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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-14 18:40:02 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-14 18:40:02 -0700 |
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diff --git a/44367-h/44367-h.htm b/44367-h/44367-h.htm new file mode 100644 index 0000000..4d38c65 --- /dev/null +++ b/44367-h/44367-h.htm @@ -0,0 +1,2273 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <title> + The Project Gutenberg eBook of The Mentor: Walter Scott, Serial No. 115, 1916, by Hamilton W. Mabie. + </title> + <link rel="coverpage" href="images/cover.jpg" /> + <style type="text/css"> + + body {margin-left: 10%; margin-right: 10%;} + .capcreditl {font-size: .6em; text-align: left; margin-top: -.7em;} + .capcreditr {font-size: .6em; text-align: right;} + .caption {font-size: .8em; text-align: center;} + .captionsub {font-size: .65em; text-align: center;} + .backcover {display: none;} + .center {text-align: center;} + .chaphead {width: 100%; border-top: solid thin; border-bottom: solid thin; line-height: 1em; page-break-before: always;} + .dropcap {float: left; clear: left; vertical-align: bottom; margin: 0; padding: 0;} + .figbrowser {margin: 1.5em auto; text-align: center;} + .figc450 {margin: 1.5em auto; text-align: center; width: 450px;} + .figc600 {margin: 1.5em auto; text-align: center; width: 600px;} + .figcenter {margin: 1.5em auto; text-align: center;} + .figright {float: right; clear: right; margin-left: 1em; margin-bottom: 1em; margin-top: 1em; margin-right: 0; padding: 0; text-align: center; } + .figleft {float: left; clear: left; margin-left: 0em; margin-bottom: 1em; margin-top: 1em; margin-right: 1em; padding: 0; text-align: center; } + .fsize60 {font-size: .6em;} + .fsize80 {font-size: .8em;} + .fsize125 {font-size: 1.25em;} + .fsize150 {font-size: 1.5em;} + .fsize175 {font-size: 1.75em;} + .fsize200 {font-size: 2em;} + .gesp1 {letter-spacing: .2em; margin-right: -.2em;} + h1 {text-align: center;} + h2 {text-align: right; font-size: 1.25em; font-weight: normal; margin-top: -1.5em; text-decoration: none;} + h2.wizard {text-align: center; margin-top: 2.5em; margin-bottom: 1.5em; font-size: 1.25em; font-weight: bold; page-break-before: always;} + h2.ws {text-align: center; font-weight: bold; margin-top: 1.5em; margin-bottom: 1.5em; page-break-before: always;} + h2.letter {text-align: center; letter-spacing: .2em; border-top: solid medium; border-bottom: solid medium; width: 100%; + font-weight: bold; font-size: 1.5em; margin-top: 2em; page-break-before: always;} + .h2left {font-size: 1.25em; text-align: left;} + .h2number {font-size: .8em; text-align: center; margin-top: -.75em;} + h3 {font-size: 1em; text-align: center; font-weight: bold; text-decoration: none; letter-spacing: .15em; margin-right: -.15em;} + hr.chap {width: 25%;} + .ind2 {margin-left: 2em;} + .largecap {display: none;} + .largecap2 {float: left; clear: left; font-size: 3.5em; margin: 0; padding: 0;} + .left {text-align: left;} + .mentorpage {max-width: 35em; margin: auto; clear: both;} + p {margin-top: .75em; text-align: justify; margin-bottom: .75em;} + p.thinline {width: 100%; line-height: .01em; margin-top: -.5em; border-top: solid medium;} + .padl3 {padding-left: 1.5em;} + .p6 {margin-top: 6em;} + .right {text-align: right;} + .textblock {margin: 0 7em; font-size: .75em;} + .textcover {border: solid medium; width: 25em; padding: 2em; text-align: center; margin: 2em auto;} + .tnbox {border: solid 2px; background: #999966; margin: 1em 20%; padding: 1em;} + ul.none {list-style: none; margin-left: 2.5em;} + .white {background: white;} + .smcap {font-variant: small-caps;} + td.top {vertical-align: top;} + .tdc {text-align: center; padding-top: 1.5em;} + .tdr { text-align: right; } + .tdl { text-align: left; } + .pagenum { position: absolute; left: 92%; font-size: smaller; text-align: right; font-style: normal;} + +@media handheld, print {body {margin-left: 2%; margin-right: 2%;} + .backcover {display: block;} + .h2left {display: none;} + h2 {text-align: center; font-size: 1.25em; font-weight: normal; margin-top: 1em; text-decoration: none;} + .largecap {display: inline; font-size: 2em;} + .capcreditl {text-align: center;} + .capcreditr {text-align: center;} + .dropcap, + .coverback, + .figbrowser, + .textcover {display: none;}} + + </style> + </head> +<body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 44367 ***</div> + +<div class="tnbox"> +<p class="center"><b>Transcriber's Note:</b></p> +<p>Obvious typographical errors have been corrected. +Inconsistent spelling and hyphenation in the original +document have been preserved.