the standard, or whom he judged capable of a crime so

mean.

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

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

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

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

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

1 branches of horns.

traitor, thou Conrad, Marquis of Montserrat ! peach thee of treason!"

I im

-Sir Walter Scott. From "The Talisman."

Study the foregoing narrative. Note first the sentences that serve as Introduction to the incident, giving the scene and situation; then observe the details of the incident, and the order of their occurrence; notice the many details omitted or merely suggested; show that the details adduced are sufficient to account for the outcome; thereby judge if the Principles of Narration 1, 2, 3, 4, 5 are illustrated in the extract.

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

6. Climax of Interest. -The details of the narration are arranged in the order of their increasing importance, so that the interest becomes definite and deep as the conclusion is

reached. As means to increase the plot-interest, striking situation, dramatic language, direct narration, etc., are employed.

7. The Denouement.-The issue of the incident must be to some extent a surprise to the reader. The turn the story takes to set right all that has grown tangled must be sharp and effective, else the story falls flat.

8. The Conclusion. --The Conclusion to be effective must issue from the forces brought into play in the details of the story; it must satisfy the demands of the plot and the curiosity and interest of the reader.

EXERCISE I.—Study the narrative "The Rescue of Waverley," and judge if the Principles of Narration 6, 7, 8 are illustrated in that extract.

REPRODUCTION.-Tell the story of the "Templar's Detection," following the plan and method of Scott.

EXERCISE II.-Examine Scott's "Lochinvar" ("Fourth Reader," p. 69), in illustration of the principles of narration.

COMPOSITION 1.-Select the details of Introduction, Narration, Conclusion in "Lochinvar"; make an outline of it as a narration; tell the story, having regard in composing to the principles of narration.

COMPOSITION 2.-Select the details for Introduction, Narration, Conclusion from the story told in the following poem; make a plan for your narrative similar to that on p. 120; tell the story of "The Cavalier's Escape."

THE CAVALIER'S ESCAPE.

Trample trample! went the roan,
Trap! trap! went the gray ;

But pad! pad! PAD! like a thing that was mad,

My chestnut broke away.

It was just five miles from Salisbury town,

And but one hour to day.

Thud! THUD! came on the heavy roan,
Rap! RAP! the mettled gray ;

But my chestnut mare was of blood so rare
That she showed them all the way.
Spur on! spur on!-I doffed my hat,
And wished them all good-day.

They splashed through miry rut and pool,
Splintered through fence and rail ;

But chestnut Kate switched over the gate-
I saw them droop and tail.

To Salisbury town—but a mile of down,
Once over this brook and rail.

Trap! Trap! I heard their echoing hoofs
Past the walls of mossy stone;

The roan flew on at a staggering pace,
But blood is better than bone.

I patted old Kate and gave her the spur
For I knew it was all my own.

But trample! trample! came their steeds,
And I saw their wolf's eyes burn;

I felt like a royal hart at bay,

And made me ready to turn.

I looked where highest grew the May,
And deepest arched the fern.

I flew at the first knave's sallow throat;
One blow, and he was down.

The second rogue fired twice, and missed;
I sliced the villain's crown :

Clove through the rest and flogged brave Kate,
Fast, fast to Salisbury town.

Pad! pad! they came on the level sward,

Thud! thud! upon the sand;

With a gleam of swords and a burning match,
And a shaking of flag and hand :

But one long bound and I passed the gate,

Safe from the canting band.

-Walter Thornbury.

LESSON XLIII.

MEMORIZATION. THE STATUE OF JUSTICE, FROM
"EVANGELINE."

Once in an ancient city whose name I no longer remember,
Raised aloft on a column, a brazen statue of Justice

Stood in the public square, upholding the scales in its left hand,
And in its right a sword, as an emblem that justice presided
Over the laws of the land, and the hearts and homes of the people.
Even the birds had built their nests in the scales of the balance,
Having no fear of the sword that flashed in the sunshine above them.
But in the course of time the laws of the land were corrupted;
Might took the place of right, and the weak were oppressed, and
the mighty

Ruled with an iron rod. Then it chanced in a nobleman's palace
That a necklace of pearls was lost, and ere long a suspicion
Fell on an orphan girl who lived as maid in the household.
She, after form of trial condemned to die on the scaffold,
Patiently met her doom at the foot of the statue of Justice.
As to her Father in heaven her innocent spirit ascended,
Lo! o'er the city a tempest rose; and the bolts of the thunder
Smote the statue of bronze, and hurled in wrath from its left hand
Down on the pavement below the clattering scales of the balance,
And in the hollow thereof was found the nest of a magpie,
Into whose clay-built walls the necklace of pearls was inwoven.
-Henry Wadsworth Longfellow.

EXERCISE.-Select the details of Introduction, Narration, Conclusion in the foregoing; make an outline like that on p. 120.

COMPOSITION 1.-Tell the story of the Statue of Justice, having regard in composing to the principles of narration.

COMPOSITION 2.-Tell the story illustrated by the picture, "The Huguenot," by John Everett Millais.

"It is a scene supposed to take place on the eve of the massacre of St. Bartholomew's Day. Two lovers in the act of parting, the woman a Papist and the man a Protestant. The badge worn to distinguish the former from the latter was a white scarf on the left arm. Many were base enough to escape murder by wearing it.