73 files changed, 10009 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/44367-0.txt b/44367-0.txt
new file mode 100644
index 0000000..bb7992c
--- /dev/null
+++ b/44367-0.txt
@@ -0,0 +1,1422 @@
+*** START OF THE PROJECT GUTENBERG EBOOK 44367 ***
+
+Transcriber's Note:
+
+  Inconsistent hyphenation and spelling in the original document have
+  been preserved. Obvious typographical errors have been corrected.
+
+  Italic text is denoted by _underscores_.
+
+
+
+
+     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]
+
+
+
+
+THE MENTOR ASSOCIATION
+
+ESTABLISHED FOR THE DEVELOPMENT OF A POPULAR INTEREST IN ART,
+LITERATURE, SCIENCE, HISTORY, NATURE, AND TRAVEL
+
+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.
+
+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.
+
+THE MENTOR IS PUBLISHED TWICE A MONTH
+
+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
+
+
+COMPLETE YOUR MENTOR LIBRARY
+
+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.
+
+     Serial No.
+       1. Beautiful Children in Art
+       2. Makers of American Poetry
+       3. Washington, the Capital
+       4. Beautiful Women in Art
+       5. Romantic Ireland
+       6. Masters of Music
+       7. Natural Wonders of America
+       8. Pictures We Love to Live With
+       9. The Conquest of the Peaks
+      10. Scotland, the Land of Song and Scenery
+      11. Cherubs in Art
+      12. Statues With a Story
+      13. Story of America in Pictures: The Discoverers
+      14. London
+      15. The Story of Panama
+      16. American Birds of Beauty
+      17. Dutch Masterpieces
+      18. Paris, the Incomparable
+      19. Flowers of Decoration
+      20. Makers of American Humor
+      21. American Sea Painters
+      22. Story of America in Pictures: The Explorers
+      23. Sporting Vacations
+      24. Switzerland: The Land of Scenic Splendors
+      25. American Novelists
+      26. American Landscape Painters
+      27. Venice, the Island City
+      28. The Wife in Art
+      29. Great American Inventors
+      30. Furniture and Its Makers
+      31. Spain and Gibraltar
+      32. Historic Spots of America
+      33. Beautiful Buildings of the World
+      34. Game Birds of America
+      35. Story of America in Pictures: The Contest for North
+          America
+      36. Famous American Sculptors
+      37. The Conquest of the Poles
+      38. Napoleon
+      39. The Mediterranean
+      40. Angels in Art
+      41. Famous Composers
+      42. Egypt, the Land of Mystery
+      43. Story of America in Pictures: The Revolution
+      44. Famous English Poets
+      45. Makers of American Art
+      46. The Ruins of Rome
+      47. Makers of Modern Opera
+      48. Dürer and Holbein
+      49. Vienna, the Queen City
+      50. Ancient Athens
+      51. The Barbizon Painters
+      52. Abraham Lincoln
+      53. George Washington
+      54. Mexico
+      55. Famous American Women Painters
+      56. The Conquest of the Air
+      57. Court Painters of France
+      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._
+
+
+THE MENTOR ASSOCIATION, INC.
+
+52 EAST 19th STREET, NEW YORK, N. Y.
+
+
+
+
+The Mentor Service
+
+
+This service covers the needs of those who want to gain knowledge by an
+easy and agreeable method.
+
+Send for our booklet descriptive of The Mentor Club Service. It
+presents many varied Mentor courses specially planned for the use of
+reading clubs.
+
+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.
+
+The Mentor Association will also secure books for members, supplying
+them postpaid at publishers' prices.
+
+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.
+
+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.
+
+
+THE MENTOR BINDER
+
+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.
+
+The price of these binders is One Dollar each.
+
+
+MAKE THE SPARE MOMENT COUNT
+
+
+
+
+
+End of the Project Gutenberg EBook of The Mentor: Walter Scott, Vol. 4, Num.