</p> +</div> + +<h1>THE MENTOR<br /> +<span class="fsize125">WALTER SCOTT</span></h1> + +<div class="figbrowser p6"> +<img src="images/cover.jpg" alt="Cover page" width="417" height="600" /> +</div> + +<div class="textcover"> +<p class="center gesp1"> +LEARN ONE THING<br /> +EVERY DAY</p> + +<p class="left fsize80">SEPTEMBER 15 1916</p> +<p class="right fsize80" style="margin-top: -2.25em;">SERIAL NO. 115</p> + +<p class="center"><span class="fsize175"> +<b>THE</b><br /> +<b>MENTOR</b><br /></span> + +<span class="fsize150"><b>WALTER SCOTT</b></span></p> + +<p class="center fsize60">By HAMILTON W. MABIE<br /> +Author and Editor</p> + +<p class="left fsize80">DEPARTMENT OF<br /> + +<span class="padl3">LITERATURE</span></p> +<p class="right fsize80" style="margin-top: -3.25em;">VOLUME 4<br /> +NUMBER 15</p> + +<p class="center">FIFTEEN CENTS A COPY</p> +</div> + +<h2 class="wizard"> +The Wizard of the North +</h2> + +<div class="figcenter"> +<img src="images/doubleflower.jpg" alt="decoration" width="74" height="34" /> +</div> + +<p><span class="dropcap"><img src="images/t.jpg" alt="T" width="50" height="47" /></span><span class="largecap">T</span>HE 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. +</p> + +<div class="figcenter"> +<img src="images/flower.jpg" alt="decoration" width="20" height="21" /> +</div> + +<p><span class="dropcap"><img src="images/h.jpg" alt="H" width="50" height="47" /></span><span class="largecap">H</span>E 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. +</p> + +<div class="figcenter"> +<img src="images/flower.jpg" alt="decoration" width="20" height="21" /> +</div> + +<p><span class="dropcap"><img src="images/h.jpg" alt="H" width="50" height="47" /></span><span class="largecap">H</span>IS 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. +</p> + +<p class="fsize80"> +From "Over the Border" by William Winter +</p> + +<div class="figc450 p6"><a name="grav2" id="grav2"></a> +<p class="capcreditl">COURTESY, THE PAGE COMPANY</p> +<img src="images/plate1.jpg" alt="Flora MacIvor" width="445" height="600" /> +<p class="capcreditr">FROM A DRAWING BY R. W. MACBETH</p> +<p class="caption"><span class="smcap"><b>FLORA MacIVOR—"waverley"</b></span></p> + +</div> + +<div class="chaphead"> +<p class="thinline"> </p> +<p class="h2left"><i>WALTER SCOTT</i></p> +<h2><i>Waverley</i></h2> +</div> + +<p class="h2number"><span class="white"> ONE </span></p> + +<p><span class="largecap2">W</span>AVERLEY" + is a story of the rebellion of the chevalier +Prince Charles Edward, in Scotland, in 1745. +</p> + +<p> +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. +</p> + +<p> +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. +</p> + +<p> +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. +</p> + +<p> +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. +</p> + +<p> +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. +</p> + +<p> +"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. +</p> + +<p> +"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." +</p> + +<p> +"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. +</p> + +<div class="figc600 p6"><a name="grav4" id="grav4"></a> +<p class="capcreditl">COURTESY, THE PAGE COMPANY</p> +<img src="images/plate2.jpg" width="600" height="419" alt="" /> +<p class="capcreditr">FROM AN ETCHING BY C. O. MURRAY</p> +<p class="caption">MEG MERRILIES DIRECTS BERTRAM TO THE CAVE—"<span class="smcap">guy mannering</span>"</p> +</div> + +<div class="chaphead"> +<p class="thinline"> </p> +<p class="h2left"><i>WALTER SCOTT</i></p> +<h2><i>Guy Mannering</i></h2> +</div> + +<p class="h2number"><span class="white"> TWO </span></p> + +<p><span class="largecap2">G</span>UY 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. +</p> + +<p> +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. +</p> + +<p> +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. +</p> + +<p> +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. +</p> + +<p> +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. +</p> + +<p> +Meg Merrilies