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Page Page The Prophecy . . . . . . . . . 765 The White Lady chants or recites .. 789 Glossin sings . . . . . . . . . 765 Border March . . . . . . . . . 790 III. From The Antiquary. The white Lady to Mary Avenel. 790 The Aged Carle . . . . . . . . 766 The White Lady to Edward . . . 790 A ge - The White Lady's Farewell. . . . .791 An Epitaph . . . . . . . . . . 766 Mottoes Old Elspeth sin - 66 - - - - - - - - - - - 791 pe gs. . • - 7 Mottoes . . . . . . . . . . . 767 XII. From The Abbot. IV. From The Black Dwarf. .. 77o loor speaks . . . . . . 794 W. From Old Mortality. 794 Major Bellenden sings . . . . . . 770 XIII. From Kenilworth. Verses found in Bothwell's Pocket- The Owl Song . . . . . . . . . 797 Book . . . . . . . . . . 770 The Warder's Welcome . . . . . 797 Mottoes (including ‘Sound, sound the Mottoes . . . . . . . . . . . 798 clarion') . . . . . . . . . . 771 XIV. From The Pirate. WI. From Rob Roy. The Song of the Reim-Kennar. . . 8oo Francis Osbaldistone's Lines . . . 771 A Last Farewell . . . . . . . . 8or Fragment from Ariosto . . . . . 772 Harold Harfager. . . . . . . . 8or Mottoes . . . . . . . . . . . 772 The Meeting of the Mermaids and VII. From The Heart of Mid- Mermen . . . . . . . . . 802 lothian. Norna sings . . . . . 8o3 P.Madge Wildfire si Claud Halcro and Norna - 804 ge Wildfire sings . . . . . . 773 Song of the Shetland Fishers . . 805 Mottoes . . . . . . . . . . . 775 Cleveland sings . . . . . . 806 VIII. From The Bride of Lam- Claud Halcro sings or recites . 806 Imermoor. Norna sings or recites. 8oy Lucy Ashton sings . . . . . . . 775 The Pedlar sings . . 809 The Forester sings . . . . . . . 775 Mottoes . . . . . . . . . . . 809 The Prophecy . . . . • . . 775 XV. From The Fortunes of Mottoes . . . . . . . . . . . 776 Nigel. IX. From The Legend of Mont- Mottoes . . . . . . . . . . . 811 From the o • . . . . . . . 777 XVI. From Peveril of the Peak. Song of the Dawn . . . . . . . 777 Mottoes . . . . . . . . . . . 815 Lady Anne . . . . . . 777 XVII. From Quentin Durward. Mottoes . . . . . . . . . . . 778 County Guy . . . . . . . 817 X. From Ivanhoe. Mottoes . . . . . . . . . . 818 The Crusader . . . . . . . . . 778 - s The Barefooted Friar . . . . . . 779. wo room s Roman-wen 819 Ulrica sings . . . . . . . . 78o Rebecca's Hymn . . . . . 781 XIX. From Redgauntlet. A Wirelai . . . . . . . . 781 Hope . . . . . . . . . . . . 821 A Duet . . . . . . . . . . . 782 Dirge for Athelstane . . . . . . 782 xx. From The Betrothed. Mottoes . . . . . . . . . . . .783 Réveillé . . . . . . . . . . . 821 Woman's Faith . . . . . . . . 821 XI. From The Monastery. Verses in the Style of the Druids . . 822 Nest ancillae . . . . . . . . 784 || Mottoes . . . . . . . . . . . 822 ‘Merrily swim we' . . . . . . 784 The Monk's Warning . . . . . 785 XXI. From The Talisman. The White Lady sings. . . . . . 786 Ahriman . . . . . . . . . . . 823 To the White Lady . . . . . . . 786 A Minstrel sings . . . . . . 824 To Halbert. . . . . . . . . . 786 The Lay of the Bloody West. . 824 Sir Piercie Shafton sings . . . . . 789 Mottoes . . . . . . . . . 826

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The Poem is intended to illustrate the customs and manners which anciently prevailed" on the Borders of England and Scotland. The inhabitants, living in a state partly pastoral and partly warlike, and combining habits of constant depredation with the influence of a rude spirit of chivalry, were often engaged in scenes highly susceptible of poetical ornament. As the description of scenery and manners was more the object of the author than a combined and regular narrative, the plan of the Ancient Metrical Romance was adopted, which allows greater latitude in this respect than would be consistent with the dignity of a regular Poem. The same model offered other facilities, as it permits an occasional alteration of measure, which, in some degree, authorises the change of rhythm in the text. The machinery, also, adopted from popular belief, would have seemed puerile in a poem which did not partake of the rudeness of the old Ballad, or Metrical Romance.

