on that subject.

Sir Robert H.D. Elphinstone, writing in 1829, gave the tradition as
follows: "When, after the noise and violent screaming in the bridal
chamber comparative stillness succeeded and the door was forced, the
window was found open, and it was supposed by many that the lover, Lord
Rutherford, had, by the connivance of some of the servants, found means,
during the bustle of the marriage feast, to secrete himself within the
apartment, and that soon after the entry of the married pair, or at
least as soon as the parents and others retreated and the door was made
fast, he had come out from his concealment, attacked and desperately
wounded the bridegroom, and then made his escape, by the window, through
the garden. As the unfortunate bride never spoke after having uttered
the words mentioned by Sir Walter, no light could be thrown on the
matter by them. But it was thought that Dunbar's obstinate silence on
the subject favoured the supposition of the chastisement having been
inflicted by his rival. It is but fair to give the unhappy victim (who
was, by all accounts, a most gentle and feminine creature) the benefit
of an explanation on a doubtful point."

Merivale, in dealing with this story, gave a conspicuous illustration
of the essential dramatic faculty. The first act is the adroit expansion
of a few paragraphs, in the second chapter of the novel, which are
descriptive of the bleak, misty November morning when Alan Ravenswood
was borne to the grave; but by the introduction of the Lord Keeper and
of the village crones into that funeral scene he opened the whole
subject, indicated all the essential antecedents of the story, and
placed his characters in a posture of lively action. That the tone is
sombre must be conceded, and people who think that the chief end of man
is to grin might condemn the piece for that reason; but _Ravenswood_ is
a tragedy and not a farce, and persons who wish that their feelings may
not be affected should avoid tragedies.

In the second act Ravenswood seeks Ashton at Ravenswood manor, intending
to kill him in a duel, but his hand is stayed when he catches sight of
Lucy Ashton's portrait. The incident of Edgar's rescue of Lucy is used
in this scene. In a later scene Sir William Ashton and his daughter take
refuge in Wolf's Crag, and the bewitchment of Ravenswood is
accomplished. The quarrel between Edgar and Bucklaw is then given, as a
basis for the ensuing rivalry and deadly conflict