When he was thirteen years old he came upon one of those books that
open the world of imagination to boys and girls of genius. He was
visiting his aunt in Kelso, which he describes as the most beautiful if
not the most romantic village in Scotland. The house stood in a garden
in which there was a great platanus tree (plane tree), and under its
branches, one summer afternoon, he opened "Percy's Reliques," which
had appeared nineteen years before, and the magic of the old, stirring
ballads which Bishop Percy had piously brought together, laid a spell
upon him which was never broken. "The summer day sped onward so fast,"
he wrote long afterwards, "that notwithstanding the sharp appetite of
thirteen, I forgot the hour of dinner, was sought for with anxiety, and
was still found entranced in my intellectual banquet." As soon as he
could "scrape five shillings together" he bought the volumes and read
no other books so often or with such enthusiasm.

  [Illustration: ABBOTSFORD, SCOTLAND
   The home of Walter Scott]

This vital education for the work he was to do was not interrupted
by his studies at the University. Hosts of Americans have climbed
Arthur's Seat and picked bluebells and looked down on one of the
most picturesque cities in Europe. Scott climbed this famous hill
and Salisbury Crags or Blackford Hill on Saturdays and in vacation,
carrying a bundle of books from a circulating library; and, overlooking
one of the most enchanting landscapes in Scotland, read Spenser,
Ariosto and other masters of romance. He learned to read Italian
and Spanish so as to get direct access to "Don Quixote" and the
"Decameron"; and Froissart he came to know almost by heart.


Edinburgh and the Highlands

Edinburgh was an illustrated edition of a great deal of Scotch history,
and Scott left no part of the old town unvisited. He spent so much
time exploring the country within reach that his father protested
that he was becoming a strolling peddler. "Show me an old castle or a
battlefield," he wrote, "and I was at home at once, filled it with its
combatants in their proper costume, and overwhelmed my hearers by the
enthusiasm of my description." So he came to know not only the spirit
but the "form and presence" of feudalism and the ideals and code of
manners of chivalry.

  [Illustration: SIR WALTER SCOTT
   From the painting by J. P. Knight]

  [Illustration: ABBOTSFORD
   A near view]

His education went a step farther when he saw the Highlands for the
first time in 1787. The traditions of 1715 and 1745, when the Highland
chiefs had engaged in brave but futile attempts to restore the exiled
Stuarts to the throne which those ill-starred Kings had forfeited by
their inability to understand the English people, were still fresh on
the Border. Men who had taken part in the rising of 1745 were still
living, and Scott was fortunate enough to be the guest of one of them.
He was to write the stories of wild Scotland as no historian had or
could write them, and on this memorable visit he was to hear the tales
of stirring and romantic deeds from one who had played a part in them,
and he was to see with the eyes of youth the landscape on which they
had been enacted. It was a happy hour in which the boy who was to
write "Waverley" and "Rob Roy" heard from a veteran the stories of
battle, of dashing foray, of daring deeds and hairbreadth escapes. "To
know men who had known Rob Roy, to hear the story of the two risings
which had shaken Scotland like an earthquake, to be a guest in remote
and lonely castles, to be guided through wild defiles and over vast
mountain ranges by kilted clansmen whose speech was only Gaelic and
whose claymores were still at the service of their chiefs--this was the
real education of the writer who was to be the scribe of his country,
the truest of her historians."

This first-hand education in romantic history was supplemented by the
eager reading of military exploits, of medieval romance and legend, of
the songs of the Border, of Ariosto and Cervantes. The author of "Don
Quixote," he said later, "first inspired him with the ambition to excel
in fiction." He was also fortunate in the possession of a memory which
held tenaciously everything that contributed to his future work and let
unrelated things slip through its meshes.

  [Illustration: THE LIBRARY, ABBOTSFORD]

He studied law and practised at the bar in a desultory way for
fourteen years. He was appointed "Sheriff of the Court" of Ettrick,
a position to which a comfortable salary was attached, and for five
years he acted, without salary, as a Clerk of Sessions in the court in
Edinburgh. He was recognized as an able man, and he was interested in
the historical aspects of Scotch law, in its "quips and quiddities,"
and his knowledge of its processes was shown in his novels; but he was
an impatient and uninterested practitioner, and long before he formally
gave up the profession he was writing poetry. While poetry and law have
often been on good terms they have never been happy partners.

  [Illustration: THE STUDY, ABBOTSFORD
   This room is lined with Scott's favorite books and works of reference.
   The bedroom that he used opens directly into the study.]

  [Illustration: SIR WALTER SCOTT
   From the painting by C. R. Leslie, R. A.]