+15, Serial No. 115, September 15, 1916, by Hamilton W. Mabie
+
+*** END OF THE PROJECT GUTENBERG EBOOK 44367 ***
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&mdash;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&mdash;"waverley"</b></span></p>
+
+</div>
+
+<div class="chaphead">
+<p class="thinline">&nbsp;</p>
+<p class="h2left"><i>WALTER SCOTT</i></p>
+<h2><i>Waverley</i></h2>
+</div>
+
+<p class="h2number"><span class="white">&nbsp;ONE&nbsp;</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&mdash;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&mdash;"<span class="smcap">guy mannering</span>"</p>
+</div>
+
+<div class="chaphead">
+<p class="thinline">&nbsp;</p>
+<p class="h2left"><i>WALTER SCOTT</i></p>
+<h2><i>Guy Mannering</i></h2>
+</div>
+
+<p class="h2number"><span class="white">&nbsp;TWO&nbsp;</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?&mdash;were it at kirk or
+market, wedding or burial,'&mdash;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&mdash;"<span class="smcap">heart of midlothian</span>"</p>
+</div>
+
+<div class="chaphead">
+<p class="thinline">&nbsp;</p>
+<p class="h2left"><i>WALTER SCOTT</i></p>
+<h2><i>Heart of Midlothian</i></h2>
+</div>
+
+<p class="h2number"><span class="white">&nbsp;THREE&nbsp;</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!&mdash;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&mdash;"<span class="smcap">ivanhoe</span>"</p>
+</div>
+
+<div class="chaphead">
+<p class="thinline">&nbsp;</p>
+<p class="h2left"><i>WALTER SCOTT</i></p>
+<h2><i>Ivanhoe</i></h2>
+</div>
+
+<p class="h2number"><span class="white">&nbsp;FOUR&nbsp;</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&mdash;"<span class="smcap">kenilworth</span>"</p>
+</div>
+
+<div class="chaphead">
+<p class="thinline">&nbsp;</p>
+<p class="h2left"><i>WALTER SCOTT</i></p>
+<h2><i>Kenilworth</i></h2>
+</div>
+
+<p class="h2number"><span class="white">&nbsp;FIVE&nbsp;</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&mdash;and of all men,
+the bride of that Varney?'
+</p>
+
+<p>
+"'Madam, I speak it in earnest&mdash;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&mdash;'
+</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&mdash;you must
+do what your own impatient folly hath
+rendered necessary&mdash;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&mdash;"the bride of lammermoor"</b></span></p>
+
+</div>
+
+<div class="chaphead">
+<p class="thinline">&nbsp;</p>
+<p class="h2left"><i>WALTER SCOTT</i></p>
+<h2><i>The Bride of Lammermoor</i></h2>
+</div>
+
+<p class="h2number"><span class="white">&nbsp;SIX&nbsp;</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&mdash;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?&mdash;I know
+Alice hates&mdash;I mean dislikes, my father&mdash;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&mdash;wherever my fortune
+calls me&mdash;whatever she
+inflicts upon me&mdash;it is your friend&mdash;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&mdash;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&mdash;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&mdash;too rough&mdash;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&mdash;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>&nbsp;</td>
+<td rowspan="9"><img src="images/illus01a.jpg" alt="" width="220" height="300" /></td>
+<td>&nbsp;</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 &middot; 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&mdash;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 &amp; 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&mdash;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&mdash;tales of battles
+and raids&mdash;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">*&nbsp;*&nbsp;*</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">*&nbsp;*&nbsp;*</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">*&nbsp;*&nbsp;*</p>
+
+<p>
+He was a good listener,
+too&mdash;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">*&nbsp;*&nbsp;*</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&mdash;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&mdash;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
new 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
new 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
new file mode 100644
index 0000000..e58a3c5
--- /dev/null
+++ b/44367-h/images/cover.jpg
diff --git a/44367-h/images/doubleflower.jpg b/44367-h/images/doubleflower.jpg
new file mode 100644
index 0000000..2f9cae5
--- /dev/null
+++ b/44367-h/images/doubleflower.jpg
diff --git a/44367-h/images/fancyt.jpg b/44367-h/images/fancyt.jpg
new file mode 100644
index 0000000..7bd6bc1
--- /dev/null
+++ b/44367-h/images/fancyt.jpg
diff --git a/44367-h/images/flower.jpg b/44367-h/images/flower.jpg
new file mode 100644
index 0000000..9405234
--- /dev/null
+++ b/44367-h/images/flower.jpg