is regarded as one of the +great characters of fiction. +</p> + +<p> +"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. +</p> + +<p> +"'For God's sake,' said Julia, pulling her +purse, 'give that dreadful woman something, +and bid her go away,' +</p> + +<p> +"'I cannot,' said Bertram: 'I must not +offend her.' +</p> + +<p> +"'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.... +</p> + +<p> +"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." +</p> + +<p> +"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. +</p> + +<div class="figc450 p6"><a name="grav6" id="grav6"></a> +<p class="capcreditl">COURTESY, THE PAGE COMPANY</p> +<img src="images/plate3.jpg" width="442" height="600" alt="" /> +<p class="capcreditr">FROM THE PAINTING BY SIR J. E. MILLAIS</p> +<p class="caption">EFFIE DEANS AND GEORDIE—"<span class="smcap">heart of midlothian</span>"</p> +</div> + +<div class="chaphead"> +<p class="thinline"> </p> +<p class="h2left"><i>WALTER SCOTT</i></p> +<h2><i>Heart of Midlothian</i></h2> +</div> + +<p class="h2number"><span class="white"> THREE </span></p> + +<p> +<span class="largecap2">I</span>N "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. +</p> + +<p> +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. +</p> + +<p> +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. +</p> + +<p> +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. +</p> + +<p> +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. +</p> + +<p> +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. +</p> + +<p> +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. +</p> + +<p> +"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. +</p> + +<p> +"Ratcliffe marshalled her the way to the +apartment where Effie was confined. +</p> + +<p> +"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. +</p> + +<p> +"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." +</p> + +<div class="figc450 p6"><a name="grav3" id="grav3"></a> +<p class="capcreditl">COURTESY, THE PAGE COMPANY</p> +<img src="images/plate4.jpg" width="447" height="600" alt="Plate4" /> +<p class="capcreditr">FROM A DRAWING BY AD. LALAUZE</p> +<p class="caption">THE BLACK KNIGHT AT THE HERMITAGE—"<span class="smcap">ivanhoe</span>"</p> +</div> + +<div class="chaphead"> +<p class="thinline"> </p> +<p class="h2left"><i>WALTER SCOTT</i></p> +<h2><i>Ivanhoe</i></h2> +</div> + +<p class="h2number"><span class="white"> FOUR </span></p> + +<p> +<span class="largecap2">S</span>IR 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. +</p> + +<p> +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. +</p> + +<p> +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. +</p> + +<p> +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. +</p> + +<p> +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: +</p> + +<p> +"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. +</p> + +<p> +"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. +</p> + +<p> +"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." +</p> + +<p> +The Hermit who lived there and who +gave the Black Knight food and lodging, +was Friar Tuck. +</p> + +<p> +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. +</p> + +<p> +"Ivanhoe" is one of Scott's most famous +novels. It was written and published in +1819. The manuscript is now at Abbotsford. +</p> + +<div class="figc450 p6"><a name="grav5" id="grav5"></a> +<p class="capcreditl">COURTESY, THE PAGE COMPANY</p> +<img src="images/plate5.jpg" width="443" height="600" alt="" /> + +<p class="capcreditr">FROM A DRAWING BY AD. LALAUZE.</p> +<p class="caption">VARNEY, LEICESTER AND AMY ROBSART—"<span class="smcap">kenilworth</span>"</p> +</div> + +<div class="chaphead"> +<p class="thinline"> </p> +<p class="h2left"><i>WALTER SCOTT</i></p> +<h2><i>Kenilworth</i></h2> +</div> + +<p class="h2number"><span class="white"> FIVE </span></p> + +<p> +<span class="largecap2">T</span>HE 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. +</p> + +<p> +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. +</p> + +<p> +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. +</p> + +<p> +Leicester and Varney went to Amy and +endeavored to persuade her to pose for a +short time as Varney's