Marriage

During this period Scott's affections were deeply engaged, and but
for the interference of parents he would probably have married a
young woman of singularly beautiful nature. His love had a very deep
influence on his character, and it remained to the end the great
passion of his life. In 1797 he married the daughter of a French
royalist who, after her brother's death, came to England. She was
described as a "lively beauty," of no great depth of nature, but she
had humor and high spirits and she was true-hearted. He protected her
from care, and their life together was a happy one. She was not a mate
for her husband, but she basked in the sunshine of his prosperity, and
she was brave in adversity.

  [Illustration: SIR WALTER SCOTT AND HIS FRIENDS AT ABBOTSFORD

From the painting by Thomas Faed. Those in the picture, reading from
left to right, are, sitting: Sir Walter Scott; Henry Mackenzie, the
Scottish novelist; George Crabbe, the English poet; John Gibson
Lockhart, the son-in-law of Scott, and his biographer; William
Wordsworth, the English Poet Laureate from 1843 to 1850; Francis, Lord
Jeffrey, the Scottish critic, essayist, and jurist; Adam Ferguson, the
Scottish philosopher and historian; John Moore, the Scottish physician
and writer; Thomas Campbell, the writer, and Lord Rector of the
University of Glasgow from 1826 to 1829; Archibald Constable, Scott's
publisher from 1805 to 1826; standing: John Wilson, who wrote under the
pseudonym of Christopher North; John Allen, the British political and
historical writer; Sir David Wilkie, the Scottish painter.]


Entrance Into Literature

Scott made the transition from law to literature gradually. He
published a translation of Burger's "Lenore" in 1795. While he was
at the University he began to collect the materials which made up the
three volumes of "The Minstrelsy of the Scottish Border," a collection
of ballads old and new in which the "old, simple, violent world" lived
again in song and story. The making of these books was congenial work,
and carried still further Scott's education in the spirit and temper of
the Scotland of clans and feuds, of reckless border warfare, dashing
foray, fierce revenge and superstition. The various introductions and
notes which accompanied the ballads show Scott's painstaking care for
fact and detail; he combined in rare degree the romantic spirit, the
antiquarian's zeal for the small details of history, and the methodical
habits of the literary drudge.

In 1805, in his thirty-fourth year, "The Lay of the Last Minstrel"
appeared and secured a popular success of unprecedented proportions.
The picturesque or pictorial quality of the poem and its unqualified
romanticisms gave it a very broad appeal. It was popular in the good
sense of the word. Mountains and wild landscapes generally, which had
been shunned for generations, were coming into fashion, so to speak.
They have been "in fashion" ever since, and today their appeal to
city folk, to tired people, to men and women of imagination and active
temperament, is irresistible. To Dr. Johnson Scotland was a wild and
dreary waste, to Scott it was a wonderland; and a wonderland it has
remained ever since. In the confusion of an age when every sort of
opinion gets into print the "call of the wild" has a trumpet tone.
"I am sensible," wrote Scott, "that if there be anything good about
my poetry or prose either, it is a hurried frankness of composition
which pleases soldiers, sailors, and young people of bold and active
dispositions."

  [Illustration: THE LADY OF THE LAKE
   From the group by J. Adams Acton]

  [Illustration: EFFIE DEANS AND HER SISTER, JEANIE, IN PRISON
   This picture, illustrating Jeanie Deans' visit to her accused sister,
   as related in "Heart of Midlothian," is from the painting by R.
   Herdman]

Three years later the strongest and most stirring of the poems,
"Marmion," appeared. It is a poem of scenery as well as of action, its
descriptions are both exact and living; it tells a story with clear
and compelling vigor, and it shows at their best two of Scott's really
great qualities: simplicity and energy. It lacked the delicate shading
of the verbal music which gave some later English poetry a magical
charm; but it had a fine strength of outline, a noble ruggedness. He
said later that he loved the sternness and bold nakedness of the Border
landscape, and that if he did not see the heather at least once a year
he believed he would die. "The Lady of the Lake," "The Lay of the Last
Minstrel," "The Lord of the Isles," were less effective, but the fresh
vitality of the Highlands was in them all.