diff --git a/44367-h/images/h.jpg b/44367-h/images/h.jpg
new file mode 100644
index 0000000..6261303
--- /dev/null
+++ b/44367-h/images/h.jpg
diff --git a/44367-h/images/illus01a.jpg b/44367-h/images/illus01a.jpg
new file mode 100644
index 0000000..195cd62
--- /dev/null
+++ b/44367-h/images/illus01a.jpg
diff --git a/44367-h/images/illus02.jpg b/44367-h/images/illus02.jpg
new file mode 100644
index 0000000..e480f15
--- /dev/null
+++ b/44367-h/images/illus02.jpg
diff --git a/44367-h/images/illus03.jpg b/44367-h/images/illus03.jpg
new file mode 100644
index 0000000..51623d0
--- /dev/null
+++ b/44367-h/images/illus03.jpg
diff --git a/44367-h/images/illus04a.jpg b/44367-h/images/illus04a.jpg
new file mode 100644
index 0000000..803f426
--- /dev/null
+++ b/44367-h/images/illus04a.jpg
diff --git a/44367-h/images/illus04b.jpg b/44367-h/images/illus04b.jpg
new file mode 100644
index 0000000..1a74888
--- /dev/null
+++ b/44367-h/images/illus04b.jpg
diff --git a/44367-h/images/illus05a.jpg b/44367-h/images/illus05a.jpg
new file mode 100644
index 0000000..17b3e5b
--- /dev/null
+++ b/44367-h/images/illus05a.jpg
diff --git a/44367-h/images/illus05b.jpg b/44367-h/images/illus05b.jpg
new file mode 100644
index 0000000..f9eac5e
--- /dev/null
+++ b/44367-h/images/illus05b.jpg
diff --git a/44367-h/images/illus05c.jpg b/44367-h/images/illus05c.jpg
new file mode 100644
index 0000000..834ecd1
--- /dev/null
+++ b/44367-h/images/illus05c.jpg
diff --git a/44367-h/images/illus06.jpg b/44367-h/images/illus06.jpg
new file mode 100644
index 0000000..6b7b8fa
--- /dev/null
+++ b/44367-h/images/illus06.jpg
diff --git a/44367-h/images/illus07a.jpg b/44367-h/images/illus07a.jpg
new file mode 100644
index 0000000..719af4d
--- /dev/null
+++ b/44367-h/images/illus07a.jpg
diff --git a/44367-h/images/illus07b.jpg b/44367-h/images/illus07b.jpg
new file mode 100644
index 0000000..ec33cb8
--- /dev/null
+++ b/44367-h/images/illus07b.jpg
diff --git a/44367-h/images/illus08.jpg b/44367-h/images/illus08.jpg
new file mode 100644
index 0000000..fcb17aa
--- /dev/null
+++ b/44367-h/images/illus08.jpg
diff --git a/44367-h/images/illus09.jpg b/44367-h/images/illus09.jpg
new file mode 100644
index 0000000..7101300
--- /dev/null
+++ b/44367-h/images/illus09.jpg
diff --git a/44367-h/images/illus10.jpg b/44367-h/images/illus10.jpg
new file mode 100644
index 0000000..cb0727d
--- /dev/null
+++ b/44367-h/images/illus10.jpg
diff --git a/44367-h/images/illus11.jpg b/44367-h/images/illus11.jpg
new file mode 100644
index 0000000..23077b8
--- /dev/null
+++ b/44367-h/images/illus11.jpg
diff --git a/44367-h/images/illus12.jpg b/44367-h/images/illus12.jpg
new file mode 100644
index 0000000..3f9da0c
--- /dev/null
+++ b/44367-h/images/illus12.jpg
diff --git a/44367-h/images/plate1.jpg b/44367-h/images/plate1.jpg
new file mode 100644
index 0000000..4cb6aad
--- /dev/null
+++ b/44367-h/images/plate1.jpg
diff --git a/44367-h/images/plate2.jpg b/44367-h/images/plate2.jpg
new file mode 100644
index 0000000..60ac84f
--- /dev/null
+++ b/44367-h/images/plate2.jpg
diff --git a/44367-h/images/plate3.jpg b/44367-h/images/plate3.jpg
new file mode 100644
index 0000000..65a61c6
--- /dev/null
+++ b/44367-h/images/plate3.jpg
diff --git a/44367-h/images/plate4.jpg b/44367-h/images/plate4.jpg
new file mode 100644
index 0000000..8006141
--- /dev/null
+++ b/44367-h/images/plate4.jpg
diff --git a/44367-h/images/plate5.jpg b/44367-h/images/plate5.jpg
new file mode 100644
index 0000000..9a161a0
--- /dev/null
+++ b/44367-h/images/plate5.jpg
diff --git a/44367-h/images/plate6.jpg b/44367-h/images/plate6.jpg
new file mode 100644
index 0000000..95be47e
--- /dev/null
+++ b/44367-h/images/plate6.jpg
diff --git a/44367-h/images/signature.jpg b/44367-h/images/signature.jpg
new file mode 100644
index 0000000..979f045
--- /dev/null
+++ b/44367-h/images/signature.jpg
diff --git a/44367-h/images/t.jpg b/44367-h/images/t.jpg
new file mode 100644
index 0000000..99993d7
--- /dev/null
+++ b/44367-h/images/t.jpg
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..9b01de4
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #44367 (https://www.gutenberg.org/ebooks/44367)
diff --git a/old/44367-8.txt b/old/44367-8.txt
new file mode 100644
index 0000000..c48335d
--- /dev/null
+++ b/old/44367-8.txt
@@ -0,0 +1,1807 @@
+The Project Gutenberg EBook of The Mentor: Walter Scott, Vol. 4, Num. 15,
+Serial No. 115, September 15, 1916, by Hamilton W. Mabie
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Mentor: Walter Scott, Vol. 4, Num. 15, Serial No. 115, September 15, 1916
+
+Author: Hamilton W. Mabie
+
+Release Date: December 5, 2013 [EBook #44367]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: WALTER SCOTT ***
+
+
+
+
+Produced by Juliet Sutherland, Melissa McDaniel, and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+Transcriber's Note:
+
+  Inconsistent hyphenation and spelling in the original document have
+  been preserved. Obvious typographical errors have been corrected.