wife. +</p> + +<p> +"'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?' +</p> + +<p> +"'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.' +</p> + +<p> +"'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—' +</p> + +<p> +"'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.' +</p> + +<p> +"'I cannot put your commands, my +Lord,' said Amy, 'in balance with those +of honor and conscience. I will <i>not</i>, 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?'" +</p> + +<p> +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. +</p> + +<p> +For this reason Leicester gave him his +signet ring and authority to act for him. +Amy was hurriedly taken back to Cumnor +Place. +</p> + +<p> +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." +</p> + +<p> +"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. +</p> + +<div class="figc450 p6"><a name="grav1" id="grav1"></a> +<p class="capcreditl">COURTESY, THE PAGE COMPANY</p> +<img src="images/plate6.jpg" width="442" height="600" alt="" /> +<p class="capcreditr">FROM THE PAINTING BY SIR J. E. MILLAIS</p> +<p class="caption"><span class="smcap"><b>LUCY AND THE MASTER—"the bride of lammermoor"</b></span></p> + +</div> + +<div class="chaphead"> +<p class="thinline"> </p> +<p class="h2left"><i>WALTER SCOTT</i></p> +<h2><i>The Bride of Lammermoor</i></h2> +</div> + +<p class="h2number"><span class="white"> SIX </span></p> + +<p> +<span class="largecap2">E</span>DGAR, 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. +</p> + +<p> +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. +</p> + +<p> +"Ravenswood found Lucy seated alone +by the ruin.... +</p> + +<p> +"'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.' +</p> + +<p> +"'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.' +</p> + +<p> +"'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.' +</p> + +<p> +"'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.' +</p> + +<p> +"'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.' +</p> + +<p> +"'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.' +</p> + +<p> +"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.' +</p> + +<p> +"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." +</p> + +<p> +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. +</p> + +<p> +In the struggle, Lucy went mad. Ravenswood, +thinking himself rejected, came +to an untimely end. +</p> + +<p> +"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. +</p> + +<h2 class="ws"> +<span class="fsize200">WALTER SCOTT</span><br /> + +By HAMILTON W. MABIE</h2> + +<p class="center"> +<i>Author and Editor</i> +</p> + +<table summary="Gravures"> +<tr> +<td> </td> +<td rowspan="9"><img src="images/illus01a.jpg" alt="" width="220" height="300" /></td> +<td> </td> +</tr> +<tr> +<td class="center fsize80"><i>MENTOR GRAVURES</i></td> +<td class="center fsize80"><i>MENTOR GRAVURES</i></td> +</tr> +<tr> +<td class="tdc"><a href="#grav1">LUCY AND THE MASTER</a></td> +<td class="tdc"><a href="#grav2">FLORA MacIVOR</a></td> +</tr> +<tr> +<td class="tdr">"<i>The Bride of Lammermoor</i>"</td> +<td class="tdr"> "<i>Waverley</i>"</td> +</tr> +<tr> +<td class="tdc"><a href="#grav3">THE BLACK KNIGHT AT THE HERMITAGE</a></td> +<td class="tdc"><a href="#grav4">MEG MERRILIES DIRECTS BERTRAM TO THE CAVE</a></td> +</tr> +<tr> +<td class="tdr">"<i>Ivanhoe</i>"</td> +<td class="tdr">"<i>Guy Mannering</i>"</td> +</tr> +<tr> +<td class="tdc"><a href="#grav5">VARNEY, LEICESTER AND AMY ROBSART</a></td> +<td class="tdc"><a href="#grav6">EFFIE DEANS AND GEORDIE</a></td> +</tr> +<tr> +<td class="tdr">"<i>Kenilworth</i>"</td> +<td class="tdr">"<i>Heart of Midlothian</i>"</td> +</tr> +<tr> +<td class="tdr">Bust of<br /> +Sir Walter<br /> +Scott</td> +<td class="tdl">By<br /> +Sir Francis<br /> +Chantrey</td> +</tr> +</table> + +<p class="center">THE MENTOR · DEPARTMENT OF LITERATURE<br /> +SEPTEMBER 15, 1916</p> + +<p class="center fsize60"> +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. +</p> + +<p><span class="dropcap"><img src="images/a.jpg" alt="A " width="50" height="53" /></span><span class="largecap">A</span> +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. +</p> + +<p> +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 +<span class='pagenum'><a id='Page_2' name='Page_2'>2</a></span> +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. +</p> + +<div class="figright"> +<img src="images/illus02.jpg" width="246" height="300" alt="" /> +<p