The Crash of His Fortunes

The Waverley Novels have so long stood in the forefront of Scott's
literary achievements that it is difficult to put them out of view
and remember that in 1814, when Scott was forty-four years old, he was
known to the world as a poet who had laid a spell on the imagination of
his generation. He had "broken the record" so far as monetary returns
for poetry were concerned. Milton received about one hundred dollars
for "Paradise Lost" and Dr. Johnson was paid about seventy-five dollars
for "The Vanity of Human Wishes," while "The Lay of the Last Minstrel"
brought Scott nearly four thousand dollars; for "Marmion" he received
five thousand dollars in advance of publication, and for one-half the
copyright of "The Lord of the Isles" he was paid over seven thousand
five hundred dollars. He was unaware of the enormous earning powers
which he was later to develop; he had given up his profession, and
he longed for an income which would support his family on the scale
which his tastes and natural generosity dictated. To secure financial
independence he brought James Ballantyne, a former school-mate and
editor of a local newspaper, to Edinburgh and lent him money enough
to start a printing business. This was in 1802; three years later he
became a silent partner with Ballantyne and his brother. In 1809 he
took a still more venturesome step and started the publishing house of
John Ballantyne & Company. The two brothers were men of small ability,
and entirely without knowledge of the business on which they embarked;
they knew something about printing but nothing about publishing. Scott
was equally ignorant of business methods; he was a man of generous
nature and lavish tastes, and between the recklessness of his partners,
for which he was largely responsible, and his lavish use of money, he
was soon in financial difficulties and a crash would have come early if
the phenomenal popularity of the novels had not postponed the evil day.

  [Illustration: PORTRAIT OF SCOTT
   By Sir Thomas Lawrence]

In 1812 he bought the farm at Abbotsford, to the ownership of which he
had long looked forward. The country was lovely, the four acres grew
into a great estate, the farm cottage became a stately mansion, as all
traveled Americans know, and the owner lived like a Scotch laird but
without a laird's steady income. He entertained lavishly and lived in
feudal state, happy in his friends, his tenants, his horses and dogs.
But the land alone cost more than a hundred and fifty thousand dollars!

  [Illustration: A GLIMPSE OF ABBOTSFORD]

In 1805 Scott was the most popular poet in Great Britain. He had opened
a fresh field, he had command of the magic of romance which always has
and always will, in spite of temporary changes of taste, cast a spell
over the imagination of men; his style was simple and his method plain;
all classes of readers could understand him. During the next ten years
he published six or seven long poems of varying merit. When the last of
these, "The Lord of the Isles," appeared in 1815, the popular interest
had diminished in volume and intensity, and the poet was in serious
financial difficulties as the result of his lavish scale of living and
the mismanagement of his business enterprises.


The Waverley Novels

At the moment when ruin faced him he found himself suddenly in the
possession of a great income from an unexpected source. In 1805 he had
written, almost at a sitting, an instalment of a story of the uprising
of 1745 in a futile attempt to restore the exiled Stuart, Charles
Edward, to the throne. In 1814 he completed the story and published
it anonymously under the title of "Waverley." The novel was written in
what the oarsmen call a "spurt"; not because the novelist was writing
carelessly at breakneck speed for immediate income, but because he
was a tremendous worker and more concerned with the general movement
and human interest of the story in hand than with the details of its
workmanship. To immense energy of mind and body Scott united patience
and methodical habits of work, as he added to a romantic imagination
keen interest in the business of life and in the smallest detail of
practical affairs. His appetite for facts was as marked as his capacity
for sentiment. Scott had breadth and vigor rather than delicacy of
imagination; that is one reason why he is out of fashion at a time
when men want to know not only what people do but why and how they do
it. He saw men and events in the rough; he was interested in striking
historical incidents and events, in strongly-marked characters, in
actions rather than in moods. In a word, Scott was a writer who took
the world as he found it, and described it as he saw it, without
any strong desire to reform it. He was a Tory in politics, a strong
adherent of an ordered society; a good, sound man not haunted by
misgiving and questioning about the general order of things.

Scott's novels were literally poured out during fifteen wonderful
years; and even then the broken man could still apply the whip to his
exhausted and crippled brain. The popular success of the novels was
unprecedented in the history of literature. It is estimated that Scott
earned with his pen not less than three-quarters of a million dollars.
The earlier stories were the best: "The Antiquary," "Old Mortality,"
"Rob Roy," "Heart of Midlothian," "Guy Mannering." These were followed
by the series of semi-historical novels with their brilliant historical
portraits: "Ivanhoe," the most popular though by no means the best of
Scott's stories, "The Monastery," "The Abbot," "Kenilworth," "Quentin
Durward," "The Bride of Lammermoor," "The Talisman."

  [Illustration: THE EMPTY CHAIR, ABBOTSFORD
   From the painting by Sir W. Allan, R. A., in the Royal Collection]

The defects of these novels and those which came later have been
clearly pointed out since the analytical novel and the novel of purpose
have come into vogue. Scott did not command the constructive skill of
even the second-rate novelist of today; he was often an awkward builder
and clumsy in putting his materials together in a coherent whole; his
style is often loose and diffuse; he dealt largely with the outside
of the spectacle of living; his women have no magic of loveliness,
no mystery of temperament, though they sometimes stand out with great
distinctness; his heroes are rarely heroic, they are often commonplace.