+
+  Italic text is denoted by _underscores_.
+
+
+
+
+     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]
+
+
+
+
+THE MENTOR ASSOCIATION
+
+ESTABLISHED FOR THE DEVELOPMENT OF A POPULAR INTEREST IN ART,
+LITERATURE, SCIENCE, HISTORY, NATURE, AND TRAVEL
+
+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.
+
+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.
+
+THE MENTOR IS PUBLISHED TWICE A MONTH
+
+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
+
+
+COMPLETE YOUR MENTOR LIBRARY
+
+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.
+
+     Serial No.
+       1. Beautiful Children in Art
+       2. Makers of American Poetry
+       3. Washington, the Capital
+       4. Beautiful Women in Art
+       5. Romantic Ireland
+       6. Masters of Music
+       7. Natural Wonders of America
+       8. Pictures We Love to Live With
+       9. The Conquest of the Peaks
+      10. Scotland, the Land of Song and Scenery
+      11. Cherubs in Art
+      12. Statues With a Story
+      13. Story of America in Pictures: The Discoverers
+      14. London
+      15. The Story of Panama
+      16. American Birds of Beauty
+      17. Dutch Masterpieces
+      18. Paris, the Incomparable
+      19. Flowers of Decoration
+      20. Makers of American Humor
+      21. American Sea Painters
+      22. Story of America in Pictures: The Explorers
+      23. Sporting Vacations
+      24. Switzerland: The Land of Scenic Splendors
+      25. American Novelists
+      26. American Landscape Painters
+      27. Venice, the Island City
+      28. The Wife in Art
+      29. Great American Inventors
+      30. Furniture and Its Makers
+      31. Spain and Gibraltar
+      32. Historic Spots of America
+      33. Beautiful Buildings of the World
+      34. Game Birds of America
+      35. Story of America in Pictures: The Contest for North
+          America
+      36. Famous American Sculptors
+      37. The Conquest of the Poles
+      38. Napoleon
+      39. The Mediterranean
+      40. Angels in Art
+      41. Famous Composers
+      42. Egypt, the Land of Mystery
+      43. Story of America in Pictures: The Revolution
+      44. Famous English Poets
+      45. Makers of American Art
+      46. The Ruins of Rome
+      47. Makers of Modern Opera
+      48. Dürer and Holbein
+      49. Vienna, the Queen City
+      50. Ancient Athens
+      51. The Barbizon Painters
+      52. Abraham Lincoln
+      53. George Washington
+      54. Mexico
+      55. Famous American Women Painters
+      56. The Conquest of the Air
+      57. Court Painters of France
+      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._
+
+
+THE MENTOR ASSOCIATION, INC.
+
+52 EAST 19th STREET, NEW YORK, N. Y.
+
+
+
+
+The Mentor Service
+
+
+This service covers the needs of those who want to gain knowledge by an
+easy and agreeable method.
+
+Send for our booklet descriptive of The Mentor Club Service. It
+presents many varied Mentor courses specially planned for the use of
+reading clubs.
+
+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.
+
+The Mentor Association will also secure books for members, supplying
+them postpaid at publishers' prices.
+
+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.
+
+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.
+
+
+THE MENTOR BINDER
+
+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.
+
+The price of these binders is One Dollar each.
+
+
+MAKE THE SPARE MOMENT COUNT
+
+
+
+
+
+End of the Project Gutenberg EBook of The Mentor: Walter Scott, Vol. 4, Num.