class="caption">PORTRAIT OF SCOTT</p> +<p class="captionsub">By Sir Henry Raeburn</p> +</div> +<p> +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. +</p> + +<h3> +<i>The Boyhood of Scott</i> +</h3> + +<p> +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 +<span class='pagenum'><a id='Page_3' name='Page_3'>3</a></span> +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." +</p> + +<p> +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. +</p> + +<div class="figcenter"> +<img src="images/illus03.jpg" width="539" height="234" alt="" /> +<p class="caption">ABBOTSFORD, SCOTLAND +</p> +<p class="captionsub"> +The home of Walter Scott +</p> +</div> +<p> +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. +<span class='pagenum'><a id='Page_4' name='Page_4'>4</a></span> +</p> + +<h3> +<i>Edinburgh and the Highlands</i> +</h3> + +<p> +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. +</p> + +<div class="figright"> +<img src="images/illus04a.jpg" width="155" height="190" alt="" /> +<p class="caption">SIR WALTER SCOTT +</p> + +<p class="captionsub"> +From the painting by J. P. Knight +</p> +</div> +<div class="figright"> +<img src="images/illus04b.jpg" width="316" height="254" alt="" /> +<p class="caption">ABBOTSFORD +</p> + +<p class="captionsub"> +A near view +</p> +</div> +<p> +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." +<span class='pagenum'><a id='Page_5' name='Page_5'>5</a></span> +</p> + +<p> +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. +</p> +<div class="figleft"> +<img src="images/illus05a.jpg" width="257" height="166" alt="" /> +<p class="caption">THE LIBRARY, ABBOTSFORD +</p> +</div> +<p> +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. +</p> +<div class="figcenter"> +<img src="images/illus05b.jpg" width="258" height="163" alt="" /> +<p class="caption">THE STUDY, ABBOTSFORD +</p> +<p class="captionsub"> +This room is lined with Scott's favorite books and works +of reference. The bedroom that he used opens directly +into the study. +</p> +</div> + +<div class="figleft"> +<img src="images/illus05c.jpg" width="162" height="202" alt="" /> +<p class="caption">SIR WALTER SCOTT +</p> + +<p class="captionsub"> +From the painting by C. R. +Leslie, R. A. +</p> +</div> + +<h3> +<i>Marriage</i> +</h3> + +<p> +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. +<span class='pagenum'><a id='Page_6' name='Page_6'>6</a></span> +</p> +<div class="figcenter"> +<img src="images/illus06.jpg" width="538" height="297" alt="" /> +<p class="caption">SIR WALTER SCOTT AND HIS FRIENDS AT ABBOTSFORD +</p> + +<p class="captionsub"> +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.] +</p> +</div> + +<h3> +<i>Entrance Into Literature</i> +</h3> + +<p> +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. +</p> + +<p> +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 +<span class='pagenum'><a id='Page_7' name='Page_7'>7</a></span> +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." +</p> +<div class="figleft"> +<img src="images/illus07a.jpg" width="189" height="384" alt="" /> +<p class="caption">THE LADY OF THE LAKE +</p> + +<p class="captionsub"> +From the group by J. Adams Acton +</p> +</div> + +<div class="figleft"> +<img src="images/illus07b.jpg" width="397" height="298" alt="" /> +<p class="caption">EFFIE DEANS AND HER SISTER, JEANIE, IN PRISON +</p> + +<p class="captionsub"> +This picture, illustrating Jeanie Deans' visit to her accused sister, as related in +"Heart of Midlothian," is from the painting by R. Herdman +</p> +</div> +<p> +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. +</p> + +<h3> +<i>The Crash of His +Fortunes</i> +</h3> + +<p> +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 +<span class='pagenum'><a id='Page_8' name='Page_8'>8</a></span> +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. +</p> +<div class="figright"> +<img src="images/illus08.jpg" width="286" height="346" alt="" /> +<p class="caption">PORTRAIT OF SCOTT +</p> + +<p class="captionsub"> +By Sir Thomas Lawrence +</p> +</div> + +<p> +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 +<span class='pagenum'><a id='Page_9' name='Page_9'>9</a></span> +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! +</p> +<div class="figleft"> +<img src="images/illus09.jpg" width="213" height="256" alt="" /> +<p class="caption">A GLIMPSE