Scott was the chronicler of feudalism, the primitive social order of
the clan, of an aristocratic society. He was as little interested
in Democracy as was Shakespeare; and largely for the same reason:
his age was not anti-democratic, it had not reached the democratic
stage. Bagehot, the famous English critic, put his limitations under
two heads: he gives us the stir of the world but not its soul, and he
leaves the abstract intellect unreported.

His vital interest in the moving spectacle of life has given us an
almost unrivalled report of that world, and of a great group of men and
women whose careers, as Scott reports them, have the reality of fact
and the dramatic interest of fiction. Jeanie Deans, Madge Wildfire,
Diana Vernon, Meg Merrilies, Wandering Willie, Andrew Fairservice,
and a crowd of their companions, are more alive today, after a century
has passed, than most of the people whose names are in the telephone
directories.

Scott was a man of the kind men love to remember. His faults of nature
are as obvious as his faults of art; but his splendid vitality makes
them trivial. He was large hearted, frank, generous, honorable; he made
life seem more noble by the richness of his nature and his splendid
courage. His career was as romantic in achievement and vicissitude as
his most striking novel. In 1826, when he was fifty-five years old, the
two business houses in which he was a partner failed, with obligations
amounting to nearly six hundred thousand dollars. Scott had recently
spent large sums on the enlargement of Abbotsford, in settling his sons
in life, and for other people; and he held the bills of Constable for
four novels to be written in the future; the novels were written, but
the bills were not honored. Four months after the failure Lady Scott
died, and Scott's health was breaking. Two days after the failure he
resumed work on "Woodstock," and set himself to pay the debt of half
a million dollars. In two years he earned for his creditors nearly two
hundred thousand dollars, the major part of which came from the sales
of "Woodstock" and "The Life of Napoleon Bonaparte." If his brain had
not given out he would have discharged the entire indebtedness in a
few years. Working with a disabled brain but with heroic resolution,
he wrote "Count Robert of Paris" and "Castle Dangerous." In five years
more than three hundred thousand dollars had been paid; meantime he had
had a stroke of paralysis. After a second stroke, when "Count Robert"
was practically finished, the publishers objected to the work in the
last volume. "The blow is a stunning one," wrote the broken man. "God
knows I am at sea in the dark, and the vessel leaky.... I often wish I
could lie down and sleep without waking. But I will fight it out if I
can." And he fought it out; he died on July 12, 1832, and on February
21, 1833, the creditors were paid in full. Never was a heroic fight
more nobly won.

On his death-bed Scott called his son-in-law Lockhart, who was to tell
the story of his life in one of the great biographies, to his bedside.
"I have but a minute to speak to you," he said. "My dear, be a good
man.... Nothing else will give you any comfort when you come to lie
here."

  [Illustration: THE GRAVE OF SCOTT
   At Dryburgh Abbey, Scotland]


SUPPLEMENTARY READING

     LIFE OF SIR WALTER SCOTT (In "Everyman's Library")
     _By J. G. Lockhart_

     SIR WALTER SCOTT
     _By R. H. Hutton_

     SIR WALTER SCOTT
     _By William Winter_

     Chapter in "Gray Days and Gold"

     DICTIONARY OF THE CHARACTERS IN THE WAVERLEY NOVELS OF SIR
     WALTER SCOTT
     _By M. F. A. Husband_

     SIR WALTER SCOTT STUDIED IN EIGHT NOVELS
     _By A. S. G. Channing_

     THE SCOTT COUNTRY
     _By W. S. Crockett_


*** Information concerning the above books may be had on application to
the Editor of The Mentor.




THE OPEN LETTER

  [Illustration: SIR WALTER SCOTT
   From the painting by Sir Henry Raeburn]


What sort of a person was he; what did he look like--this Scottish
bard, novelist, historian, essayist, and landed baronet?

"There he goes," said Dr. Maginn, a contemporary of Scott's,
"sauntering about his grounds, with his Lowland bonnet in his hand,
dressed in his old green shooting-jacket, telling stories of every
stone and bush, and tree and stream in sight--tales of battles and
raids--or ghosts and fairies, as the case may be, of the days of yore."

