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Setting and Situation.—When did the events of the story take place?

Locate upon some map or, better, draw a map to indicate the position of Sheffield, Ashby, York, and the other places connected with the story. In the opening chapters there are various details of the situation that are more important than the actual time and place, for example, condition of the country, and the relations of the people. Make a list of them.

Compare Ivanhoe with some other novel in regard to the definiteness and importance of the setting.

What do we know from the story of the means of traveling? (pp. 14–16, 192–195, etc.); of the conditions of the clergy? (pp. 17–20, 468–474, etc.); of the relations of the Normans and Saxons? of the habits of the people? of the feudal system?

Plot.—How long a time is involved from the beginning to the end of the story?

Are there frequent surprises, or do the events occur as we expect them? Illustrate.

How does Scott arouse our interest in the development of an action? Take the Tournament, for example, and show how he arouses our expectation before he relates the event.

When do you first suspect that the Palmer is a person disguised? How does the author keep us in suspense as to his identity? (pp. 60–62, 90, etc.).

Find other instances of this device for maintaining our interest in the story (see p. 134).

Point out several events that appear, upon second thought, to be improbable. How has Scott tried to make them seem probable, so that the reader's interest will not be lost?

Give an illustration of the way in which Scott links together the various groups of characters. If the author has succeeded in so combining the interests of each group that the outcome of the main action—the success or failure of the hero and heroine—means the success or failure of the other groups, then he has secured unity of plot. Is there unity of plot here?

After the opening scene in the forest, the next important one is in the dining-room at Rotherwood. Point out in detail the incidents that lead to this scene.

In the dining-room scene what suggestions are given for the further development of the plot?

What is the next scene of importance? What incidents lead up to it?

There are, in all, eight or nine important scenes. Make a list of them, note the train of incidents that leads up to each, and also the germs of future development that each contains.

Each of these scenes marks a climax of interest. Is any one so much more important than the others, that you can say it is the climax of the book? Are any of them merely episodes that might be omitted without making the action incomplete?

How far does Brian de Bois-Guilbert influence the course of events? How far does Isaac influence them? Richard? Rebecca?

Characters.—Who is the hero? Why?

Who is the heroine? Why?

Arrange the important characters (there are from fifteen to twenty) in three or four groups according to the way they seem to be associated in the development of the story. Which characters are historical? Which, if any, are intended to represent types or classes of men?

Are any of them to be contrasted with each other?

Are the characters of King Richard and Prince John represented here as they are shown in history?

Note the chief traits of Cedric, Athelstane, and Gurth. Remember that Scott was trying to portray Saxon character. What are the individual traits of each? What have they in common?

What, if anything, in Rowena compels your admiration of her? What, if anything, is lacking to make her truly a heroic figure?

How does Rebecca compare with Rowena in the latter particular?

Do the principal characters remain the same from beginning to end, or do they show development?

Do we become acquainted with these characters by what they say and do; by what the author says of them; or by what they say of one another?

Interpretation.—It is fair to suppose in every novel that the author has had a more or less distinct purpose in writing it. It may be to present in life-like pictures some dramatic events in history; or to paint vivid scenes that illustrate the spirit of an age; or to hold up ideals of bravery, patriotism, patience, devotion, or some other virtue; or to show the working out of some great truth or principle of life.

What seems to you the purpose of the author in Ivanhoe? What ideals of character does he hold up? What service has he done for the reader of history?

Method of Narration.—Who tells the story? Would it be difficult to rearrange the plan so that Ivanhoe or some other character should tell it? Why?

Does the narrator speak from the standpoint of one who somehow or other knows all that the characters do and think and feel, or of one who recounts merely his own feelings and what he sees and hears?

Compare Ivanhoe in this respect with The Vicar of Wakefield, or with some other novel.

Style.—Does Scott attempt to reproduce the language of a time other than his own? Does he introduce dialect? Do the characters talk naturally as we should expect persons of different birth and education to talk, or do they talk alike?

Note how Scott describes an outdoor scene (p. 6); a man (p. 7); a scene of action (pp. 300–306). Try to imitate his methods in descriptions of your own.

Note the parts of the story where the movement of events is very rapid (pp. 322–330), and others where the author introduces description or exposition (pp. 148–152) to retard the movement.

Do you find the sentences natural and easy, or formal and hard to read? Are there many unfamiliar words?

The Life and Character of the Author.—What are the main facts of Scott's boyhood? his education? his professional career? his success as a poet? his change from poetry to prose? his success as a novelist? his financial distress? his struggle to meet the demands of the law and of his own honor?

Would you judge from Ivanhoe that the author was a man of learning? a lover of nature? fond of social life? fond of animals? fond of children?

Write what you think we have reason to believe of Scott's character from reading this book.