Teachers Outlines for Studies in English | Page 3

OUTLINE FOR THE STUDY OF IVANHOE
I. Preparation
The class will probably be able to recall from their previous study of
Scott some interesting facts about the author. They will understand the
book better, too, if they are somewhat familiar with the following
topics:
The Norman Conquest.
Ideals of Chivalry.
Conditions of the Church.
The Crusades.
Story of King Richard up to his return from the Crusades.
II. Reading and Study

There are advantages in a first rapid reading of the book before the
more careful reading and class study, but for pupils unused to reading
long books this is too much to ask in the case of Ivanhoe. The essential
result to be attained in any event is familiarity with the details of the
story.
III. Study of the Book as a Whole
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