OF ABBOTSFORD +</p> +</div> +<p> +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. +</p> + +<h3> +<i>The Waverley Novels</i> +</h3> + +<p> +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. +</p> + +<p> +Scott's novels were literally poured out +during fifteen wonderful years; and even +<span class='pagenum'><a id='Page_10' name='Page_10'>10</a></span> +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." +</p> +<div class="figleft"> +<img src="images/illus10.jpg" width="288" height="328" alt="" /> +<p class="caption">THE EMPTY CHAIR, ABBOTSFORD +</p> + +<p class="captionsub"> +From the painting by Sir W. Allan, R. A., in the Royal +Collection +</p> +</div> +<p> +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. +</p> + +<p> +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. +</p> + +<p> +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. +</p> +<div class="figright"> +<img src="images/illus11.jpg" width="234" height="287" alt="" /> +<p class="caption">THE GRAVE OF SCOTT +</p> + +<p class="captionsub"> +At Dryburgh Abbey, Scotland +</p> +</div> +<p> +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 +<span class='pagenum'><a id='Page_11' name='Page_11'>11</a></span> +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. +</p> + +<p> +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." +</p> + +<hr class="chap" /> +<h3> +<i>SUPPLEMENTARY READING</i> +</h3> + +<table summary="Supplementary Reading"> +<tr> +<td class="top"> +LIFE OF SIR WALTER SCOTT +(In "Everyman's Library")</td> + +<td class="tdr top"> +<i>By J. G. Lockhart</i></td> +</tr> +<tr> +<td class="top">SIR WALTER SCOTT</td> +<td class="tdr top"><i>By R. H. Hutton</i></td> +</tr> +<tr> +<td class="top">SIR WALTER SCOTT<br /> +Chapter in "Gray Days and Gold"</td> +<td class="tdr top"><i>By William Winter</i></td> +</tr> +<tr> + +<td class="top">DICTIONARY OF THE CHARACTERS IN +THE WAVERLEY NOVELS OF SIR WALTER +SCOTT</td> +<td class="tdr top"><i>By M. F. A. Husband</i></td> +</tr> +<tr> +<td class="top">SIR WALTER SCOTT STUDIED IN EIGHT +NOVELS</td> +<td class="tdr top"><i>By A. S. G. Channing</i></td> +</tr> +<tr> +<td class="top">THE SCOTT COUNTRY</td> +<td class="tdr top"><i>By W. S. Crockett</i></td> +</tr> +</table> +<p class="center fsize80"> +*** Information concerning the above books may be had on application to the Editor of The Mentor. +</p> + +<h2 class="letter"><i>THE OPEN LETTER</i></h2> + +<div class="figcenter"> +<img src="images/illus12.jpg" width="211" height="265" alt="" /> +<p class="caption">SIR WALTER SCOTT +</p> + +<p class="captionsub"> +From the painting by Sir Henry Raeburn +</p> +</div> + +<p> +What sort of a person +was he; what did he +look like—this Scottish +bard, novelist, historian, +essayist, and landed baronet? +</p> + +<p> +"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." +</p> + +<p> +"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." +</p> + +<p class="center gesp1">* * *</p> + +<p> +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." +</p> + +<p class="center gesp1">* * *</p> + +<p> +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." +</p> + +<p class="center gesp1">* * *</p> + +<p> +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. +</p> + +<p class="center gesp1">* * *</p> + +<p> +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. +</p> + +<div class="figright"> +<img src="images/signature.jpg" width="125" height="61" alt="" /> +<p class="caption">W. D. Moffat +</p> + +<p class="captionsub"> +<span class="smcap">Editor</span> +</p> +</div> + +<div class="mentorpage"> +<p class="center fsize175 gesp1">The Mentor Association</p> + +<p class="center ind2"> +ESTABLISHED FOR THE DEVELOPMENT OF A POPULAR INTEREST +IN ART, LITERATURE, SCIENCE, HISTORY, NATURE, AND TRAVEL +</p> + +<p class="fsize80"> +CONTRIBUTORS—PROF. JOHN C. VAN DYKE, HAMILTON W. MABIE, PROF. ALBERT +BUSHNELL HART, REAR ADMIRAL ROBERT E. PEARY, WILLIAM T. HORNADAY, DWIGHT L. +ELMENDORF, HENRY T. FINCK, WILLIAM WINTER, ESTHER SINGLETON, PROF. G. W. BOTSFORD, +IDA M. TARBELL, GUSTAV KOBBÉ, DEAN C. WORCESTER, JOHN K. MUMFORD, W. J. +HOLLAND, LORADO TAFT, KENYON COX, E. H. FORBUSH, H. E. KREHBIEL, SAMUEL ISHAM, +BURGES JOHNSON, STEPHEN BONSAL, JAMES HUNEKER, W. J. HENDERSON, AND OTHERS. +</p> + +<p> +The purpose of The Mentor Association is to give its