"Sauntering" is hardly the word with which to describe Scott's gait.
"Limping" would be better, for he was lame from boyhood, and he
supported himself in walking with a staff so heavy that it looked like
a cudgel. Washington Irving visited Abbotsford in 1816, and described
Scott as "limping up the gravel walk, aiding himself by a stout
walking-stick, but moving rapidly and with vigor."

       *       *       *       *       *

His lameness, was no serious handicap to Sir Walter. He was a man of
extraordinary strength, six feet tall, and of a large and powerful
frame, with great breadth across the chest. The muscles of his arms
were like iron. He was an exceptional and powerful wielder of an ax,
and could bring down a tree with the best of the younger men. He was
a master of the horse, and a bold rider. He climbed the hills till he
wearied all but his faithful dogs, and he was proficient in sport and
hunting. The latter, however, he did not like. "I was never at ease,"
he said, "when I had knocked down my bird and, going to pick him up,
he cast back his dying eye with a look of reproach. I am not ashamed
to say that no practice ever reconciled me fully to the cruelty of the
affair."

       *       *       *       *       *

The conversation of Scott was frank, hearty, picturesque, and dramatic.
He had a great sense of humor, and a rare gift for story telling.
He was an accomplished mimic, and he lighted up his narratives and
anecdotes with appropriate dialect and graphic description. And, as
a near friend once observed, "The chief charm of his conversation, he
being a man of such eminence, was its perfect simplicity and the entire
absence of vanity and love of display."

       *       *       *       *       *

He was a good listener, too--but he did not enjoy listening to classic
music. He allowed that he "had a reasonable good ear for a jig," but
confessed that "sonatas gave him the spleen." But he would rouse up
at the sound of "The Blue Bells of Scotland" or "Bonnie Dundee," and
his eye would flash an enthusiastic response to any song or verse that
celebrated the romance, chivalry, and heroism of his native land.

       *       *       *       *       *

Sir Walter was a strange combination of simplicity and strength. His
personal appearance was strikingly odd. Once seen, he could never
be forgotten. "Although forty-eight years have passed since I met
him," wrote an acquaintance, "his personality is as present to me now
as it was then in the flesh. His light blue waggish eye, sheltered,
almost screened, by overhanging straw-colored bushy brows, his scanty,
sandy-colored hair, the length of his upper lip, his towering forehead,
his abrupt movements, and the mingled humor, urbanity and benevolence
of his smile." His usual costume consisted of a green cutaway coat,
with short skirts and brass buttons; drab trousers, vest and gaiters;
a single seal and watch-key attached to a watered black ribbon dangling
from his fob; a loose, soft linen collar; a black silk neckerchief; and
a low-crowned, deep-brimmed hat.

  [Illustration: W. D. Moffat, EDITOR]




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      58. Holland
      59. Our Feathered Friends
      60. Glacier National Park
      61. Michelangelo
      62. American Colonial Furniture
      63. American Wild Flowers
      64. Gothic Architecture
      65. The Story of the Rhine
      66. Shakespeare
      67. American Mural Painters
      68. Celebrated Animal Characters
      69. Japan
      70. The Story of the French Revolution
      71. Rugs and Rug Making
      72. Alaska
      73. Charles Dickens
      74. Grecian Masterpieces
      75. Fathers of the Constitution
      76. Masters of the Piano
      77. American Historic Homes
      78. Beauty Spots of India
      79. Etchers and Etching
      80. Oliver Cromwell
      81. China
      82. Favorite Trees
      83. Yellowstone National Park
      84. Famous Women Writers of England
      85. Painters of Western Life
      86. China and Pottery of Our Forefathers
      87. The Story of The American Railroad
      88. Butterflies
      89. The Philippines
      90. Great Galleries of The World: The Louvre
      91. William M. Thackeray
      92. Grand Canyon of Arizona
      93. Architecture in American Country Homes
      94. The Story of The Danube
      95. Animals in Art
      96. The Holy Land
      97. John Milton
      98. Joan Of Arc
      99. Furniture of the Revolutionary Period
     100. The Ring of the Nibelung
     101. The Golden Age of Greece
     102. Chinese Rugs
     103. The War of 1812
     104. Great Galleries of the World: The National Gallery,
          London
     105. Masters of the Violin
     106. American Pioneer Prose Writers
     107. Old Silver
     108. Shakespeare's Country
     109. Historic Gardens of New England
     110. The Weather
     111. American Poets of the Soil
     112. Argentina
     113. Game Animals of America
     114. Raphael


NUMBERS TO FOLLOW

     October 2. THE YOSEMITE VALLEY. _By Dwight L. Elmendorf,
     Lecturer and Traveler._

     October 16. JOHN PAUL JONES. _By Professor Albert Bushnell
     Hart, Harvard University._


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