+15, Serial No. 115, September 15, 1916, by Hamilton W. Mabie
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: WALTER SCOTT ***
+
+***** This file should be named 44367-8.txt or 44367-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/4/4/3/6/44367/
+
+Produced by Juliet Sutherland, Melissa McDaniel, and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License available with this file or online at
+  www.gutenberg.org/license.
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation information page at www.gutenberg.org
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at 809
+North 1500 West, Salt Lake City, UT 84116, (801) 596-1887.  Email
+contact links and up to date contact information can be found at the
+Foundation's web site and official page at www.gutenberg.org/contact
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit www.gutenberg.org/donate
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit:  www.gutenberg.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For forty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+     www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/old/44367-8.zip b/old/44367-8.zip
new file mode 100644
index 0000000..593c0af
--- /dev/null
+++ b/old/44367-8.zip
diff --git a/old/44367-h.zip b/old/44367-h.zip
new file mode 100644
index 0000000..bef0aec
--- /dev/null
+++ b/old/44367-h.zip
diff --git a/old/44367-h/44367-h.htm b/old/44367-h/44367-h.htm
new file mode 100644
index 0000000..aa15441
--- /dev/null
+++ b/old/44367-h/44367-h.htm
@@ -0,0 +1,2684 @@
+<!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=iso-8859-1" />
+    <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>
+
+
+<pre>
+
+The Project Gutenberg EBook of The Mentor: Walter Scott, Vol. 4, Num. 15,
+Serial No. 115, September 15, 1916, by Hamilton W. Mabie
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Mentor: Walter Scott, Vol. 4, Num. 15, Serial No. 115, September 15, 1916
+
+Author: Hamilton W. Mabie
+
+Release Date: December 5, 2013 [EBook #44367]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: WALTER SCOTT ***
+
+
+
+
+Produced by Juliet Sutherland, Melissa McDaniel, and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<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&mdash;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&mdash;"waverley"</b></span></p>
+
+</div>
+
+<div class="chaphead">
+<p class="thinline">&nbsp;</p>
+<p class="h2left"><i>WALTER SCOTT</i></p>
+<h2><i>Waverley</i></h2>
+</div>
+
+<p class="h2number"><span class="white">&nbsp;ONE&nbsp;</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&mdash;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&mdash;"<span class="smcap">guy mannering</span>"</p>
+</div>
+
+<div class="chaphead">
+<p class="thinline">&nbsp;</p>
+<p class="h2left"><i>WALTER SCOTT</i></p>
+<h2><i>Guy Mannering</i></h2>
+</div>
+
+<p class="h2number"><span class="white">&nbsp;TWO&nbsp;</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?&mdash;were it at kirk or
+market, wedding or burial,'&mdash;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&mdash;"<span class="smcap">heart of midlothian</span>"</p>
+</div>
+
+<div class="chaphead">
+<p class="thinline">&nbsp;</p>
+<p class="h2left"><i>WALTER SCOTT</i></p>
+<h2><i>Heart of Midlothian</i></h2>
+</div>
+
+<p class="h2number"><span class="white">&nbsp;THREE&nbsp;</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!&mdash;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&mdash;"<span class="smcap">ivanhoe</span>"</p>
+</div>
+
+<div class="chaphead">
+<p class="thinline">&nbsp;</p>
+<p class="h2left"><i>WALTER SCOTT</i></p>
+<h2><i>Ivanhoe</i></h2>
+</div>
+
+<p class="h2number"><span class="white">&nbsp;FOUR&nbsp;</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&mdash;"<span class="smcap">kenilworth</span>"</p>
+</div>
+
+<div class="chaphead">
+<p class="thinline">&nbsp;</p>
+<p class="h2left"><i>WALTER SCOTT</i></p>
+<h2><i>Kenilworth</i></h2>
+</div>
+
+<p class="h2number"><span class="white">&nbsp;FIVE&nbsp;</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&mdash;and of all men,
+the bride of that Varney?'