members, in an +interesting and attractive way, the information in various fields of +knowledge which everybody wants to have. The information is imparted +by interesting reading matter, prepared under the direction of leading +authorities, and by beautiful pictures, produced by the most highly perfected +modern processes. +</p> + +<p class="center"> +THE MENTOR IS PUBLISHED TWICE A MONTH +</p> + +<p class="fsize80"> +BY THE MENTOR ASSOCIATION, INC., AT 52 EAST NINETEENTH STREET, NEW YORK, N. Y. +SUBSCRIPTION, THREE DOLLARS A YEAR. FOREIGN POSTAGE 75 CENTS EXTRA. CANADIAN +POSTAGE 50 CENTS EXTRA. SINGLE COPIES FIFTEEN CENTS. PRESIDENT, THOMAS +H. BECK; VICE-PRESIDENT, WALTER P. TEN EYCK; SECRETARY W. D. MOFFAT; TREASURER, +ROBERT M. DONALDSON; ASST. TREASURER AND ASST. SECRETARY, J. S. CAMPBELL +</p> + +<hr class="chap" /> + +<p class="center"> +COMPLETE YOUR MENTOR LIBRARY +</p> + +<p class="center fsize80"> +Subscriptions always begin with the current issue. The following numbers of The Mentor Course, +already issued, will be sent postpaid at the rate of fifteen cents each. +</p> + +<ul class="none"> +<li>Serial No.</li> +<li> 1. Beautiful Children in Art</li> +<li> 2. Makers of American Poetry</li> +<li> 3. Washington, the Capital</li> +<li> 4. Beautiful Women in Art</li> +<li> 5. Romantic Ireland</li> +<li> 6. Masters of Music</li> +<li> 7. Natural Wonders of America</li> +<li> 8. Pictures We Love to Live With</li> +<li> 9. The Conquest of the Peaks</li> +<li> 10. Scotland, the Land of Song and Scenery</li> +<li> 11. Cherubs in Art</li> +<li> 12. Statues With a Story</li> +<li> 13. Story of America in Pictures: The Discoverers</li> +<li> 14. London</li> +<li> 15. The Story of Panama</li> +<li> 16. American Birds of Beauty</li> +<li> 17. Dutch Masterpieces</li> +<li> 18. Paris, the Incomparable</li> +<li> 19. Flowers of Decoration</li> +<li> 20. Makers of American Humor</li> +<li> 21. American Sea Painters</li> +<li> 22. Story of America in Pictures: The Explorers</li> +<li> 23. Sporting Vacations</li> +<li> 24. Switzerland: The Land of Scenic Splendors</li> +<li> 25. American Novelists</li> +<li> 26. American Landscape Painters</li> +<li> 27. Venice, the Island City</li> +<li> 28. The Wife in Art</li> +<li> 29. Great American Inventors</li> +<li> 30. Furniture and Its Makers</li> +<li> 31. Spain and Gibraltar</li> +<li> 32. Historic Spots of America</li> +<li> 33. Beautiful Buildings of the World</li> +<li> 34. Game Birds of America</li> +<li> 35. Story of America in Pictures: The Contest for North America</li> +<li> 36. Famous American Sculptors</li> +<li> 37. The Conquest of the Poles</li> +<li> 38. Napoleon</li> +<li> 39. The Mediterranean</li> +<li> 40. Angels in Art</li> +<li> 41. Famous Composers</li> +<li> 42. Egypt, the Land of Mystery</li> +<li> 43. Story of America in Pictures: The Revolution</li> +<li> 44. Famous English Poets</li> +<li> 45. Makers of American Art</li> +<li> 46. The Ruins of Rome</li> +<li> 47. Makers of Modern Opera</li> +<li> 48. Dürer and Holbein</li> +<li> 49. Vienna, the Queen City</li> +<li> 50. Ancient Athens</li> +<li> 51. The Barbizon Painters</li> +<li> 52. Abraham Lincoln</li> +<li> 53. George Washington</li> +<li> 54. Mexico</li> +<li> 55. Famous American Women Painters</li> +<li> 56. The Conquest of the Air</li> +<li> 57. Court Painters of France</li> +<li> 58. Holland</li> +<li> 59. Our Feathered Friends</li> +<li> 60. Glacier National Park</li> +<li> 61. Michelangelo</li> +<li> 62. American Colonial Furniture</li> +<li> 63. American Wild Flowers</li> +<li> 64. Gothic Architecture</li> +<li> 65. The Story of the Rhine</li> +<li> 66. Shakespeare</li> +<li> 67. American Mural Painters</li> +<li> 68. Celebrated Animal Characters</li> +<li> 69. Japan</li> +<li> 70. The Story of the French Revolution</li> +<li> 71. Rugs and Rug Making</li> +<li> 72. Alaska</li> +<li> 73. Charles Dickens</li> +<li> 74. Grecian Masterpieces</li> +<li> 75. Fathers of the Constitution</li> +<li> 76. Masters of the Piano</li> +<li> 77. American Historic Homes</li> +<li> 78. Beauty Spots of India</li> +<li> 79. Etchers and Etching</li> +<li> 80. Oliver Cromwell</li> +<li> 81. China</li> +<li> 82. Favorite Trees</li> +<li> 83. Yellowstone National Park</li> +<li> 84. Famous Women Writers of England</li> +<li> 85. Painters of Western Life</li> +<li> 86. China and Pottery