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- (c) Literary: successful creations such as Puck, Ariel, Oberon, give a basis of quasi-reality to others.
3. Personification, or the humanisation of inanimate nature as a device of poetic style—especially applied to the four elements (e.g. the 'sighing' of the wind, 'earthly,' as meaning sensual, the 'rage' of fire, the 'cruel' sea): it is only a step from this to Elementaiy Spirits, [ix. 54 illustrates the connection.]
4. We get allegory in occasional flashes as a subsidiary effect. E.g. the Grotto scene and the burning of mortal workmanship where truth alone is unconsumed (xii. 16-19).
These ideas and interests enter into supernatural creations in general: there are two special to the present example.
1. There is a special connection between the White Lady and the family of Avenel: several mediæval ideas support such a conception.
- (a) In heathen theogonies gods appeared as patrons of individual races and families—so mediæval saints connected with particular races or families, as well as particular churches. [Compare iv. 57 to end.]
- (b) Astrology (the longest lived of delusions) instituted distinct connections between heavenly influence and individuals in accordance with the moment of their birth: so All-Hallow E'en the link between Mary Avenel and the White Lady (iv. 55-57).
- (c) Heraldry regularly connected some natural object with the continuity of a family history. [Compare xxiv. 21.]
- (d) Popular traditions of spirits connected with families for purposes of warning (Irish Banshees)—or even familiar intercourse (Highland tradition: Introduction 17).
2. But this novel is essentially a Protestant story: the difficulty arises, how to get a Protestant Fairy! The link is found in the conception of the Bible as a book; it is perfectly consistent with mediæval imagination to invest a book with mystic attractions and powers [compare Runic letters and their mystic powers—charms attaching to exact sets of words or to written symbols—magic books and the awe they excite: all these the product of an age in which reading was a professional mystery]. The White Lady throughout is associated with the Bible that has found its way into the Halidome: with the fortunes of the book itself
and of those who use it. [Especially: the Grotto scene, chapter xii.]
The White Lady as an element in the story
When familiar with the general course of the story, the Student will do well to follow the White Lady as. a separate interest.
1. First glimpse on All-Hallow E'en (iii. 30-35).
2. Father Philip's Adventure (v from 40).
3. The Sub-Prior's Adventure (ix. 42-59): compare beginnings of Chapter viii and x.
4. Grand Appearance to the hero, and Grotto Scene (xi. 31 to end of xii).
5. The Friday Appearance (xvii from 28).
6. The Nocturnal Appearance (xx. 30 to end).
7. The Mysteries of the Duel Incidents (xxi. 33 to end of xxii, xxvi. 28-xxvii. 18).
8. Appearance to the heroine (xxx. 1-6).
9. Appearance to Edward (xxxii. 55 to end).
10. Last vision of the White Lady (xxxviii. 120).
