From the description in the first stanza, give as clear a picture of the location of the camp as possible. It was situated on the edge of a canon in the Sierras, towering pines rising round about, the river flowing noisily beneath, and the mountains uplifting their snow-covered peaks in the distance.
Explain the comparison suggested in the last two lines. The mountain summits, with their everlasting snows, resemble in the distance the minarets, or lofty tapering towers, attached to Mohammedan mosques.
Which is preferable, "minarets of snow", or "snow-covered peaks"? The former, because it is a more unusual expression and because of what it suggests.
Stanza II
Why is the camp-fire represented as a rude humorist? It causes faces and forms that are haggard and care-worn to appear fresh and healthy, thus playing a grim jest upon those gathered round it.
Explain the significance of "fierce" in the last line. In the mad rush for gold, all the worst elements of man"s nature are brought to the surface--disregard for the rights of others, contempt for law and order, and even carelessness with regard to human life.
Consider the fitness of the words "rude", "painted", "race", as used here.
Stanza III
What indicates the value that the owner places upon this book? The words "treasure" and "h.o.a.rded" suggest that it is one of his most highly prized possessions.
What suggests that this is not the first time the story has been read in camp? The word "anew".
How does the poet indicate the absorbing interest that the story has for these men? He says the fascination is so great as to draw the attention of these rough miners even from their card-playing. Explain "listless leisure".
Stanza IV
Explain "the firelight fell". The fire gradually died down, because, absorbed in their interest in the story, the miners forgot to put on fresh fuel.
Why is d.i.c.kens called the "Master"? A master is one who attains the highest degree of skill in some art. d.i.c.kens was master of the art of story-telling, a master of vivid narration, a master of pathos and humour.
Stanzas V and VI
Is there anything in these stanzas which might throw light upon the ident.i.ty of the reader? He is probably the poet himself. His familiarity with the fancies of the reader seem to indicate this. Besides, the reader is kept very much in the background--we are told only that he was young--and this seems to be in keeping with the modesty of the poet as shown elsewhere in the poem. At any rate, we must admit that the reader was a poet, for he indulges in fancies of a highly poetical nature.
What are those fancies? Such is the absorbing interest of the story that even the pines and cedars seem to stand silent to listen, and the fir trees gather closer in order that nothing may escape their hearing.
What is the poetic element in these fancies?
Ascribing to inanimate objects the power of human interest and sympathy.
What effect does the poet secure by picturing the trees as listeners? It enhances our idea of the absorbing interest of the story.
Mention any other ill.u.s.trations of a poet"s use of this device of attributing human sympathies to inanimate objects. Many might be given, for example:
Byron"s _Waterloo_:
And Ardennes waves above them her green leaves, Dewy with Nature"s tear-drops, as they pa.s.s, Grieving, if aught inanimate e"er grieves, Over the unreturning brave.
Longfellow"s _Evangeline_ describing the song of the mocking-bird:
Shook from his little throat such floods of delirious music, That the whole air and the woods and waves seemed silent to listen.
Mrs. Hemans" _The Landing of the Pilgrim Fathers_:
Amidst the storm they sang, and the stars heard, and the sea.
What experience of "Nell" is alluded to in the last two lines of stanza V? She and her grandfather had been lost on their journey from London.
Why does the poet say that the whole camp "lost their way" with "Nell" on English meadows? The narrative was so vivid that the miners, in spirit, accompanied her in her wanderings.
Stanza VII
What is meant by "Their cares dropped from them"? They forgot themselves, their cares and privations, and realized the hopes and fears, the joys and sorrows of "Little Nell".
How was this result brought about? It was due to the fascination of the story.
To what does the poet compare this? To some "spell divine", some supernatural influence, which causes their own troubles to disappear for the time being.
Give, then, the meaning of "o"ertaken as by some spell divine". They are brought, as it were, under the influence of some magician, who, by the exercise of his power, transports them from their own world to that in which "Nell" lives and moves.
Show the beauty of the comparison in the last two lines of this stanza. As the needles of the pine, through the action of the wind, fall silently and almost unperceived, so the cares of the miners were forgotten in the all-compelling interest of the story.
Compare Longfellow:
The cares that infest the day Shall fold their tents like the Arabs, And as silently steal away.
Why is this comparison more appropriate than, for example, like the leaves from the trees in autumn, or, like snow-flakes from the clouds in winter? Because it is drawn from the objects at hand, not from more remote things--an example of local colour.
Explain "gusty pine". A pine exposed to the mountain blasts.
Stanza VIII
Who is referred to by "he" in the second line?
d.i.c.kens--not the reader of the story.
What is meant by "wrought that spell"? Produced that magic influence.
State the question in full. Is "he who wrought that spell" lost, too?
What tale has the "towering pine" to tell? That the mining camp has disappeared.
And what the "stately Kentish spire"? That d.i.c.kens has gone. (d.i.c.kens" home was at Gadshill, in Kent.)
What is the one tale that both have to tell? A tale of disappearance and death.
Is the question asked in the second line answered? Not directly, though the answer is implied.
State the substantial meaning of the stanza.
The "towering pine" of the Sierras tells of the disappearance of the mining camp; the "stately spire" of Kent tells of the death of d.i.c.kens; both bear witness to the potent influence of d.i.c.kens.