For these reasons the poem was put into the mouth of an ancient Minstrel, the last of the race, who, as he is supposed to have survived the Revolution, might have caught somewhat of the refinement of modern poetry, without losing the simplicity of his original model. The date of the tale itself is about the middle of the sixteenth century, when most of the personages actually flourished. The time occupied by the action is Three Nights and Three

aws.

INTRODUCTION. And he, neglected and oppress'd, The way was long, the wind was cold, Wish’d to be with them, and at rest. The Minstrel was infirm and old; No more on prancing palfrey borne, His wither'd cheek, and tresses gray, He caroll'd, light as lark at morn; Seem'd to have known a better day; No longer courted and caress'd,

The harp, his sole remaining joy, High placed in hall, a welcome guest,
Was carried by an orphan boy. He pour'd to lord and lady gay
The last of all the Bards was he, The unpremeditated lay:
Who sung of Border chivalry; Old times were changed, old manners

For welladay! their date was fled, gone;
His tuneful brethren all were dead; A stranger fill'd the Stuarts' throne;

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[Canto

The bigots of the iron time
Had call’d his harmless art a crime.
Awandering Harper, scorn'dand poor,
He begg'd his bread from door to door,
And tuned, to please a peasant's ear,
The harp a king had loved to hear.

He pass'd where Newark's stately tower Looks out from Yarrow's birchen bower : The Minstrel gazed with wishful eye— No humbler resting-place was nigh; With hesitating step at last The embattled portal arch he pass'd, Whose ponderous grate and massy bar Had oft roll'd back the tide of war, But never closed the iron door Against the desolate and poor. The Duchess mark'd his weary pace, His timid mien, and reverend face, And bade her page the menials tell That they should tend the old man well : For she had known adversity, Though born in such a high degree; In pride of power, in beauty's bloom, Had wept o'er Monmouth's bloody tomb |

When kindness had his wants supplied, And the old man was gratified, Began to rise his minstrel pride : And he began to talk anon Of good Earl Francis, dead and gone, And of Earl Walter, rest him, God A braver ne'er to battle rode; And how full many a tale he knew Of the old warriors of Buccleuch : And, would the noble Duchess deign To listen to an old man's strain, Though stiff his hand, his voice though weak, He thought even yet, the sooth to speak, That, if she loved the harp to hear, He could make music to her ear.

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The humble boon was soon obtain'd; The aged Minstrel audience gain'd. But, when he reach'd the room of state, Where she with all her ladies sate, Perchance he wish’d his boon denied: For, when to tune his harp he tried, His trembling hand had lost the ease, Which marks security to please; And scenes long past, of joy and pain, Came wildering o'er his aged brain– He tried to tune his harp in vain The pitying Duchess prais'd its chime, And gave him heart, and gave him time, Till every string's according glee Was blended into harmony. And then, he said, he would full fain He could recall an ancient strain He never thought to sing again. It was not framed for village churls, But for high dames and mighty earls; He had play’d it to King Charles the Good, When he kept court in Holyrood; And much he wish'd, yet fear'd, to try The long-forgotten melody. Amid the strings his fingers stray'd, And an uncertain warbling made, And oft he shook his hoary head. But when he caught the measure wild, The old man rais'd his face, and smil’d ; And lighten’d up his faded eye With all a poet's ecstasy. In varying cadence, soft or strong, He swept the sounding chords along: The present scene, the future lot, His toils, his wants, were all forgot; Cold diffidence, and age's frost, In the full tide of song were lost; Each blank, in faithless memory void The poet's glowing thought supplied; And, while his harp responsive rung, 'Twas thus the LATEST MINSTRELSung,

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Canto First. I.

THE feast was over in Branksome tower, And the Ladye had gone to hersecret bower; Her bower that was guarded by word and by spell, Deadly to hear, and deadly to tell— Jesu Maria, shield us well ! No living wight, save the Ladye alone, Had dared to cross the threshold Stone. II. The tables were drawn, it was idlesse all; Knight, and page, and household squire, Loiter'd through the lofty hall, Or crowded round the ample fire: The stag-hounds, weary with the chase, Lay stretch’d upon the rushy floor, And urg'd, in dreams, the forest race From Teviot-stone to Eskdale-moor.

III. Nine and-twenty knights of fame Hung their shields in Branksome hall; Nine-and-twenty squires of name Brought them their steeds to bower from stall; Nine-and-twenty yeomen tall Waited, duteous, on them all: They were all knights of mettle true, Kinsmento the bold Buccleuch.

IV. Ten of them were sheath'd in steel, With belted sword, and spur on heel: They quitted not their harness bright, Neither by day, nor yet by night: They lay down to rest, With corslet laced,

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