of Our Forefathers</li> +<li> 87. The Story of The American Railroad</li> +<li> 88. Butterflies</li> +<li> 89. The Philippines</li> +<li> 90. Great Galleries of The World: The Louvre</li> +<li> 91. William M. Thackeray</li> +<li> 92. Grand Canyon of Arizona</li> +<li> 93. Architecture in American Country Homes</li> +<li> 94. The Story of The Danube</li> +<li> 95. Animals in Art</li> +<li> 96. The Holy Land</li> +<li> 97. John Milton</li> +<li> 98. Joan Of Arc</li> +<li> 99. Furniture of the Revolutionary Period</li> +<li>100. The Ring of the Nibelung</li> +<li>101. The Golden Age of Greece</li> +<li>102. Chinese Rugs</li> +<li>103. The War of 1812</li> +<li>104. Great Galleries of the World: The National Gallery, London</li> +<li>105. Masters of the Violin</li> +<li>106. American Pioneer Prose Writers</li> +<li>107. Old Silver</li> +<li>108. Shakespeare's Country</li> +<li>109. Historic Gardens of New England</li> +<li>110. The Weather</li> +<li>111. American Poets of the Soil</li> +<li>112. Argentina</li> +<li>113. Game Animals of America</li> +<li>114. Raphael</li> +</ul> + +<p class="center"> +NUMBERS TO FOLLOW +</p> + +<p>October 2. THE YOSEMITE VALLEY. <i>By Dwight +L. Elmendorf, Lecturer and Traveler.</i></p> + +<p> +October 16. JOHN PAUL JONES. <i>By Professor +Albert Bushnell Hart, Harvard University.</i> +</p> + +<p class="center fsize125"> +THE MENTOR ASSOCIATION, INC. +</p> + +<p class="center fsize80"> +52 EAST 19th STREET, NEW YORK, N. Y. +</p> + +<hr class="chap" /> +</div> + +<div class="figcenter"> +<img src="images/back.jpg" width="416" height="600" alt="" /> +</div> +<div class="backcover"> +<p class="center fsize125 gesp1" style="padding-top: 1.5em;">The Mentor Service +</p> + +<div class="textblock"> + +<p><span class="dropcap"><img src="images/fancyt.jpg" alt="T" width="43" height="62" /></span><span class="largecap">T</span>HIS SERVICE COVERS THE +needs of those who want to gain knowledge +by an easy and agreeable method. +</p> + +<p> +Send for our booklet descriptive of +The Mentor Club Service. It presents +many varied Mentor courses specially planned +for the use of reading clubs. +</p> + +<p> +The Mentor Association will supply to its members +supplementary reading courses dealing +with any or all of the subjects in The Mentor +Courses. These courses of reading are prepared +under the direction of the Advisory Board of +The Mentor—all of them prominent educators. +</p> + +<p> +The Mentor Association will also secure books +for members, supplying them postpaid at publishers' +prices. +</p> + +<p> +The Mentor Inquiry Department gives to its +members a full and intelligent service in answering +inquiries concerning books, reading, and all +matters of general information having a bearing +on The Mentor Courses. +</p> + +<p> +MANY READERS HAVE COME TO KNOW THE +VALUE OF THE MENTOR SERVICE. IN THE +FULLEST SENSE IT SUPPLEMENTS AND +ROUNDS OUT THE PLAN OF THE MENTOR. +ALL MEMBERS OF THE ASSOCIATION ARE INVITED +TO TAKE ADVANTAGE OF THIS SERVICE. +</p> + +<p class="center"> +THE MENTOR BINDER +</p> + +<p> +Every page of The Mentor, cover included, contains matter that +readers want to keep. The Mentor Association is now supplying to +its members a binder which holds twelve or thirteen Mentors and +has proved satisfactory in every way. This binder has been arranged +so as to hold The Mentor complete and it has tapes to which the +pictures are attached, so that they swing freely in their place and +the pictures can be enjoyed as well as the text on the back. +</p> + +<p class="center"> +The price of these binders is One Dollar each. +</p> +</div> +<p class="center gesp1" style="padding-top: .6em;">MAKE THE SPARE<br /> +MOMENT COUNT</p> +</div> +<hr class="chap" /> + +<div>*** END OF THE PROJECT GUTENBERG EBOOK 44367 ***</div> +</body> +</html> diff --git a/44367-h/images/a.jpg b/44367-h/images/a.jpg Binary files differnew file mode 100644 index 0000000..536e68a --- /dev/null +++ b/44367-h/images/a.jpg diff --git a/44367-h/images/back.jpg b/44367-h/images/back.jpg Binary files differnew file mode 100644 index 0000000..36ea2ec --- /dev/null +++ b/44367-h/images/back.jpg diff --git a/44367-h/images/cover.jpg b/44367-h/images/cover.jpg Binary files differnew file mode 100644 index 0000000..e58a3c5 --- /dev/null +++ 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