— 5—

also in an romance, actions showing the character of the personages are preferable to long descriptions, in which the author is too visible. At the end of stanza 19. the poet partly destroys the reader's poetical delusion, which has made him forget and identify himself with the personages of the poem:—

„One only passion unreveal'd, U With maiden pride the maid conceal'd,

0 need I tell that passion's name!“

In his'ästhetische Versuche“ W. v. Humboldt says almost literally:„Der epische Dichter soll den Leser gleichsam allein lassen und die Erinnerung an den Dichter entfernen.“ Whereas in the passage just quoted as well as in the preceding ones the poet unnecessarily places himself between Ellen and the reader, who now at once remembers that he is not really seeing her but only reading a deseription. However, the interest is awakened immediately after this interruption; for having for some time remained in that listening attitude without hearing the sound again, she calls out Father!“ It is very touching to hear the solemn solitude of that grand and wild nature interrupted by that cry coming from such lips. We involuntarily listen with her what answer may be made; but none follows, except that of a prolonged echo. When we are still listening, she calls out for a second time."Malcolm she cries this time, but less resolutely than before. We are quite relieved and happy to learn on that occasion that the good and beautiful maiden has still a father("the Douglas“) to protect her in this wilderness.— We here meet another example of the painting of a character by actions instead of mere descriptions. A few paͤges before the poet said:

„One only passion unreveald D With maiden pride the maid conceal'd“ and we now see that maiden-pride or rather maiden-shyness in action. Although there seems to be nobody near her, she dare not call out Malcolm's name without hesitation, without that noble shyness always found in persons of deep and delicate feelings. Their instinctive tact tells them that the tenderness and delicacy of love contrasts too much with the comparatively rough character of the surrounding concerns of every day life.

Scott next describes with ineffable delicacy Ellen's surprise on perceiving Fitz-James, who emerges from the hazel shade. There is not the slightest coquetry about our chaste darling:"Closer she drew her bosom's screen“ and after having pushed her skiff to some distance from the shore, she turns back gracefully like a swan to gaze at him who scared her away:—

„So forth a startled swan would swing, 1 So turn to prune his ruffled wing.“(st. 20.) By his middle age, his martial yet gentlemanly demeanour and speech she recognizes in him the visitor whose arrival old Allan-bane, the minstrel, has foretold. Considering this latter circumstance, there is no rashness in her admitting the stranger into the skiff. We cannot omit citing here two traits of this description of Fitz-James, because they are of importance in the development of the events:—

„The will to do, the soul to dare, Of hasty love, or headlong ire....“

The sparkling glance, soon blown to fire,„Net seemed that tone, and gesture bland

Less used to sue than to command....“

Ellen archly smiles when he offers to row them over to the island. This trait proves again what a close observer of nature and life the poet is, for people living in the country generally think townspeople awkward in such performances as require bodily strength and skill. In Ellen's offer of hospitality to the stranger her frankness and genuine kindess at once display themselves. We find no superfluous apologies for the scantiness of the preparations, no elaborate speeches, or formalities; but a hearty welcome, and the pleasures of art and conversation; for Ellen not only posseses a superior mind, but is skilled in music, as is seen, when she sings to the harp.— The reader is already very curious to know, who the mysterious maiden and the courteous stranger„Less used to sue than to command“ may be; but that still remains the secret of the poet, and so our interest is kept alive. However, more than by such merely technical means it is kept alive by the great poetical beauties throughout the poem.

Stanza 25. and 26. show us one of those rustic huts the Celtic chieftains usually had in the most retired spot of their dominions as a place of retreat; in the hour of peril. The hides hanging against the walls teach us that wolves, boars and bisons then lived