+</p>
+
+<p>
+"'Madam, I speak it in earnest&mdash;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&mdash;'
+</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&mdash;you must
+do what your own impatient folly hath
+rendered necessary&mdash;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&mdash;"the bride of lammermoor"</b></span></p>
+
+</div>
+
+<div class="chaphead">
+<p class="thinline">&nbsp;</p>
+<p class="h2left"><i>WALTER SCOTT</i></p>
+<h2><i>The Bride of Lammermoor</i></h2>
+</div>
+
+<p class="h2number"><span class="white">&nbsp;SIX&nbsp;</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&mdash;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?&mdash;I know
+Alice hates&mdash;I mean dislikes, my father&mdash;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&mdash;wherever my fortune
+calls me&mdash;whatever she
+inflicts upon me&mdash;it is your friend&mdash;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&mdash;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&mdash;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&mdash;too rough&mdash;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&mdash;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>&nbsp;</td>
+<td rowspan="9"><img src="images/illus01a.jpg" alt="" width="220" height="300" /></td>
+<td>&nbsp;</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 &middot; 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&mdash;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 &amp; 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&mdash;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&mdash;tales of battles
+and raids&mdash;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">*&nbsp;*&nbsp;*</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">*&nbsp;*&nbsp;*</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">*&nbsp;*&nbsp;*</p>
+
+<p>
+He was a good listener,
+too&mdash;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">*&nbsp;*&nbsp;*</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&mdash;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&mdash;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" />
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Mentor: Walter Scott, Vol. 4, Num.
+15, Serial No. 115, September 15, 1916, by Hamilton W. Mabie
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: WALTER SCOTT ***
+
+***** This file should be named 44367-h.htm or 44367-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/4/4/3/6/44367/
+
+Produced by Juliet Sutherland, Melissa McDaniel, and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License available with this file or online at
+  www.gutenberg.org/license.
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation information page at www.gutenberg.org
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at 809
+North 1500 West, Salt Lake City, UT 84116, (801) 596-1887.  Email
+contact links and up to date contact information can be found at the
+Foundation's web site and official page at www.gutenberg.org/contact
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit www.gutenberg.org/donate
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit:  www.gutenberg.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For forty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+     www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/old/44367-h/images/a.jpg b/old/44367-h/images/a.jpg
new file mode 100644
index 0000000..536e68a
--- /dev/null
+++ b/old/44367-h/images/a.jpg
diff --git a/old/44367-h/images/back.jpg b/old/44367-h/images/back.jpg
new file mode 100644
index 0000000..36ea2ec
--- /dev/null
+++ b/old/44367-h/images/back.jpg
diff --git a/old/44367-h/images/cover.jpg b/old/44367-h/images/cover.jpg
new file mode 100644
index 0000000..e58a3c5
--- /dev/null
+++ b/old/44367-h/images/cover.jpg
diff --git a/old/44367-h/images/doubleflower.jpg b/old/44367-h/images/doubleflower.jpg
new file mode 100644
index 0000000..2f9cae5
--- /dev/null
+++ b/old/44367-h/images/doubleflower.jpg
diff --git a/old/44367-h/images/fancyt.jpg b/old/44367-h/images/fancyt.jpg
new file mode 100644
index 0000000..7bd6bc1
--- /dev/null
+++ b/old/44367-h/images/fancyt.jpg
diff --git a/old/44367-h/images/flower.jpg b/old/44367-h/images/flower.jpg
new file mode 100644
index 0000000..9405234
--- /dev/null
+++ b/old/44367-h/images/flower.jpg
diff --git a/old/44367-h/images/h.jpg b/old/44367-h/images/h.jpg
new file mode 100644
index 0000000..6261303
--- /dev/null
+++ b/old/44367-h/images/h.jpg
diff --git a/old/44367-h/images/illus01a.jpg b/old/44367-h/images/illus01a.jpg
new file mode 100644
index 0000000..195cd62
--- /dev/null
+++ b/old/44367-h/images/illus01a.jpg
diff --git a/old/44367-h/images/illus02.jpg b/old/44367-h/images/illus02.jpg
new file mode 100644
index 0000000..e480f15
--- /dev/null
+++ b/old/44367-h/images/illus02.jpg
diff --git a/old/44367-h/images/illus03.jpg b/old/44367-h/images/illus03.jpg
new file mode 100644
index 0000000..51623d0
--- /dev/null
+++ b/old/44367-h/images/illus03.jpg
diff --git a/old/44367-h/images/illus04a.jpg b/old/44367-h/images/illus04a.jpg
new file mode 100644
index 0000000..803f426
--- /dev/null
+++ b/old/44367-h/images/illus04a.jpg
diff --git a/old/44367-h/images/illus04b.jpg b/old/44367-h/images/illus04b.jpg
new file mode 100644
index 0000000..1a74888
--- /dev/null
+++ b/old/44367-h/images/illus04b.jpg
diff --git a/old/44367-h/images/illus05a.jpg b/old/44367-h/images/illus05a.jpg
new file mode 100644
index 0000000..17b3e5b
--- /dev/null
+++ b/old/44367-h/images/illus05a.jpg
diff --git a/old/44367-h/images/illus05b.jpg b/old/44367-h/images/illus05b.jpg
new file mode 100644
index 0000000..f9eac5e
--- /dev/null
+++ b/old/44367-h/images/illus05b.jpg
diff --git a/old/44367-h/images/illus05c.jpg b/old/44367-h/images/illus05c.jpg
new file mode 100644
index 0000000..834ecd1
--- /dev/null
+++ b/old/44367-h/images/illus05c.jpg
diff --git a/old/44367-h/images/illus06.jpg b/old/44367-h/images/illus06.jpg
new file mode 100644
index 0000000..6b7b8fa
--- /dev/null
+++ b/old/44367-h/images/illus06.jpg
diff --git a/old/44367-h/images/illus07a.jpg b/old/44367-h/images/illus07a.jpg
new file mode 100644
index 0000000..719af4d
--- /dev/null
+++ b/old/44367-h/images/illus07a.jpg
diff --git a/old/44367-h/images/illus07b.jpg b/old/44367-h/images/illus07b.jpg
new file mode 100644
index 0000000..ec33cb8
--- /dev/null
+++ b/old/44367-h/images/illus07b.jpg
diff --git a/old/44367-h/images/illus08.jpg b/old/44367-h/images/illus08.jpg
new file mode 100644
index 0000000..fcb17aa
--- /dev/null
+++ b/old/44367-h/images/illus08.jpg
diff --git a/old/44367-h/images/illus09.jpg b/old/44367-h/images/illus09.jpg
new file mode 100644
index 0000000..7101300
--- /dev/null
+++ b/old/44367-h/images/illus09.jpg
diff --git a/old/44367-h/images/illus10.jpg b/old/44367-h/images/illus10.jpg
new file mode 100644
index 0000000..cb0727d
--- /dev/null
+++ b/old/44367-h/images/illus10.jpg
diff --git a/old/44367-h/images/illus11.jpg b/old/44367-h/images/illus11.jpg
new file mode 100644
index 0000000..23077b8
--- /dev/null
+++ b/old/44367-h/images/illus11.jpg
diff --git a/old/44367-h/images/illus12.jpg b/old/44367-h/images/illus12.jpg
new file mode 100644
index 0000000..3f9da0c
--- /dev/null
+++ b/old/44367-h/images/illus12.jpg
diff --git a/old/44367-h/images/plate1.jpg b/old/44367-h/images/plate1.jpg
new file mode 100644
index 0000000..4cb6aad
--- /dev/null
+++ b/old/44367-h/images/plate1.jpg
diff --git a/old/44367-h/images/plate2.jpg b/old/44367-h/images/plate2.jpg
new file mode 100644
index 0000000..60ac84f
--- /dev/null
+++ b/old/44367-h/images/plate2.jpg
diff --git a/old/44367-h/images/plate3.jpg b/old/44367-h/images/plate3.jpg
new file mode 100644
index 0000000..65a61c6
--- /dev/null
+++ b/old/44367-h/images/plate3.jpg
diff --git a/old/44367-h/images/plate4.jpg b/old/44367-h/images/plate4.jpg
new file mode 100644
index 0000000..8006141
--- /dev/null
+++ b/old/44367-h/images/plate4.jpg
diff --git a/old/44367-h/images/plate5.jpg b/old/44367-h/images/plate5.jpg
new file mode 100644
index 0000000..9a161a0
--- /dev/null
+++ b/old/44367-h/images/plate5.jpg
diff --git a/old/44367-h/images/plate6.jpg b/old/44367-h/images/plate6.jpg
new file mode 100644
index 0000000..95be47e
--- /dev/null
+++ b/old/44367-h/images/plate6.jpg
diff --git a/old/44367-h/images/signature.jpg b/old/44367-h/images/signature.jpg
new file mode 100644
index 0000000..979f045
--- /dev/null
+++ b/old/44367-h/images/signature.jpg
diff --git a/old/44367-h/images/t.jpg b/old/44367-h/images/t.jpg
new file mode 100644
index 0000000..99993d7
--- /dev/null
+++ b/old/44367-h/images/t.jpg
diff --git a/old/44367.txt b/old/44367.txt
new file mode 100644
index 0000000..00a0f1d
--- /dev/null
+++ b/old/44367.txt
@@ -0,0 +1,1807 @@
+The Project Gutenberg EBook of The Mentor: Walter Scott, Vol. 4, Num. 15,
+Serial No. 115, September 15, 1916, by Hamilton W. Mabie
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Mentor: Walter Scott, Vol. 4, Num. 15, Serial No. 115, September 15, 1916
+
+Author: Hamilton W. Mabie
+
+Release Date: December 5, 2013 [EBook #44367]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: WALTER SCOTT ***
+
+
+
+
+Produced by Juliet Sutherland, Melissa McDaniel, and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+Transcriber's Note:
+
+  Inconsistent hyphenation and spelling in the original document have
+  been preserved. Obvious typographical errors have been corrected.
+
+  Italic text is denoted by _underscores_.
+
+
+
+
+     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]
+
+
+
+
+THE MENTOR ASSOCIATION
+
+ESTABLISHED FOR THE DEVELOPMENT OF A POPULAR INTEREST IN ART,
+LITERATURE, SCIENCE, HISTORY, NATURE, AND TRAVEL
+
+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 KOBBE, 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.
+
+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.
+
+THE MENTOR IS PUBLISHED TWICE A MONTH
+
+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
+
+
+COMPLETE YOUR MENTOR LIBRARY
+
+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.
+
+     Serial No.
+       1. Beautiful Children in Art
+       2. Makers of American Poetry
+       3. Washington, the Capital
+       4. Beautiful Women in Art
+       5. Romantic Ireland
+       6. Masters of Music
+       7. Natural Wonders of America
+       8. Pictures We Love to Live With
+       9. The Conquest of the Peaks
+      10. Scotland, the Land of Song and Scenery
+      11. Cherubs in Art
+      12. Statues With a Story
+      13. Story of America in Pictures: The Discoverers
+      14. London
+      15. The Story of Panama
+      16. American Birds of Beauty
+      17. Dutch Masterpieces
+      18. Paris, the Incomparable
+      19. Flowers of Decoration
+      20. Makers of American Humor
+      21. American Sea Painters
+      22. Story of America in Pictures: The Explorers
+      23. Sporting Vacations
+      24. Switzerland: The Land of Scenic Splendors
+      25. American Novelists
+      26. American Landscape Painters
+      27. Venice, the Island City
+      28. The Wife in Art
+      29. Great American Inventors
+      30. Furniture and Its Makers
+      31. Spain and Gibraltar
+      32. Historic Spots of America
+      33. Beautiful Buildings of the World
+      34. Game Birds of America
+      35. Story of America in Pictures: The Contest for North
+          America
+      36. Famous American Sculptors
+      37. The Conquest of the Poles
+      38. Napoleon
+      39. The Mediterranean
+      40. Angels in Art
+      41. Famous Composers
+      42. Egypt, the Land of Mystery
+      43. Story of America in Pictures: The Revolution
+      44. Famous English Poets
+      45. Makers of American Art
+      46. The Ruins of Rome
+      47. Makers of Modern Opera
+      48. Duerer and Holbein
+      49. Vienna, the Queen City
+      50. Ancient Athens
+      51. The Barbizon Painters
+      52. Abraham Lincoln
+      53. George Washington
+      54. Mexico
+      55. Famous American Women Painters
+      56. The Conquest of the Air
+      57. Court Painters of France
+      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._
+
+
+THE MENTOR ASSOCIATION, INC.
+
+52 EAST 19th STREET, NEW YORK, N. Y.
+
+
+
+
+The Mentor Service
+
+
+This service covers the needs of those who want to gain knowledge by an
+easy and agreeable method.
+
+Send for our booklet descriptive of The Mentor Club Service. It
+presents many varied Mentor courses specially planned for the use of
+reading clubs.
+
+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.
+
+The Mentor Association will also secure books for members, supplying
+them postpaid at publishers' prices.
+
+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.
+
+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.
+
+
+THE MENTOR BINDER
+
+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.
+
+The price of these binders is One Dollar each.
+
+
+MAKE THE SPARE MOMENT COUNT
+
+
+
+
+
+End of the Project Gutenberg EBook of The Mentor: Walter Scott, Vol. 4, Num.
+15, Serial No. 115, September 15, 1916, by Hamilton W. Mabie
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: WALTER SCOTT ***
+
+***** This file should be named 44367.txt or 44367.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/4/4/3/6/44367/
+
+Produced by Juliet Sutherland, Melissa McDaniel, and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License available with this file or online at
+  www.gutenberg.org/license.
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation information page at www.gutenberg.org
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at 809
+North 1500 West, Salt Lake City, UT 84116, (801) 596-1887.  Email
+contact links and up to date contact information can be found at the
+Foundation's web site and official page at www.gutenberg.org/contact
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit www.gutenberg.org/donate
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit:  www.gutenberg.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For forty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+     www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/old/44367.zip b/old/44367.zip
new file mode 100644
index 0000000..dc6d54e
--- /dev/null
+++ b/old/44367.zip